Howling Giant "Crucible & Ruin" (2025)

Its been a while since I last checked in with Howling Giant. Turning an ear back to The Space Between Worlds, an evolution in song craft and aesthetic balance becomes undeniable. As part of the nostalgia revivalist Metal scene, Crucible & Ruin sees the band downplay imitations and embark on a tale steeped in inspired vision. Best expressed over its two part Beholder songs, all tropes and characteristic of the genre blend serve an expressive purpose that easily lulls one into the albums flow.

 

Capable of toning down its heavy moments without loosing momentum, these songs intertwine melody and groove together for an inviting froth of naturalistic scenery. Expressed through the lens of Rock and Progressive Metal, touches of Sludge, Doom and Psychedelic worm their way into this colorful brew. Subtle melodies weave around the rhythmic section, forging a gentle power. Heavy yet smooth, bright but hazy.

 

Only on Scepter And Scythe do the band overplay their hand. The chorus borrows a familiar cadence from Ghost's Papa Emeritus. Its a stark reminder of the bold vocal influence. The rest of the record navigates its lyrical delivery wonderfully, but once you hear this track it blemishes the spell somewhat. Otherwise, Crucible & Ruin is a fine record, not quite to my personal preferences but one can appreciate how well crafted its mood is, playing strong front to back with every spin.

 

Rating: 6/10

Giöbia "X-ÆON" (2025)

 

Kicking off with Voodoo Experience, X-ÆON conjures a hypnotic, esoteric persona through the lens of its re-imagined instrumental Psychedelic Rock. Atmospheres croon in a hazy wash of colors as delicately incrementing melodies brood whilst entangled by rocking repetitious grooves. A kaleidoscopic swirl of electric energies emerging as lengthy songs venture through gorgeous assembles of dazzling lead guitar and Berlin School era synths. Together, they intermingle with a soothing ease, cruising on the rock steady percussive foundations that root us to reality. This Psychedelic nature has touches of an old spooky horror, a tone from the 60s yet deliciously woven in without cheese or fear. Its subtle organ drones, occasionally warbling, along with these reverb drenched guitars paint a stunning trance. Very fitting of its inspirations but feeling so far ahead of any nostalgia inducing curb.

 Mostly an instrumental rock, the vocals lack a spark. Its the three minute radio friendly The Death Of The Crows confides the progress formula to a brief stint that feels like its crying for more space as its shimmering synth leads sparkle without room to expand, which the formula usually suggests is coming. On the flip side, 1976 is the records best track, a love letter to youthful memories of forgotten music scenes and revolutionary action. Spoken word sections guide us through historical events, with rose-colored impressions of a fond past. Its back and forth exchange between voice and instruments a delight, an endearing number where one can feel the passion.

From this steady start, the record meanders into aimless noodling as its four part La Mort De La Terre descends into jam territory. A curious assembly of sounds, lacking structure and direction. Mildly entertaining but better served in the backdrop as its ebb and flow lacks gratification beyond its immediate aesthetics. Certain themes and moods emerge but mostly this lengthy wanders into obscurity. An impressive album but one stained by its ending which simply fizzles out, exhausting its initial magics.

Rating: 6/10 

Blood Incantation "Luminesecent Bridge" (2023)

  

Written in its name, this two track bridges Timewave Zero and Hidden History Of The Human Race, attempting to conciliate the colossal chasm between sounds. A bold ambition where some common ground gets merged, its two halves simply explore opposing aspects. Obliquity Of The Ecliptic sticks rigidly as the manic splattering of ghoulish Death Metal, transitioning through eerie atmospherics into a Progressive behemoth of sorts, eclipsed by a soaring guitar solo of epic reach. A powerful show of composition, pulling its best moment from the echos of  80s Metallica guitar lead.

The proceeding title track serves to tie its exploration of Dark Ambient with a caustic acoustic guitar phrase. The two meld under the eerie presence of what sounds like estranged bird calls. Building in tension, guitar lead and drums usher in a mystic atmosphere yearning for a grandiosity that never quite arrives. Instead trumpets mark its death as the peak fades into obscurity. It could of erupted into magnificence, yet seemed content on only a glimpse of its mystique. A bridge only partially explored, finding the obvious common connections and executing it with a touch of class.

Rating: 4/10

Feldspar "Feldspar" (2024)

 

Executing a curious exercise in inventing nostalgia, Feldspar enters a fantasy driven time machine to re-imagine the origins of "evil" Metal. Sounding fitting of the early 70s, a Psychedelic Rock motif hardens in form. Stiffening groove and hard edges converge on colored esoteric melody. Prancing guitar leads gallop in simplistic loops, notation conjuring an eerie mystique for its tuneful nature. These three songs and short outro piece are a delight, catchy and impactful, succeeding in its inventive intentions.

Despite instrumental excellence, shortcomings lay in the vocals. Lacking charm or charisma, this attempt to aptly tone down some of the manic stylings first heard on the like of Venom or Bathory, sadly land flat. The echoing splats of throaty howls miss the mark of memorability but can be given a nod for picking a suitable candidate for that "evil" direction. I'm not sure what else could be suggested to fit its overall aesthetic.

Feldspar's production is gorgeous and roomy, a cosy listen yet a touch to crisp and clear to truly slip us into the past. On some moments its melodies conjures familiarity to early Ghost, especially when a soft, subtle organ glow can be heard chiming in on opener Glyph Schematic, a reminder of another band to tread similar waters.

Rating: 5/10

Horsebeach "Things To Keep Alive" (2024)

 

Befitting of its mellow breezy aesthetic, Things To Keep Alive navigates through soothing, strolling tempos keen on a dissecting introspection of ones present situation. Direct and unambiguous, Kennedy's lyrics warms the heart ache and pains to the positive powers of reflection. Its felt instrumentally first, a steady current sails buoyant, soaked in the glow of effortless sunny skies. The tang of surfing guitar licks over simple drum grooves croons in gentle optimism. Whimsical melodies and softly Ethereal reverberations anchoring a little melancholic sour with the sanguine sweet.

Occasional chirpy synths and stiff 808s add an enjoyable quirky disposition to the dominant temperament, which across these ten tracks treads familiar footings. A couple of songs toy with subtle build ups, calmed climaxes and fuzzy distortions but mostly its an easy breezy affair to mercifully manipulate your mood. Pure Shores stood out, immediately giving me a sense of nostalgia. Convinced it was a cover, I was reminded of the All Saints hit I heard plenty times over in my youth. I liked that one but seems dulled in comparison to the life Horsebeach breathed into it.

Rating: 6/10

In The Woods... "Diversum" (2022)

 

Reveling in glum and stormy scenery, drizzly guitars moan and slumberous singing swoons to be routinely assailed by gleams of heathen melody. Diversum is another glorious gallop through the rainy seasons of Scandinavian inspiration. Now three albums deep into Anders Kobro's unlikely resurrection of a historic yet niche Black Metal outfit, five years pass for In The Woods to return with a familiar tone and theme.

Exploring the relationship between shrill guitar distortions and dreary acoustic melodies, burly melodic singing and howling screams, careful grooves and flurries of blast beats, its craft is a familiar one. Ancient story telling and natural scenery, elicited through dynamics as plunges of aggression and abrasion sway in torment of its tuneful appeal, always sullen and bordering on the bleak. It allows for many a gratifying moment as relief from key persuasions that arise from gloomy tensions.

Occasionally they delve into the metallic fray, focusing on a grizzly groove or mean scream. Otherwise its best comes from the melancholic wallow as its uplift feels locked in a wet naturalist hardship. Overall Diversum has the lighter composition, yet an aching moody temperament. Kobro's tamed voice soaring is a beacon shining through fog yet in his stride, a uncanny Mastodon resemblance often emerges.

Despite a welcoming duration and competent execution, this one somehow shies from greatness as the dreariness drowns out the catchy music wedged between its dynamics. It doesn't fire on all cylinders. For all the welcome familiarity for a band I'm fond of, the spins started strong but waned as familiar footing fumbled to dig in deep. An enjoyable experience in bursts, but one that lacked legs to go the full distance.

Rating: 6/10

Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Ghost "Call Me Little Sunshine" (2022)

As one of my most cherished band of recent years, even a two track single garners my attention! After all, Ghost did release a duo of non-album gems with Seven Inches Of Satanic Panic. Sadly, this pair do not live up to the hype and also feature on the upcoming Impera full length. My initial, unchanged, reaction to the title track was a soft disappointment. With Meloria and Prequelle the band took significant strides of excitement as their sound matured. This song feels like it didn't make the cut on the last outing. Reciting the same 80s inspired vibes, its easy tempo and molded melodic temperament delivers its average chorus and verse on stride to a guitar solo, a lull and then return. For them, its an all to common structure lacking a spark.

The following Hunter's Moon feels a more lively in comparison with instrumental shake ups unleashing broody guitar grooves and twisted church chorals. Its still the same overall structure but the chorus hook arrives more vibrant as the lead guitar rolls out a grabbing lick. Don't get me wrong, I adore this band and the niche they occupy but this sounds like a group on autopilot, simplifying their sound into very digestible music that lacks the flash and surprise that has made them unmissable over the last ten years. Its not got my hopes up for Impera. I am hoping these are the weaker cuts.

Rating: 2/10

Howling Giant "Alteration" (2021)

This four track EP has been somewhat of an obsession lately. Alteration is a sprawling instrumental epic of guitar led melodic grooviness! Its twenty minute duration graces us on a journey of progressive creativity, warm and welcoming as its mammoth guitar sound explores the rumbling depths of Sludge, Stoner and Groove Metal. Passing by psychedelic realms with a touch of Post-Rock scale, its elastication propels us from the crawls of swaying low end power up to the heavens of expansive lead guitar that swells with spacey melodies and colorful gleams of light.

Its twenty minutes breezes by with each of the songs working a deceptive linear direction as its recurring sections get re-imagined on revisiting. Its quite the feast as deep meaty bass lines, subtle chiming synths and dexterous drumming work around the guitars focal energy, livening up the stage and fleshing out this organic musical force. Its solo illuminate like a voice as its notations gush forth with a cadence reminiscent of lyrics being sung. Its not always in this vein but with surges it feels so.

Enemy Of My Anemone, to me, sounds like the telling track. Its opening lead riff and clever weaving of tune and rhythm feel strongly influenced by CKY... possibly? I am speculating and this is why I wrote about Foreign Objects two days back, spinning this one kept me thinking of Miler & Ginsburg's guitar styling. A Howling Giant is no imitation though, their identity feels rather distinct with its organic, warm and sun soaked temperament. Its a very welcoming style of Metal.

One odd criticism I've taken away is the lack of vocals. Often I am fine with instrumental music but something about these arrangements felt as if there was room for another, human, voice to chime in on the gorgeous weaving of colorful melody and swaying groove these numbers sail through. Other than that its a fine little record that sounds wonderful! Especially that deep bass rumble that comes to life when the rhythm riffs transcend up the fret board into lead licks. Its aesthetic is just right.

Rating: 6/10

Tame Impala "The Slow Rush" (2020)

With a simmering anticipation brewing, The Slow Rush has been warmly welcomed with open arms, taking its place as a glorious successor to 2015's Currents. This lengthy five year break has filtered out any mediocrity and filtered too us a fine selection of music to revel in. Although it may lack in any clear progression or shift forward in style, these twelve tracks sound like the sweetest fruits plucked from the crop of this particular chapter in Tame Impala's style. It's more of the best.

Given all I wanted was more of the same, I have absolutely adored this record! Its gorgeous, organic, oozy fusion of Psychedelic Rock and Electronic music is a textural lavishing of sound. Its mood particularly sunny and uplifting this time out, a spirit positive and reflective on the river of time. Kevin Parker clearly spends a portion of the record musing over changes in his life, growing up, moving on, embracing it all with a kind warm soul as he matures as a person and musician.

The way the album opens up is grabbing and immediate. A warped vocal manipulation get twisted into a melody and spliced with rhythmic timing, entrancing as the beat steadily fades in. It sets the tone of whats to come. Kevin deploys his uniquely soft and easy voice to effect with an expressive energy that boils every time it realigns with the vocal manipulation. In between 90s Dance pianos jives, a reoccurring instrument and synth solos embrace us for whats to come on the adventure.

 Moving throw its various shades and temperaments, bright punchy instruments stomp out grooves and melodies with a fun sense of freedom cruising alongside Kevin's charming reflections. Tone, texture and taste feel so effortless and freeing. The organic, oozy feel his music has is embellished through these sweet and succulent instruments. While it often feel thick and engulfing, a closer inspection of the layers at work are not all to complex. Its the way they come together that is wonderful.

I've enjoyed The Slow Rush immensely and will continue too but just like Currents I feel there is certainly some slower and calmer songs that may dull a little with time and repetitious listens. That is one strength the upbeat and catchy songs have that doesn't quite translate to its less energized songs. Either way its a stunning record delivering more of this stunning fusion, fueled by real inspiration and expression that is endearing and lasting. This could just be one of the best I'll hear this year!

Favorite Tracks:One More Year, Tommorrow's Dust, Lost In Yesterday, It Might Be Time

Rating: 9/10

Ghost "Seven Inches Of Satanic Panic" (2019)

My ignorance in the absence of information has birthed an amazement of these seven minutes. Ghost are one of my favorite bands and between records they tend to divvy out EPs with cover tracks that give quite the insight into their influences. The title is either a topically suggestive or a co-incidental pun on the format or length. This stemmed from my astonishment of the lyrical crudeness on Kiss The Go-Goat. That song and Mary On A Cross both sounded like the blueprint to this bands sound. You see I had purchased the record in a surge of excitement. Its only now that Ive dug deeper in preparation for this post that I learn these are originals! What a derp, what an assumption, here I was thinking I was about to discover some hidden gems from the 60s singing what would of been utter filth for the time.

The two tracks sound even better now. Ghost have mastered the principles of Rock and Pop music from years gone by, reviving them in service of their playful satanic exterior. The result is a luscious and gorgeous wash of harmony and color that's deeply infectious and swooning. Melody is ripe and Tobias Forge relishes in the moment his hired guns have crafted so stunningly. Its so Ghost and still everything I want to hear. The thing is, if these are B-Sides, what on earth do they have in store for us next? These might be two of the best from their catalog to date! Maybe I am still a little dazzled from the excitement of new songs to internalize. Absolutely fantastic none the less, a stellar seven minutes you can spin over and over.

Rating: 4/10

Horsebeach "The Unforgiving Current" (2019)

Ive been eagerly anticipating this release. Two years back Beauty & Sadness blew me away, one of my favorites that year. I still fondly return to it, hence the anticipation. The Unforgiving Current continues in a similar vein, Post-Punk baselines drive breezy atmospheres echoing Indie & Psychedelic Rock. There is a closeness to Dream Pop in tone, a touch of Brit Pop and 80s vibes influencing chord progressions. Its a beautiful melting pot from which slow and soothing, inviting songs nurture its serene and sunny warmness. There is a vulnerable core, journey on the soft and expressive voices that filter in and out of focus.

Its unimposing presence makes for an easy, relaxed listening experience where one can indulge in its exotic tone. As the album unfolds, elements of R&B, Soul & Funk even present themselves subtly. Shimmering guitars ring out, creating swooning swirls of breezy color over the grooving baselines. The track Trust opens up with a chilling similarity to The Isley Bothers song Voyage To Atlantis, other songs to have echos of that classic era of mainly American music from the 70s and 80s.

The record follows a similar blueprint to its predecessor, the songs flow with similar temperaments and shifts in mood. There are tracks with drum machine and those without, its all very familiar territory. Deploying beautiful melodies and unfolding riffs, occasional burst of experimentation, the music does a lot to warm your soul but it falls short of being remarkable on the production front. In comparison they are both very similar records but the initial reaction to discovering a new sound to adore masked the obviously amatursih production and that became rather obvious this time around.

It starts with the baseline, a noticeable amount of clunk roughens up its presence and the drum strikes land a little cluttered in the presences of other instruments. Every now and then a drab and fuzzy distortion guitar rumbles in, bleeding into the other instruments and soaking up the fidelity. With a lot of reverberations at work the instruments mostly sound like they are recorded with a different sonic blueprint. When mixed together its comes off a bit disjointed. Perhaps I am nit picking, initially the low-fidelity was a charm but this time around its tame. Listening back to their older songs I think a noticeable shift to subtler styles of singing misses that element of a voice rising up above the melody to peak the vibes and hold your attention. Its a very enjoyable record but a noticeable step side ways, with the sound remaining in a familiar spot.

Favorite Tracks: The Unforgiving Current, Yuuki, Trust, Unlucky Strike

Rating: 7/10

Sleepy Sun "Embrace" (2009)

With greatness among my expectations, a step back to the debut record from Californian Psychedelic Rock outfit Sleepy Sun has felt like one too. Lurking in the shadows of Fever, this album was initially underwhelming in its similarities, the same sword swung with a duller blade. Many of the same key shifts, chord arrangements and harmonies occupy a well established aesthetic that runs parallel. Its jam sections, indulgences with noise and unwinding atmospheres pool from the same source yet despite wanting more of that Fever magic, it isn't quite here. I can't put my finger on the distance, is it familiarity? The folly of working in reverse? After a myriad of attempts with this record I make peace with my mediocre enjoyment of it.

The band have a beautiful aesthetic in some compositions, a soothing persuasion, soft and warm vocal phrases, gentle dusty guitars and a measured percussion that adds up to a subtle psychedelic intoxication. They also like to lean brazen on dirty distortion tones in the energetic swells of madness. It is that aspect that didn't pull off so well on this record. Its hypnotic tracks like Golden Artifact gleam in the light but the grit and gristle of mean fuzzy overdriven tones sound loose and unfocused on the other end of the spectrum with a song like Redblack.

The album doesn't get much of a flow going with the disharmony of their abrasive side interrupting the swells of mood and atmosphere some passageways cultivate. White Dove does a great job at defining an equilibrium as its opposites converge on a mighty grooving guitar riff but its lengthy nine minutes journey looses structure delving into a tangent that doesn't lead anywhere. Ive tried my best with this one and despite much similarity it feels like the musics core is missing something the next record will gain in abundance! For now I will move forward to their third.

Favorite Tracks: Lord, Golden Artifact

Rating: 6/10

Janis Joplin "I Got Dem Ol' Kozmic Blues Again Mama!" (1969)

Kozmic Blues is a long overdue listen, Pearl was such a fantastic treasure of the Woodstock generation and a wonderful introduction to the raw charisma of Janis's voice. I had to hear more and turning to this, her debut as a solo artist, one can hear a timely shift in tone and slightly different musical energy at work with slimmer influences of Blues, Psychedelia and a touch of Jazz Rock in its breathy instruments. It could be a comment on the posthumous nature of Pearl but being new to her music they both stand tall as great records. This one however has peaks that go unmatched in its other songs. What captivates me about it are the jam sections. Lively instrumentals of busying instruments bustling away find a couple of extended interludes to come forth in continuously memorizing walls of sound fronted by big trumpets and the like.

And then Janis arrives, her voice impactful returning from absence, seemingly catching one of guard. The eight tracks come in different intensities and measures of style and so does Janis's singing, yet even in her softest breath does she ever seem to be one word away from unleashing her compassion as her voice strains and strays into what may of probably been seen as yelling or screaming back then. With one of its calmer instrumentals boasting big and bold trumpets in its key melody in the build up to her arrival, Janis soars over soft, moody organs with an unforgettable performance to give you goosebumps. Her voice cruises high and low through her range, led by pure feeling on my favorite track Maybe. Its a timeless song.

Its easy to focus on her voice. Behind her the music resonates wonderfully. As mentioned before they often come forth in her absence as their is such great cohesion between the performers. The lead guitar comes to fruition on One Good Man with a tropical, psychedelic solo that's blisteringly electric. The best of this does find itself in the first half as the album broods with dialed down tracks that make her voice more intimate as a result. Work Me Lord creeps up on you from its smokey beginnings with a big theme that gets a little stiff in finding a conclusion and lets Janis lead out the record alone. Overall its a wonderful album but perhaps my familiarity to her curbed the surprise of the stunning singing in store, and there is a lot of it!

Favorite Tracks: Maybe, One Good Man, Work Me Lord

Rating: 8/10

Warpaint "Warpaint" (2014)

It took not but a few songs to be overcome with the feeling of adoration. I knew that this record would be enjoyed immensely and serve as a "go too" for a mood alteration, much like a Fever Ray or Feel It Break. Now that I make those comparisons I realize how much Dream and Art Pop vibes are on display. Initially I felt Post-Punk moods from the warm pulsing baselines that patrol and measured drum patterns. Those moments arise in due time but a lot of the record goes into a luscious Ethereal tangent. Either way its stirring up my favorite ingredients in the musical pot.

Warpaint are a four piece outfit from Los Angeles who I had not encountered before a recommendation for this self titled record, which is their second. Its a scenic collection of tracks with calm, soothing indulgences of the dreamy and slightly psychedelic variety that shuffle into bursts of hurried and pushed temperaments that create a slight tension and unease, mainly enforced by pulsing, filling baselines and drums with a sharp edge to cut through. The contrast does much for the records flow as it mostly musters its way through different measures of a similar medium.

With everyone pitching in vocals, the music is constantly graced by soft effeminate singing, layered and harmonious. Both are complimentary and crucial too the dreamy persuasions the music sways through. Its key melodies are often bare but illusive, drifting into the wash of sounds and occasionaly jumping up front to great effect like at the beginning of Biggy. With attentive ears one can dress down the foggy, reverberated sounds and hear quite a keen and straight forward arrangements of looping melodies that may have not been as charming without this merging setting.

Although I have really enjoyed the record, it is mostly its tone, mood and setting that I adore, a sign of becoming more at home with these Dream Pop and Ethereal styles. Its charm is more so with my want for this sound. It is undoubtedly a strong, consistent record but all its songs are suspended between good and great, never quite leaping off the page so to speak. It has many fond, engrossing passageways but none that quite peak the senses. Either way I have enjoyed it and will seek out more!

Favorite Tracks: Love Is To Die, Biggy, Disco

Rating: 7/10

In The Woods... "Cease The Day" (2018)

It was a huge surprise to learn of an In The Woods... reunion two years back. After sixteen years on ice, three of the original band mates reunited to create Pure, a close contender for My Top Albums Of 2016. I was pleased to see them write a follow up so quickly but disappointed to learn the Botteri brothers both quit the band, leaving just the drummer left. How much influence Anders Kobro has over the music may be irrelevant. This in no departure of style and a record I have enjoyed my time with. Cease The Day scales up its progressive scope, builds scenic pagan atmospheres and makes hints to its themes with an Elk stranded among the city lights.

Once again Fogarty's voice serves as the human spirit to soar above with a heathen heritage calling. Its an authentic performance, honest and striving, retaining his imperfections and charming with his strengths. He is central to the musics direction, chiming in with many of its peaks and the general flow. Its more occasional that other instruments become the central focus. Cloud Seeder lays down some narrow groove guitar licks before unleashing a ear worm melody with effects soaked lead guitar that wails in different keys. The songs chord progressions remind me fondly of Baroness.

The eight tracks are mostly lengthy epics that don't outstay their welcome and unfold with steady captivation. I'm astonished as to how often subtle tone shifts are within their expansive pallet, even some that call upon their past. Somehow between Psychedelic overtones and brooding atmospheres can they splice in Black Metal guitar riffs with a chirpy, jolting distortion aesthetic that hails back to their debut record. The same can be said of the synths using similar choral and choir chords which arise in an instant to enrich the scene at hand.

On casual listening one will be sucked in to these vivid soundscapes and journeys. Yet on closer exception you may notice the organic experience is comprised of rather jarring and bold shifts in both tone and style as the eclectic links at work here jostle in variation along with its instruments. Strike Up With Dawn opens on a rotation of power chord rock guitar before flicking a switch and hurtling into a shrill tremolo shredding of darkness as gloomy synths arise. In another flick they drop and we move into an estranged, lone groove guitar lick reinforced by horned instruments.

This is just one example of what occurs frequently throughout, many yearnings of influence and musical approaches mashed into one form that feels very natural and pleasing. For all my enjoyment I never felt any big peaks, crescendos or exceptional moments. Perhaps Transcending Yesterday comes close with its monstrous opening riffs and howling screams but my attention is often diverted to the mix of a live audiences cheers into the song, ending with a chant of the bands name. I'm just not sure what exactly I'm supposed to make of it. Really solid album, hard to pick favorites, its great as one long big song.

 

Rating: 7/10

Sleepy Sun "Fever" (2010)

Californian Rock band Sleepy Sun's sophomore record is a musical experience I hold in high regards. Its peaks echo shivers of the greats, Pink Floyd, Led Zeppelin and King Crimson vibes produce goosebumps however this is no nostalgia act. Fusing elements of Rock music's broader spectrum, Stoner and Psychedelic Rock vibes dominate the focus with touches of Progressive and Post-Rock coloring an ever organic unraveling of vision through inspiration. Composed of nine tracks its one of those records that commands to be lived in full. Traversing its peaks and valleys, electrified eruptions of ecstatic guitar leads engulf acute atmospheres that then descend and dissipate into sombre strolls of folksy acoustic yearnings and surfing psychedelic ambience. Suspense yearns in the shadows it casts.

 Opening with sun soaked melodies to relax the soul, rousing flares of fiery guitar noise break up the harmonica jams and earnest singing, to lead us into tribal jungle jams and choral chants. Its a naturalistic flow that Rigamarro holds over with a soft and dusky bongo led acoustic piece for the eruptions to begin again on Wild Machines. Led on by whistling tunes, unleashed swells of overdrive tonal guitars sludge out a short lived groove that eventually blossoms into a unrestrained force of inspiration as it scales up to a climax. The dynamic is riveting and Ooh Boy and Acid Love tie us down through a shift in tone as we absorb in the anticipation.

With Desert God the record tugs on the heart strings, its careful build through distant rumblings under its timeless melody at front and center let vocalist Rachel Fannan allures us with a soft, serine singing that will soon soar into a roaring of soulful voicing to rumble your belly. Its wholly captivating but far from over. With a flickering percussive rhythm of stick slapping and exotic psychedelic chord reverberations, Open Eyes sways between its entrancing grooves and falling to the soft and comforting breaks, teasing what to come. Eventually it swells up into a dramatic rise, taking both components, elevating and uniting them towards an epic hieght.

Freedom Line brings about some attitude, a sassy baseline purrs with its punchy, binary presence. The withdrawal of guitars gives drummer Brian Tice focus to vibrate a rigid groove that builds its complexity in fractions. We then come to the monumental Sandstorm Woman, a ten minute saga to see the record out with an indulgent high as we descend deep into kaleidoscopic psychedelia. Its colorful construct feels full circle as the return of the harmonica sounds. Its mid tempo pace is challenged by a roaring guitar lead that wails itself into existence. As quick as it came it disappears back into the wash of luminous radiance that is a band in unison.

The song goes on to scale further heights, a remarkable flow of inspired brilliance. This album is gorgeous, its aesthetic has texture, tone and flavor. It captures the spirit of old recordings and feels electric, as if the band were in the room with you. The drum kit sounds especially lived in, the use of effects and reverberations allows the record to ebb and surge. Their performance has a self aware, electric dynamism that the musicians seem to relish within. I can't think of anything bad to say about it other than some tracks are more preferable to others but everything fires on all cylinders and there is much packed in these forty two minuets that you won't be able to forget.

Favorite Tracks: Marina, Desert God, Open Eyes, Sandstorm Woman

Rating: 9/10

Cardiacs "Sing To God" (1996)

These English rockers second to last record, Sing To God, is a wild ride of a double album! The mistress of its own madness, this eclectically eccentric display of intensified ideals pummels the listener with its dense wall of sound. An unending sprawl of musical mania unfolds as the four piece sound arm themselves to the teeth with attitude and energy to sound like a orchestra on an adrenaline rush. Every note, melody and sung lyric is reinforced by this cacophony of instruments turned to eleven and itching to blast their sound in unison.

These compositions will have one lost in a madhouse as songs leap, lunge and erupt with every shift in structure. Opportunities to jump ship on tempo, pace, time signature and mood are taken, throwing one of the scent frequently. Through this apparent absurdity some very English and Classic Rock musicianship can be heard, echos of Progressive Rock and especially Queen disguise themselves as all the instruments line up like a band of red faced lunatics trying to out play each other, blowing themselves out in the processs.

Its a wonderful experience for those who seek it. A wall of sound that undoubtedly had an influence on Devin Townsend. It was one of the first things I picked up on and subsequent research revealed this is one of his favorite records! The production lends itself kindly to instruments who's aesthetics are charged, frothing and ready to synchronize with anything that steps near. Its a continual treat, whenever a melody is played or sung, before it can finish making itself known an arsenal of competing sounds rush in to make that dizzying wall of sound come to life with a touch of hysteria.

At ninety minutes it tests its listeners endurance, the psychedelic lunacy ceases to let up for a rest and its length may be unnecessary in getting a point across. At times its nutty tone slips into aesthetics where simpler themes emerge but that is just a response to the expectant complexity displayed, its only disappointment is a reliance on fade outs which usual land on a new section of music that's cursed to shadows. Many of my favorite moments are on the first half, by the time the second comes around its worn me down, which I love. Its filled to the brim with creativity and a nutty sense of radical fun that's a race to the finish line only the band will ever win. A very notable record worthy of any acclaim.

Rating: 8/10

Ghost "Prequelle" (2018)

With Papa Emeritus III ejected from the throne, the younger Cardinal Copia steps into the limelight as Swedish band Ghost's new front man to guide one of modern Metals brightest bands into a new era. The albums fist pumping lead single Rats raised my expectations from a band already held in the highest regard, their sound firmly intact yet showing exciting new influences and a will to move forward. With the Cardinal showing off his flamboyant dance moves in the music video and driving home an infectious chorus, Rats was set to solidify its place among their finest tunes to date. Its been almost three years in the works since the sublime Meliora and somehow Prequelle has managed to soar to those heights again.

Ghost's aesthetic and approach to songwriting has been revered for its revivalism and re-imagining of principles mostly found in the seventies from the likes of Black Sabbath and many of the groups they have covered with b-sides. With Prequelle their stylistic pallet expands again, prominent echoes from the eighties decade in all Metal, Rock and Pop with tangents of Progressive Rock thrown in the mix too. It all has a notable influence on the song writing which has grown stronger again, brighter hooks and more exciting structures that let the music glow in its moment. With this charming step forward, Ghost continue to do what they had shown promise of since their debut, the ability to look beyond the scope of Metal itself and escape the restraints of a genre plagued by the recycling and rearranging of the same ideas

Unfortunately as an album it does have its blemishes, almost exclusively with its pacing and placement of two instrumental songs. After a fiery, explosive start, See The Light gives us a moment to catch breath, but then lulls us into an instrumental. Now don't get me wrong, both instrumentals are utterly fantastic, some of their finest compositions with the restraints of verse chorus structures lifted. The problem is they are directly competing with the Cardinal, who has set an ungodly apatite for his sublime singing and infectious hooks. "I am all eyes, I am all ears, I am the wall and I'm watching you fall", you can't help but sing along.

Aside from Dance Macabre the album shifts gears from its Pop numbers and catchy openers with a string of songs that have utterly brilliant and expansive themes that really stretch the sound far from its metallic roots. Its a real treat of brilliant compositions that gleam and soar in a wake of beautiful sound emerging from the facade of evil and darkness. From different musicians these songs could be about more serious topics but its trivial and playful dance with satanism makes the real themes find their way through the lyrics with your own relation to them. Its brilliant, and so we have probably the years best record and a modern classic that's perhaps guilty of pulling in so many directions its path is a little wonky as the opening mania transcends into a different tempo yet blissful state.

Favorite Songs: Rats, Faith, Miasma, Witch Image, Helvetesfonster, Life Eternal

Rating: 9/10

Childish Gambino "Awaken, My Love!" (2016)

Upon its release I was immediately drawn to the memorizing, neon yet tribal album cover, It sucked me in, I wanted know more. After hearing just a single track on Youtube I was buzzing with excitement and then some how... its two years later. Only now have I finally gotten around to this record and I have clearly missed out on music that will keep giving for years to come. The multi talented Donald Glover aka Childish Gambino, who got the persona name from an online Wu-Tang name generator, ditches his rapping and follows his gut for a truly inspired wild ride.

"Awaken, My Love!" Is a bold and vivid, psychedelic journey through shades of 70s sounds re-imagined with a bright, colorful intensity that's lively and engrossing. Its a luscious tapestry of sounds, never static, always animated, going through the motions as a wide pallet of instruments get involved between songs. The infectious grooves of Funk, sensibilities of Jazz, soothing vibrations of Soul, the jive of Disco and singing voices of R&B all echo through a trippy, humanistic soundscape. The union of electronic and natural instruments is effortless and a keen ear can hear such a wonderful array of sounds working in tandem, it all sounds gorgeous.

As a record its a fun experience but its not without its flaws. Despite every song having its own flair, a lot of the tracks slip into feeling more like jams than songs built on direction. As a result much of the record feels interchangeable, sometimes grounded and other times loosely themed. Where Donald moves from rapping to singing his presence isn't that powerful and his full singing voice is not far off the mark but it feels like he compensates with artistic inflections and stylized, softer vocals on most tracks. As a result he is rarely the focal point of the music and all to often his backup singers outshine him. When he comes to the front, his quieter approach lulls as the music often outpaces him.

This is a small picking in a big package, this album is loaded with goodness but sometimes these details let you understand whats holding it back from becoming greater. There's a lack of hooks or punchy moments and little of the singing gets stuck in the mind. The music plays like an ooze of flowing awsum that's just to fall where it may. Its needed a bigger helping of direction and focus but despite that its still really wonderful. Shame its the last from Childish Gambino who has retired the project.

Favorite Tracks: Me And Your Mama, Riot, Redbone, Terrified, Baby Boy

Rating: 8/10