Rating: 9/10
Wednesday 31 March 2021
The Kovenant "SETI" (2003)
Friday 26 February 2021
Jessie Ware "What's Your Pleasure" (2020)
The record is a classy affair. Kicking off with its catchy dance floor numbers one will be lured in by its attitude, jive and confident energy. A general sense of the eighty and Synth-pop resides here. A pivot in the midsection runs through some modern downtempo driven atmospheric tunes to relax the tempo. These deep moods recur again in its final phase shuffled between more classic vibes culminating in the timeless Remember Where You Are, a song for the ages. Its cinematic theme and swells of warm, sunny smiles are utterly classic and moving every time it closes the album.
Jessie is the glue. The stylistic pivots and musical diversity are held together by her unassuming voice. With power and emotion she sings without an obvious distinction most singers catch my ear with. She is well composed, strong and sings with confidence through the ranges that stretches to the breathy voice on occasion. Her attitude and posture matches the tone of these numbers on every track and her common presence unifies. Tracks like Ooh La La and In Your Eyes sound miles apart separately but with her guidance its all comes together in the grander experience.
The instrumentals are a delicacy. Aesthetically every sound is lavish and stunning. The tone, and temperament of these instruments are gorgeous. The bass guitar oozes with texture as it prowls along as the musical backbone. Brief ushers of guitar licks shimmer in the breeze and the diverse pallet of percussive sounds get worked in to suit its songs main stylistic focus. The synth work too is sublime, from big and bold to soft and subtle everything is a joy to indulge with and take in.
Musically, many of the ideas lack true originality with its roots in the deeply explored styles of past but in execution the song writing hits the mark with a stunning sense of charisma. The best comes from the overlaps of 70s and 80s era moods with the more modern House and Downtempo beat frameworks. Another stunning aspect is the deployment of these upfront, in your face cheesy synths. Once a retro stain of the 80s, in this context it is wonderfully worked around the attitude of Jessie on a couple of songs, making much fun of a once dated style.
These songs have life, soul and experience to them. Ranging from boisterous fun and flirtatious struts to weepings of heart breaks and pains suffered, Jessie puts her personality into every moment. It all comes with a gleam of uplift. Often fun and playful, even its reflective, melancholic tracks resolve to a positive space.
Friday 22 January 2021
Cocteau Twins "Treasure" (1984)
When embarking on this newest musical journey with the Cocteau Twins, it is this record I was itching to write about. Discovering them back in 2011, Treasure was the album to lure me in and I have adored it too this day. Admittedly it doesn't get much rotation anymore but spinning it up again has been a pleasure and with critical ears I love how the stiff fidelity of its drum machine and awkward production were details I never heard before. These songs are so gorgeous and engulfing, that the magic simply glosses over its flaws. As I've commented before though, its aesthetic ruggedness very much works to enrich the slightly esoteric and ethereal vibes.
Stepping away from their Post-Punk roots and into Dream Pop territory, Guthrie's layered guitar experimentation finds refined glory in pivoting to acoustic guitars. Golden plucked strings lavished in reverbs often feature alongside other sparkling instruments that put emphasis on dreamy tones and a warm melodic rises. There are occasional uses of guitar distortion and its tone can sway into the shadows with these ten songs forging a wonderful variety for peering into peculiar places. Its obvious though, much of its instrumental magic is birthed from the expansion of instruments, used subtly in the swells of ethereal sound that gush forth. They play out the colored tuneful melodies the likes of Garlands before it once lacked.
Its all held in place by this clanky drum machine. Rigid and stiff in timing and tone, its repetitive strikes are often soaked in reverb, rattling off with forced punchy grooves that penetrate with a contrasted composure to everything else around it. Somehow, mysteriously, it just works so well. Fraiser's voice is another vector in the chemistry. These three components feel so distant from one another at times, yet together its a wondrous mix. I must say though, it comes in temperaments. The album jumps all over the place from track to track. Persephone may be the biggest example of what I've just described and yet with the following song Pandora it flips to its most cohesive and in tune composition. Notably, two of my favorite tracks as well.
Best of all, Fraiser comes completely into her own on this one. I was always under the impression her performance was entirely wordless and I loved putting my own words into her cryptic singing. Reading online lyric sheets does have me wondering. If they are true then its stunning how she pronounces words with such a mystic overcast. If not, its still just as magic but I prefer the later. The inflections and places she carries her voice too with vibratos and what not is endlessly joyous. Sailing high to low and dancing on her way. Every word, or lack of, just oozes with an endearing quality which never fails to cast a spell. Its some of the best vocal delivery you'll ever hear.
Treasure is a milestone record for the group, an ascension to the spectacular. Its artistic, expressive, magical and stunningly mysterious. Knowing these songs so well, Guthrie's swell of ambiguous sound still spark the imagination. Fraisers veiled voicings always an indulgence. Its only shortcomings are in execution. Some amateurish swells of bass noise occasionally gather in the mix and some of its songs tend to end without direction. Sudden wind downs and lack of conclusion do hinder the odd song but otherwise its a classic, one anyone curious should give a go.
Rating: 9.5/10
Friday 1 January 2021
Soley "Endless Summer" (2017)
Endless Summer somehow doesn't seem a fitting title, perhaps the musics charm simply engulfs the current environment. With cold, pristine, shimmering pianos, a spell of calming serenity is ushered in. All too perfect for this winter and Christmas season. Its been my recent walking music of late, making it hard to not associate it with the cold weather and anticipation of spending time with family. Most the songs blossom with strings, percussion and deeper piano notes bubbling up in the later parts of these songs. It light a warmth under its brittle high keys where the tracks start from. In these denser moments one can feel the smile of the sun, a carefree spirit of summer. For me though, its been cast as a snowy record fit for early sunsets and chilly breezes.
Icelandic musician and charming singer Soley has somehow escaped my grasp. Stunned by her debut We Sink, I've managed to folly the simple task of following her output over the years. That will have to be corrected. I remember her music having a twisted shadowy edge in moments, its not present on this outing. She forges a genuine warmth, the chemistry between these graceful serine pianos and her soft, vulnerable voice is endlessly uplifting from a place just shy of melancholy and sadness. It is most often felt in the elegant piano performances, which tend to start a song drifting, bare and lonely. Soley rescues them with human expression as her voice and accompanying instruments lift them to a safe, warm and carefree place.
The playing is wonderfully dynamic. Chords and melodies weave with quite and loud dynamics, inviting measures of reverberation and a timely sense for where the music will suddenly grow with an ushering in of synths or percussion. Not hinging on any given pace or structure, the pianos lead, playing of itself, music that blossoms of its own accord. Although there may be patterns and structures, rarely does it feel obvious or like repetition is running its rotations. All of its eight songs tend to sweep you up into its own moment and hold you there. A truly captivating listen, always as a whole.
If I turn my mind to criticism, I can only turn it to myself. Her wondrous voice holds a curious space, feeling adjacent to both happiness and sorrow, childlike innocence and reflective maturity. I should of perhaps taken time to read the lyrics as her singing is not of the discernible sorts I am usually exposed too. Somehow I always listen to the emotion of a voice, not the actual words. Here there is emotions in droves. Having been spellbound for a while now, binging this record on every walk, I am now left with that familiar sentiment of wondering how this will hold up in time to come. I'm pretty certain this ones a keeper. Great record, will have to dig up another one!
Rating: 9/10
Monday 14 December 2020
Plini "Impulse Voices" (2020)
Rating: 9/10
Friday 9 October 2020
Deftones "Ohms" (2020)
How is it that after a handful of spins, these ten new tracks feel like songs you've know for years? With each record Deftones pivot to a new shade of sound, a fresh take on a decades spanning identity. Title track and lead single Ohms flags the new direction as the group lean deep into their Shoegaze era inspirations. Its almost misleading as the most ambitious number to emphasize Steven Carpenter's riffing direction, now utilizing a nine string guitar yet he can't help but drift into classic groove laden chugs on half of these songs. They sway, cushioned below the hazy rising sun of Chino's sleepy voice entangled with ever present light airy synths that permeate the unique atmosphere of this stunning album, the bands ninth in a string of successes.
Opening with Genesis, eerie saw wave synths stir soft tensions as dreamy, sombre acoustics paint reoccurring colors to the canvas. In a moments notice it gives way to the slam of Steven's Djent tonality with the intensity dialed to the forefront. The synth remains, as it does throughout the record, sustaining a soft, warm haze that will in turn blossom many beautiful moments when barraging distortion riffs give way. Its the temperament of Chino's swooning voice that feels crucial to the swaying. Their musical chemistry never needs selling though his soaring cries to softer breathy speaking hits a home run, gluing it all together with a charm that never fades.
On Urantia his inflections and pitch have an uncanny resemblance to Billy Corgan of The Smashing Pumpkins. With so many shared commonalities and parallels in music its actually remarkable how little of the record conjures thoughts of other artists. And yet still across its ten songs there is much diversity, especially when they deviate from norms as the guitar direction feels intentionally more explorative. When attune experimentation flourishes, the singular, textural synths often shine. Error is simply magical, no thanks to the spellbinding drone of its spooky swirling oscillation.
Its a particularly strong moment as it transitions into the albums best, The Spell Of Mathematics. Initially a sludgy slug fest of low end noise, the creepy synths break for esoteric interludes that eventually culminate with Chino ushering a ravishing warmth from its unsettled, chilling atmosphere. The composition highlights a strange tone Ohms posses. Its a foot a two realms, finding limbo as all that's glossy and gorgeous is in constant friction with an ominous, faceless lurching presence. Dark, chilling yet far from danger or evil it carves a place that feels like a lonely wandering dream.
Working with Terry Date, the production is no doubt a marvel. Crisp, clear instruments with depth, fidelity and character meet on a stage fit for straight forward music capable of blooming into dense walls of magical sound. Abe Cunningham continues to impress as he houses not only the monstrous grooves but the flushes where Deftones step further from their tradition. Early on in the record I feel like we hear far more of his creativity, deeper in its a little routine. The baselines too, often an undercurrent, play a roll, livening up much of the music with its added power in the dense mixture.
The Deftones have a deep authentic chemistry. Taking care and time with each record there is simply no denying their execution. Ohms is inspired, interesting and mesmerizing when your locked in. Its best comes from texture and atmosphere, the heavy persuasion a familiar one that works best when pinned in by the synths, Frank Delgado really gave this record a special edge. The one dimension I all too often miss out on is lyrics. Many of the lines I did catch onto felt artistic and poetic, I'm sure a read of the lyric sheet is worth while. That will be on the "to do" list for now and so will this record as I'll continue to binge for some time, no doubt!
Sunday 20 September 2020
Marilyn Manson "We Are Chaos" (2020)
With his career revived in its third stint, news of We Are Chaos brought quite the anticipation, despite Heaven Upside Down not having the same lasting power as The Pale Emperor. From the first spin till this latest, this new chapter has had quite the absorbing pull. Now starting to pick out my favorites, all ten of these tracks strive for a similar sing-along anthem spirit as Manson's lyrics hit a stride for his typically striking wording and keen thought provoking lyrics, twisted with a little deviance as his catchy chorus hooks dig like nails into skin, leaving a mark.
One to normally romp with metallic aggression and industrial noise, the bands thick and embellished sound gives way to the tenants of popular song writing. Where riffs and slabs of darkly sound once took the musical stance, keen writing directed by driving baselines, elevated with timely pianos and permeated with moody acoustic guitars. A stage is set for Manson to shine as a front man, his lyrics churning dark and difficult realities into sing along songs is remarkable as hes done it many times before. Without deep analysis, the general mood feels like an amalgamation of his newer personally oriented themes and lesser so, the social commentary.
Infinite Darkness and Perfume stick out as a moment more alike his traditional styling. They fit in well to punch a bit of stomping energy between the indulgence of lighter songs toying with the the now common wall of sound production style where the music is fluffed up layers of sound between its core instruments. Its a good thing, enriching these tunes. In the game of picking favorites, the songs that define themselves do so with flashes of great songwriting from decades gone by and quite the variety of genres and moods these musics have blessed us with. Its hard to pin down even per song but it feels like the band embraced a lot of inspiration.
For me, We Are Chaos now sits in this strange place where I can lavish praise upon it yet as the songs become better known I wonder if its got legs. Over the years many records muster up a big fuss in their freshness only to fade. Some songs here will undoubtedly stand the test of time. If all of them do we could be looking be at a record to fit in among his best. One thing that is for sure, a lot of these songs will fit sweetly into a set list whenever he is amble to resume touring, given the times and all.
Rating: 9/10
Monday 7 September 2020
Metallica "S&M" (1999)
Thursday 3 September 2020
Haken "Virus" (2020)
Prosthetic opens the album with a pitch perfect snare sound to immediately illuminate the fine production as guitars come crashing in among the choppy pedal driven beats. Some of its riffs have an uncanny familiarity with the popular variety of Metal akin to Slipknot in their current more melodic era. Its a constant roll of excellent arrangements pulling no cheap tricks. Invasion bridges the mood with a gloomy darker tone and slower pace, brooding in anticipation of the coming ten minute epic Carousel.
Its around this point the lyrics distinguish an idiosyncratic quality. Phrases and sayings known culturally seem to frequent the tapestry of sentences, leaping from the stance as they peak attention with their linking themes. The albums lyrics mostly deals with themes of abuse, suffering and mental distress, a powerful weight not exaggerated through its crunching metallic template. The guitars instead craft meaty measured grooves, forging a matured atmosphere to house the lyrical vision at hand.
Even as it periodically dives into the "breakdown" realm of riffing, the compositions feel purposeful as the music sways in and out of varying temperaments often glistened by Jennings's beautiful clean vocals that soar with harmony. Being typically progressive the music ventures in all directions in a never ending liveliness that is simply put, just continuously exciting. It's typically Haken but with a keener metallic edge mixed stunningly into their colorful music this time around.
Messiah Complex stands as a seventeen minute epic split into five parts. It continues the theme on but often feels a shade behind the opening songs. That shade however is nothing to dwell on. The whole record is simply remarkable but so dense with riffs and details to engulf. I leave it for now knowing I'll be able to return over and over, discovering new intricacies and details, that is the mark of a great record! Time will tell but for now its been one of those I couldn't put down and for good reason.
Rating: 9/10
Thursday 27 August 2020
Bathory "Hammerheart" (1990)
Ones body will be scared by age but so shall the mind! It seems almost criminal that the brilliance of Hammerheart has faded in reputation. Diving back into the Bathory records of youthful years I had somehow lost memory of this masterpiece. Thinking I was on the cusp of unearthing a new glory to enjoy, every track rang echos of a decade past by. Songs unearthed with their etchings still eternal under the dust.
This was the moment Quorthon embraced his heritage and forged a new, remarkable path. Somehow, I remembered this record as a drop off point but in fact these are all spirited songs keenly remembered, including the mighty One Rode To Asa Bay, the only Bathory song to ever be made into a music video if I recall correctly.
Leaving the ferocity of Blood Death Fire behind, slower tempos, brooding atmospheres and heathen choirs accompany a tamer Quorthon who channels his energy into roaring battle cries and off key singing. He conjures the viking spirit with this hard pressed voice that should turn the nose up in theory, yet the genuine passion in his voice pushes the Nordic spirit of the music into a vision coming to life.
Its the final piece solidifying this inspired music of mythic heritage fit to conjure candle lit halls and mighty landscapes of rural natural beauty. Although now a common thing to experience in Viking Metal, this must of been something special at the time of its release. The album opens up with two lengthy epics, Valhalla crashing with lightning strikes into a mountainous passage of drawn out power chords and thunderous drum pounding that sounds practically lifted from Call Of The Cthulhu.
Its a recurring section that elevates the music but also feeds into claims of plagiarism against the band. Something I had yet to touch on but much of the early material is akin to Venom yet Quorthon often claims to have not been influenced by them. It is however a moment of power from the percussive battery and throughout the album tumbling strikes of tom drums help propel these epic and heathen calls to the gods.
Moving into Fire And Ice and Father To Son, sections of dense distortion guitar singularly erupt with a keen parallel to Groove Metal, a genre yet to unfold at this point in time. Its not often the riffs are thrusted forth to the light as they mostly meld with synths to conjure the distinct atmospheres. That measure of fretwork is often subtle but a keen feature throughout. The surprise is these eruptions of meaty groove.
This is a pivotal album for Bathory, being at the forefront of one movement and in one stride to the next, forging and mastering an entirely new sound for the Metal umbrella of sub-genres. Where his last two albums showed flashes of this genius and reveled in a little diversity, Hammerheart is a very unified sound from stand to end that is near impossible to deny as a classic. I am so glad to have found my way back to it!
Rating: 9/10
Thursday 13 August 2020
Between The Buried And Me "Colors" (2007)
Where to begin with colors? What an incredible album. I was barely a fan when this record first dropped. I might have mistakenly known Between The Buried And Me as a generic Hardcore band crossing into the trending Deathcore scene. Then suddenly this masterpiece falls from the sky. Although the music may have solidified in my mind, time passes and It always feels great to return to this lengthy epic. Sixty five minutes of relentless musical fire split into eight from one massive sprawling song!
It was obvious upon release but even more so having chewed through Queen's discography all these years later that they, among many other Progressive Rock greats, etched an eclectic identity to this album. Although the bands metallic edge is rooted in Metalcore and Technical Death Metal, Color's musical world consistently blur boundaries and genre lines, with a particular fondness for the jollity, wondrous and playful spirit of pantomime and a theatrical bustle, best imbued by Queen.
In colorful juxtaposing bursts the musics bounces between its two worlds effortlessly. Tunneling barrages of technical riffage, frantic fretwork and sonic grooves switch into the smooth and illustrious. Graceful pianos, chirpy organs and harmonious singing shape up its eclectic sections which do get less of the airtime in the onslaught of brutality. The same can be said vocally, shaping up from forceful shouts of harshness to soaring sung melodies of grace. They tend to match the instrumental intensity.
On the fantastical journey, a lot of the music resides in the brutal camp of stomping technical showmanship but its best moments always come from the breaks, the blurring of lines and influxes of cultural sound, Backyard Bluegrass and French street music to point out a couple stand out moments. Although it is necessary to have this intensity to make way for the calm, it comes in droves and the records slowest parts are when the brutality gets drawn out, self involved and monotonous.
The composition also stacks a lot of the best material into the first few songs. A minor drawback on a record every fan of Extreme music should check out. It stands apart from other Progressive Metal records in its ability to so naturally flip the switch on intensity and provide some polar extremes even if not in proportion to one another. Giving it a few spins again tended to highlight flaws with a mind for examination and thought sharing, this blog, but it was also a pure delight to get deep into these songs again! A wonderful album to have in the collection.
Favorite Tracks: Informal Gluttony, Ants Of The Sky, Prequel To The Sequel
Rating: 9/10
Tuesday 11 August 2020
Bathory "Under The Sign Of The Black Mark" (1987)
Continuing another adventure into the music of my youth, Bathory's third effort was one less acquainted with. It had however solidified a memory as being remarkably decent for the time. Well this has been an absolute treat to get back into! Its been so long the experience was practically fresh to my ears! Coming of the back of the overly ambitious The Return..... It sounds like the moment where the stars align. The group shed their prototype skin and bathe in the blasphemy of self actualized Black Metal! Under The Sign Of The Black Mark is where everything they were trying to do works.
We will however start with the negatives. Not everything is exceptional, although the bulk is. The intro and outro tracks seem utterly pointless as their dusky ambience fails to ignite any atmosphere to lead in the satanic metallic onslaught. The final two proper tracks, 13 Candles and Of Doom, both feel a little lacking with the pile of brilliance before it. They do have there moments with musical shifts but the offerings feel like soft rehashes of the genius in the songs heard beforehand.
They stand in the shadow of brilliant songwriting, which is quite diverse and distinct. The record kicks off with Massacre, a thrashing juggernaut of vicious hate, lashing out from the mark as we are plunged into blast beats and vile screams. Its a straightforward but well executed idea. The following Woman Of Dark Desires is unsuspecting until it lunges into an unusually catchy chorus as Quorthorn cries out with throaty strained screams the name of Elizabeth Bathory. The inclusion of evil organs towards the end, foreshadows more brilliance yet to come our way.
Call From The Grave steadies the pace, a mid tempo track with soaring riff work, toying with some dissonance. The approach to this dark music is expanded as the haunting throaty screams roar with menace over the grave atmosphere conjured. Equilmanthorn hails back to the records opening, another plunge into ruthless pummeling that shifts to a half step riff, then slamming in with another catchy hook in the chorus as Quorthon cries out the title track over and over in memorable fashion.
The song has an incredible guitar solo to see it end on a thrilling climax, which bring me to a point, the lead guitar work which seems to frequent every track is phenomenal. Either creating a Slayer alike barrage of noise or delivering a blaze of evil melodies, everything that was tried before feels mastered here. That includes the screams, the most aggressive and shrill to date yet the temperament and texture is just perfect for what these extremities can achieve in the context of Black Metal.
Enter The Eternal Fire is the last of these incredible songs but for entirely different reasons. An incorporation of atmospheric synth tones and epic mid-tempo setting foreshadows the heritage influenced Bathory sound to come. All in all the record is a stunning maturity in songwriting. The haphazard ideas and sloppy performances of its predecessor blown out of the water. The inclusion of synths lay down foundations for the popular Symphonic element to come in the 90s. I also adore the inclusion of the Funeral Macrbe melody on Call From The Grave. Possibly my favorite moment of many fantastic ones on this truly remarkable and pioneering album.
Rating: 9/10Wednesday 5 August 2020
Fellsilent "The Hidden Words" (2008)
The album essentially feels like an extension of the EP, four original tracks, four new and three "linking" interludes has the band simply expand on the persona established. One big change is the arrival of a second vocalist who slips in almost unnoticed. With a similar tone and candour to his partner Neema Askari, Joe Garrett feels neither essential or overlooked, his inclusion works without any bright sparks of ingenuity.
As with the EP, Fellsilent slap together an arsenal of pelting Djent riffs, loaded with groove and rhythm that plays between atmospheric and melodic trade offs. They move from pummelling metallic assaults to steadying backdrop shuffling fretwork as their dynamism flourishes in these mostly straight forward song structures. Often do they keenly lead to a belting breakdown to slam your head along with! The linking instrumentals also serve up riffing delights with infusions of acoustic string plucking.
Returning to this record gave me a greater appreciation for the balance of complexity when chopping up polymetered grooves into 4/4 patterns. So sweetly do they push both angles. The power and persuasion of rhythm is without any burden yet many riffs have puzzling arrangements. Like with Meshuggah I am sure the mystery would unravel a little learning to play their songs on guitar, something I hope to find time for!
Its such a shame this was the end of the road. The band certainly materialised a fine execution of sound and style but where to go from here? Who knows... In all likelihood it may have never surpassed this moment given how fantastic they where at this point, perhaps they exhausted all they had? I remember the statement at the time indicating that everyone involved felt like they had seen it through and wanted to move on. Some music elitists make comments like "they should of quit after XYZ". Maybe that's exactly what these guys did? Go out on top.
Rating: 9.5/10
Sunday 12 July 2020
Esoterica "In Dreams" (2020)
Monday 8 June 2020
Frank Klepacki "Command & Conquer Remastered Soundtrack" (2020)
Monday 20 April 2020
Myrkur "Folkesange" (2020)
Tuesday 24 March 2020
Ocean Grove "Flip Phone Fantasy" (2020)
Tuesday 17 March 2020
Tame Impala "The Slow Rush" (2020)
Moving throw its various shades and temperaments, bright punchy instruments stomp out grooves and melodies with a fun sense of freedom cruising alongside Kevin's charming reflections. Tone, texture and taste feel so effortless and freeing. The organic, oozy feel his music has is embellished through these sweet and succulent instruments. While it often feel thick and engulfing, a closer inspection of the layers at work are not all to complex. Its the way they come together that is wonderful.
I've enjoyed The Slow Rush immensely and will continue too but just like Currents I feel there is certainly some slower and calmer songs that may dull a little with time and repetitious listens. That is one strength the upbeat and catchy songs have that doesn't quite translate to its less energized songs. Either way its a stunning record delivering more of this stunning fusion, fueled by real inspiration and expression that is endearing and lasting. This could just be one of the best I'll hear this year!
Monday 2 March 2020
Grimes "Art Angels" (2015)
Grimes brings in her sometimes childish, playful and innocent voice that transforms to a mature and spirited swoon, ascending to a heavenly dimension as she soars with a freedom in the crescendos. Cruising through the clouds and leaving all earthly weight behind, she births many an entrancing passage when reaching to the peaks of her singing. Its in these climatic moments you'll forget everything. Its liberating.