Saor "Aura" (2014)

Saor is a one-man-band project inspired by the landscapes and cultural heritage of the Scottish highlands. This record immediately revealed itself upon my first listen, the rich atmosphere sets an immersible tone for the Celtic folk influences to shine through. Its not to often an album can be instantly appealing, but its always a pleasant surprise. Since my first listen everything that became apparent about this sound has been true of the record and i have thoroughly enjoyed "Aura" the bands second full length. 

The five songs that make up "Aura" are lengthy, passionate epics that don't progress as much as they immerse in theme and inspiration, often keeping your attention locked in. There is variety in pace, instrumentation and composition that keeps a steady mood with great maturity. The reoccurring flute leads are delightful and the instrumental writing is detailed, lots of care has been put into the drums which were a highlight for me, they are never boring, always finding fills and cymbals to color the demanding blast beat nature of Black Metal songs. Alongside the usual arsenal are strings, flutes, bagpipes & violins bringing home the Celtic heart of these songs, there presence in these songs is a work of art and beauty.

The production feels flawless, the mix finds the balance for each instrument to shine without anything feeling overpowered. The strings are both subtle and powerful, chiming in just under the guitars they have a powerful effect on these songs and sit in a place where they can be in or out of focus depending on what your listening to. They help guide the emotional narrative of these songs, where the guitars and drums build the atmosphere alongside them. The unity of all the instruments on this record is stunning, guttural growls and screams add the human element and on "The Awakening" distant cultural chants climax the song in awe. Altogether we have a very complete and defined record that creates a beautiful listening experience every time.

Favorite Songs: Aura, Farewell

Rating: 7/10

Marilyn Manson "Antichrist Superstar" (1996)

In my youth Manson was a popular and controversial figure who's music I never really gave a go. I'm unsure as to why his genius never appealed to me then, but having recently watched some documentaries about his music I've learned hes a very intelligent and articulate person. Understanding a little more about the person behind the peculiar self imagery has really opened the door for me and i decided to start with the album that transformed him into a sensation. This being the bands second full length rocketed into the charts upon its release and has remained as their best selling album by far.

The album as a whole has is an artistic and creative expression packaged into a metalic, rockable sound layered with an Industrial aesthetic that give this one a unique and instantly identifiable sound. Manson's presences in these songs is poetic, through his somewhat unexceptional voice hes engages my attention with many thought provoking lines delivered with emotion and intent. Manson is almost self prophetic, with many lyrics retaining to being a controversial figure of hate that he became on the albums release. These lyrical statements often reflect whats wrong with societal values and they are delivered with a cunning artistic expression. One of the more comical lines has stuck in my mind "I wasn't born with enough middle fingers", we have all had days like that. Theres a lot to relate to on this record if you have an alternative perspective of humanity and society.

Manson's poetic presence maybe stealing the show but the instrumentals are worthy of merit too, across the record theres a lot of variety in instrumentation and flavor as the songs drift from rock head bangers to moody movers. The instrumentals keep a strong feeling together despite offering some decent variety with electronic leads shifting focus with the crunchy guitar tones. Theres lots of detailed sounds and noises adding depth to all these tracks and the rhythm section is refreshing, offering some more inventive and unexpected patterns utilizing a large pallet of sounds from an industrial themed drum machine. It all comes together so well, this album is devoid of filler with most the tracks bringing memorable beats, riffs, melodies and lyrics. I now see what the fuss is about and I'm excited to listen to more!

Favorite Songs: Torniquiet, Little Horn, Deformography, Angel With The Scabbed Wings, The Reflecting God

Rating: 8/10

Killing Joke "Extremities, Dirt And Various Repressed Emotions" (1990)

I have been enjoying my recent foray into Industrial music, and Killing Joke was a group not so appealing at first, but i am glad i stuck with it as this album has grown on me tremendously. Killing Joke are a Post-Punk group from Noting Hill who through the 80's released many albums that incorporated some Gothic and New Wave elements to their sound. Extremities is the groups ninth album and one i chose to listen to for the cited Industrial influences the band had brought to their sound. With little experience of there previous works i got to listen to this record from a neutral perspective.

Extremities is drenched in nostalgia through guitars that bring forth a big sound, distortion characterized by flanged overtones mold a big presence in these tracks. The riffs, either simple or complex are given a big boost by this sound which remains a strong point for this record from start to end. Killing Joke utilize a variety of riffs across this one, often lending to progression and atmosphere but at times breaking out some rock sensibility and memorable riffage that stands out from the hazy flanged noise the guitars ooze. There presence feels paramount but there is more on offer.

The drumming is solid, nothing that stands out but it doesn't do any harm, its always in tune with the music. The bass is solid, its presence is strong on most tracks but occasionally gets a little lost under the big guitars, on occasions bringing a lovely overdriven tone I wish would have featured more often. The vocals being very British were a little stark on first listen and felt slightly contrasting, however with familiarity comes acceptance. Alongside these elements there is definitely some electronic presences with the occasion tracks brining in some subtle scratching sounds at extra details if you listen carefully. And some synth leads are there t0o, mixed to bleed with the guitars. Overall a great listen. Lots of good songs but I especially liked the mix, it has a lot of character and lets the instruments work together to build some noisy atmospheres.

Favorite Tracks: Money Is Not Our God, The Beautiful Dead, Solitude, North Of The Border

Rating: 5/10

Slipknot - ".5: The Gray Chapter" (2014)

Legendary 9-piece group Slipknot from Iowa broke into the mainstream in the early 00s in unorthodox fashion, wearing abominable masks and playing loud rampant, aggressive music they quickly built a large cult following of die hard fans as well as causing a lot of controversy, which of course only helped promote them. Over the years Slipknot have slowed down there creative output and gone through some understandable changes. They no longer write the wild anger-driven chaotic breed of metal from their first two major releases. They have retained their identity but the Slipknot sound has undergone much change.

On this album more so than ever Slipknot sound more like a typical metal outfit, there once unpredictable guitar style is almost non existent, with most of the riffs lacking that spontaneous emotion driven aggression they used to have. The drumming is vastly different from Joey Jordison's style and his absence was instantly noticeable, the drums felt predictable and not quite up to scratch with Joeys style. Despite this negativity, Slipknot do still hold their unique and indisputable sound and put together an enjoyable collection of songs. On "All Hope Is Good" Sid's input felt almost non existent and nice change on this record is his inclusion of scratching and unusual samples in many of the songs.

An issue for me listening to this record is the constant thoughts comparing it to their early works, but after a few listens through the songs started to show their charm. There's some great energy in these tracks, especially in those moments where the percussion pounds in primal repetition along with the money riffs. As for variety this album has plenty, the moods, tempos and themes explored have a balance as the songs bring some melodic overtones and atmosphere to the table, alongside the more aggressive moments. The production is pitch perfect, crystal clear and honestly a bore. Some bands benefit from muddier, lower fidelity, charactered recordings and Slipknot is one of them. They can't be frozen on ice, and there progression as a group is a positive one, but after everyone listen all i want to do is play Surfacing at full volume... you probably know what i mean.

Favorite Songs: The Devil In I, Skeptic, The Negative One

Rating: 5/10

Jotun "Jotun" (2012)

Having previously written about Crow's Lord Lovidicus album "Kyndill Og Steinn" it felt fitting to talk about another project of his, Jotun. I've had a unique experience of having another artists work attached my videos, "Sailing Clouds Of Night" being the intro to my Hermitcraft series it is a testament to Crow's musical genius when viewers cry out for the intro music when i have forgotten to include it. It has also been the soundtrack to many time lapses. Its fantastic music that fits well into the Minecraft universe, but it holds it own, this music is a pleasure to enjoy whatever the environment is.

From its inception Jotun has been complete package, a music concept that fully understands itself. It blurs the lines of definition, but a fair comparison would be to 8-bit FM synthesis from old consoles like the NES with chirpy synth sounds and a focus on the melodic content. With a modernized, crisp and tuneful sound set, Crow brings his musical ideas to life through a pallet of electronic oscillators, pianos and other simulated sounds layered together with substance to make lasting and meaningful songs. Through the nine tracks many musical ideas and themes are explored, on later albums Crow continues the exploration of themes, but from this first record the concept is perfect.

From start to end this record delivers fluent compositions with each song having several melodic leads that pull in and out of focus and on many songs layering on top of one another. This is one of Joton's biggest strengths, to build several memorable tunes and find the cohesion to bring them together in the same instance. The notation is varied and progressive and not shy of turning up the pace with some charging solo leads that grab your attention and leave you in we. Underneath the leads that steal the show there is a matured rhythmic presence with a lite pallet of drums adding a subtle element of groove to tracks. The bass and lower end synths are structured and hold the songs together well behind the leading presence in these songs. Everything this record offers is on point and fantastic. Theres not a dull moment, the only downside is maybe the album length, at just under 30 minutes it always leaves me wanting more, but that in itself maybe the charm.

Favorite Songs: A Quest, Sailing Clouds Of Night

Rating 8/10

Lord Lovidicus "Kyndill Og Steinn" (2013)

Lord Lovidicus is a project of Crow, one-man-band and multi instrumentalist, who i have had the pleasure of communicating with as I've followed him progressing as an artist. LL once represented the essence of Dungeon Synth, Crows vision beyond the genres restraints has allowed him to evolve the once low-fi, minimalist sound into a rich, textural construct with clean, approachable instruments, yet completely retaining the themes and style of Dungeon Synth. Across his discography you can follow the evolution, with never a  dull moment I have always been engrossed in LL, and this, his 12th release under the Lord Lovidicus moniker, i have chosen to write about as possibly the most accessible album for those of you reading.

The album opens with "The Madauding Passage" and quickly we are plunged into an ancient, feudal, sometimes mystic environment, with gradual pounding drums, crashing symbols and subtle buzz saw synth. As the lead introduces itself, its quickly overpowered by a roaring horn like sound thats again accompanied by more instrumentation. In this short moment the tone is set and we are immersed in a rich, expansive and layered sound. Across the course of the song the drums and crashing symbols pound as many instruments and sounds feature. This is a theme followed across the album and Crow utilizes an assortment of sounds that build the themes and topics as he explores the melodies of his inspiration.

One of Crows biggest strengths is his avoidance of hooks. There is rarely a moment that the instrumentation is simplified or given a "catchy" vibe. At all times the music is focused, the notation is rich and exploitative. This quality has a strange effect on me personally. I find myself unable to remember a lot of the melodies, however when listening they are thoroughly enjoyable, i have a similar experience with Classical, and it makes a lot of sense when you consider how layered these songs can be, and how they are great through the unison of the instruments, rather then a focus on just one. The only criticism I have is with the production, the instruments are loud and sometimes a bit shrill, they can often collide with one another and peak some frequencies. With this said i do wonder if this works in the records favor, it adds a touch of rough around the edges which sits well with the themes this album explores. As always a fine effort from Crow.

Favorite Songs: Crystalline Fountains Of Vitality, Ghost Wind Within The Mist

Rating 5/10

Ministry "The Land Of Rape And Honey" (1988)

Ministry are a big and influential Industrial Metal group who formed originally as a New Wave duo in the mid 80s, but found themselves quickly gearing towards the EBM & Industrial sound. This could be their most important album as it introduced the metallic rhythm guitar to their sound, a move that has had a resounding effect in Industrial Metal. I've been exploring their music after purchasing there first 5 industrial albums in a cheap package that proved to be an absolute bargain! I chose to write about this album for its significance and my personal gravitation towards it.

"The Land Of Rape And Honey" is a noisy, grisly beast of a record, creating dark, cold, devastating industrial soundscapes that take many shapes and forms across the 10 tracks. Songs like "Stigmata" & "Deity" have great rock sensibility with big riffs, catchy hooks and iconic lyrics "My favorite weapon, is the look in your eyes". Others like "Destruction" & "Flashback" forge unforgiving, industrious sound scapes that build tension and dread. A couple of tracks focus more on the EBM aspect of their sound, for example the title track and "Abortive". The variety and ability for the band to shift between the different elements that build their sound gives this album depth and plenty of replay value.

For the dark and Industrual sound Ministry forge, they also have an unsettling, eerie sound about them too. The synthesizers sound disenchanted, gritty and erroneous in texture and form, along with some processed vocals on particular tracks Ministry create a unique eeriness that i could only refer to Japanese cyber-punk movie "Tetsuo" as a similar vibe. Along with these unusual sounds, the mechanical groove of the drum machine and pulsating base lines give the oddities much needed structure and form that makes the album approachable. The guitars appearance on this album, despite its importance, is not missed on the tracks its not featured on. The ones it does are certainly classic but its a testament to their song writing abilities that all the tracks on this album offer something, regardless of what kits, sounds and guitars are used. Thoroughly enjoyable album, must of been something real special in 88, still sounds fantastic today.

Favorite Songs: Golden Dawn, Destruction, The Land Of Rape And Honey, You Know What You Are, I Pefer

Rating: 8/10

Kendrick Lamar "Good Kid, M.A.A.D City" (2012)

Compton rapper Kendrick Lamar didn't have to do anything to put Compton on the map, but he has certainly got his name on the map, and having finally got around to giving him a listen, i understand what the fuss is all about. This is album is an instant classic, a strong and diverse record bringing the best of old and new to the table. We hear a lot of talk about the state of Hip Hop, but with records like this there's nothing to worry about, we are in good hands.

Lets start with the instrumentals, theres a diverse range of style and creativity across these 12 tracks, with moodier introspective tracks, obnoxious party bangers and Hip Hop anthems. I find myself engrossed from start to end with the shifts in mood coming effortlessly. Theres great detail in the beats which offer more than a grooving loop, often bringing in extra hits and percussion that help direct and flow these tracks along there course. The sampling is choice, theres depth in quantity with many tracks bringing subtle layers of sounds and sample that add to the main focus. In general, theres just a lot of craft and care put into these instrumentals that you can really enjoy deconstructing them with your ears. 

Lamar's flow is gripping and slick, he doesn't drop the most memorable of lines, but keeps you engaged with colorful story telling. His choruses stand out as a strength with a craft for striking a balance between substance and thrills. With a lot of guest vocalists across the songs the variety and diversity keeps things fresh and exciting which is a nice change in a formula that can sometimes suffer from a lack of such. Theres some great double tracked vocals in a few tracks too and Dre's appearance on "Compton" is sublime, the man still has it, bursting onto the track like he's kicking down the door of rap. Overall this album offers substance and quality in quantity, with a large collection of memorable songs this is a classic Hip Hop album.

Favorite Tracks: Backstreet Freestyle, Poetic Justice, Good Kid, Swimming Pools, Sing About Me, Compton

Rating: 8/10

Darkspace "III I" (2014)

Three piece group Darkspace from Switzerland have produced a sound so terrifyingly dark and claustrophobic they would be an earful for many a Black Metal fan. Having found them through 2008's "III" i have been fascinated by their conceptual sound and output. Each album is titled in roman numerals and each song is simply "Dark x.y" x being album, y being song number. This unusual and minimalist approach ties well to there cosmic vibe, giving the songs little identity to attach to the bleak soundscapes. I initially thought this was an EP, having 3 tracks, being "III I" instead of "IV", but these tracks are long and this is a full length. One i have certainly been enjoying.

Six years since the last release the band have been frozen on ice, there is not much change to their cold, void-like, nihilistic sound. The mix is relatively similar to "III" where Darkspace found the sound that worked best for their atmospheric music. Condensing all instruments into a dense wall of colorless sound, it can be a little hard to get your ears around at first, but there is a genius where as your ears adjust you are surrounded and immersed in a rich sound that sucks you in. For a 27 minute song, and two 18s, these songs hold up well in a challenge to keep the listener engaged. The progression is key as these songs drift through long passages that build and build as the themes and depths explored intensify. 

The bands approach to song writing understands and appreciates their own immersible qualities, with many riffs and lead sections being drawn out across many minutes, sucking the listener in. There's a great range of cosmic synths, electro melodies and mystic, awe-inspiring sounds that provide these songs with much depth. The heavy rhythm guitar that bursts through the track returns on this record, and the drumming is precise and mechanical as ever, always providing fast paced blasting that sits subtly in the background. Everything is good with this record, but I would of hoped for more evolution with their sound, however the "III" formula is impeccable and perhaps why this one was named "III I".

Favorite Song: 4.19

Rating 7/10

Godflesh "A World Lit Only By Fire" (2014)

Godflesh are a two piece band from England who formed in 1988. Their first release "Streetcleaner" was a landmark in the emerging Industrial Metal scene. It brought the sound to its dark and heaviest peak with Broadrick's unique, unsettling guitar sound building atmospheres intensified by the gritty drum machine and crushing noise driven bass of Green. In later years they experimented with there sound bringing in an interesting Hip Hop aspect through the drum machine before disbanding in 2003. They have been cited as a huge influence on other Metal acts, often referred to as a "band's band". 13 years since their last album its was a surprise to hear the EP they dropped earlier this year, and not so much that it was followed up with this full length.

Initially i was excited, on this record Godflesh have reinvented their sound as well as maintaining what makes them stand out from other bands. Greens bass has the glorious clunky, crunching distortion were used to, its captured here well in a now modern era of recording. Broadrick's guitars are notoriously low and slightly Djenty, most definitely 7 or 8 string guitars at work here. The musical approach is more riff oriented, with Broadrick's discordant, eerie sounds not often the focus as much as the bouncy, thrashy riffs. His voice still has the power it once did and on the track "Towers Of Emptiness" there is an altered double track that has a real demonic sound to it.

The formula works, the sound is dark, hard hitting and vigorous, the riffage is tight and rhythmic, but across several listens i found myself a little tired and distant from the songs. Whats on offer is great, but there is not enough variety and progression to keep me engaged. You could argue this repetition was a key part of their sound in the past, but on this album it doesn't work for me. Its a great album, they certainly has a reason to get back together and make new material, but I can't find myself as immersed as with there previous works.

Favorite Songs: Shut Me Down, Life Giver Life Taker, Towers Of Emptiness

Rating: 5/10

Aeons Confer "Symphonies Of Saturnus" (2013)

In the blink of an eye 10 years passed by wondering if we would ever hear from this band again. 2003's wondrous "Soul Of The Universe" left a lasting impression. With 17 minutes of bliss and 10 years of absence I was both excited and dreading listening to their first full length. Time changes bands, but a decade without a whisper made me wonder if we would have anything left of the original sound. I'm happy to say they still have it, the astral "vibe" is there, but their sound has evolved, they have not been frozen on ice.

The symphonic component of Aeons's sound is the most reminiscent, still providing its subtle influences, acting as the backbone that adds distinguishable character to the rest of the sound. Theres no piano interludes or many leading moments, but they are not absent here. The sound is more oriented around the guitars providing classic thrashy, aggressive riffs that, in unison with the rhythm section, thump and pound crushing groove after groove. The songs are well developed, pretty typical for this era of Metal, but the quality of musicianship and presence of astral symphonics does set them above the bar.

On the vocal front Aeons's is a very different band, with obvious line up changes their new vocalists fit the mold well. Providing many guttural and screaming ranges, theres a much needed variety on display which also comes with some delightful clean leads, comparable to ICS Vortex, that steal the show on "Probe", a song that sounds like it could of been on there 2003 release. Overall its a well written and produced album, but its biggest flaw is its length. Clocking in at nearly 80 minutes the duller moments become more noticeable as the listen draws on. Its great that Aeons are back! I hope to catch them on the road soon.

Favorite Songs: ESP, Probe, Renaissance, 

Rating: 6/10