Tool "Undertow" (1993)

Still in the phase of getting to grips with a bands sound, Undertow, the debut full length record of American Rock band Tool, has revealed some magics of which I am growing fond of. Bringing one song from their demo 72826, they already sound like a ripening group with that early 90s Alternative scene sound brimming. On this record the songs take a measured step forward, increasing complexity and finding strengths. Singer Maynard performs with an earnest vulnerability in his singing, extending his range upwards, feeling more involved with his lyrics as his wording comes with surges of aggression when he shouts and emotive inflections in softer sections.

The instrumentals behind him show an intelligence as intensities and atmospheres shift with a unique energy that feels like the core appeal of Tool. Guitar rifts meander with a steady pacing that has many of the songs refraining obvious aggression and letting it brood in the tracks tone, leading one unsuspectingly into big bursts of energy. The album really gets going with Bottom. The song disperses its build up for a scenic mid section of slow, sleepy drums, hypnotic guitars and a wonderfully intense reciting of poetry by the one and only Henry Rollins. After this recital the track explodes into life and tense riffs shift into a prowling pinch harmonic groove that gets me every time.

The distinctions of the following tracks are talking points of there own. The dynamism and cohesion is fiery, each instrument finds its measure of involvement that varies, setting stage for Maynard to wail his pains away. Its here that the musical structures start to find complexity led by vision as the unraveling of guitar licks ques up with a rotating arsenal of grooves and aggression. They flirt with odd time signatures, pull of the odd extra beat and title track Undertow exemplifies this exquisitely as its rotation of riffs dismantles itself in a whirl of choppy guitar thrashing that starts shuffling the momentum off beat and evolves the music into a mammoth groove.

I am still digesting this record, soaking it in, basking in its ambience. Much of the charm is still mysterious but the spark is there and on a song like Flood it is all laid rather bare. They build a dark, grisly, brooding setting out of chunks of tribal drum striking and reverberated voices drifting in and out of focus behind dizzying guitars. Their vision is stunning. It gets a little grimmer on the closer as the band make an unforgiving mockery of religion, pairing a preacher and his crowd with the baas of sheep. Its another brooding song and its in these surges of atmosphere that I am led onto the magic of their music. I'm sure ill grow fonder with more exposure.

Rating: 7/10

Favorite Tracks: Intolerance, Bottom, Undertow, Flood

Tool "Opiate" (1992)

Following up on their promising demo 72826, American Alternative Rock outfit Tool put together Opiate, an EP consisting of six tracks, four from the demo and two new songs. Its all recorded in a new studio however two tracks are actually recordings from a new years eve show. They sound fantastic in the live setting, giving a lot of charisma and energy to songs that previous sounded a little flat within that chromatic demo quality. Unfortunately these re-recordings don't add much to the experience. Hush and Part Of Me both sound mediocre on this recording. They have stepped up the overall clarity but things still have a sloppy demo sound, the bass guitar suffering the most.

The title track Opiate certainly raises eyebrows with its roaring scream of "We both want to rape you". The music aggrandizes this dramatic moment and a dive into the lyrics hides no secrets to its religious context. An exact meaning may be down to interpretation but it seems to criticize the evil that can be bestowed in the name of God. Its the records best song with a thunderous momentum of bustling tom drums and dramatic, sinister guitar work after pivoting from a more generic rock song. Eventually it fades out to a break of silence that reveals a "secret" track with some patience. This hidden music is a psychedelic jam of comedic musing and cried of Satan. Doesn't add much to the record, but it is its own experience.

The opening and other new song Sweat has crunchy rolling guitar riff work in its opening phases that sets the tone for some anxious lyricism. Its breaks to expansive, atmospheric driven guitar licks are appropriate but its far from a memorable song. So far Ive found myself understanding the music and picking up on the vibe but not feeling anything remarkable bar one or two moments. This rehashing of their demo was a little underwhelming but I am hoping for great thing with their debut Undertow.

Favorite Track: Hush, Opiate

Rating: 5/10

Tool "72826" (1991)

I'm not new to Tool. I've been well aware of their reputation for many years but never found my way into their music. With a Download Festival show looming and a probable fifth album In the works its time to really give them a go! Working in chronological order we start with their demo tape 72826, a name which decodes to Satan. It feels like an excellent choice as I hear some clear links to sounds of other bands in the early 90s Alternative music era and I'm already picking up on some unique themes and concepts in their sound and identity.

On the lyrical front a majority of songs stem from personal relationship struggles manifesting into venting agitation yet most often with a streak of underlying intelligence. It rises to the forefront with Hush, its words challenge the ideas and norms of freedom of speach from a grounded, thoughtful position rather than that of rebellion. That perspective may be shaped by the more artistic and intentional construct of their sound. The words frequently blossom with clarity and wisdom as Maynard James Keenan cries out "I can say what I want to, even if I'm not serious. I can say what I want to, even if I'm just kidding". Its a thought provoking statement when juxtaposed with shouts of "kill yourself" which may initially seem thoughtless.

The music reminds me a lot of Post-Punk in some ways, just within the realm of Rock and Metal. Tool shape up their aesthetics and musical constructs with an ear for opposites, striking balances of melody and demonstrative groove with the guitars leaving space for big prowling baselines to clank and rattle in behind the animated drumming of Danny Carey. Its all comes together without a cheap trick of trope. Every track, although varying in quality, has a set of riffs that firmly establish the tone of the song without an over reliance on any particular instrumental approach or style.

The production for a demo in 91 is alarmingly decent yet objectively its aesthetic is brittle and colorless. The guitars are a dulled by their fuzzy distortion, the bass guitar clanks for volume like a Primus record and the drums lack depth, sounding metallic, especially the tom rolls. Despite all this the charm firmly emerges. Keenan establishes himself upfront with a great performance that reminds me on Eddie Vedder when he boards on a similar flamboyance. Its a great demo and has actually got me excited for the next few records as they will undoubtedly evolve to a Progressive behemoth.

Favorite Tracks: Hush, Sober

Rating: 6/10

The Smashing Pumpkins "Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun" (2018)

Long since their glory days of Siamese Dream and Mellon Collie, my excitement for a new Pumpkins project has been mixed with worry. The possibility of a resemblance to Billy's solo album Ogilala and an over bloated, insignificant album title overshadows the return of James Iha. I doubt he has little to do with the writing of the music but he performs on the wax and I was hopeful his presence would have an influence. The record makes its distinction as a band far from there hay day while rather fondly resurrecting the semantics of their glory years. Its opening two tracks sound like a time warp to the nineties as Corgan unites his emotional, melodic Alt Rock guitar flexing with his niche style of sung hook to captivate in the choruses.

Like a looking glass peering into the past, the rosy tint of nostalgia lays out a path that each song walks with familiarity to their back catalog. I don't think a single track felt new or unique but rather clever re-hashes of old ideas and occasionally slipping off the edge of tolerance with cries of "she stabs the anti clock" and Travels "its where I belong" sounding somewhat hollow. It is otherwise a cracking record with beautiful, glossy and scenic music composed of humble instruments playing to one anothers strengths. The voice of Corgan sits snugly in the middle singing his heart led lullabies and its forms with keen melody and a bit of guitar grit driving songs forward in various phases.

For all it does well something doesn't stick with this record. Its got a gorgeous production, everything sounding alive and of its moment, the string sections and keys add a serine warmth when they rise but despite all this Its strongest moments feel shades from former classics and its more "original" songs sound flat in comparison. Its been a tough one to put into words and Ive found what songs ill be returning to here again so I'll leave it alone on that ambiguous note.

Rating: 6/10
Favorite Tracks: Knights Of Malta, Silvery Sometimes, With Sympathy

Dir En Grey "The Insulated World" (2018)

The bizarre, psychedelic album art is a fitting match for Japaneses titans Dir En Grey's latest project. The unconventional elements in their approach to Metal music is captured through the lens of my own interpretation. The human face represents the normality of this distortion soaked, aggressive music. Its soft neon, geometric cycloids insight the layer of exceptional and all unusual that mostly emanates through front man Kyo. In reality its probably related to lyrical themes beyond my western scope.

Kyo's vocal range is distinct with clean pipes and hurtling screams where both get stretched into avant-garde performances as he uses his voice as an inhuman instrument. This of course is helped greatly by the language barrier, leading much of his conventional singing to expose the emotional performance with the Japanese words inciting ambiguity and sounding mysterious. Time and time again he rises through the onslaught, like a dancing beacon, a torrent of urgent expression.

 Although the record opens with pounding drums, thudding guitar riffs and some bludgeoning death howls from Kyo, Its heavy aggressive start steadily gives way to an articulate musical world of artsy songwriting that frequently shifts the norms with expansive guitar playing. Firstly they stir a rattle with discord and spastic timing. Some of the most memorable moments coming from the cohesion of instruments as the mammoth bass guitar patrols the underbelly with its prowling presence.

The groups ability to pull together the unusual and make sense of it is striking. The result is music that feels continuously exciting. Progressing through the songs its better moments are found where the guitars give way. Their constant jolts of frenetic mania dilute into palatable atmospheres akin to Post-Punk and Post-Metal styling with a splash of color as the record grows and in these big climatic swells we find the best of the record. Overall its pretty fantastic yet all the unusual doesn't translate to memorable, its atmospheres are king.

Favorite Tracks: Devote My Life, Aka, Zetsuentai, Ranunculus

Rating: 7/10

Jinjer "Cloud Factory" (2018)

You know how it goes, once something new roots itself in the mind you often start to see it everywhere, as if it were somehow invisible beforehand. Since Ive heard of this four piece act from Ukrane Ive spotted quite a few of their shirts worn at gigs. Their views on Youtube would also suggest they are gaining rapid popularity in the Metal community. Naturally I wanted to check them out and see what the fuss was about.

Fronted by singer Tatiana Shmailyuk, a duality is forthright as she swings from strong, powerful effeminate singing to brutal, blunt screaming. She mixes in some native Ukrainian tongue too. Behind her the band put together some very likable songs for Metal fans to gravitate towards. Strong grooving guitars play a range of classic guitar techniques from over the years that hail back to Death and Thrash at times. Its mostly situated around Groove and Metalcore while showing some flashes of Djent and Nu Metal. Its neatly structured into a healthy riff fest of revolving grooves and energetic low end shredding that packs each of its songs with a fair helping of head nodding.

Their music is well executed, its mostly rather accommodating Metal thats loaded with familiar riffs. They do little to define themselves and stand out in my mind however every other song or so seems to find a moment to leap away from the page and throw in a crushing riff, brutal scream, or in the case of Who Is Gonna Be The One, both in a memorable breakdown. I might sound somewhat harsh but this record makes me feel a bit like a "Metal Veteran". There isn't a single riff here that's unexpected or unusual. All the techniques, styles, sounds and grooves Ive heard many a time before.

They pull from Metals best and rework ideas in to their own vision, even throwing in short sections of acoustics and brief non-Metal sounds. In the case of Jinjer they straddle that region well above mediocrity but below greatness. If you're new to Metal they will probably sound rather varied, exciting and invigorating. There is a great range of influence on their sound at work but Ive heard it all before. They are clearly talent musicians though and a band worth keeping an eye on.

Favorite Tracks: A Plus Or A Minus, Who Is Gonna Be The One, Желаю Значит Получу

Rating: 6/10

Jonathan Davis "Black Labyrinth" (2018)

Jonathan Davis, iconic front man of the legendary Nu Metal pioneers Korn, steps out on his own for a solo adventure that doesn't fly too far from the nest. Black Labyrinith can sound very much like a toned down experimental Korn record at times. Its mix of songs feels either stepped aside from the crunchy guitar work of Head and Munky, or exploring its exotic avenues of instrumentation with shades of Mediterranean cultural sounds colliding in this darkly gothic realm. It is mostly Jon himself who keeps the relation close, his singing and writing style unchanged leaves the lyrics and delivery feeling a perfect fit for his main band. The similarities are not to knock the record, its fantastic because its led solely by JD who's energy is simply absorbing but could also fit sweetly into a heavier mold.

The songs play through with his knack for infectious singing coming across strong and leading the way. Always with plain spoken lyrics and the atypical themes of inner struggle, pain, suffering and crying out "why",  the instrumentals under him play with texture and atmosphere as intricacies of sound make up swirls of dark atmosphere that form around the direction of his voice. The percussion is big and lively, no surprise to hear its Ray Luzier who is involved, his busying drum work keeps the record feeling expansive, especially when introducing bongos and other exotic sounds to the dark esoteric tapestry.

The albums closer and lead single What It Is, is part of a handful of songs that really finds an absorbing stride, sucking one into the vision behind Jon's lyrics. Between them a set of reasonable songs pass by with no weak points, its all good music with a few creeks of greatness. The music mostly resides is this dark realm of estranged melodies and sounds that howl and drift around in the background thanks to a gorgeous production that utilizes measures of reverberation to bring the instrumentation together.

A helping of overdrive guitars from none other than Wes Borland has the music often veering into a familiar aforementioned territory where its atmospheric and exotic counterpart plays second fiddle. It feels as if an opertunity was missed to find a new and exciting direction for the artist. We hear it in bursts, Final Days being an exemplary song wandering into dark places in an unusual way that works so well. Essential its a strong and enjoyable record with memorable singing from Davis. With a little more focus and direction, steering away from familiar territory this could of had some more clout and weight about it.

Favorite Tracks: Final Days, Medicate, Please Tell Me, What It Is

Rating: 6/10

Deftones "Koi No Yokan" (2012)

Emerging as a forerunner in the formation of the short lived Nu Metal wave, Sacramento based Deftones swiftly made artistic strides to separate themselves from the scene and grow as artists. With the years passing by as they do, the band have ended up with a stellar catalog of records worthy of much discussion and praise. I always found It difficult to pick favorite songs and records with the Deftones specifically because their music is so inviting and persuasive. After six years with this record and another recent binge on it, I am once again in awe of Koi No Yokan for its sonic and textural beauty, a moment where the bands music transcends itself with a timeless presentation of deeply engrossing music with gorgeous aesthetics.

On its surface one might link the bands former two record together. The bombastic intensity of Stephen Carpenter's eight string guitars from Diamond Eyes and the blissful, color soaked experience of the melodic Saturday Night Wrist seem to embrace one another as the record cruises through dynamic movements. Transitioning between tidal grooves on its crunching guitars and beautiful landscapes of serine moods has a record gleaming in its own reflection as all elements seem to fall together for this moment. Like icing on the cake, vocalist Chino truely finds his moment here with a performance that lasts, illuminating every song, elevating the music with his infectious passion and swooning delivery that will have you singing along with every chorus.

In its less obvious persuasion the Deftones fire up their typical formula of hard hitting riffs and melodic counterparts that stands apart from their previous work. With a tighter inclusion of subtle textural electronics fleshing out the canvas and the aesthetic influences of Post Rock and Post Metal drawing in on the guitar tones, a sonic experience unravels as the line up of riffs drift into noisy, textural places with depth and grit about them. It gives the record another dimension, one that endures repetition with these dense and matured tones feeding back into the music its sounding out.

Beyond engrossing aesthetics, grizzly grooving riffs and Chino's sublime singing, the albums mood and tone is oddly palatable to its environment. Warm or cold, day or night, sun soaked or drenched in miserable rain, the power of these songs find a way to relate, however that may be my enjoyment of the record speaking loudly as one can not deny the acoustic guitars which often bring a dark, cloudy dreariness with them. Its powerful and perhaps that explains why a string of indulgent, melancholy moments can seem fit for any occasion, Chino's voice often leading as the respite from the dark allure as he brings us in.

Upon its release, Koi No Yokan was just another collection of solid Deftones songs but over the years each return to the record has pulled me in further. It plays front to back without a weak spot and so often do I loose myself as soft and subtle instrumentation strings you in to an eruption of mammoth guitar tones grinding out sonic grooves, morphing into expansive atmospheres of energy and beauty. With time the musics graphical pallet continues to outlast itself as its textural depth is endearing to the inspiration the songs hold. Its gotten to the point where I binge in ecstasy over how glorious this band are in this moment. I believe it is their crowning moment as a group, of course it would be wonderful to hear them reach these heights again and I wouldn't be surprised if they did.

 Rating: 10/10

Cane Hill "Gone To Far" (2018)

Labelled by some as Nu Metal, New Orleans based Cane Hill represent a handful of bands who in recent years have been resurrecting some of the principles and aesthetics from the millennium era music which has been subject to much mockery and hate within the Metal community. To my ears Cane Hill come forth on this sophomore record as a group still figuring out their identity, yet writing fun and cohesive music, wearing their influences proudly for all to see. They bring the best guitar work from Metalcore, Groove Metal and Nu Metal. It collides in a whirl of excitement with a spark of Industrial Metal in the noisy, full on wall of sound, giving these tunes a weighty clout of forceful metallic power with a dense aesthetic.

On first listen singer Elijah Witt makes a very distinctive performance with a variety of approaches to his presence that bares sometime uncanny resemblances to other Metal singers, his range can throw out fiery screams of vengeance to soaring, soft, soothing Chino alike "ohh"s on "Singing In The Swamp". The prior track "Lord Of Lies" chorus sounding like its pulled straight from the Masatdon catalog as his voice elevates the bouncy groove that rumbles and crunches away beneath. Echos of Corey Taylor can be heard but most noticeably Chad Gray of Mudvayne frequently dominating the tone of singing. The slower, crushing moody track "Erased" sounds completely akin to Cray's style in both the unleashing screams and introspective clean moments.

Its no criticism, Elijah has a wonderful talent that's perfectly complimentary to the instrumentals. Being a fan of these bands the record became immediately inviting and appealing. Behind him the chemistry is tight, shuffling bombastic grooves drive the music from the driving seat of drummer Devin Clark who has a knack for finding the right intensity to direct the atmosphere. The guitar work explores all the tropes of the aforementioned genres, slamming in with big chords, chugging gritty grooves and plenty of greasy guitar dissonance with the splicing of harmonics and squeals. The occasional break downs echo some Deathcore ideals but the eruption of racy, dexterous guitar solos keep the music feeling like it can go anywhere and not hedge itself in to one particular vision.

At thirty five minutes with a ripe pallet of ten energetic songs, Gone To Far is an impressive release that shows a ton of promise for the group. I would be somewhat critical to say there is a lack originality or something definitively new about their music but the ability to bring together the best of Metal's most criticized era and make lively music, brimming with excitement, is something to behold. Depending on what the group go on to do next, this could be seen as either a high point, or just an old record that proved they always had it. Definitely going to be keeping up with this band in the future!

Favorite Tracks: Erased, Why?, It Follows

Rating: 7/10

Biohazard "Urban Discipline" (1992)

After "Tales From The Hardside" sucked me into the Crossover Thrash world of NYC's Biohazzard I couldn't help but check out their sophomore full length which critics often site as their best record. Where State Of World Address captured my interest, their prior release Urban Discipline owns it. Filled with fist thumping grooves, lively gang shouts and the aggressive "in your face" raps of front men Evan and Billy, Biohazzard get us fired up with adrenaline soak tunes to stomp along with.

Demanding self respect with an attitude, words come from the inner strength, street hard mentality to point the finger at societies woes with a voice of reason to shine focus on apparent hypocrisies. Every song has a stance to hold ground and grit your teeth as guitars slam in with Hardcore dance floor movers between power chord thrashings to pull intensities from two avenues. Most the songs play off this dichotomy as gang shouts often throttle us from the lineage of chord arrangements to low end chugging slams.

With a rather chromatic, dated production the songs benefit from a consistent, slightly dulled tone that doesn't over emphasis musical shifts with bombastic, audacious instruments. Instead the muted clarity lets the gear shifts creep up on you with the next riffs magic taking you by surprise. Even after plenty of spins I find them catching me off guard as the music outpaces its dated production. The base drum kick would be all but lost if not for heavy syncopation and the snare has a harsh rattle but the drums still rock the grooves and hold the music together.

At the front of the music the thuggish rapping duo have remarkable charm when it comes to energy and passion as their liveliness makes mockery of the flat sung notes and narrow shouts the two pull off. My favorite song "Business" is loaded with off notes as they push beyond their vocal range. The fantastic lyrics, heartfelt charisma and intense guitars make it a personal highlight for me. "Music's for you and me! Not the fucking industry". The production dulls its glowing energy somewhat but can't stop it from being a real skull cracker in the opening half. It lets itself down towards the end as it draws out with various ideas and experiments that don't quite work out as well.

 Favorite Tracks: Chamber Spins Three, Business, Man With A Promise

Rating: 7/10

Marilyn Manson "Heaven Upside Down" (2017)

There's little bad to say about Marilyn Manson's tenth record. I could get critical and say it gets off to a moderate start but as the wheels get spinning, they don't slow down! Best known for his culture shock records Antichrist Superstar and Mechanical Animals, Manson has seen a steady decline in recent years that got turned around with The Pale Emperor, a change of pace, an introspective artistic piece that turned his observational musing inwards. I was sorely disappointed at first, "Heaven Upside Down" was not continuing in that direction but with each passing listen it grew on me substantially. He may be approaching his 50s but the fire for his breed of intelligent rebellion still burns bright in this fellow.

The most obvious comparison for this change of pace is the Antichrist Superstar era. The vibes, instrumental aesthetics and attitude is similar in many spots with a helping dose of anger and aggression. His poetry is witty, sharp as a blade with cutting lines like the opening "fuck or fight" on "Jesus Crisis". I could make lists but this is Manson, his reputation needs no examples, hes on his best game here with cracking lyrics that turn in on themselves as the words unfold. His ability to write and deliver hooks elevates the instrumentals as you'd expect them to do but always catches you off guard.

Instrumentally things start off aggressive with crunching guitars leading the songs. Dirty, Industrial thumping riffs on steady repeat. "Tattooed In Reverse" experiments with gritty, buzzing baselines and sharp, often shrill oscillating synths for a rattle house of dystopian blues. "Saturnalia" Is the turning point, the music becomes expansive with echoes of The Pale Emperor distance the aggression for spaces to breath in as the moods start to flow. Its as the album winds down from its aggressive start that I find myself captivated, Manson's chemistry with his band mates seems to electrify as his performance resonates with lyrics carrying the burden of dramatic emotions.

This albums flow is a strength played to. It starts with a bang to lure you in and steadily evolves into a much deeper record. The density of the instrumentals, aided by rich electronics, plays to the versatility Industrial music can provide as the songs collectively share a space with quite a variety of textures and flavor to throw your way. It can shred distortion guitars and find its way to bustling acoustics too without loosing the heretic energy. Everything comes together on this record, the group are on fire and give us the all killer no filler treatment. I will leave this post with a favorite lyric I can't get out my head. "And I tried to look inside you, but ended up, looking through you, now you try to tell me, your not a ghost!".

Favorite Tracks: Say10, Saturnalia, Jesus Crisis, Heaven Upsidedown, Threats Of Romance

Rating: 7/10

Prophets Of Rage "Prophets Of Rage" (2017)

Rage Against The Machine are back! This time under the guise of Prophets Of Rage, with Zack De La Rocha sidelined and replaced by Hip Hop legends Chuck D and B Real. Ive been excited for this record ever since Download Festival where I saw them rock the stage playing plenty of Rage classics between a couple of original songs. Their debut EP "The Party's Over" released last year was not to much to rave about but enough to get the hype going and introduce to the new line up to Rage fans.

This record isn't here to throw creative surprises our way, the five are here to give us another dose of that fantastic politically charged sound Rage unleashed back in the nineties. Tom Morello's guitar work has been frozen on ice, unleashing riff after riff of those classic overdriven tones that rock hard grooves to move a crowd and plenty of his fantastic noise driven aesthetics, sounding like a scratching DJ on the decks during his solo's and fleshing out the tracks with flavorful flashy sounds.

The chemistry of the three is essential and they have no problems making it work. The bassist steps up with bright thumping grooves when Morello takes to noise, example "Fired The Shot", amazing duality at work. The loud, thudding drumming is there to turn up the intensity when the big riffs drop in and keeps things lively and moving inbetween. Chuck D is a commanding presence as the front man, his vocal style a perfect fit for the politically minded stance of the band. Alongside him B Real, as much as I love him and Cypress Hill, does sound a little off on a few tracks although he does provide a favorite moment as he lifts LL Cool J's classic flow for an anti-cop statement on "Take Me Higher". That song and "Legalize" do mark a weaker vibe on the record when toning down the traditional sound for something with a more laid back flavor, the instrumentals just don't quite excite the same way.

Its not a consistent record, you can enjoy it immensely from front to back but when it bangs its worthy of Rage's classics. "Hail To The Chief" and "Unfuck The World" simply set the bar to high for other songs on the record, the result is peaks and valleys. The political topics are as to be expected, plenty of food for thought to mull over but the real winner is in the fantastic hooks a couple of tracks drop in the choruses, packing the point into great lines to sing along to at the live shows. Classic Rage is present on this record in full force but only for a few songs.

Favorite Tracks: Unfuck The World, Living On The 110, Hail To The Cheif, Fired A Shot, Who Owns Who

Rating: 7/10

Enter Shikari "Take To The Skies" (2007)

Its unbelievable to think ten years have flown by but that's life. "Take To The Skies" is the unleashing of our local band Enter Shikari onto the world. Ive seen this band go from the school down the road to headlining festivals and this album is a personal one, loaded full of fond memories and strong emotions. It was a big event, we got to see some of their pivotal shows around that era including their Download performance of the same year in the big blue tent which was absolutely rammed and loaded with mosh pits.

It's no masterpiece but a personal triumph for fans of Enter Shikari, a band you can truly adore if they push your buttons. "Take To The Skies" had no surprises, the culmination of their best songs from years of utterly relentless touring are polished and fined tuned alongside three or so new tracks. Its all glossed up with album quality production and a reworking of the electronics to flesh out all their songs with which raving synth lines that bleed into the interludes lined between a handful of tracks.

In retrospect the lack of subtly on this record is a charm the band would grow with time to gleam upon. The raw fusion of Hardcore throw downs and rampant rave electronics is undeniable in the wake of their youthful energy and inspired charisma. Its never gotten old, the fantastic chemistry to create energetic, uplifting and fun music with a real backbone of feeling and lead them into explosions of aggression with grooving beat downs and guitar chugging breakouts that would always get a crowd moving. Seeing the path they have taken, it becomes apparent how simplistic some of the compositions are but Shikari pull it off with a stroke of inspiration that you cant criticize given its authenticity.

The albums flow is flawed, It gets of to a wild start with fan favorites and two new tracks then the interludes break up the flow and the second half unwinds at a different pace, leading to the fantastic "Adieu" with would showcase the genius to expect of this band leading forward. It ends with the explosive "Ok, Time For Plan B" after its infectious build up, a great choice to end on before the closing tracks echos of the albums opener. It gives the record somewhat of a compilation vibe given the attachment of knowing most the music before its release and I'm not sure if the interludes were an attempt to create a bigger picture with the record as a whole but I never felt it succeeded in doing that, if it was the intent.

 Its the music that's wonderful and the years gone by make me realize how foundational they were as songwriters then. Singer Rou's screams and shouts are so fitting of the scene at that time and stylistically raw. The synths are accents of the tone, not woven in but aligning with the music and in many cases leading it. The beat downs are again atypical of the scene yet executed with an edge of creativity and always in the direction of the music, never rumbling out of nowhere and always feeling like an essential part of the music. Its truly fascinating and speaks volumes to the music these guys would write with their currently best record "The Mindsweep".

I adore this record and trying to be objective I wouldn't consider it a classic but on a personal level the nostalgia, adventure and fun of the time are deeply connected to the music and Shikari will always hold a special place for all the amazing memories. I think even back then we knew this band would be special forever to come. I little gutted now I missed the anniversary show this year but I will see them soon and forever be revisiting this wonderful record. On a final note I think its fitting to point out this record was an independent release on their own record label and their DIY ethic speaks volumes to the passion they have that you can hear running through this album.

Rating: 10/10

CKY "The Phoenix" (2017)

The legendary CKY from West Chester, Pennsylvania, also known as "Camp Kill Yourself", were a fond part of my youth. Soundtrack to the CKY movies full of skateboarding, pranks and tomfoolery, their songs were drilled into my mind as we watched them over and over alongside Jackass. I often return to their first two records and had the opportunity to see them live for the second time in a small and intimate venue recently. It got me hyped up for this record after having barely heard a thing from them in over a decade.

This is the bands first record without former front man Deron Miller who departed back in 2011. He's one of the original three and in his absence Chad Ginsburg has stepped up taking on the vocal role, performing the guitars, synths and continuing his duty as the bands producer. In Deron's absence their persona hasn't been tarnished, the music comes from the same place and Chad has the voice to fill his boots with a very similar vocal style that you may not of noticed had changed if you picked this record up unknowing to the lineup change.

The Phoenix is an album for the stage. Fun, lively and energetic, full of charisma. CKY continue to develop their unique sound while boldly showing their influences as flaming guitar licks emerge from their more traditional, grungy power chord grooving. With Chad in the limelight he takes the opportunity to show off his inspiring guitar skills with tones of wild, soaring guitar solos, blazing a trail of notes to try and keep up with as he quite frequently gets into the roll, especially on "Days Of Self Destruction" where the last ninety seconds of the song is dedicated to nothing but the shred!.

Many of the songs have similarities to their early classics, however they feel fleshed out with thick instrumentation that has synths humming between the cracks of bold audacious baselines that prowl and groove. The guitar leads stack up over the power chords with short lively melodies and Jess's drumming holds in all together with a subtle roll to gel everything together without being overly present. The sort of performance to impress when given due attention.

I love the density of this record. Without being overtly heavy CKY shine on the musicality that loads every passing moment with depth as everything has an intricacy. Although the song structures are rather formulaic and many sections repeat it always feels big and ambitious without being "heavy". Chad's Hard Rock and Funk influences definitely make themselves known here without taking away from their core sound. Its a very solid record with a few songs to match some of the classics.

Favorite Tracks: Days Of Self Destruction, Wiping Off The Dead

Rating: 6/10

Prophets Of Rage "The Party's Over" (2016)

Id been listening to this EP on repeat all last week! Two introductory, original tracks and three live covers warmed me up for their live show at Download Festival which mainly consisted of Rage Against The Machine covers. The Prophets are a super group consisting of three fourths of RATM, B-Real of Cypress Hill and Chuck D, DJ Lord of Public Enemy. An extremely exciting line up however the two original tracks here really feel like a change of voice on a very familiar sound. 

With Rage essentially on hold for seventeen years and a new record severely unlikely, the trio have moved forward taking their sound and style practically untouched to this project which is only distinguishable by the two new voices replacing Zach. Tom Morello's guitar style dominates the groove, unchanged, held on ice with that same blooming tone and bouncing rhythm. These songs could so easily slip into one of their 90s records. B-Real and Chuck D continue the leftist, revolutionary lyrical stance. Taking on social political issues with a keen tongue to point out corruption and hypocrisy in the system. The first self titled track is a statement of intent, coupled with introductory verses for the new front men.

The live songs beef up the playlist with signs of a good show but the two new songs alone are not terribly exciting, yet they are very enjoyable. A lack of evolution in the Rage sound takes any surprises away and most riffs and song structures are quickly predictable. With a full album on the horizon I hope the group spice things up fresh ideas because otherwise they are pedaling a nostalgic sound I've personally listened to exhaustion.

Rating: 4/10

Crazy Town "Gift Of Game" (1999)

Listening to "That's Not Metal" Nu Metal podcast special had me curious about how bad a record could be. Back in the boom period of the genre, Crazy Town's "Butterfly" was a song you couldn't get away from and I have fond, humorous memories of my friends mocking the song and band. I didn't mind the song much myself but it occurred to me I have never heard anything beyond it. That single alone carried the record to platinum sales and given the podcast duos angry musings on how awful it was I decided I could endure a little punishment. Given my fondness of the era and tolerance for Rap Metal I got a kick from of the record that Id never expect of anyone else. Even if some aspects were enjoyable in the first half of the record, the lyrical obnoxiousness and cheapness dragged it to the gutter and once you've past the single track its clear the bands ideas becoming exhausting.

Before we get to the tripe it should be said that the guitar sound, despite being generic for the time, does have some punch and bounce about it. The occasional riff is able to muster some interest and the drummer holds a reasonable beat. I quite liked some of the experimentation with various influences, synthesized vocal lines, Funk and Disco grooves, effect washed acoustics. Unfortunately these reasonable aspects are dragged down by the frankly appalling front men Binzer and Mazur.

The duo's raps are a constant bombardment of cheap, sleazy, thuggish braggadocios. They sound like sex creepers as many misogynistic lyrics show they have very little regard for anyone but themselves. There attitude says lyrical gangsters, yet all the street talk comes of sour, a lot of hot air spat between blunt tongue cursing. Its trashy, the two have passable flows but their tones are nasal, sharp and repelling, word play is cheap and stuck in the past with obvious, simplistic rhymes often arrive to at a great stretch of the path.

The last few songs start to take on a Beastie Boys persona, throwing it back a decade with a sampling of the classic PSK, deploying a faster old school flow. Unfortunately the legendary KRS-One becomes a casualty, lured into the studio to get involved in the Metal Hip Hop crossover. Seems he drew the shortest straw, his presence is by far the best thing the record has to offer. Crazy Town represent the worst of Nu Metals corporate days. If there is a passable record here, its drowned by the nauseating presences of the two "rappers" and their self centered antics.

Rating: 2/10

Mastodon "Emperor Of Sand" (2017)

The behemoths of Sludge Metal, Mastodon, have become quite the reputable group over time, climbing festival bills and delivering record after record. I myself have barely checked in with the band since their classic breakthrough record "Leviathan" and I can't help but feel I'm enjoying this record more than the average fan would. Kicking off with "Sultan's Curse" the opening riff sounds as natural as Mastodon get, immediately identifiable with Brent Hinds verile voice. It doesn't take long for the record to set its desert sweltering, sun soaked tone. The warm undercurrent of broad baselines swell, heated under colorful, tonal guitar distortions that rock and groove, swaying back and forth in there own narrative. A constant switch and swerving of melodic inflections and pumping grooves come to light when the vocals illuminate there direction with earthly, raw yet harmonic singing that's got a rough authenticity and genuine softness too. Its a chemistry that works without force.

The record is always lively, not a dull moments passes as each rolling riff delivers melody and hardness. From crunchy grooves to expansive chords, guitar solos and interludes the adventure is sweet for all fifty minutes. On some tracks the whirling of soft organs can be heard in the backdrop, like mirages in the baking sun. If not for these its mostly a straight forward setting of guitar, drums and vocals, the themes and ideas emerge from the song writing but on "Clandestiny" the song pulls back to a Progressive Rock setting and busts in with vibrant electronic leads, very reminiscent of the tone used by "Contact". A robotic voice mutters as it comes to a climax and for a moment the record is transformed to a different setting. It works but is a rather isolated event in a very consistent record.

It's criminal that I haven't given more time to this band, I believe there strengths as song writers holds this record up however It doesn't have quite the immediate intensity of songs like "Blood And Thunder". This newest record "Emperor Of Sand" is more of a theme, a place, setting, a storey that the band really own. Listening to it alone makes the room temperature a little hotter. I really do like this temperate sun soaked breed of Metal they have put together here.

Rating: 7/10

Favorite Tracks: Steambreather, Roots Remain, Word To The Wise, Jaguar God

Puppy "Vol II" (2016)

If a dose of 90s Alternative revival is your cup of tea then English rockers Puppy and there "Vol II" EP may just be for you, however to label them as a revival band would be a disservice. Puppy's style, sound, aesthetic and tone is uncannily alike to many acts of that era but theirs is a fresh and faithful artistic expression that nestles neatly between many names while still feeling like its own master. It kicks off with the most out of turn track "Entombed". Its slow and steady textural two note groove has echos of Groove Metal but its soft, welcoming distortion tone and singing style makes it very comparable to one of Metals brightest bands, Ghost.

The rest of the record embarks on a less metallic voyage, taking an emotional narrative that in many moments resonates like The Smashing Pumpkins. These are steady, easy going songs with simplicity in mind, a tight arrangement of riffs that flex between expansive chords and simple rock steady grooves. Acoustics intersect and with a lighter distortion the band effortlessly transition between subtle intensities, making for great craft as the songs flow soothingly. Its the singer who pulls much of the tone together, with a weaker, soft and gentle voice he comes with a meekness that exudes honesty in the emotions conveyed, making the instrumentals feeling complete.

Ending with a number devoid of percussion, a sombre acoustic guitar is intersected by soft harmonizing distortion guitar leads. It occurs to me that the short record, twenty minutes, starts in one place, ending in another. Kicking off with groovy metallic energy and transforming to quite a calm and soothing affair. Its all terrific, not much to flaw other than its short run time. The production is solid and everything feels cohesive on this five track release. This band has a promising future it would seem.

Favorite Songs: Entombed, Warm

Rating: 6/10

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Suicide Silence "Suicide Silence" (2017)

American Deathcore kings Suicide Silence tragically lost their iconic frontman Mitch Lurker back in 2012, his distinct screams and lively stage persona was a defining aspect of the bands identity. The choice to continue on without him would pave for difficult times as the impossible task of replacing Mitch would unsurprisingly cause mixed reactions among fans. 2014's "You Can't Stop Me" featured new vocalist Eddie Hermida and was no stylistic departure but for an old fan of Deathcore it was quite a forgettable record.

Using the self titled card, the band have set out to redefine their sound, much to the disappointment of a quite frankly ludicrous reaction from their "fans". A petition to stop the band releasing this record actually gained traction and signatures within the music community, something Ive never heard of before and is quiet insulting to the band who should never be told what to do with their art. That must be even harder to taste when it comes from within your own fan base. Metal music has always taken quite the beating from the outside world but this is unprecedented.

History and controversy aside this new direction is far from awful but not flattering of these musicians. If I could summarize, Its as if I'm listening to a demo that's got a lot of potential, the elements, ideas and inspiration is all there but it comes together a little flat. So what sort of direction have they taken? Nu-Metal, an instant nose up for some people but its a little misleading, the band have aimed for the more artistic side, were bands like Korn and Slipknot where creating atmospheres of frustration and despair in the creepy moments riddled between bombastic dropped tuning riffs.

Suicide Silence have stripped back that frontal, riff eccentric approach to their sound and although It can still be heard a little in tone, the metallic riffs play second fiddle to noisy dissonance and reverb buried chord picking that has cagey drums and Eddie's unhinged singing forming a fiery emotional atmosphere. It sets the stage for off note, loose and unrestricted ideas to emerge in a constantly tumbling of deranged ideas. Many of which are quite imaginative and of their own identity, although others are distinctly like bands of that bygone era.

Unfortunately these ideas come together with a lack of structure or direction. The bands age would suggest they grew up in the Nu Metal generation and it is great to see they have picked out the lesser explored ideas of that era to go forward with but turning that influence into good songs has not come to fruition. Nothing is bad or awful, in fact there are a lot of intricate, unusual, interesting sounds at work and Eddie's performances are very emotional and grabbing. It just doesn't come together well. No song here creates something powerful as a whole. Even its best riffs fall flat into songs that don't progress with a direction to make anything remarkable of its contents.

Rating: 4/10