The Veldt "Afrodisiac" (1993)

Memory is a thickle thing. Essential, yet always fading, it shapes our reality in many ways. Fortunately this was harmless, a little shock to stumble over a record I thought could not exist. Seems I forgot of their history on my previous encounter with The Veldt. Their return fusing Dream Pop and Trap was a passing enjoyment. Its a farcry from Afrodisiac, a record fitting snugly into its era, without seeming remarkable or impactful. So far Its stuck me as the sort of album that just gets lost with the times.

With a lurch of early 90s Alternative Rock and Shoegazing distortions, the group fuse timely over-driven guitars with the sparse echos of Funk Metal groove. Its also a textural experience, sliding into dreamy spaces with glittery acoustics. The occasional fusion of Trip Hop drum loops proves expansive as the record sways between styles. Consistently singer Chavis's bold charismatic voice resembles an 80s ballad singer.

His presence is swell, a delight when the vibe clicks but often it arrives with friction. Its this contrast that all of its elements have in some degree, giving it a sense of "almost genius". The songwriting plays into this, ideas merging from different directions, a lot of material exposes its origins and the union doesn't quite find the apt chemistry.

That being said, its an exploration of ideas that has plenty of engaging moments in its lengthy hour long stay. Heather strikes me as a peak, a broody dark wailer of a song powered along by its Industrial percussive thuds. Ultimately, Afrodisiac strikes me as a clear product of the times, not quite finding a way for its unique overlaps to blossom. That being said, it gave me a sense that continued exposure would grow on me more.

Rating: 6/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Tool "Opiate²" (2022)

Tool had brilliance from the outset. Initially I was slow to understand this band. The title track from their debut EP, Opiate, did not rock my quite as it does now. To commemorate the thirty years since its release Tool have re-recorded the classic track. Ditching its extended psychedelic jam session crying for Satan that followed the actual song, the group split it in half while fleshing out a beautiful interlude through the middle. An instrumental passageway through its middle. Deep, mesmerizing and alluring, the soothing transient experience serves this recreation wonderfully, lengthening it to a glorious, immersive ten minute experience.

This modern aesthetic is stunning in retroactive comparison. The original recording sounds dated and clunky. The bass is overpowering and meaty, which hides a lot of the textural charm Tool conjure. This release illuminates their artistic vision, rejuvenating what they had as a band from the outset. Even switching back and forth between the two, this newer recording oozes the songs soul with ease. Although its made me appreciate the original more, its obvious they didn't have the production aesthetics to really express their music early on. Sadly this is a one of, I think its unlikely this single will lead to anything else for now.

Rating: 3/10

Pop Will Eat Itself "Dos Dedos Mis Amigos" (1994)

This has been a wonderful "of the era" journey, now arriving at its final destination. Although it makes sense, I didn't expect them to land on an Industrial Rock tangent. Reshaping the 90s genre blending style, Pop Will Eat Itself build their eclectic on the backbone of rumbling baselines, cold distortion guitars and a mechanical percussive might. With a colorful infusion of electronic tones it otherwise sticks close to an Industrial blueprint. All except Familus Horribilus, a soap box statement shouted through megaphone raps with the Beastie Boys scent. They take aim at the royal family with political commentaries on the families affairs of the time, naming names and airing grievances at heritage and tax burdens. The instrumental is a fun surge of jive and warmth among a cold, metallic tinged record of subtle rhythmic forces.

Across its eleven tracks the music comes in various shades of intensity and experimentation with some detour into more sample oriented percussive tracks with break loops and the like. Everything's Cool has an obvious riff inspiration from Ministry's classic Thieves. Most remarkable is the opening Ich Bin Ein Auslander. Predating Rammstein by a year, its deployment of the German language and a stomping Kashmir alike riff seems like some bizarre foreshadowing of the Neue Deutsche Härte sound. Surely its just an odd coincidence right?

Either way Dos Dedos Mis Amigos is a decent record if your into the Industrial Rock sound. Nothing exception though, a couple of better songs with a few mediocre cuts too. Its undoubtedly the most consistent in tone, funneled through a production that struggles in patches with its layering of sounds. Which is notably less dense this time around, relying more on the drive of its mechanical rhythms and sharp distortion guitars. I'm aware the band reunited for another record but I'll put a pin in that for now.

Rating: 6/10

Pop Will Eat Itself "The Looks Or The Lifestyle" (1993)

 

I think I've developed a mildly amusing "love hate relationship" with Pop Will Eat Itself! I'm undoubtedly leaning on the love side however their "of the era" occasionally sours. It often depends on the mood. This Is The Day struck the perfect stride of nostalgia, a wild crossover that nailed early Hip Hop and the shape of Metal at the time. Since then, they have not stuck in one place stylistically. Its been hit and miss, The Looks Or The Lifestyle seems like a response to the emergence of Grunge as an update in band chemistry has prominent distortion guitars on almost every track of the album.

Continuing on with the 90s Dance and Electronic scene sounds, the group find a more consistent fusion with grungy guitars, lively percussive breaks and an injection of electronic instruments reflecting the era. Its bold and unabashedly 90s, often a little cringe in its early shout raps, the British accents sung strong. The record rolls out with a strong string of tracks, pumping drums charge forth, a wall of samples and synths thrive between dynamic guitars and powerful baselines. It leads into their most popular charting song, known as Get The Girl! Kill The Baddies!

Performed by stabbing melodic drum synths hits, its main melody is a turn off in an otherwise decent track. I think its theme that births it success, essentially riffing on tropes from the perspectives of a movie character. The album starts to diversify after. Guitar tones get shaken up. The sampling and synths reach into new territory, arriving at Urban Futuristic. Its a hard hitting mash up of early Drum n Bass, Thrash Metal and bizarre cheesy synth tones. What it lacks for in classic it makes up for in ambition!

Its this string of gutsy tracks, fun experimentation and bold crossovers that get the thumbs up from me. After them, the final four cuts stagnate in quality, drifting into the tired and dated. It feels intentional that the best material is front loaded. Left a little soured, they exaggerate the cheese its great songwriting diverted early on. With just one record left before their split in 1996, it will be a sound place to conclude the journey having been fed to full on this reflective nostalgia exploration.

Rating: 6/10

Can't Swim "Change Of Plans" (2021)

 

Don't be fooled, the oddly Gothic, Danzig alike album cover doesn't accurately reflect the emotive suburban vibes this group emanate. Can't Swim are my personal antidote to the Emo / Screamo scenes I turned a nose up at in my youth. These millennial musicians revive the glory of their past years, bringing musical maturity to their first world, woe ridden lyrics. With poppy song structures, catchy hooks and a melodic tint to garnish, Change Of Plans is the bands third but sadly the least impressive, possibly a case of familiarity as the band stick firmly to what works with a little twist of anger.

With Pop-Punk themes of adversity lacking troubles. Social squabbles, relationship woes and self doubts, the lyrics play from a light hearted teenage place with just a sprinkle of maturity. These are adult problems expressed with the lens of youthful angsty ideas that sway it far enough from perils. Its left in a precarious place where you can leave or take it. Personally Its not a bother but bar one or two lines I didn't find much to connect with, however the delivery and honesty in LoPorto's vocals is charming. The vulnerability and self coddling style is endearing, often manifesting into a hook with a knack to make his words catchy and flow with the groove.

The music is carved up into the typical inflections, lots of moody melodic plucked acoustic chords that bleed into vibrant distortion tones with all degrees wedged in between. Most these songs have a layer of aggression that sways back and forth from its guitars. Its not to adventurous, sticking to typical song structures and compositions with plenty of bright, harmonious singing. The point would be that they do this so well.

Where things detour is with a stronger sense of Hardcore and breakdown energy which the genre is adjacent too. On three or four tracks they step into this space boldly, not something I remember from their previous records. Better Luck Next Time and its jaunting breakdown goes full in on the aggression with palm mute chugs and tropes from the more metallic end of the spectrum. Sense Of Humor and its "Look who's laughing now" lyric slaps another breakdown in a track It doesn't feel fit for.

Whats interesting is how well executed these ideas are, the problem is they don't fit the overall mood which tends to be more introspective and mall shop sorrows than anger fueled resolution. A couple other songs have a breakdown stitched on the end and whenever it comes around, it feels like a sudden shift. Despite this jarring union of ideas, Change Of Plans is solid with plenty of catchy tunes. Its one to throw into the shuffle playlist and see what sticks with time.

Rating: 7/10

Poppy "Flux" (2021)

 

Not one to stick with a sound for long, Poppy moves on from the eclectic aesthetic extremities of I Disagree and metallic framework, now plunging deep into the 90s with a wash of warm hearted Grunge, Pop Punk, Alternative Rock & Dream Pop! This nostalgic lens that quite a few bands lean on these days serves up a huge advantage in terms of variety. Flux capitalizes on this fortunate position, sounding like its from an era but not being cast to one mold as many of its inspirations would have been.

The tracks Hysteria and As Strange As It Seems highlight this perfectly. Both resurrect dreamy Shoegazing guitar tones and the hazy production tricks of My Bloody Valentine's acclaimed Loveless without burdening the listener through a whole album of its dreary ambling nature. All songs have their shade of influences, in different degrees, from a moody Her too the amped up head banger Lessen The Damage.

The variety is where the magic is at. Originality not a concern as her usual collaborators and album producer Justin Meldal-Johnsen provide some amazingly written songs and gorgeous guitar tones in many flavors to flesh out the record wonderfully around her voice. The track arrangement is smooth too, shifting in temperament and intensity to keep things exciting and brief at only thirty two minutes.

I'm not sure that Poppy herself holds much of the dazzle. Her performances don't seem all too defining. The instrumentals make the songs more so than her singing. Her softer range is endearing but when reaching for more energy she lacks a strong character as the nostalgic lens has her singing in the shadow of anothers style. Themes and lyrics are locked in well, hooks and timings ripe but its missing a shine.

 Flux has been fun and refreshing, a spirited journey back into the 90s. With a broader sense of ideas to draw on it excels without doing anything remarkable or unexpected. Being keen on this era it was all to easy to get sucked but after many spins it firmly resides in that space where I'm not sure if these numbers will stick. So for now the record goes into shuffle, awaiting to see if its resurrection will be rewarding.

Rating: 7/10

Chevelle "Niratias" (2021)

 

I'm glad I'd taken the time to discover Tool before encountering a record like this. Chevelle have won me over with their thoughtfully tempered and artistically angered take on Rock and Alternative Metal. It was on the second listen that the resemblance to Tool suddenly clicked and its been unshakable since then. Singer Pete Loeffler emulates Maynard at every turn, both in style, pitch and delivery. I feel that I can only refer to his obvious influence as the distinction. His multi-instrumentalist brother Sam does much of the same with the song writing, arrangements and riff ideas with an occasional big riff more akin to perhaps Nu Metal in delivery. Even deviations from the norm on instrumental interludes with ghostly pianos have an echo of similarity. Either I'm right on the nose with this or infantile to the web of influence Tool have undoubtedly cast on bands like Chevelle.

Similarities aside, this album has been a blast. Niratias runs an expressive line of crafted writing, steering clear of leaning to hard on tropes and arrives at its conclusions with the grace of lavish instrumentation that gets everything involved in intervals with space for individuals to shine in the gaps between. So often do the guitars drop back for the bass guitar to rumble. Lead guitars get to sweetly slide into focus with elongated stretches of atmospheric melody and around it all the drums weave together a narrative. Its theme is supposedly rooted in the talks of the times when it comes to a commercial era of space flight and the now popular philosophical discussion of simulation theory. Its most potent lyrics to me tho, where the impassioned cries towards misinformation and science skepticism which too have risen to prominence during the pandemic.

At a meaty fifty minutes, Niratias offers up some fantastic vibes, balancing aggression and artistry with something I can only describe as the "festival feel". Many of these songs feel set for the summer stage to be shared with thousands of fans, delivering those big riffs and crunches after grueling through the gradual build ups and hold over sections that keeps the music in lane. In the past I think its the sort of music I'd gloss over but I am happy to say that ignorance is gone! For all the familiarity this has been an exciting listening experience that feels best as a whole, having found it hard to pick favorites from the track listing. Peach however... is a peach of a song! Oh too easy but yes this one has an exception bite to it as so quietly builds to its blunt force guitar throwing down thumping slabs of low end noise. Pete absolutely makes this song pop with his fiery singing, crying out woes of foreboding limb removal!

Rating: 7/10

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

Esoterica "In Dreams" (2020)

Surprises come in many forms. Out of the ether emerged a name I had forgotten for many a year. Back at my first few Download Festivals I caught this band twice. Between bands I knew, I'd make sure to see check out ones I didn't. Having a strong spot on the bill of a smaller stage, yet little in the way of a crowd, they struck me as a band with a label backing them. I enjoyed their music, the antics with bringing a trained crow on stage memorable and their cover of Delerium's Silence and absolute gem! So twelve years later I've been swept of my feet by this stunning record!

Somehwat uncanny, the album's best song is another cover. Snug sweetly in the middle, True Faith originally by New Order, has a potent synth melody and sing along chorus that fits the bands aesthetic so well. The song is fundamentally different but this song writing brings so much to their thick, moody sound. Its hard to pin down, a form of artsy Alternative Rock and Progressive Metal with a dreamy Ethereal quality. The mixing embellishes this chemistry with a luscious texture, atmospheric and emotionally indulgent with melodic piano tones pinned under its dreary guitar leads.

Its a great aesthetic compliment to the singer, who performs with power and fragility in the balance as he wrestles his way through with an open vulnerability. Now with Tool in my arsenal of recognition, I hear a distinct Maynard influence in his voice as the intensity of his singing takes on similar journeys, especially on the song Letting Go. The brooding and building inline with the instruments takes us on quite the journey through the musical expression. The cohesion is impressive an often the best aspect of the songs as no instrument tries to overpower or out perform another.

With a track like Gone, Esoterica present an ear for groove and an apatite for energy that runs counter to the general tone of the record. These are mostly mid tempo songs with dreary bleak atmospheres, sombre yet gleaming with a hidden beauty in its subtle harmonies. Surges of melodic uplift in the songs peaks remind me of the parting of dull rains on a cold day, to then feel the warmth of sun and see the colors of a rainbow. They are beautifully heavy emotions finding resolve as the winds turn.

Initially I was blown away, then I was enamored. As each spin goes around a few cracks show themselves. You're Not Alone is a little to simplified with a lack of direction. Gone's punchy pop arrival doesn't stand as well with the Progressive music and I Won't Give Up On You feels a shade behind the magic that makes the rest of the songs simply cracking. I already know this is another one for years to go by and enjoy over and over. I am so very impressed by this band after so much silence!

Favorite Tracks: Breaking The Unknown, In Dreams, True Faith, Humanity, Letting Go, Hunted, The Still

Rating: 9/10

Enter Shikari "Nothing Is True & Everything Is Possible" (2020)

Reeling back upon The Spark's softening shift in tone, Enter Shikari return with a spicy self historical mix up. Nothing Is True has rolled up a little bit of everything tried so far in their five records leading to this sixth installment. The four lads have been together since their teenage years, forging a unique identity that can be felt through the chemistry. I have a deep affinity for their music. Ive seen them go from local pubs, clubs and schools to headlining festivals. Its been simply magical and I will always have a soft spot for them, making it hard to not enjoy anything they do!

The albums sentiment comments on our technology driven age haunted by science denial, trolls, bots, fake news and social media hysteria. Its a finger on a pulse that has been pounding for a while, the perspectives often shaped through a dystopian lens seem second fiddle to the groups excellent song writing. The power of hooks and catchy lyrics are better felt through the passion Rou delivers them with than there content. That may just depend on how deep you've dove into these topics beforehand.

Its fifteen songs are cracking, a constant roll out of fun, energy and passion with a retroactive array of aesthetics, keenly from the synths that pull from the best of electronic oriented sounds experimented in the past. Its a framework around songwriting that periodically dips into trendy Alternative Pop stylings. Despite all being good songs, Crossing The Rubicon, The Pressure's On & Satellites reek off imitation with a direction clearly emulating others, rather than perusing that Shikari purism.

The rest of the record has that uniqueness intact with a fair spread of experimentation that occasionally gets a little wild. Elegy For Extinction breaks things up with a moment of pure symphonic wonder as a dense orchestral composition builds a fiery intensity to propel the music into its most bipolar moment with rave synths and dirty pounding dance floor percussion firing off under modulated vocals. Its a wild treat that shows the band still have a knack to pull together all aspects of influences.

If their is anything left to be desired, perhaps the group didn't do anything unexpected. As fantastic as their endlessly youthful and exuberant style is, this unifying sound of all attempted before misses an opertunity to surprise which is something each record has had to it before, a new territory to uncover. Despite that, its familiarity plays like a group of old friends returning to give you new stories you'll cherish. Nothing Is True is loaded with songs to subtly slip alongside the best of their setlists.

Favorite Tracks: The Great Unknown, The Dreamers Hotel, Apocaholics, T.I.N.A, Elegy For Extinction

Rating: 8/10

Milk Teeth "Milk Teeth" (2020)

I was really excited for this record and by no fault of their own Ive found myself sorely disappointed. These English rockers had dazzled me in the past with Sad Sack and Vile Child. An energetic fusion of emotively charged Grunge attitude and punkish spirit graced this era brightly but that sparkle fades swiftly as the group take a renewed purist stride in the Grunge direction. Its a straight move into a slant of the genre that never really worked for me. This self titled album was unable to change that.

Relationship and personality woes dominate these themes with a continuously dreary tone of wallow that has conflict but no resolution in sight. Lightly distorted guitar tones switch between chords and hazy melodies that circle the drain on this unambiguous tone poised between uplift and self indulged misery. The music never shakes this slighted melancholy mood that drifts through its collection of short three minutes songs. Its a drone where little beyond simple song structures presents themselves.

It sounds harsh but Its simply my experience. They have traded in the explosive punch and wild energy I loved for a focused sound in the Proto-Emo vein of Grunge that never appealed to me. The lyrics feel endlessly sad without resolve. Because of this the music just fails to excite me in its unadventurous stance. No hate on the band of course, they are free to pursue whatever they like but this pivot has left me behind, this was really not what I was in the mood for, not the sound I gravitate too.

Rating: 3/10

Ocean Grove "Flip Phone Fantasy" (2020)

My attention has been captivated, the astonishment elevated as once again musics deeply fulfilling emotions strike hard! Unearthing this band around the release of this sophomore record has been a miraculous blessing. Along with the likes of recent discoveries, Puppy, Turnstile and Ho99o9, that exuberant youthful energy has been invigorated again but this time Ocean Grove completely blow the lid of my noggin. I have to control myself, the binging is excessive yet the music keeps delivering.

The Australian group left The Rhapsody Tapes with strong metallic roots. A glow of modern metal, the nostalgic bounce of Nu Metal and a Metalcore aggressiveness are left in the shadows as the band loosen up and evolve with a significant line up change. New vocalist Dale Tanner brings about a similar presence, elevating musical energy but his leanings into the style of classic Rap Metal and summery singing in the spirit Noel Gallagher gives them a diverse new approach to the nostalgia.

The track Sunny being a particular gem, summer of 96 vibes with Oasis on the airwaves and football glory on the mind... A peach of a song with a brilliant Nirvana alike guitar solo to bring about the goosebumps. A lineup change on guitars with Twiggy Hunter now on bass guitar has those bright gleaming distortion guitars really nailing their purpose as every intention feels fulfilled. The interlude tracks too feel a class above previous efforts, Baby Cobra's acoustic guitar and Dream Pop, Ethereal aesthetic being particularly charming and soothing in its dreamy nature.

The band have reinvented their imagination of 90s sounds, particularly Alternative Rock, Metal and Grunge getting a keen nod but once again, this is no nostalgia trip. Fusing modern wall of sound production and lively synths the group pull out a diverse set of songs exploring a range of vibes and temperaments with absolute clarity of vision. Every song on this record is self realized and wonderful. Its drawback may be a couple of less distinct tracks and passable rap verses which get by on spirit more so than the value of lyrics or delivery. Its a weak point that will be easily overlooked.

The best of the record comes through diversity. Experiments with Drum N Bass groves and dirty baseline noise on Guys From The Gord are fiery juxtaposed to its dreamy vocals. Shimmer goes for the uplifting, inspiring sailing into the sun, akin to the likes of Young Guns. Ask For The Anthem takes the biscuit with a fun jiving track full of Funk Metal groove you can't help but move too. Junkie$, the song that caught my ear and introduced me to the band is a true hail to Limp Bizkit with ridiculous raps and those phat and loose bouncy guitar grooves in the Wes Borland spirit.

It should be obvious I am enamored by this record. Rumblings of twenty to thirty year nostalgia cycle commonly observed in many artistic mediums have been brewing with the sounds of my youth and trend would indicate its simply getting better routinely. What will this band do next? Who will they inspire now? Its all to exciting for my musical mind to handle. Another amazing discovery along the journey!

Favorite Tracks: Superstar, Neo, Sunny, Thousand Golden People, Baby Cobra, Ask For The Anthem, Junkie$

Rating: 9/10

Puppy "III" (2019)

With the years best album so far under their belt, The Goat, this surprise EP was quite the treat to feast on, I didn't expect new music so soon! The three piece band Puppy are one of my modern favorites, their fusion of nostalgic 90s Alternative Rock & Metal riffs is just my cup of tea. Its the songwriting however, that sets them apart from waves of bands that come and go, casting that rosy tinted look back into the past. Puppy take in a rich history of music, brandishing it with their own defining stamp.

These nine tracks, a brief nineteen minutes, initially felt as demoed as its presentation would suggest. Its mixing, rough around the edges, with roomy drums and earnest singing gave a casual impression that would flavor my first few listens as a mediocre yet fun set of songs. The songwriting however championed once again as the ear worms grew, driving the hooks and melodies into the subconscious. Its riffs, arrangements and lyrics became forefront. It wasn't long before I was asking myself just how good this record is? Right now it fits perfectly into their catalog.

Without doubt there is a handful of songs here that given the treatment would fit snugly onto a proper album. They all however have a charm that feels exclusive to this rougher garage demo sound and I think the point is to inhabit this moment the band are living in. The raw vocal harmonies and chunky guitar riffs with gristly distortion tones create a youthful air vibe that resonates through the colorful guitar licks that occasional deploy a bit of rhythmic groove. Its everything I like about Puppy, just with a less polished edge which makes it fresh and interesting.

Rating: 7/10

Favorite Tracks: Agatha, Serotonin, Charms

Living Colour "Stain" (1993)

I may just close the book on this particular musical avenue. A staleness is setting in from a band in steady decline. Their sparkling debut Vivid was quite the experience but since then the re-arranging of influences isn't landing anywhere significant. This time around a tonal rawness and Industrial edge are introduced. Its crass production takes a step back again, the guitar tone has a loose, gritty tone, fit for Thrash and Hardcore riffs but lacking glue. Its on a separate plane from the bass guitar and the musical aesthetic has a sparseness Glover barely holds together with his singing.

His presence is warm in tone, smooth in delivery but the lyrics are handled bluntly. Ideals and topics are persuaded through plain language that sounds so of the time and frankly dated. Its socially and political oriented as you'd expect and the themes range from wealth guilt to sexuality and all of them are expressed with little room for reflection. Essentially I am listing points where this record doesn't resonate. Nothing here is truly awful but the record passes without any attention grabbing moments.

Vernon Reid does get to flash off his advantageous guitaring ability with wild, erupting, dazzling solos however they arise from mediocrity which dampens the impact. There is actually a fair arsenal of thrash and groove riffs in the mix but something in albums raw aesthetic dispels any magic. Auslander is a good example of a track set to bang. Its got a driving Industrial backbone and rowdy baseline yet the two don't gel and the song drifts into a monotone, lifeless drone that chops and churns its way by.

Leave It Alone is about the only song that really has something going for. The rest just gets by on a limb, then Wtff arrives with a turn table break beat jam and the record drops of completely for the remaining few songs. Its a strange record because its loaded with good riffs and interesting elements but none of it fuses and the whole thing is left stiff and stale. Its disappointing but not awful, worth a spin but no more.

Favorite Track: Leave It Alone

Rating: 4/10

Alice In Chains "Alice In Chains" (1995)

With a distinct shift in style from the likes of Dirt and Facelift, American Grunge and Metal outfit Alice In Chains throw a lot at the wall but little sticks. This self titled release has a clear artistic intention to not repeat themselves, however most of the differing ideas still feel experimental and without cohesion. Most of the music slips into a sludgier, gritty tone with a slow Doom Metal like tempo and atmosphere dominating the vibe. Its on these tracks like the opening Grind we hear a stylistic template that would stay with them to this day. The other half of songs unfortunately fall folly to this lack of glue in the experimentation as some ideas don't gel well.

Its Staley's last studio album with the band and he is somewhat subdued with a lack of those roaring hooks that would soar and sink into you like an infection. His voice is strong and capable but mostly matches the tone of these droning tracks. There are some clear experiments to reach new avenues with his singing, trying different inflections, Nothin' Song being a clear example of both lyric and execution feeling far from the grain. This also extends to Cantrell's riffing style too, mostly its temperate, slowed and washed out grooves creating slow sludgy grooves but these inflections of Country tang and Blues Rock feel off beat when they cut in suddenly.

There is a lot of good, slow moving and moody music here but the chemistry isn't ripe. If this were by another band I may have enjoyed it more however the bar had been set so high. There is also this linger feeling in the music that the band later nailed these sludgy concepts after finding DuVall. Its context given the year may yield it more significance in terms of originality but as we reach the end of this little revivalist journey I am left a little disappointed. It has its moments but at sixty five minutes you have to wade through lengthy songs winding around the main theme to find them.

Favorite Tracks: Brush Away, Head Creeps, God Am

Rating: 6/10

Alice In Chains "Jar Of Flies" (1994)

It seems that between albums Alice In Chains liked to release acoustic EPs, the former being Sap. I had actually gone into this thinking it was a direction change full length, with a mind for curation. Much like the current trend of short, high curated projects, Jar Of Flies has seven songs, a couple with distortion at just thirty minutes. Its all killer no filler and the emotionally wrenching magic it possess leaves one feeling like this should be seen as no side offering but some of the bands best music.

Once again the band let their Americana and Blues Rock influences flourish, mustering humid flows of steady paced and gorgeous, glistening acoustic toned instrumentals for Staley to take stage. He does as he does, pulling on your heart strings with a lonely despair and sorrow, bleeding his quiet suffering from a camouflaged voice. His delivery roars with a vulnerable power that lures you in with its catchy flow yet all that awaits is pain and darkness. The "My privacy is raped" line on Nutshell is particularly haunting. Its a line stuck in my mind for weeks.

Its the beautiful dichotomy of stunning, serine music and searing raw pain weaving this dazzling darkness again. The musicianship is sublime, tones of lucid arrangements oozing with inspiration as ripe guitar leads flow and complimentary instrumentation like the timely use of strings seem to arrive on time effortlessly in these songs. Its not without weak points however, from one to the other their is diversity in flavor and its last two tracks drop off from the path set beforehand.

Swing On This feels like a leftover idea from Dirt hashed together with some swashbuckling acoustics. Before it the soft and delicate Don't Follow with its Country tang guitars and harmonica doesn't quite resonate in the beginning with Cantrell's voice. The first five however are emphatic, Rotten Apple making a mark as their longest track to date. The whole project feels so deserving of a full length, the group nail this style almost as well as their grooving distortion songs.

Favorite Tracks: Rotten Apple, Nutshell, Whale & Wasp

Rating: 7/10

Alice In Chains "Dirt" (1992)

Dirt is one heck of an iconic record. It kicks of with a frightening scream as an eruption of tempered guitar chugging kicks off their most famous song, Them Bones. It jumps straight into gear, a mastery of atonal riffing as the chilling lyrics about ending up as a big old pile of them bones rock the chorus with a morbid honesty. The grungy dark metallic tone is set and Staley will go on to haunt us with some despairing lyricism and chilling performances on this record. Released later in the same year as Sap, the Seattle grunge giants Alice In Chains return with more Metal inflection and a leaner iteration of their unique identity established on their debut Facelift.

After a lightning start the album rolls into a slick run of songs. Tight guitar grooves stitch together beautiful eruptions of Staley's infectious singing. He soars above with the albums best hooks in its opening numbers. He is illuminating but on inspection a lot of darkness emanates from his harrowing words. Getting past the aggressive riffing of Them Bones and Dam That River we start to slip into moodier atmospheres, culminating with the frankly depressing Down In A Hole. It is a beautifully sad and hopeless song. Sickman offers more wounded lyrical fragility as some choppy metallic riffing shuffles its way in and out of an eclectic song. Its defeatist, the "what's the difference ill die" lyric so disheartening given his demise. Its a theme throughout.

Just when you think it can't get much more interesting the album pivots to anthems as Rooster and Junkhead both play with the mastery of tingling build ups that erupt with iconic choruses. "Here comes the rooster!" and "Whats my drug of choice? Well what have you got?", still gives me goosebumps all these years later. I especially like the guitar solo on the later, a simple complimenting melody to peak the song. Its a classic lead you always find yourself singing along too. With title track Dirt more gut wrenching lyrics and electrifying music is bestowed up the listener. Jerry Cantrell has an absolute arsenal of riffing ideas that keep everything fresh and interesting from start to end as Staley drags us to the depths of his self loathing and despair.

Either side of the Black Sabbath Ironman skit track Ironglad, we have a two tracks you might say are a mediocre records gems. Even as songs you might put at the end of your favorite list they still deploy interesting and unique musical ideas to illuminate them in the presence of so many magnificent tracks. Angry Chair takes a darkened shadowy atmosphere and chops it up, shifting the music between different tones. The album keeps its intensity throughout and end on a soaring high with Would? It again just shows an amazing chemistry within these musicians and Staley once again steals the show with a gift to make is haunted words somehow catchy and infectious. Its monumental, an of the moment album that stands the test of time, bringing together the best of Grunge and Metal and making it their own.

Rating: 10/10

Alice In Chains "Sap" (1991)

Prior to their monumental sophomore record Dirt, Alice In Chains released this five track acoustic EP which I had previously glossed over. Reviving Sap to my playlist, It took me a few spins to get past the change in temperament. Then I found another charm this group possess, a side of them not felt from the acoustic compliment that creeps into their dominantly heavy music. In stripping back the distortion guitars, their Grunge and Groove Metal energy leaves a void filled by a range of influences. Folk, Blues Rock and Country all have leanings on these traditional, acoustic guitar led song styles, blossoming into a different and simply indulgent experience.

Its opening track Brother is almost unrecognizable. I believe it is Staley singing with a soft casual, breathy persona, a polar shift from his normally electric out-poor. Guest vocalist Ann Wilson of Heart harmonizes in a higher octave on the chorus for another unexpected spice. In getting familiar with it, a warm and tender song of sombre acceptance emerges and that emotional reverence flows onward. I believe Ann returns again on Am I Inside. Her small roll adds a keen flavor, much like the bright piano that creeps in under the haunting guitar. Aligned with shimmers of cymbals and brief bongo patters it speaks volumes to their musical ability and inspiration.

The bass guitar lays down some deep, warm rumblings to thicken out these sombre acoustic strokes. It gets a gritty pump of groove going on Got Me Wrong, the only track to deploy distortion guitars. In a strange way you can hear them being pulled back to the more expectant sound but the two styles just pull the slider back and forth, rather than gelling into something bigger. The last track is a joke track of skits, goofs and gaffs with comical musical arrangements. Its quite fun and a peek into a less serious side of the musicians, a nice something to throw in at the end.

Favorite Tracks: Brother, Am I Inside

Rating: 6/10

Alice In Chains "Facelift" (1990)

Recently Ive been on a timely nostalgic, heart aching Alice In Chains kick. It happens every now and then, I simply delve into a riotous binge that gets the adrenaline pumping. This time around I found myself rediscovering their debut record, it felt fresh and in the face, many of the songs seemed almost new and with some thought I realized its probably been over a decade since I last heard it. When discovering the band it was Dirt I was most drawn too and has thus established itself as one of the go to records alongside their post Layne Staley records. Facelift had been left neglected and what a gem its been, sitting here all these years unscathed, awaiting me again.

Its such a powerful debut from a new band helping to spearhead the Grunge movement. From the get go Alice In Chains have the Heavy Metal infusion integrated within their sound. Paired with the harmonization between Staley and guitarist Jerry Cantrell, its a two pronged attack, making a unique breed of rock and roll thunder, fit to move a crowd and also display a genuine emotional side too. The band have a habit of brooding an internal vulnerability and then unleashing it through swooning guitar grooves along with the haunting soar of Staleys notes or even eerie acoustic guitars that build painful tensions and uneasy atmospheres between the soars of energy.

For a debut record, not an inch sounds frail or as if they are finding a footing. The Seattle group fly out the gates with a frightening authenticity. The twelve songs give up a healthy variety and range within the sound. Slams of crunching guitar grooves, scores of erupting, electric solos and all temperaments of established Rock and Metal influence the grunge tone. There is a magnitude in the other direction too as a dynamic mix of darkly acoustics shape up the energetic rock with deeper meanings.

 

Love Hate Love and Confusion explore this shadowy side wonderfully, the loose drumming styles perfectly emphasizing the disjointed and exposed feelings these tracks start off with. Put You Down and I Know Something expose the Southern and Funk Rock styling among many other influences that detail Cantrell's unique riffing. In that aspect its a little rawer on this record but it is still fantastic how despite hearing their roots, one can experience something completely new blossoming from it. Utterly brilliant album, another 90s relic to behold! I love this decade.

Favorite Tracks: We Die Young, Man In The Box, Bleed The Freak, Love Hate Love, Confusion, Real Thing

Rating: 9/10