Stellardrone "Light Years" (2013)

Ascending from the Baltics, Lithuanian musician Edgaras aka Stelladrone may have one of the best self describing names Ive come across. Stella for interstellar, space and all things beyond the cosmos. Drone for the nature of the music, lush ambient drones of textural synths that lure in the listener to deep cosmic wonder. All of Stelladrones music is available for free, an ethical approach I very much like and "Light Years" is the last release from the artist in three quiet years.

The tone of this record lands right within my expectations of the name. Its on the lighter side of ambience and Its astral drones create rich atmospheres fit for deep thought and reflection. It captures the mystery of our universe in wondrous frame of infinite beauty, we listen in awe of our experience of it. Across the 10 tracks different flavors of equally positive vibes emanate from lush, dimensional synths that sweep and a wash gently by as they move through lengthy phase shifts. They are often accompanied by a chirpy shuffling synth tune that loops itself through the infinite. Half the time some percussive elements join the fold, more often berried into the synths and a few tracks get dense in comparison to others with multiple synth tones stacking up alongside the drums.

Each track is its own but in the grander scheme the record doesn't surpass its own moment. There is nothing to fault but the soothing, slow and droning nature of the music has it molding your mood but not your memory. As enjoyable as each listen is, not to much about it sticks around. The drones are singular and uneventful, fantastic for focusing on another task. It succeeds as background music but in the foreground is simply pleasant but doesn't make itself remembered. Solid record with fantastic production, great sounding synths for calming compositions.

Favorite Tracks: Red Giant, Light Years

Rating: 6/10

Killing Joke "Brighter Than A Thousand Suns" (1986)

Ive been chipping away at the Killing Joke discography for some time, their first two records "Killing Joke" and "Whats THIS for...!" were really something but the rest of what Ive heard hasn't been quite as unique or interesting. I last listened to "Outside The Gate", their most poorly received record but one I thought wasn't all to terrible, it had a couple of memorable, catchy songs on it. I actually skipped a beat there, missing this record which ironically feels more like a solo effort from front man Jaz Coleman who's face dominates the albums cover. The negativity surrounding the band at the time seems to revolve around the shifts in style but listening thirty years later its seemingly irrelevant.

Guitar distortions and aggression are almost non existent, the guitars, mostly overdriven, are jamming away in the distance, drifting through melancholy riffs in a wash of hazy reverb that vibes with the synths. Jaz's electronics are eerie keys with an astral quality about them, they take much of the melodic lead and usually the guitars are following them, adding texture and density to the simple synth lines. The drums are rather punchy and active with solid tones however in the mix the are rightly quiet and keep pace rather than make a big impact on the songs. The bass lines are a key component of groove, big and bold the rest in the forefront jamming to their own tune that ties the drums to the guitars and keys. Rising above it all is Jaz's voice who flexes the soft yet powerful side of his range. The instrumental sets the tone, building the atmosphere for Jaz to take the stage. With some soft reverb he shows his talent however as always the lyrics generally pass me by. Its an agreeable chemistry but as it stretches on through its hour run time a limitation arises without a flexibility to his approach on each song. The songs two are rather simple and their is no grandiose ideas at work, just variations on the same aesthetic.

Its still got that distinct Killing Joke vibe, but far more New Wave, and with a tinge of Gothic residing in its moody, slightly gloomy exterior. Two tracks in the middle stick out, breaking the established formula and stripping back the guitars for the synths to take lead. "A Southern Sky" has a memorable hook "Death on the hills, into the forest" and "Victory" has a much perkier, upbeat feel with a jovial base making itself known. They feel different and slightly more pop than the rest of the record, at one hour it probably could of dropped these songs off but that's just my opinion since they feel so out of place to me. Overall its a reasonable record, enjoyable in its moment but not much sticks in the mind about it. Its something for a particular mood, just a mood I'm rarely in.

Rating: 5/10

Vinterriket "Der Letzte Winter - Der Ewigkeit Entgegen" (2005)

Multi-instrumentalist Christoph Ziegler is the man behind the German Black Metal project known as Vinterriket, Swedish for "winter realm". Recommended to me by a friend it was something I already had in my collection from the days where Black Metal was all I would listen too. I didn't remember it particularly well and it hasn't suited my mood of late but I can appreciate the bleak workings of this lengthy record. At one hour its a pale, grim and gloomy affair that drones on with a calming, slightly dreading persuasion, as if being sucked into the grasp of ill fate. With short Dungeon Synth like intro and outros their is little respite from the dreary atmosphere, bar one interlude track and moments where the synth escapes the grisly guitar.

Its dimension is narrow and insular, fuzzy brittle guitars hiss away into the wall of sound engulfed by the deep and encompassing synths that conjure the shadowy atmosphere. The drums peter away smothered by the instrumentation, the vocals cut through the setting like a knife, Christoph's approach is much to my dissatisfaction. Dense, sharp screams are muzzled in distortion from peaking the microphone, they sound loud but are lowered greatly in the mix however their harsh abrasive nature and lack of any reverb has them sticking out like a sore thumb and dispelling the mood for me.

The songs are led through their moments by the synths, with the guitars descending into a drone much of what they do is compliment the synths through tone rather than composition. As a result these songs are very singular, linear, they follow the chord or note the synth lead. Occasionally a second line drops in or distant bells but its mostly constructed from one instance. The tone and pallet of the synths are ancient, nostalgic and mysterious, ripe for inspiring your imagination of what dark secrets lurk beyond its keep.

My enjoyment of this record was mixed, couldn't stand the vocals and the compositions were rather mediocre, the aesthetic wasn't especially fantastic either although it did feel unique and inspired. It isn't until the "Winternacht" tracks that my ears perked up and a couple of eerie melodies creep through on the organ like keys. I've not much else today, this one simply didn't click with me.

Rating: 4/10

Crass "The Feeding Of The 5000" (1978)

Here's another record that the miracle of shuffle brought me back to. Reading and exploring the world of Punk music many years back Crass stood out as one of the most interesting bands, pioneers of the Anarcho Punk sound, Crass were artists who met their words with actual activism and action, true anarchists who expressed their anti establishment and authoritarian views through their DIY music. Feminists, animal rights activists and anti-war they stood for a lot of things I agree with while pointing out the hypocritical nature of punk ideology in the mainstream, calling out The Clash directly on one particular song. The bands story is fascinating, their influence on political culture and activism during their short tenure is unique and quite unheard of in the world of music today... or at any time really.

Punk can be unapologetically raw and crass, pun intended, but not quite like Crass are, with spoken word and dissonant guitar distortions, scratchy and dingy in tone, the band border on Art Punk with a continual exploration of feedback noise through their songs where you might of expected simple power chord riffs. When they do resemble more traditional styles they are buried, distant, quiet and second fiddle to the chemistry between bass guitar and drums. The core "melody" comes from the bouncy bass guitar, lining the direction of each track with a chromatic charm. The drums sound narrow but rattle away with a militant industrial vibe, keeping rhythm with snare rolls and marching rhythms between kick and snare. The symbols are quiet and often hit at the same time as a drum, rarely heard in the moments between.

They create quite the gloomy, nihilistic atmosphere, taking on the weight of the urgency they feel for their world views. Vocalist Steve Ignorant as the lead voice has quite the stark and blunt approach to his performance, almost spoken word, or shouted word as his thick London accent dominates the listeners attention. Its again unapologetic and straight to the point, a brilliant union of art and intention, you can feel the passion and fire for their beleifs. The album is also littered with creativity in the form of sampling, artsy spoken word interludes from Eve Libertine and interesting song ideas. The anti nuclear "They've Got A Bomb" sets a grim tone with crackling guitar noise and as Steve says "twenty odd years now waiting for a flash" it goes silent, as if the bomb has gone of. Fantastic. After its opening track the music starts and ends with two renditions of "Do They Owe Us A living", solidifying one of its main themes.

At thirty two minutes its fast, direct and loaded with short tracks, eighteen in total but they play like a singular experience in moments, often rolling from one into the next, sometimes with the shifts in tempo being transitioned through the drums which steadily increase or decrease in speed. The records DIY production doesn't hold it back, its a low fidelity affair and the reality and genuine nature of its construction makes complete sense given the circumstances, its part of its charm. I love this record for its character, conviction and substance, the music is grounded in reality. The people, ideas are real and meaningful, a much more intelligent form of Punk with a strong, harsh, unforgiving aesthetic.

Favorite Tracks: Do They Owe Us A Living, They've Got A Bomb, Punk Is Dead, Banned From The Roxy, Fight Wars Not War, Securior, You Pay, What A Shame

Rating: 8/10

Atheist "Unquestionable Presence" (1991)

Revisiting records of old, Florida Death Metal outfit Atheist's sophomore record "Unquestionable Presence", a subtle oxymoron, is a gem of a record I seemed to notice of in my youth. Exploring the Death Metal scene many years ago they were another band I liked in a wash of many. It didn't stand out at the time but hearing "Enthralled In Essence" again after many years had me blowing the dust off and tuning in for another spin. With such a more experienced ear for Metal and extreme music it became quickly apparent that in 1991 Atheist were ahead of the pack. Introducing Progressive elements in a more diversified sound, they could well be the first labeled as "Technical Death Metal", marking their music with complexity, intricate workings and musical theory.

The record opens up with a vivacious bass guitar at the forefront, dancing away individually between the shuffling drums and the tenacious guitars. Something that would become a staple of Technical Death Metal. It rumbles in the unforgiving, building a weighted atmosphere spliced with temperate grooves and two minutes in a vigorous solo bursts light into the atmosphere before it shuffles its way back into its heavier tone with uncommon time signatures looping under a 4/4. To juxtapose the dense sound some soft, sombre clean guitars and the sounds of birds chirping set the calm before they deliver a mighty, stomping thrash groove. The chirping leads through to the next track and its a thoughtful arrangement of riffs and assembly of ideas that culminate into another great track.

Other bands at the time were largely pushing the boundaries of Death Metals aesthetic, intensifying its tone and extremifying its ideology. Atheist set their sights on an expansive sound that could transcend the genres traits while retaining its brutal aesthetic. It did so with a streak of Thrash Metal that you can still hear a fusion of today with bands like Revocation. They don't bludgeon but take that weight to groove and the infectious bursts of adventurous guitar solos really root themselves in scene that was giving way to new sounds at that time. "An Incarnations Dream" starts of with a sombre, moody and atmospheric acoustic that builds up a suspense in its opposition to samples of riots and police sirens. The lead guitar really transforms and elevates the instrumental before its cut away and we are lured into the records reality again. It drops into a fantastic spacious grove reminiscent of Pantera and another riff sounding like Metallica on "Kill Em All" plays briefly between an onslaught pounding riffage.

The band have an arsenal of ideas and bring them together in a chop, change and evolve approach. Every song is turning over at every moment, never resting on their laurels which adds up to rather short songs that get through their ideas in a sprint. They could easily be drawn out into epics like many progressive songs do but this band get straight to the point and condense everything. Its just the aforementioned "An Incarnations Dream" that I would of loved to hear more of the illuminating intro but alas it goes against the core principle of continual evolution and across the short thirty two minutes this record runs for it makes for an ever exciting listen that never lulls.

With "binge listening" my ears are well attune to what is an old, 90s recording. Even so I think this album sounds gorgeous with what they were working with. The guitars have texture in their heavy, lower reaches and stretch into the highs with a sharp illuminated tone. The bass guitar is everything you could ask for, upfront in the mix with a thick bold tone. It gets plenty of time to shine through the songs, rarely mirroring the guitars directly. The drums are fantastic too, sounds like your in a room with the kit, lots of natural reverb on the toms and a crisp snare. The kicks have both a notable clicking and deep thud, not great for blasting but the drumming hear is spirited, lively and going all over the kit, it compliments it well. My only "negative" point are the vocals, not bad but not particularly impressive, vocalist Kelly Sheafer has a screechy style, very Thrash with a lot of strain and force in his voice, it doesn't carry a lot of weight but its presence doesn't lesser the music. Terrific rediscovery, I'm compelled to go through their other records now.

Favorite Tracks: Mother Man, Enthralled In Essence, An Incarnations Dream

Rating: 9/10

Pilotredsun "Achievement" (2016)

The mysterious Pilotredsun, or pilot red sun, is an anonymous American musician who's aesthetic for cheaply drawn cartoons with twisted, disturbing undertones is united with quirky electronic music. In my mind the two don't pair up, I see the charming side of the tunes, which maybe due to drawing comparisons with the more conventional Izioq. This collection of songs have a whiff of Chiptune, a touch of VGM but reside as melodies played on synthesizers with tones to compliment its vision which is down to interpretation. It may come across as mysterious, creepy and eccentric but for me I feel the warmth that exudes from the music passes the slightly quirky choices in vst's as a sort of childlike innocence. Its nostalgic, I see images of running across train tracks chasing a balloon, trying to jam a fork into the strange hole in the wall, or attempting to unscrew the lid of a strange bottle of blue liquid from under the sink. For me that quirky, eerie quality is danger, the sort young children aren't aware of as they explore their curiosity in a world of beautiful shapes and colors.

"Achievement" is fun, playful and flows with a free spirit. Simple melodies and there accommodating instruments create an ease for the listener to slide into. Nothing over complicates and there is just enough going on to enrich what is inherently simple, often two to three lines and light percussion. The drums are rather subdued but in "Warsaw" they burst to life with a bolder kit sounding more genuine than an 8-bit kit as some other tracks do. The genius comes from the selection of instruments to play these melodies. The slightly quirky, off kilt and "derpy" wave forms compliment the spirit of the music and add to that eccentric vibe which might come off as eerie or creepy, to me it is full of innocence.

The records production has a relatively simple job of balancing just a few, noninvasive instruments and so not much can be said other than it serves its purpose. The record has a great flow, nothing feels over played, or stretched out and between the twelve there is a comfortable balance of melodies and aesthetics. In the records run time a soothing atmosphere free of burden or worry is formed like a bubble drifting into the skies. Its engrossing and uplifting. Absolutely loving this record and Ive only gotten around to it a handful of times, just one of those you can connect with quickly.

Favorite Tracks: Warsaw, Sadpad, 8-Train, Funny Animals

Rating: 8/10

Revocation "Great Is Our Sin" (2016)

They were once my shining beacon of hope for Metal music and as my taste expanded their impact on me faded. Disappointed by "Deathless" I wasn't going to get to excited over the Boston based outfits sixth full length record but from the first listen I knew this was something to get my teeth into. With the departure original drummer Dubois-Coyne the band were set to loose a key component of their sound, however replacement Ash Pearson from Canadian Metal band 3 Inches Of Blood does his service, providing the band with a technical backbone, armed to the teeth with tight rattling drums that bludgeon away between shuffles, rolls and blast beats. He does have a tenancy to dive into lengthy pedal rolls but the general intensity is spot on, if not toned down slightly from previous records, accommodating the guitars more so than firing aside them. With David showing no signs of losing inspiration "Great Is Our Sin" is ten tracks of dense, crafted Metal loosely themed around the woes of humanity repeating the failings of history.

With tinges of Black, Death and Thrash a thick and sprawling beast unravels from within the violence of aggressive music. With darkness, aggression and groove these songs take steadily progressing journeys through David's arsenal of lively riffs, never settling on a repetitive moment, as the band so traditionally do. On this record though the tint is darker and the moods of the songs jump around a little more with some of the more pummeling riffs against those with a less menacing demeanor. And then there's David's guitar solos bursting into life with purpose and intent, able to illuminate a song and as he so typically does, use a guitar solo to swiftly transform. The range of riffs are remarkable, never a dull moment and so distinctly Revocation it is a comforting listen to an old fan.

Moments like the instrumental "The Exaltation" are like flashbacks to the days I first discovered their "Empire Of The Obscene" debut. A song that bursts into classic Thrash between moody atmospheric riffs and a guitar solo reminiscent of Megadeth in their hay day. That excitement isn't as available on every track, some of which are more rooted in the dooming atmosphere of mankind's perils. Its in these slower, crushing moments that Revocations grip isn't as tight. As their sound progresses it has yet to stale but for me David's guitar work and style doesn't catch me out as often as it used to and with a more expansive interest the purist Metal intent is sometimes the less interesting choice to listen to.

"Great Is Our Sin" is a loaded gun of sharp guitar shredding, the trios chemistry sounding great on a sturdy production that I hear no faults in. Every moment is crisp, sharp and audible between each of the instruments. The bass is a little less adventurous than I remember with only a couple of memorable moments where it made an impact in the forefront of the song. David's vocals are biting, thick with anger and animosity, his range a little more defined and his scream packing more meat than I remember previously. He also flexes some cleaner vocals, deep bellows and sung lines fit perfectly into the albums theme. I think its a cracking album that's probably a fair few shades better than my enjoyment of it.

Favorite Tracks: Arbiters Of The Apocalypse, Crumbling Imperium, The Exaltation, Only The Spineless Survive, Cleaving Giants Of Ice

Rating: 7/10

Birocratic "Julien Solomita" (2016)

Back with another small release, American producer Biro is at it again crafting a few more beats in his particular flavor of easy going Jazz Hop. Lively sampled drum loops and soothing instrumentals come together for this short three track which has no surprises in store. The mid track continues the development of vocal eccentric sampling, chopping and pitch shifting a singers words into indecipherable snippets that make up warming melodies. The first and last songs are fairly straight forward beats with sampling of what sounds like a 40s singer, although I'm really unsure how to describe the source. The first tack "Burner" feels far more fleshed out with a gorgeous Spanish guitar lead shimmering as the focus of a beat with atmosphere and depth, the vocal sampling plays second fiddle in the background, coming of more like an instrument on a track that hits the mark.

The opening track has a bit of flair, otherwise its fairly mediocre. With his style established I'm hoping for a full length from Biro with flair and substance. For now its another micro record clocking in at six and a half minutes that doesn't satisfy the itch. The best track also seems a little unfinished with no break of progression and simply fading out before the two minute mark its all over a bit too quick.

Favorite Track: Burner

Rating: 2/10

Flying Lotus "You're Dead!" (2014)

American musician Steven Ellison, aka Flying Lotus is an acclaimed Experimental Hip Hop producer. This album, his fifth, is a primarily an instrumental and fleshed out collection of organic and exploratory beats. I caught wind of it back in 2014 when it was being heavily promoted via billboards and mainstream advertising, it received a lot of positive press but unfortunately I don't share in its praise, this album is great on paper but the listening experience is rather unfocused, lucid and wandering. Its a journey without a destination, unaware of itself. Perhaps that's its genius but as much as I enjoy wondering along through the experience it doesn't amount to anything emotional or memorable. Its just simply there one moment and the next its not.

Two records come to mind, DJ Shadow's "Endtroducing...", a record of care and craft that first explored Instrumental Hip Hop and The Future Sounds Of London's "Lifeforms", for its journey through sound that often steered clear of conventional song formats. "You're Dead!" starts of with a moment of structure and form with Jazz Hop beats and a feature from "Kendrick Lamar" but beyond that the album quickly strolls into psychedelic exploration as layered beats loosely guide the narrative provided by an eclectic array of samples often with something genuinely interesting at its focal point. The craft and attention to detail is ruthless. These beats don't loop, break or rarely create that sense of perpetual motion. They expand, contract and often organically flow through an ever changing landscape of sound. Its mellow, chilled and easily enjoyed but what it amounts to alludes me.

I feel no sense of brooding emotion or vision and without that it is an underwhelming listen. Everything worthy of notice is fleeting, momentary and directionless. Aesthetically gorgeous, musically empty, I couldn't find something to hold onto. I felt it could of done with more structure but as a listener If i can't hear the vision it doesn't really matter. I will certainly give Lotus some more of my time, maybe one of his other records will suit me more than this one.

Favorite Tracks: Never Catch Me, Decent Into Madness

Rating: 5/10

Schoolboy Q "Blank Face LP" (2016)

The "Black Face LP" is American rapper Schoolboy Q's forth full length and an ambitious one. Dark, mean and uncompromising Q brings a large group of producers together for a seventy two minute ride. Despite many banging beats, sharp production and musical creativity the albums stretch strolls through some weak points in the start and end. Between the psychedelic, laid back "Kno Ya Wrong" and the catchy, ghetto whistles of "Neva Change" a string of eight songs illuminate with strong verses, brilliant hooks and fleshed out production. Either side of these tracks things aren't as focused. The opening "TorcH" starts with a myriad of Q's voices over a warm bass guitar, with "Blank Face" the theme is returned to as if signaling the end of a lengthy listen. It winds down, fades out and is then followed by two more mediocre songs. Its nitpicking but as a whole these songs don't flow of one another well, the whole things feels a little disorganized.

The album gets rolling with two introductory tracks, slowly unfolding before Kanye West hops onto the albums first defining song "That Part". The mood is slow, dreary and gloomy. The hook plays over and over between broken down verses, Q stating his successes and the Independence of his "bitches". Then Kanye drops in with an unusual lively, contagious flow making timely use of his pitch and a squeaky "ugh" to add rhythmic gratification to his bizarre and unfocused verses. Its a big guest to have on and the song... Its memorable but maybe for just being different more so than banging. Another dark street song comes through "Groovy Tony" and another big name, Jadakiss, on the track. The song has a great break in the middle with violent vocal stabs and heightened drums, they transition into a powerful vocal moment before Q brings the track back.

And then a string of my favorite songs occur,  "Kno Ya Wrong" shifts through three organic, jazzy, psychedelic phases with a joyful sampling of Kool & The Gang's "Summer Madness". The constant tone shifting happens again as we dive into a ruthless gangster track with violent lyricism, dark groovy layered beats, machine hi hats and the sound of guns firing between the banging hook. Halfway through his verse Q hands the mic to Vince Staples who drops heavy verse that gets better with each line. Unsurprisingly we sway to a poppy, "accessible" tune with light trance synths and a sing along "dollar dollar be-als" hook, lots of great singing on this track.

"Dope Dealer" gets dark, really dark as Q paints an ugly picture of the gritty life doing the illegal to survive. The drums really bring the spacious, paranoid instrumental to life and its another killer hook. "John Muir" might be my favorite, something about this flow and beat reminds me of the 90s. "Big Body" jumps in as the albums romp track with the tightest beat, thudding bass pedals, slick claps and a melodic bell instead of hi-hats. Its crowned by a timely roll of hard and swift sub kicks. Tha Dogg Pound, friends of Snoop Dogg, also make a great feature. "Neva Change" gets a little pop once again with a friendly instrumental and brilliant vocals in the chorus, topped of by a G-Funk ghetto whistle its another subtle banger. And that's where the magic ends for me. the album strolls out with what feels like a pre-outro, "Black Thoughts" are spoken thoughts over an experimental instrumental reminiscent of DJ Shadow.

Production wise its fleshed out with many ideas. A lot of songs come with breaks, big variations and an organic sense of instrumentation. The records flow though is all over the place with a handful of distinctively different styles not meshing together well. The features were brilliant and Q was on the mark with his fiery flow, his words had bite and wasn't short of creativity when writing hooks. Its interesting because even the weaker tracks had something to offer, but in the grand scheme of things it just doesn't play well between some tracks. Very ambitious but unfocused, more like a compilation than album.

Favorite Tracks: Whateva U Want, Dope Dealer, John Muir, Big Body, Neva Change

Rating: 6/10

Batushka "Litourgiya" (2015)

First time around I didn't hear anything special in this record but given a prod in the side I decided to give it another try and after a couple of spins the magic became obvious. "Litourgiya" is the debut release of Polish Black Metal band Batushka, meaning "father" to a priest. They remain shrouded in mystery, choosing to not reveal their identities. Supposedly their a collective of eight musicians from other established bands and when playing live they take on a similar look to Ghost, cloaked in dark and mystic robes full of demonic symbols and signs. I can't help but feel its not just their image that's taken a big dose of inspiration from Ghost, the music too has thought and craft about it, the focus on clean apostolic vocals giving it a similar spirit of biblical damnation.

Aesthetically its not much of a stretch from traditional Black Metal. Its noisy, overwhelming but not low in fidelity. The guitars have a gorgeous tone range fit for shrill tremolo shredding and weighty down tuned low notes sounding almost Djent but without the technique. Around them a clunky bass strums away, its low end blending into the guitars and its high texture waddling its way into the creaks of space between other instruments. The drums batter wildly with timely blasts, a warm rounded snare, softened pedals and muted cymbals come together loosely with a rawness that musters up enough chemistry for an engrossing wall of unrelenting candlelight darkness.

Batushka distinguish themselves with an orthodox theme lining the songs with Gregorian chants, the pummeling, crushing music sets the tone of fearful Christian mysticism. One can envision clergy working over sacred scriptures locked within catacombs and church cellars. The shrill screams and throaty shouts aren't as prominent, taking a backseat to deep, bellowing ritualistic chants that don't set the tone alone. The accompanying music has a lot of mood and tempo shifts, most of the songs slow down the pace for temperate melodies before erupting with gleaming uproars of energy. The chants and "clean" vocals are quiet in the mix and occasionally slip deep into the background, just harmonizing with the guitars inconspicuously.

As an album it plays as a whole, the songs are rather similar to one another and tend to variate on the same ideas in different ways. There are moments of both ambience and intensity that come in many shades of dogmatic darkness and once you've caught the essence of the theme its effortless to enjoy. The sound and character is nailed but it isn't very expansive, so the stage is set for the band to do interesting things with their craft in the future. A very solid release worthy of listening to any Black Metal fan with a taste for twist on traditionalism.

Favorite Track: Yekteniya 2, Yekteniya 8

Rating: 8/10

Plini "Sweet Nothings" (2013)

Arriving at the second of three we find "Sweet Nothings" a four track, seventeen minute release that would be my favorite, however the choice is made difficult by "The End Of Everything" and its fan favorite, the eight minute epic "Paper Moon". "Sweet Nothing" feels like the bands most fluid flowing and settled sounding release. Each track has a flavor, a stylistic focus. The second track "Tarred & Feathered" introduces a Latin, Spanish guitar, played fast with metal techniques similar to Animals As Leaders and there "The Joy Of Motion" release. "Away" does a similar "metal on acoustic" with fast melodic picking rhythms and hammer ons. There's a fantastic break down riff in it that replaces the atypical metallic crushing guitars with heavy bass groove and accented melodics through low acoustic notes. Its only the last track that plugs in the distortion tone for some chord driven Metal.

 The opening tracks indulges us with subtle serine strings queuing the acoustics that pluck chords note by note in short repetitions and with a swift shift the tone changes and tranquil pianos take over, between them brief solos tease whats coming as the atmosphere of a warm moonlit night sets in. At the end we are treated to a guest guitar solo from Gru who produced one of my favorite Progressive Metal records "Cosmogenesis". Its nice to know he is still playing, would love to hear a new record from the talented guitarist.

Plini's sound is versatile but always lush, feeling dense with a wash of color and charm that can go in many directions. Its in the subtlety and ambience that the magic is brewed, the stirring of moods for his dynamic and inspired guitar shredding to take the stage. Although it takes much of the focus its the underlying strings, pianos and other instruments that set the perfect tone. The drumming also sounded a lot more settled and alive in this recording, again using a drum machine they rarely sounded like one, if at all. I will continue enjoying these records, perhaps listening to them back to back as an album, awaiting his first full length which I am very excited for now!

Favorite Track: Opening
Rating: 5/10

Yagya "Rigning" (2009)

When I started this music blog back in 2014, Yagya's "Sleepygirl" had recently been released just after a big phase I went through with this record. It solidified itself as a "go to" record for a particular mood, the need for calmness or distance, something similar to meditation. Yagya is an Icelandic electronic composer who dabbles in the ambience with this project which has taken several different approaches to Dub Techno, also known as Ambient Dub, and this is the best of them. It really captivated me with its simplicity and ease on the listener, however with that comes a depth of sound and richness that lets every listen feel like you will hear something new. Inspired by rain, every song is accompanied by the sound of raindrops and sometimes traffic or urban noises. It fits so perfectly.

The record plays like one giant song with ten different movements, however these movements do little to move apart from one another, no change of pace or dramatic progressions they all explore the different shades of an idea. Each song has a backbone of deep murmuring base like a heart beat, with a quiet snare, kick and hi-hats nestled in to create the rhythm which always remains consistent in pace with no fills, rolls or breaks. Around them light airy synths faintly set a calmness as deeper, brooding synths sweep in and out of focus with reverbs engineered for what I can only describe as the sounds of clouds drifting through the sky. Other soft leads will pop in to the songs with a slight sense of melody that seems inconsequential, simply existing in union without the need for attention.

Everything is calm, serene and the tone so beautiful it compliments its inspiration, the rain, which pours down in every song. Downtempo beats quietly shuffle along with plodding baselines and around it an enormous sense of atmosphere enriched by the layers of synths that feel endless yet come together so gently. There are all sorts of little details worked into these soundscapes, brief melodies, an inkling of vocals and sometimes the sounds of people in the distance, just buried under the deep sound. Its an impressive record for its inspiration, construct and execution and one you can go to time and time again. The only flaw I could give it is my attention span, at one hour it stretches, however its mood is rather intoxicating. In the beginning tracks I am completely sucked in and with a lack of progression or change from song to song that charm isn't as strong by the middle tracks. All ten songs are very similar but its a complete treat for those who get a kick from this engrossing form of ambience.

Favorite Track: Rigning Þrjú

Rating: 8/10

Majeure "Union Of Worlds" (2015)

Another discovery from within the Pittsburgh electronic scene, we have "Majeure", the pseudonym of composer A.E. Paterra who cites Vangelis, Steve Reich and Philip Glass as inspirations. Unfamiliar to me they will be the subjects of my research as once again Ive found another interesting record that dives into a side of electronics I'm very fond of, the Ambient, Minimalist and Sci-Fi oriented soundscapes that could set the tone for a movie, video game or your imagination. "Union Of Worlds" is a record of variety that holds the tone, mood and atmosphere intact as each of its six songs take a different approach with intensity, pallet and tempo.

The record doesn't play through in two halves, but of the six songs you could easily split them. Three tracks have percussive tracks with synthesizer hits, the other three are slow, minimalist ambient soundscapes. The albums opener "Overmind" goes gently through the motions with sweeping synthesizers coming in from the sides and its main melody drones indifferent to its surroundings throughout the track, similar to the style of Tangerine Dream. "Appalachian Winter Blues" is my favorite track by far, the strings sound gorgeous here, eerie, deep, mysterious and foreboding their slow progression creates a sense of danger and wonder that is to be remembered. Its linear and singular, on instrument that has maybe three or four separate instruments coming together to create a density to the sound. A fluttering noise accompanies it, like flocks of birds in the distance.

Of the percussive tracks "Physis" stands out for two reasons, firstly its lead instruments, a buzz saw wave, creates a sense of two tone melody through volume shifts as it continually attacks. Giving it a sense of pace and urgency the synth drums rapidly fire away without a groove. This is a machine like continual pounding that pitch and volume shifts for a sense of variation or change in its continual motion. "Posthuman" implores a slight sense of groove with more open space between each strike but again finds a machine like vibe that doesn't feel Industrial but simply inhuman with a strange Sci-Fi vibe. Its what I adored about this record, how well it tapped into a particular niche. I also loved how momentary these songs were, with very little overall progression, no direction shifts and just continual droning they brought out the essence of their vision effortlessly for me, the listener.

Favorite Tracks: Appalachian Winter Blues, Physis

Rating: 7/10

The Prodigy "The Night Is My Friend" (2015)

Last year British legends of Essex "The Prodigy" returned from the darkness for another record, something they do every six years or so since their most successful "Land Of The Fat" back in the 90s where they were much more active. I caught the promoting tour which was one heck of an atmosphere to take in, one big party with a crazy light show and Maxim Reality exploring the venue, singing while walking through the crowd. Hungry for a little more I picked up the counterpart EP that finishes the other half of the lyric from title track "The Day Is My Enemy".

It should be known EPs and singles can often be tidbit extras, scraps and left overs brought together to fit the norm. Unfortunately "The Night Is My Friend" falls right into that territory. The opening "Get Your Fight On" is a re-equalized track that wouldn't even get audiophiles excited. A shortened three minute edit of "Rhythm Bomb" is thrown in possibly for radio play. There is only one new song "AWOL" which is pretty banging, another big break-beat with a lot of texture, distortions and typical Prodigy noises. Its plays itself down and builds up that typical dance suspense with an increasing snare leading in the drop which is the hook heard at the opening. Its a short but sweet song.

Lastly there are two remixes, "Rebel Radio" gets chopped up, re arranged with a clanging, loud snare harping on through the track reminiscent of "St. Anger". Not appealing and Caspa's remix of "The Day Is My Enemy" isn't as bad but his shuffling Trap hi-hats and Dubstep wobbles don't really fit the sample material, Its mediocre at its best. With just one new song its quite the disappointment, not a release worthy of attachment to the main album in my opinion.

Favorite Track: AWOL (Strike One)

Rating: 2/10