Showing posts with label Alternative Rock. Show all posts
Showing posts with label Alternative Rock. Show all posts

Monday 8 January 2024

Dream Widow "Dream Widow" (2022)

 
Birthed as a fictional band through the Foo Fighter's Studio 666 movie, mastermind Dave Grohl brings his youthful adorations to the limelight. An exuberant testament to the gods of Metal, Dream Widow plays as a love letter to Thrash and Heavy Metal. Churned out with a soft tongue in cheek attitude, this self awareness plays keen. Backed by a consistent onslaught of sharp grooving riffs, its evil thematic comes across fun and playful. Dressed up with moments of metallic extremities, the record initially feels edgier, clearly oldskool Black Metal on March Of The Insane before settling into its cruising altitude of mid-tempo Mastodon crooning Metal.

Dave is pretty fantastic at steering his unique musical voice to these comically darker directions. Half the record feels fully committed to sinister theatrics, yet the other melds his Alternative Rock roots in both singing and writing. This is no complaint, the middle ground is entertaining too but after the shock of its full throttle, screaming and stomping opener Encino wears off, its clear this intensity isn't its firm format. When stepping away from the atypical cheese over the top Metal provides, the music sways with delightful inflections of melody, exchanging verse and choruses that compliment through dynamic shifts from rhythm to lead and all expressions between the two. 

Dream Widow is a cracking record stretched between Dave's expectant self and a mischievous, metallic inner child. Ending with seventeen minutes of sludgy hell, Becoming and Lacrimus Dei Ebrius illuminate his genuine understanding of the craft, as cheesy themes give way to sinister mockeries of the light. Ultimately its forty two minutes are a solid listen. Thoroughly entertaining, yet showing these three or so approaches that could of individually been their own beasts.

Rating: 7/10

Saturday 6 January 2024

Hundredth "Rare" (2017)

 

Opening with shiny crimson acoustics, Vertigo croons on contrasting vibes. Its initial Ethereal glaze rubs against a pacey rhythm section. Thunderous baselines rumble, as lively kick snare grooves set a cruising tempo. Swells of overdriven guitar erupt, reveling in their haze of noisy reverberation. Singer songwriter Chadwick Johnson glides in, calming with breezy harmonization, soothing in his softly presence.

Its a chemistry that persists throughout, as this Shoegazing, Alternative Rock hybrid flickers with fondness for a cascade of influences that inspire an inclusive wall of sound production. Forever sounding like a beautiful fever dream, hints of Grunge, Britpop, Post-Punk, New Wave and Dream Pop emerge in subtle suggestions.

Almost all tracks sail with riveting energy. Ebbing and flowing into colorful lulls, dragged by pounding percussion, leaving room to breath and rebound into epic swells of lead melody and momentous guitar riffs. A consistent experience, yielding a monotone expression. Across its forty five minutes its deeply explored yet spinning the same structures in rotation. Fortunately with such blissful energy it rarely tires.

Early on the music feels uplifting and charged with warmth yet as the record reaches its mid point, both lyrics and emotions tilt to darker subjects. Its a subtle shift, a dreary dourness creeps in, the sprint slows. It feels like the same beast yet moodier, as melancholic acoustics drift in and a vulnerability in Johnson's presence grows.

Rare's merits reside on its songwriting and vision. Initially seeming to fit into a familiar umbrella of genres, the record takes on its own memorable character. I do prefer its opening half, the speedy pace a delight that fades into its brooding counterpart. Overall, Rare is a wonderfully engaging set of songs that don't try to rewrite the rulebook but focus on what works and wrap it up into an inspired aesthetic indulgence.

Rating: 7/10

Saturday 23 September 2023

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10

Wednesday 9 August 2023

Post Malone "Austin" (2023)

 

Returning swiftly from the lukewarm reception of Twelve Carat Toothache, Post Malone returns with a notable progression in his persona and musical identity. Austin, named after himself, is a traditional leaning Pop record that initially disappoints with its generic withdrawal from what made him standout as an artist. Flushing out percussive Trap influences and stepping back from the embellishment auto-tune offered, this new direction withdraws into pleasing practices and sensibilities established for years now.

With a lack of aesthetic novelty to draw one in, Its with repetitions that one gets to know these songs. Humble and sincere, Post revels in his emotions with an authenticity complimented by his voice. Ditching auto-tune for the most part, merits emerge in his singing that prove this talent is beyond gimmicks. The melodic lines and catchy lyrics are illuminating when they land. Backed by subtle swooning instrumentals, the union lands songs sweetly when the stars align.

With less hands involved in the records production, the trio emerge with a cohesive vision pulling on a little kick clap of coffee shop Rock, the shimmer 80s Synthpop and dreamy touch of modern Pop. Compositions are apt, purpose built, across a range of tones all lavished in gorgeous aesthetics. Its builds a summery indulgence of warmth and good times masking an underbelly of sunset reflections on masked pains.

Brushing aside the false start of the self-pity opener Don't Understand and yearning Gospel cries of Something Real, an arc emerges from upbeat to introspective. Early on the best tracks arrive on pacey percussion tempos and cool breezes. As the record matures, the calmer acoustic leaning expressions steadily shift its focus. Its a decent trajectory but given only a handful of songs really pulled this listener in.

I found Austin's lulls to highlight how well its uplifting choruses landed. Early on, every other song croons and grooves on its slick impressions. As moodier acoustics roll in, mediocrity rises. Curation is often a pitfall on lengthy records. At an hour long, its clear a concise expression of Post's warmth would have rocked strong. The reveling on melancholic vibes didn't land with the same infectiousness. This could of been something special but its retained to a handful of songs that stand apart.

Rating: 6/10

Saturday 1 July 2023

A Perfect Circle "Mer De Noms" (2000)

 

Having let this one simmer for months now, Its clear that direct comparisons to Tool are somewhat of a disservice. Although a mellower draft of the Alternative slash Progressive Metal they conjured in the 90s, Keenan's A Perfect Circle has its own defining character, a textural feast of broody subconscious fixations boiling up to the surface. Many of these songs define themselves in the gradual intensities that fester from steely acoustic guitars and calmer passages. Keenan guides through the storms, illuminating an emotion connection as the clouds bring rain and thunder.

Its brilliantly orchestrated, a cascade of groaning guitars wail unyielding melodies that cry out like wounded voices. Occasionally a keen groove or sharp rhythm take hold through the power of the riff but more often does the music revel on its expansive lead guitars that howl emotional pains. In contrast, its soothing passages play adorned by sunset melodies and Ethereal reverberations. Its a beautiful relationship, a sombre melancholy stews beneath, lurching into the raw beast of visceral hurt that created it.

This manifests wonderfully in the albums best songs yet with the rest of the lineup following suit, most songs are not quite as grabbing outside the album experience. With a few brief moments the pallet opens up, like on Sleeping Beauty, an electronic tone dreamily chimes in towards its closing. It would of been nice to hear more of that expansion as the records pallet gets worn a little thin with the cyclical approach to each song. A more consistent record and fitting conclusion to this journey for now.

Rating: 6/10

Monday 22 May 2023

Boston Manor "Datura" (2022)

 
Datura, a brief twenty six minute strive housing four tracks on the bleeding edge of Pop Metal. Embracing Djent guitar tones and the Linkin Park method, Bring Me The Horizon have undoubtedly ushered in an era yet to be named with fresh acts reveling in their shadow. Fellow Brits Boston Manor caught my ear among the noise. At the core, catchy lyrical lines and guitar hooks sell the songs. The arrangement felt inspired, with depth, as Floodlights, Foxglove, Passanger and Crocus rope one in.
 
Each has distinct explorations of this sound's borders. Starting off with siren-like guitar wails and mammoth riffs on restraint, the airy atmosphere toys with intensity dynamics as singer Cox delivers teh best of his soaring presence. Foxglove deploys a simple kick snare dance beat. Chunks of low end guitar mesh this dance-floor sensibility with competent groove. It all shimmers in the lead guitars ambiguous effects pedal flange.

Passanger's leans into Cox's appeal as he soars again above a snappy snare kick groove and distanced shoegazing guitar chords. It reaches for an epic, which dispels into subdued nightclub kicks and thunderous drums, building to climax again. Crocus is the darker display, its guitars reveling in distant distortions as stabs of angular riffs penetrates the groove. Its tone reminds me of Cane Hill's acoustic Grunge moment.

The rest of this record is fluffed with instrumental electronic sound design, failing to resonate. The musical core however, was a strong show of craft as its instrumental contributions toyed with texture and intensity in a woven mesh of familiarity and depth. As one gazes on its particulars, the simplistic appeals of riffs and drum beats become awash in its textural design which melds between these musicians just wonderfully. One to keep an eye on moving forward! Their prior efforts not so appealing on a brief listen.

Rating: 6/10

Wednesday 17 May 2023

Narrow Head "12th House Rock" (2020)

 

Wedged between two fine outings, their sophomore effort 12th House Rock fits awkwardly, an anomaly drifted off a fine trajectory. Narrow Head embark on another bash of Grunge revival, shedding the shades of Groove and Nu Metal that perhaps steered them to greatness. With groans and gristle they lean into the textural oddities adjacent to the 90s scene. Reveling in hazy guitar overdrive and other fuzzy distortion effects, both guitars and vocals get a variety of tweaks over a thirteen track course.

On review, this aesthetic dwell is an unsurprising focal point. With their vocal hooks and guitar riffs lacking a spark heard before and after, many songs fall flat on arrival. It leaves ones attention attuned to its many off kilter flaws. On a handful of songs this textural rebellion is its main character, leaving a bitter taste as much fails to resonate.

The potential success of a lacking originality simmers. This revivalist pursuit wears its influences like wounds on occasion, cutting bold and obvious, jarring when a lack of gravitas persists. Hard To Swallow thumps hard, reeking of Helmet syncopation yet Night Tryst sparkles bright, despite utilizing a blatant Smashing Pumpkins blueprint.

For all its nostalgic tint, when components don't quite click, whats left is an infuriating fumble of forms. Enjoyable but barely engrossing, the ideas sought after became more audible than the music itself. Narrow Head didn't sell me on this, thus falling short on many fronts. Not awful but I couldn't get pasts the rotating cast of 90s pitfalls.

Rating: 5/10

Saturday 13 May 2023

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Monday 8 May 2023

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

Sunday 23 April 2023

Narrow Head "Satisfaction" (2016)


 When invited to indulge with music so apt to ones taste, it can be a tricky task to pull on the threads of its magic. After being spoiled with a refined and mature, White Pony inspired Moments Of Clarity, what I thought might be a blemished origin story, seems settled with an endearing rawness. On arrival, the dense, muffled guitar tone and crunchy baselines take a moment to adjust too. This seems like an amateurish first outing yet when Duarte's voice drifts into focus, dreamy, like a mirage coming to pass in a moment, It all clicks into place. What then unravels is simply a string of treasures.

Aching with shoegazing aesthetic wonder, punching in sharp percussive grooves and often aligning on the power of the riff, strong Grunge and Nu Metal persuasions are woven in between an energized ethereal haze of crooning distortion and swooned sleepy singing. Unafraid of hard grooves or dreary acoustics washed in reverbs, their degrees of intensity are always met with inspiration. These songs play with purpose, direction and immediacy, through direct song structures that get straight to the meat.

Its all killer, no filler, with eleven songs to pick favorites as the many takes on groove, guitar noise, melody and aesthetics explores classic 90s ideals. Despite coming reasonably close on occasion, it avoids any plagiarism with a lot of its influences manifesting in enthusiasm, energy and awe. Personally, I found its ability to grip for thirty six minutes fascinating. A sense of coming persists and no idea outstays its welcome. Best of all, firing up the record for a spin and adjusting to that thick, rumbling, dense wall of sound on Necrosis gets me every time. 

Rating: 8/10

Monday 13 March 2023

Narrow Head "Moments Of Clarity" (2023)

 

Herein lies another nostalgia bend, or so I thought on first glance. Hailing from Dallas, these Texan's reach thirty years back for inspiration and aesthetics. The unmistakable influence of Deftones dominates as they plunder the Grunge, Alternative Metal and Shoegazing scenes of past to re-imagine the period. Moments Of Clairty was initially easy to dismiss for its lack of originality. A few obvious gems held it over for more spins, then with each try I found it harder to put down. Underneath its rosy tinted veneer lies some fundamentally decent songwriting that kept me engaged.

The records architecture revolves on effective riffs. Steeped in Shoegaze distortion, unraveled with a little Nu Metal syncopation, its sharp grooves hit with rhythm and endear with fuzzy tinges of color creeping out of its warm distortions. Overhead sings Jacob Duarte, who glues the music with tender vocals. On first impressions they seem a little timid, reaching without power. With familiarity, they become a focal charm. What melody he squeezes out goes a long way to make the songs memorable.

He aids a quiet loud dynamic, offering a comfy withdrawal from the harder aggressions brooding on guitars. Their songs play out in degrees, learning into acoustics, fuzzy guitar textures and bouncy groove riffs. Many a page comes pulled from the Deftones playbook. Less often Smashing Pumpkins with lead guitars and singing. Despite the obvious idiosyncrasies, it endures! However track eight, The World, cannot hide its My Bloody Valentine origins. Too obvious yet a good song.

Originality felt reserved until its closing moment. A touch of Industrial drive creeps in as a very 90s drum machine loop sets pace for Soft To Touch. The fuzzed out droning guitar that swirls around it, along with Duarte's vulnerable singing has all three components feeling vastly alien. Somehow it crafts a memorable song with the unique atmosphere. Flesh & Solitude has a little Industrial edge too, its whipping snare sample locks in a stiff marching drive. It however, yields to obvious influences again.

Moments Of Clairty is fantastic nostalgic ride for a fan of these ideas and this era. Its songs are solid and lasting. A little more uniqueness could of pushed it over the edge, finding freshness among old ideals. As it stands, practically no musical moment doesn't echo something heard on other records before. Its nearly a distasteful affair. Fortunately these influences are wielded skillfully, satisfaction its destination.

Rating: 7/10

Saturday 11 March 2023

A Perfect Circle "Thirteenth Step" (2003)

 

Now a fully fledged Tool convert, it seemed logical I'd enjoy more of Maynard's voice, having grown so fond of his unique persona. A Perfect Circle was formed in union with guitarist Billy Howerdel, while Tool where in their prime and working on Lateralus. Mistakenly I though this was the bands debut, however Thirteenth Step is actually their sophomore which also features James Iha, formerly of The Smashing Pumpkins.

Parallels to Maynard's mainstay are all to easy to state. As a similar ensemble of Alternative Metal, its the later that recoils in the wake of acoustic guitar leads. Wailing and whirling in reverbs, its melodies brood on brown tones and cold shimmering aesthetics. A Gothic echo lingers as touches of Shoegaze noise and Ethereal atmosphere creates a distant emotive cry, often feeling sorrowful without empathy.

The music lingers on its textural flavors. Organic, progressive unravelings of nurtured tensions brew, occasionally sprouting into aggressive spurts. These lively floruishings, Its best moments, are what makes the record so disappointing. After drudging through overcast windy affairs of acoustic drabness, the excitement only seems to emerge upon the arrival of distortion guitars. These moments are etched in the Tool blueprint.

To name the few, Weak And Powerless, The Outside and Pet. All brilliant songs, yet do little to define A Perfect Circle. Everything else that does was simply to dull and aimless. Reasonable to have on in the background but after many listens I simply couldn't find anything deep to latch onto. I may give this journey up already.

Rating: 5/10


Tuesday 28 February 2023

Len "You Can't Stop The Bum Rush" (1999)

If mid 80's Hip Hop with its clunky grooves, fun but dated rhyming tropes is your niche, then You Can't Stop The Bum Rush might just float your boat. I'm quite partial to the era, however Canadian group Len's millennium offering has little to add aesthetically, essentially a stiff nostalgic resurrection. Its bizarre his how eclectic and interwoven with other genres this record is, however the music isn't all as fluent.

Echo's of classic 70s Electronic music to the likes of Kraftwerk emerge, as a string of songs foray into crossover with Hip Hop the likes of Afrika Bambaataa once flirted with. Loaded with body popping vibes and vibrant 808s, the authenticity should be sky high with legends Biz Markie and Kurtis Blow hopping onboard to lend their voices. Despite this, the lack of reach to new territory has a stale energy about it.

After Cold Chillin the flow looses pace, ditching the Hip Hip beats to explore Rock, Punk Rock, Pop and Jazzy vibes to see the record out. Although its nice to hear such diversity, only June Bug swoons with its easy flow and gentle singing. Of course, the albums star is Steal My Sunshine, a massive hit known the world over. An oddity, considering how little of its charm gets echoed elsewhere. Worth a listen but quite mediocre.

Rating: 4/10

Wednesday 14 December 2022

96 Bitter Beings "Camp Pain" (2018)

 

Yes, that 96 Quite Bitter Beings, CKY's best known song! Taking on its classic name to signify his artistic intent, Deron Miller went solo a year on from when his former band mates produced The Phoenix. Often credited as the brain child of Camp Kill Yourself's unique persona, my impression of CKY without him was an adequate one, yet with Camp Pain you firmly hear the creative source in action once again.

Although this record wanders into a few odd curiosities, acoustic tangents and Cavalcade Of Pervesion's odd sample snippets interchanging with a synth jam, its mostly a rocking set of songs. They firmly strike the charm that made CKY so charismatic and unique compared to other metallic Rock groups of the time.

Its oddities muddies the pacing, along with a brilliant cover of Micheal Jackson's classic Beat It. Not the first metallic cover, yet they nail it with attitude. Wedged in the middle, it breaks the albums tone as mood is suddenly shifted, rather than being a little icing on top nestled at the end of its runtime like a cover might normally be.

Not to dwell on its inadequacies, Deron's guitar style pairs wonderfully with starchy synths that boldly punch in tuneful contributions, as do his mingled lead and rhythm riffs that ebb and flow with groove and melody. Megadextria nails their early tone, vocals harmonizing with a breezy pace not found to often across its thirty minutes.

Deron's singing comes across a little rugged and aged in patches, not landing like it once would. The Whipping Hands is another track echoing former glory with memorable choppy, galloping melodic riffs, yet not firing on all cylinders. Ultimately, Camp Pain is solid, yet somewhat mixed in the shadow of legacy. It's well worth a listen however, plenty to be enjoyed between compositions less fruitful.

Rating: 6/10

Monday 5 December 2022

CKY "An Ånswer Can Be Found" (2005)

 
 
Fond for a touch of nostalgia and youthful memories, I thought I'd give this overlooked Camp Kill Yourself record another try. Released amidst the years discovering Extreme Metal and darker sounds, An Ånswer Can Be Found fell wayside among a group of friends who adored the CKY videos and soundtracks. With matured ears, one hears an intelligent craft through thoughtful songs falling mercy to its mid tempo pacing and calmly subdued temperament. Experimenting further with channeled guitar effects, their tuneful leads retain a distinct character encroaching on an electronic tinge.

The emphasis on a warm gooey vibes gives its mood a welcoming tone but sucks away some of the sporadic energy previously associated with the band. Frequently do its unique melodies ride upfront, exchanging harmony with Deron's competent singing. In doing so, its chugging guitar grooves drift by, plodding along with murky intent and lacking intensity. This chemistry is why I think the record once went amiss. Now I rather appreciate its balance, which gives illumination to their melodic expression and especially the slick, gorgeous, often brief, guitar solos that dazzle upon arrival.

When the guitars shift into tandem mode, the classic CKY grooves croon again. Their dynamic sway, traversing rhythm and melody simultaneously, sounds ripe on Deceit Is Striking Gold yet elsewhere it lacks the spark. Again, another addition to the initial disappointment, a muddied step into a refinement of sound that matured in its lack of bombast and explosiveness. It comes across soft yet has quite an endearing comfort as one gets to know the better malf of its songs. A fun listen! Perhaps An Ånswer Can Be Found is one that would grow on me with more exposure.

Rating: 6/10

Wednesday 30 November 2022

Toadies "Rubberneck" (1994)

 

Accruing influences from 90s Alt-Rock scenes I am less acquainted with, American rockers Toadies debuted with Rubberneck. A rapid thirty six minute introduction that reeked of accents I fumbled to land my finger on. With rough rabbles echoing Skate Punk and Post-Hardcore in energetic spurts, their mostly Grunge era music dodged the lingering scent of Nirvana, whilst seeming fundamentally similar. Between the hardness of estranged "anti" solos and brittle crashing guitar riffs, emotive melodic lulls and sung vulnerabilities birthed Toadies' songs to straddle terrain built by others.

Their approach paints consistent reminders, unable to escape a partial sense of deja-vu. These tracks cut to the core, flying right into the memorable meat of the music. Each song swiftly embarks on its key appeal, an appetizing listen. Vaden Lewis' youthful groans sways between a soothed playful charm and roughened anger when spearheading with strained shouts. Percussion seems to go subtly by with Punkish beats and linking rhythms powering the musics drive without getting in your face.

The guitars play with short, repetitive, simplistic riffs. Impactful power chords, burning at the edges given the ferocity they are performed with on its displays of anger and frustration. Any foray into melody and tunefulness feels intentionally stripped back and flipped over, often lingering on minimalism and noisy rebellious embellishments. Its all cohesive, coming together to be felt first before picking apart its constructs.

After many enjoyable spins, I'm left with a solid record where I'm unsure if it was influential, or influenced by. It did however encroach on the very best of early 90s Rock sounds I once was quite dismissive of. Its nice to find albums that help you creak open the door of your own ignorance and this certainly did that for me.

Rating: 7/10

Sunday 16 October 2022

The Gathering "How To Measure A Planet?" (1998)

 

On their third outing with the classic lineup, a firm end to metallic components is all to apparent, The Gathering drop both song style and distortion guitars in favor of dirty overdriven tones, progressing into the morose side of their known melancholy. Echos of former selves are heard, if only glimmers of ethereal acoustic arrangements once toyed with, withdrawn sluggish tempos dominate its dreary limp temperament.

Anneke's youthful vitality is sullen by a moody, downtrodden presence, her charmed voice skewed by inescapable sombre sorrows. Paired with steely bleak guitars chords and dull, muted baselines, forays of strange electronic textures and distortion noise further extenuates an inescapable wearisome. Songs do swell, blooming in measured builds ups, only to collapse back into these pale atmospheres wearily conjured.

Its clear I've not been wooed. Despite a glowing reputation, this progression stole what I adored and replaced it with little excitable. A meaty double record duration further emphasized the dullness I couldn't escape. Even on Liberty Bell, its most energized song, the zapping synths rustle my dissatisfaction to grandiose Alternative guitar chords that don't deliver on intentions. It seems its clearly defined chemistry s lost on me, perhaps a result of its mournful spirit that seems tinged on a unidentifiable sadness.

Rating: 5/10

Thursday 6 October 2022

Depeche Mode "Songs Of Faith And Devotion" (1993)

 

Moving on from the soaring heights of Violator, the English quartet Depeche Mode make a daring bold stride into a resonant religiosity that birthed their Personal Jesus hit. Further embracing the human gulls of guitar texture, they lean on darker acoustic vibrations, Gahan's subtle vibratos inhabiting numerous cold reverbs, wandering towards despaired lows the albums dominating theme seemingly rescues him from.

Songs Of Faith And Devotion is definitely of their vein. Shimmers of Gospel, Hymns and spiritual voiceings line its persuasions. Only with Condemnation do they take a solem plunge of baptism into its sways. A beautiful moment among other ideas that converge with mixes of ideals. One can observe an orchestrated component. Gallant and chivalrous string sections ascend the clouds, disconnected from its counterparts.

Swooned by the times, so too does one hear inflections of an emerging Trip Hop scene. Dense, snappy, popular percussive loops crowd the rhythm section of many a song. Get Right With Me goes hard on its Gospel choral chants, clashing hard with its clunky drum sampling. Rush too flurries a similar fate, its Electro-Industrial synths injecting a jolting energy against dark, steely guitars, Gahan on another frequency.

This records ambitions land it in a variety of places. The better written songs seemingly closer to a formula that served them well before. Its soft religiosity a crooning charm better served the harder they leaned into it. As a whole experience, it holds over with a meaty persuasion but blemishes show on numerous repetitions. Seems the group were pulled in multiple directions, by emerging scenes of the time, yet sticking with their guns and faithful inspiration may have worked out best.

Rating: 6/10

Sunday 11 September 2022

Depeche Mode "Violator" (1990)

 

Hailed by some as a classic, I approached this record with persistence. A turning point came four or so spins in. Suddenly, the brash, jolting instruments began to blossom. Its snappy arrays of waveform synths revealing secrets. The bold, rigid deployment of its punchy melodies and calculated drum patterns birthing emotional resonance from the void they dance above. Violator's aesthetic philosophy leaves a sparse quiet behind the fast attack and decay of its electronic zaps and stiff sampled percussion.

In the drone of its repetition, what I failed to hear was the build up. Songs start minimal and simple, with all components laid bare. Dave Gahan brings in his steely tender voice to take hand and lead along the lyrical narrative with an engulfing persuasion. Under his spell the instrumental broods these emotive swells as the complexity increases. Leaving its simpler crafts in formation, the later arrives toy with organics as dense guitar wails, dawning string sections and abstract electronic.

As I understand it, Voilator was also their debut venture to include guitars. Sometimes performed but mostly sampled, the acoustic tones fit effortlessly to their demeanor. I sensed the commercially exploited Personal Jesus might become an irritation but alas, under repetition I came to appreciate its genius, and union of digital and analog.

The records character lingers mostly on relationships woes, a sadness that permeates loves struggles without conclusion. The tone teases, toying with a curious poise. A soft sadness, melancholy on the horizon, all whilst being dramatically catchy. Its a highly digestible set of Pop tunes, weaving in odd electronic sounds to its tapestry. As the rush increases, so do strange zaps and brash noises. Quite the delight.

Ultimately I can only conclude to agree with its acclaim. Despite lacking the depth time with records offers, my ever growing love of its persuasion is wondrous. In comparison to Black Celebration, Violator stands matured and cunning by a band forging their expressions with sharpened wit and intellect. The underlying emotional rawness heard through voice and instrument is as before. I'm unsure as to why I did not hear it on Music For The Masses? Its earned my attention for a revisit.

Rating: 9/10

Saturday 20 August 2022

Damageplan "New Found Power" (2004)

 

"We are Damageplan and we have a plan for damage". A cheesy pun and awful introduction to this wrangle of young Metalheads who imidiatly turned up the nose. That's all I remember of my friendship groups stance on the Paul brother's then latest band. With the recent enjoyment of Reinventing The Steel, it occurred to me, the late, great Dimebag had more in the arsenal that I was yet to experience.

Uniting with vocalist Patrick Lachman and bassist Bob Zilla, the Paul brothers embraced a then rapidly fading Nu Metal approach to Metal. Although received to lukewarm receptions at the time, age has served it well. New Found Power embraces the cultural accent fondly and injects a smoky southern flair. Vinnie eases off the gas with percussive might focusing on syncopation with his brothers power chord grooves.

As repeated spins made their craft known, it became clear that much of the Pantera persona remains with Dimebag. However, he aptly slows his playing, a shift in tone and easing of pace re-texturing his style, a subtle disguise but the southern steel is still their. His shrill squeals, bouncy bends and slick slides are all among the architecture. Dynamically, he flexes between simplistic Nu Metal alike grooves and lunges of guitar manipulation, fleshing out a soft aesthetic madness to indulge with.

Patrick Lachman does a fine job upfront, a powerful voice, one perhaps singing from the shadows. The likes of Layne Staley, Jason Popson, even Anselmo on occasion and Corey Taylor who features on a track too. Essentially, he brings a fine sound for the times but lacks his own identity. Because of this, much of the record fits the mold without breaking form as its character nails the downtrodden tone of the time.

Damageplan play the sound well but on occasion they drift into another lane. Blink Of An Eye has an unmistakably Korn distinction to its mimsy lead guitar melody. Even though New Found Power lacks a strong distinction, its execution is excellent. Very interesting to hear Dimebag nail another scenes guitar sound so well. There are even dense moments that felt as if a DJ's adding a layer of noise to the mix. Its actually Dimebag wailing on his strings. Glad I checked it out, a fun record for rocking out!

Rating: 7/10