En Voice "Hall Of Dreams" (2006)

 

 

Now steered into niche destinations by the Spotify algorithm, I stubble across Hall Of Dreams, one of two record by a German composer who I could find little information about online. This disparity reminded me of cultural difference music scenes have. I'm certain there would be no shortage of information on a Metal band of equivalent size. Tangent aside, En Voice glimmers ambiences as Downtempo grooves flirt with gentler temperaments. Easy soundscapes drift dreamily, seeming like destinations of a modern, European stature. A harmonious clash of new an old rides the wave. Keen electronic tones and lively mid-tempo percussion rubs upside yawning strings and cultural voices. It livens a sense of travel and adventure as modern life tangos with heritage and histories, fading in an ever approaching sunset of the present rat race.

Offering a variety of flavors across its twelve tracks, a welcoming Pop appeal pallets its instruments and textures with little in the way of challenging. Each song breezes by with shuffling beats and electronics, nothing ever to bold, ambitious or out of step. These serve as warm digestible moods with the occasional flush of 90s British Electronica as potent yet simple piano melodies swoon in over sweeping synths and dawning strings. Clocking in on average at five minutes, most the songs go through simple structures, retracting and extending the rhythm section through lulls and swells with interchanging instruments. It sticks to a tone and sees it through with a lack of remark-ability beyond the character of the smooth vibrations it conjures. Good for a while but lacking a memorable depth.

 

Rating: 5/10

Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022)

 

Author of the Command & Conquer music, a keen nostalgic staple from my childhood to present day, Frank Klepacki brought renewed excitement to his classic soundtracks during the games 25th anniversary remastering. Best of all, he united with tribute band The Tiberian Sons, breathing new life into old songs. Hearing them go it alone on The Only Winning Moon was an unexpected pleasure! Have linked up again, these four original songs feel several steps removed from the origins of their collaboration.

Lay To Waste is a mismatch of fun, energetic ideas. Swaying from the meaty Industrial grit of C&Cs assailant glory to gleaming surges of joyous metallic melody, its glossy symphonies and chunky guitars fit aesthetically like a glove. A bold complimenting force, split in direction. The misnomer lies in mood. Mischievous aggressive riffs underwrite uplifting emotive theatrics most prone to fantasy driven VGM.

 Personally, I loved both aspects, yet together a sense of ambivalence prevailed. One can hear Frank's militant ideas blazing along but frequently they meander in tone from war and destruction to might and magic fantasies as strings and tunes take reins from the rhythmic brutality presented beforehand. Its a strange dichotomy that has eased with familiarity and repetitions yet still dominates the directorial feeling. The opening Gun Metal makes a half baked attempt at incorporating explosive sounds to the mix, then its main theme gets handed off through a string of these instrumental pivots.

Its been one of the stranger encounters on this musical journey. I'm left unable to pick a favorite track as every song sways between contrasts. Its the swaying that makes me seasick. Taking the analytic hat off for a moment, its a fun set of songs pounding with energy and vibrant noise. Plenty of twists and turns along the way! A tight curation of ideas not outstaying its welcome. It will be a matter of time to see how often I return to these tracks as I do love to with their previous material.

Rating: 5/10

Tamaryn "Tender New Signs" (2012)

This second foray into revivalist Shoegazing takes a matured aesthetic leap, leaving behind the stiff disappointment of debut The Waves. Armed with strong guitar melodies, the wall of sound is penetrated with quite a distinct tang, vague echoes of Country and Americana from its lead guitar licks. Often melting out of bendy shimmers, their moments of articulation bring a necessary melody to the dense breeze of dreamy, foggy warmth this colorful sound indulgently basks in.

Yet to truly dabble with the Pop sensibilities of Cranekiss, Tamaryn rarely emerges front and center, rather she is shy and reserved. Lowered in the mix and competing with the thick echos of effect smothered guitars, she blends into haze. Even on a more dynamic Transcendent Blue, she sings only in crowded spaces despite plenty of lulls. It creates a sense of intention to have a continuously deep tone for all of its songs.

This single minded approach breeds a lack of distinction. The mood of Tender New Signs is warm, a cozy space to curl up in yet it barely breaks for anything spectacular. Not even an alteration or deviation. Some melodies may be more distinct but they all follow a hazy path of bleeding instruments and dreamy aesthetics continuously fall into one another. Reasonable as a mood setter but in the forefront the album plays dulled and tired. Definitely a step in the right. The best yet to come.

Rating: 5/10

Den Sorte Død "Depressiv Magi" (2022)

 

 Depressiv Magi, a fitting name for these steady solemn strolls through the pale. Its six chapters fragment all differing increments of funeral gloom and lonely wonders. Its bleak exterior, a dominating aesthetic, casts a forlorn prison to the minuscule glow within. Its stoic charm and glimpses of effervescence, caged, dragged and smothered by a nostalgic doom. Although the duo wrestle on occasion, its darkness that wins out.

Comprised of Dungeon Synth and Berlin School electronics, a textural affair is to be enjoyed. Foggy, fidelity diminishing Low Fi ideals rub against the precision of angular buzz, sine and saw wave oscillations. The two find a unison in unraveling songs where their composition and chemistry is apt. Although its often humanistic Dungeon Synth tones that represent escape from the glumness, they interweave rolls, creating quite the spectacle of impressive musicianship and craft.

Den Evindelige Skygge opens the record with a lurching sense of unease before its title track rebirths the tonal theme to reveal dire tensions. From here much of the relief is abandoned as these chilly, joyless atmospheres turn grave, often punctuated by driving percussive strikes that call out from the dark. Depressiv Magi is a well executed project but limited in scope it suits a particular mood.

Rating: 5/10

Regina Spektor "Home, Before And After" (2022)

 

Six years have whizzed by since Remember Us To Life. An impression was left, one of age and fragility, a beautiful moment of vulnerability captured on Obsolete. That emotive power of honest introspection has felt absent on this newest venture. Regina goes through the motions with embellished instrumentals, a far cry from the origins of her lone voice and piano. Still singing in her cutesy quirky cadence of whispers and wordplay, the synergies between intention and expression seem bold and obvious.

Home, Before And After mostly struggles with if that synergy clicks. Each song has its own character, often emphasized more by the extended array of warm instrumental sounds than Regina herself. On-boarding lavish string sections and 80s Synth Pop tones among others, the album cycles through bright and varied aesthetics. So often do they burst to life with emphasis and purpose, as if to say the words not spoken.

Its simplest song, Raindrops, was my favorite. Just her delicate voice and a soft piano. Humming tunes along the way, the endearing Regina emerges in her element. Many of the other songs have these humble beginnings too. Yet they often stray into the crescendo, a need to swell and bloom in extravagant conclusion. From a song writing perspective, its well orchestrated but on this outing the big production stripped out her charming personality. The instrumentals seem to drain Regina's unique vibe. They drift away from the magic, a soft, subtle and calming setting she is more suited too.

Rating: 5/10

Phoebe Bridgers "Punisher" (2020)

 

The Punisher lays bare a calming rot of depression, manifesting itself in aimless drifting atmospheres. With internal frictions, social worries and self deception explored, the record seems harmless in its meager meanderings. Instrumentals wade through the minimal and ambient with spells of swelling pushed on by the breathy motions of Phobe's voice. As a folksy Indie Rock singer, her plain voiced resonance and murmurous singing plays into this sleepy state. The music looses itself in pained vulnerabilities, deceptively feeble and soft yet oddly harrow and hopeless.

Is it the lack of gusto in her voice? She leans into a gentle tone to express hurts, such a contrast. To my ears, the album plays like a subtle oxymoron of sorts. Its timbre and temperament at odds with the difficulties its lyrics explored. Conceptually its a charm but in execution the music drifts by in limbo, unsure of itself, one foot in the morose and an other in dreamy illusions. Aesthetically gorgeous but emotionally confusing.

Punisher has been on my playlist for months now. The lack of hooks or keen melodies, not a crime of course, makes for a dreary experience of unsettled lingering. Its creeping moments of Americana bring about a grounded footing but these influences are brief at best. Otherwise I'm stuck with its lack of oomph. The perpetual meandering of the music comes across bleak, vague and restless. This may be more down to my preference in vocals as I rarely vibed with Phoebe's singing.

Rating: 5/10

Autumn's Grey Solace "Therium" (2022)

Another year, another album but alas, my wishes have not come true. Therium continues firmly rooted in an unchanging Ethereal form. Anticipating a familiar lack of novelty and surprise, I approached this newest installment of eight soothing tracks with nothing but warmth for enjoying Autumn's Grey Solace's charm once again.

Shimmering crimson acoustics gleam tranquil melodies once again. Erin offers her sweet wordless drifting as a human compliment to the serinity. Washes of ambiguous guitar effects sparsely chime in. The base guitar occasionally busies upfront with plodding rattles. The percussion keeping pace with simple patterns lacking theatrics.

 Its various shades and timbres seem like a deck of cards shuffled from the back catalog. So to do vocals and melodies conjure deja vu like symptoms. I wouldn't be surprise if previous riffs and notation were simply lifted and interchanged. I'm not suggesting its so but the experience of a new AGS record has become pretty much that. Always welcome but it seems they do not want to explore any new directions.

Rating: 5/10

Darkane "Inhuman Spirits" (2022)

 
For some time I've wanted to get around to this band. Born out of the Swedish Melodic Death Metal scene, I found their Thrash adjacent approach enthralling in my early days of exploring Extreme Metal. Crossing my path in the early naughts at the peak of their freshness, they join a handful of bands that share that inexorable link to youth. All thanks to Nuclear Blast records no doubt, who signed and promoted a lot of decent Metal in that era. After nine years of silence they are still brandishing the same intensity and character with little new to offer. Although I'm keen to hear innovation and new ideas, I'll hand it to them that sticking to their guns worked out for the better against a popular Djent seven string sound you might expect them to onboard.

I'll save my enthusiastic descriptions for another day when nostalgically reflecting on their discography. Although Inhuman Spirits plays to the Darkane sound strictly, its only brief moments of carbon copies that conjure the adrenaline. The lead guitars have its distinct melodic flavor and battering drums team up with the rhythem guitar for choppy, pacey grooves just as before. Its only the vocals that venture into a new territory with fitting deep guttural roars akin to fellow Swede Akerfeldt of Opeth. 

Alas this blog mostly serves as another entry to catalog the memories of a never ending journey. The early Darkane records are far from remarkable but bring enough distinction and character to give them some edge if Melodic Death Metal is your thing. With my apatite for Metal dwindling, this was a nice reminder of their competency. A Spiral To Nothing had some cracking discordant riffs held within, one that stood out. Possibly a better re-emergence than most returns but my excitement was quelled.

Rating: 5/10

Suspended Memories "Earth Island" (1994)

 

Reuniting to follow up on the entrancing dusky spells of Forgotten Gods, the trio tread lukewarm waters, unable to spark the temporal magic that sung before. Failing to find fresh distinctions, their worldly disjointed percussive lines and ancient cultural chants rub up against airy atmospheric synths in a mediocre affair. With soft keyboard driven ambiences, its smooth, cloudy synthetic chemistry resides in a lofty yet unassuming place. Danger and mystique or awe and wonder rarely engulf quite like before.

Hinted strongly in naming and presentation, the album cover, Earth Island yearns for a cosmic perspective, yet even the brief chatters of astronaut communications nestled in doesn't sharpen this vision. Melting World offered immersion, a grade above the rest, but it also marked a shift. The initial human link between stars and stones shatters as a darkly brooding unease encroaches before the final two songs break pace again.

These ambient works often feel subjected to mood and fatigue more so than other genres. So i'd take my words lightly. One can hear the trio trying to move the Aztec inspired soundscape out of its shadowy realm, turning to an uplift, brighter in spirit, yet earthly and deep. The two ideal either don't gel, or lacks execution. Subsequently, the gravity that came before is illusive despite the mild meditative calm it conjures.

Rating: 5/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Kyros "Four Of Fear" (2020)

 

Home to a new "song of obsession" of mine, this four track EP has night not been quite as enigmatic as ResetRewind, a six minute epic that immediately caught my attention when cycling through Spotify's automated playlists. Kyros are a Progressive Rock/Metal/Synth outfit from London who's sound is a bit "all over the place" and wild, if not unified by its Progressive inspired framework delving mostly in synth tones.

ResetRewind itself is a flawed track, seemingly hinged on its one main music hook, a stellar synth melody dancing in its own gallop. Shelby Warne ascended the mood with a post-apocalyptic uplift, lyrics soaring on natures reclaiming of animal lives, as everyone dies. The song is an odd ball, wedging in a couple Skrillex era Dubstep breakdowns that just about work. It has a few other exercises between its chorus, a sinister vampyric melody in its closing frame is a niche touch. Nothing quite links directly with the main theme and despite its stitched together nature, the song rocks.

The other three songs don't find the same stride. Kyros's temperament is highly involved and dramatic. All ideas and melodies get played up, over performed and aesthetically over emphasized. Quite often this is fun as its backed by terrific, well written melodies. Ace's Middle not so much, its quirky personality shuffles and jitters all over the place with big theatrics that has no foundation. When slowing down for a broody atmosphere epic with Stop Motion. The concept holds back the over animated nature they usually express. Its class is one to revel in as guitar solos make waves.

 My overall impression is one of a band oozing in talent that;s lacking focus and direction. Their sound is a little overdone in multiple dimensions. The music always has a lot going on. What makes it tick is often the simple chemistry between its lead melodies and vocals. I could hear a record producer like Rick Ruben stepping in and stripping out the all the progressive fuss around the core of their songs. That's where the best of this short record is to be heard in my humble opinion.

Rating: 5/10

Old Man's Child "Slaves Of The World" (2009)

 

Its end of the line for this nostalgic Old Man's Child dive. Slaves Of The World is one I barely paid attention to upon release, so its re-visitation plays like new material. Galder essentially plays his game again in a more metallic package of dark and groovy Symphonic Black Metal. He pulls all the expectant chops and tropes out of the hat. Mostly led by the guitars, the music pivots in and out of dark perilous plunges through blast beast beats and finds bounce and symphonic melodies as counterpart.

Its nine tracks tend to differ little from one another in the ability to impress. The tone is set swiftly and the tracks meander through the motions where certain riffs and sprinkles of melody might tickle your fancy. One key distinction is Galder's vocals. Much meatier and more guttural driven, his shriller howls and raspy shouts give way to a deeper range deployed with overlaps and reverbs to much theatrical effect.

With new material potentially on the way after over a decade of silence I will be excited to see where Old Man's Child ventures from this chapter. Unfortunately Slaves Of The World resides as a run of the mill record for the naughties sound. I can't speak ill but the record just drifts by. Great if in the mood but otherwise a swirl of dark symphonic background noise churning through its own cliched motions. What the band needs is a stylistic evolution as this territory has been thoroughly explored and conquered!

Rating: 5/10

Judas Priest "Point Of Entry" (1981)

 

From the hardening rock of British Steel, to a throttling attitude Screaming For Vengeance unleashed, Point Of Entry seems to be a misstep along the way, rather than a missing link. Resting on their laurels, Judas Priest soften their current blueprint for an accessible cut of Heavy Metal. Settling on summery vibes and breezy warm temperaments, the trends of 70s arena rock and radio friendly topicality dominates the ten songs, which in turn recycles its "Rock N Roll on the road" persona one to many times. Never does Halford unleash a wild piercing falsetto. Tipton and Downing tone down the solos, keeping them brief, concise and caged. The rhythm section too plods along with the steely foundations that aided its predecessor greatly.

Although it may seem a smear to highlight the detour from a trajectory they will soon excel in. This light hearted, measured approach is spun rather well. The bands experience in song writing works through simple structures with its components all neatly aligned for a pleasurable listen. With nothing to ambitious concurring, its collection of riffs carries the theme well. Where the record fails is when its road cruising, carefree venture runs tired. Halford's lyrics are knee deep. Simple verses and expectant catch lines wear out quickly on this listener and thus once the point is made, its lack of diversity and variety has all the songs seeming the same.

If Point Of Entry has the right highway cruising vibes for you, then it may just be one to adore. For me it pulls me along for four or so songs and then becomes a repetitive blur. Perhaps its best cuts are upfront? It seems so but the reality is those songs make their point known and then the record has little more to offer. Not being particularly into its character, Point Of Entry is one to skip over when picking my favorite Priest songs, despite it not being terrible in anyway.

Rating: 5/10

Sequestered Keep "Sorcerous Steel" (2022)

 

 

Its been five years since The Vale Of Ruined Towers, a Dungeon Synth adjacent release that I remember fondly for its its lush medieval fantasy direction, one similar to Fief. Sorcerous Steel has little in the way of surprise, having now unearthed these fruits from the niche scenes of bandcamp. Without a lick of darkness, the record peruses through the pleasantries of natures charms. Its got melodies to fill the meadows of a warm summers day, set a few hundred years back of course. Splendor gushes forth as each song gently drifts along rivers of cleansed historical imagination.

The five years of its creation don't amount to anything remarkable. Its arsenal of virtual instruments, pan flutes, trumpets, plucked harps and tambourine led percussion are brought forth crisp and clear. They harness the sweetest, most welcoming of melodies. The record is a constant wash of jovial notation and serine warmth forged from a fictional nostalgia of Medieval days that sweeps hardships out of sight.

These songs consistently dance in their own moment. Gradual progressions and structures emerge but the very nature of these joyous, spirited melodies keeps one locked in the present moment. Conjuring similar tones of bright monarchistic wonder, the riches of the day, the albums own progression too is just a series of moments. Each song fades out in a similar state to where it started and thus the whole project feels like background music for a setting, perhaps in a video game. This might sound negative but sometimes its exactly what you want. This is music for the background, something too sooth you with its purposely romanticized nostalgia.

Rating: 5/10

Andromida "Timeless" (2020)

 

Despite many spins, its been difficult to feel out the character of this record. Similar characteristics with the plundering Djent riffs typical of Progressive Metal has its chops of binary chugging grooves falling into a lull as its rhythmic grind becomes dull. The frequent bouncing of notes between the guitars silences is a trick I'm not always enthusiastic about. The distortion tone encroaches on the Doom soundtrack styling fully explored on Hellscape, yet here it mostly feels like a knee jerk reaction, as if its melodic colors always need to exchange with some grizzly surge of aggression.

It would be all to easy to describe Timeless as a bridge between it and Voyager. Although apt, where I think Timeless finds a voice is in its union of soft synths, lush pianos and a lead guitar that sings and wails like an expressive voice would. With this being an instrumental project, the constant intensity lacks a submissive quality putting a big focus on those eruptions of dirty Djent jolting guitars. It often overpowers the slew of melody its blazing lead guitar offers. Behind it the lush, soothing wall of electronic instruments curates a warm and airy timbre that is frequently overwhelmed.

It is the moments of calm and respite that Timeless suddenly feels with purpose and expression. There isn't a lot of it about but when those meaty guitars reel back and one can take in the delicate soundscape behind it, the music feels much more meaningful. Best of all, there are a few passageways where a rapturous guitar solo wages in, tandem with the bright pianos. It feels mesmerizing. Sadly, the record as a whole goes in all guns blazing. This really overloads the senses as its over the top guitars strip out the nuance of the accompanying instruments.

Rating: 5/10

The Algorithm "Compiler Optimization Techniques" (2018)

 

Here is an interesting project that initially seems akin to the Djent Progressive Metal scene. Its another one man band operation journeyed by French composer and producer Rémi Gallego. The Algorithm, however, seems fundamentally driven by what initially appears to be aesthetic novelty. The chugging low end Djent guitars are sparse, dropping out for lengths at end. Metal oriented musical ideas play second fiddle to its EDM and Electronic happenings. The chemistry converges on a digital computerized landscape. Sharp precision percussion and whirls of spirally, spriting scaling arpeggio melodies serve a cold mechanical slew of soulless exuberance.

The songs play with binary grooves, fast measures of instrumentation traversing temperaments and tempos seemingly of its own whim with only brief moments of expression and voice. The Algorithm is impressive with its distinct style. Modern glitch sounds flesh out interludes as drives of Djent stomps interchange with whirling synthesizes playing out with a spirit similar to its psychedelic 70s origins. A couple spurious flashes of dance floor groove and other conventions arise along the lengthy journeys but the music mostly plugs away like an automation, a digital intelligence.

This cold, mechanical lifelessness is a double edged sword. Its many arrangements, which each song burns through, come in varying degrees of charm. The lack of physical voice and emotional through line give it little to anchor on. Its perfected VST performances are most often without humanity. Sometimes a wondrous adventure into something alien. At other times its a meaningless grind. A couple of great moment emerged. The end to Sentinel Node gets off an expression with a nightly Synthwave lead to conclude and Fragmentation drops its rapid instruments for a slow tempo brooding of cosmic darkness very akin to Oscillotron, a very welcome familiarity.

Rating: 5/10

Kero Kero Bonito "Bonito Generation" (2016)

Following their debut mixtape Intro Bonito, the London trio known as Kero Kero Bonito polish their sound for a sophomore effort that rides the curtails of their quirky warm persona. Bonito Generation doesn't stylistically evolve as much as its aesthetics are refined with a touch more welcoming tone. Stagnation seems prevalent, conjuring similar moods and feelings from their smiley place of simple thoughts and life's innocence. It doesn't pack quite the punch with surprise no longer being a factor.

That's not to say its a bad record but both the instrumentation and lyrical themes roll off lukewarm as the tracks are packaged into simpler song structures. Slower melodies, gentler percussion and a sense of safeness permeate. Bonito Generation is less adventurous, lacking creativity and sparkle. Thus Sarah's easy expressions of her college life tend to lull into a mediocrity. At its most off track, the band infuse casual communications and Japanese lyrics but its not the saving grace the music needs.

Trampoline is the records best track as the simplistic language and metaphor finds a space to feel a tad absurd when it revolves around the jumping mat. The song has a little more of a club vibe with its colorful synths and tight percussion, something one or two other tracks do but its not enough to give the record edge. This one really hides in the shadow of its predecessor, somewhat of an autopilot experience. Its competent, enjoyable but lacks the dazzle of Intro Bonito.

Rating: 5/10

Dimmu Borgir "Inn I Evighetens Morke" (1994)

 

I couldn't count the years since I've gone back to the roots of my eternally adored Dimmu Borgir. Before they became a powerhouse of modern Metal drenched in devilish symphony, the Norwegians had a murky start. You could never have predicted their trajectory from this humble origin but their sophomore effort Stormblast would shine bright before the modernization of Enthrone Darkness Triumphant occurred. Inn I Evighetens Morke is a short, three track EP that kicked things off. I can't do much to defend it other than express my deep attachment to its gloomy nature, which sparked my curious adolescent mind as I discovered the world of Black Metal.

The first song is the unique experience. For a band joining a scene of new found extremities, its opening number broods on a slow tempo. A morbid piano sequence kicks things off. Distortion guitars become a distant haze under the the warm bleeding baseline. Esoteric synths arises, glum acoustic chords cry as they are plucked. The song swiftly lulls into a depressive tone of death and suffering. All achieved without blast beats, screams and other tropes, its an interesting conjuring that rides a little charm of the amateurish production as the instruments muddy together.

Its second half ups the metallic intensity. Shagrath's barely competent drumming barrages one with plenty of tom rolls in shuffling beats. Any attempt at a blast beat get drowned out as the production fails but also masks the shoddy performance. Silenoz howls harsh, higher pitched screams upfront while churning through lively power chord riffs. The eerie synths struggle to punctuate and the whole song lacks the majesty to leave anything remarkable in mind other than its mystic, quirky nature.

The final Raabjorn Speiler Draugheimens Skodde shows class, a curious arrangement of synths and power chords with direction and structure that bring it to a "break down" conclusion. Shagraths drumming is miles better, a tighter performance with more interesting grooves. Again without blast beats the band linger in the Black Metal realm through its symphonic spin off and the harshness of Silenoz's vocals. Otherwise it comes offs as dark and dingy oddity. Of course this song stood the test of time, being re-recorded a couple of times for future records. It is blemished in this incarnation which was a very amateurish start but a fun one for a die hard fan.

Rating: 5/10

Oneohtrix Point Never "Magic Oneohtrix Point Never" (2020)

 

Having played a hand in the production of Dawn FM, this curious hexagonal album cover lured me in for a listen. The one collaboration with The Weeknd himself serves as a bridge between the Synthwave stylings of that project and the artsy avant-guard electronic experimentation that adorns this record. Labelled as "Plunderphonics", the history of that musical term would suggest much of the strange distortions heard through the album are possibly sampled from well known songs. More likely it is in reference to the well known voices that frequently crop up in these esoteric sampling manipulations. It seems likely its many radio voices sampled mostly on the cross talk tracks may have been lent to Dawn FM's own thematic interludes.

Magic Oneohtrix Point Never is mostly a curious exercise in the depths of production techniques and studio manipulation. With heavy utility of effect plugins, the dynamics of sound are explored to illicit many emotional ambiguities. Like a quilt blowing in the whim of winds, its soundscapes morph and mold through the invisible hand of its all-seeing producer, an organic unraveling bleeding through many dimensions of waveform. Such is the nature of experimental design, that its meandering directions can drift on without direction, as it does in the second half of this record.

The first is where one can find some structured percussion and recurring melodies to fit into a more traditional mold. It gives the experimental and unusual synth sounds a context and format that is much more digestible and entertaining. Its aesthetics are given meaning through decent song writing. Its only a handful of songs though. Without that, every curious noise, esoteric texture and unidentifiable instrument ends up being a passing interest that after a handful of spins becomes dull. I can see how this record has been praised for the many remarkable sounds conjured but mostly lacking a form, it doesn't amount to much when aimlessly morphing through is bizarre soundscapes. A great listen but remains in the experimental lane that doesn't quite connect without normal conventions.

Rating: 5/10

Pop Will Eat Itself "Cure For Sanity" (1990)

 

 Despite the disappointment of a "Grebbo Rock" record with Box Frenzy, I will continue my exploration of English genre mashers Pop Will Eat Itself. Spotify has alleviated the friction of research and investment into albums. Now any curiosity is just a few clicks away! With that I've also felt less of a need to go deep on records, the result feeling wonderful. The burden of expensive MP3s has been lifted and my ears are free to explore. Does that factor into why I enjoyed this hour of early 90s vibes so much? Probably, its nice to not have a thought gnawing at the back of ones mind about frequently sinking money into your listening choices when they turn sour.

Cure for Sanity opens up with fantastic sampled dialog of the shape of music in the fabric of society and outdated notions of how this should be controlled. Its sets a high bar for topicality that I never felt returned in the next nineteen tracks. Admittedly the cheesy 80s rap flows in British accents made for a lack of investment in the lyrics. Its following Dance Of The Mad Bastards feels like a send off to the Rock Rap crossover that made This Is The Day so magical, reusing distortion guitars and other samples that gave it identity. These snippets run alongside new sounds and a percussive drum loop fit for the coming Electronic scene of England in the early 90s.

From here the record strolls through a fair bit of mediocrity, leaving its metallic tone in the dust and stitching together newer moods and tones of the times in a heavy wash of sampling that will have you clambering to remember from what artists you first heard that sample or sound before. Again it includes many cultural snippets too, like the famous commentary and crowd sounds from England's 1966 world cup victory.

Going back to the remark on the yet to blossom Electronic scene, the better songs here seem to bolster House and Dance pianos that would be a staple style before long. Its other cutting edge is in percussion, many drum loops a precursor to Big Beat and the likes can be heard and all at the start of the decade. It would be so fascinating to see a deep dive on the samples and their place in the timeline. It seems so apt for whats about to arrive and undoubtedly wouldn't be possible without legal freedom for sampling at the time that what be drastically changed in years to come. Cure for Sanity is a fair bit of fun with a lot of mediocrity as many songs feel like a collection of sampling ideas. Luckily there is a couple of solid songs in here too.

Rating: 5/10