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

Dødheimsgard "666 International" (1999)

Today I felt like talking about a record I've been revisiting recently. Must of been around 10 years ago I found this unique little album that fuses the styling of Black Metal with a noisy Industrial sound. The result is distant from its obvious influences and from start to end provides a dizzying, abrasive listen that visits many musical contexts, but also delivers some memorable tunes. The album opens with a bang, a descending, clean piano clashes with a blitz blast beat and brimming guitar distortion that pass into a weary, bleak landscape as Aldrahn introduces himself with clean, poetic vocals that build the mood. Quickly the direction changes as the vocals become demonic and guttural, the intensity builds from the guitars and drums, and the tone for this album is set.

From this point onwards Dodheimsgard, translated "Home Of Death", move through many artistic, avant-guard musical passages that are as enjoyable as they are intriguing and bizarre. There are dizzying, nauseous blast beats and rhythmic groves mixed with abstract sounds and instrumentation that even find room for screeching noise abuse at the end of "Final Conquest". Anything goes, it may seem, but despite how abstract the styles and influences explored in this album are, Dodheimsgard hold it together in memorable fashion. And of course this dizzying listen is parted by piano interludes that provide a needed contrast.

The production is not the cleanest, but its flaws are strengths in this noisy record filled with absurdities, there was little that could go wrong. With such a wide range of sounds, drum kits and even guitar distortions its impressive to think there are no moment in this record where anything feels underwhelming or overlooked. As a whole it feels thorough and ready to fit its purpose, which is musical exploration at its extremes.

Favorite Tracks: Shivra-Interface, Ion Storm, Final Conquest, Sonar Bliss

Rating: 7/10

Earth "Primitive And Deadly" (2014)

Earth are an American Drone Metal band from Washington that formed in 1989 and are considered pioneers in the field of Drone Metal. Over the years there style and sound has changed, evolving into a more melodic and Rock sound than their Drone roots, although still keeping the Sludge / Drone relevant in their sound. 2007s Hibernaculum caught my attention with its slow, sludging groves performed in melodical tones that created contrasting atmospheres of relaxation and intensity, since then i have been enjoying this bands output, and this album has certainly grasped my attention.

Primitive And Deadly sounds lush and vivid, capturing the textural depths of guitars that drone there beautiful distortion in graceful sludgery. The clean melodic leads share the space effortlessly as the two wrap and meld around one another. The drumming ever present, quietly retaining the pace of these slow burners with grace. On 3 this records 5 tracks, Earth introduce a vocal presence with exquisite execution, Lanegan & Qazi bring artistic, poetic performances to the fold, so tastefully done. There is a real connection between the instrumentals and the vocalists that add great depth to this record.

Through these slow burning numbers Earth build enigmatic & psychedelic soundscapes that have an almost rock-like feel to them. Maybe if sped up some of these riffs would sound a bit more so, but there sluggish dragging of these riffs create spacious atmospheres for these chords and distortions to ring out to great effect. Through these spaces the songs progress and build thoughtful and unresting moods that give this album and immersible quality. I'm ever so impressed with this record, I've been lavishing in these tunes. Earth have mastered their sound, and this record is a fantastic step forward for them.

Favorite Tracks: There Is A Serpent Coming, From The Zodiacal Light

Rating: 6/10

Deerhoof "Apple O'" (2003)

Deerhoof are a four piece band from California who have been utilizing a DIY ethic for 20 years, producing 13 albums and various EPs. I recently stumbled across this record which has proven to be a delightful one. My first impression had me thinking this would be a challenging listen, but i gravitated towards it quickly. It has since expanded my view of what constitutes music and musical aesthetics.

Apple O' is a quirky record that defies conventional musical norms with its sporadic and abrasive sound. From track to track there is an ever growing progression between noisy and melodic elements that exist in a explosive and unconventional environment. With odd time signatures and simplistic riffing Deerhoof harness the most simplistic of musical pleasures and package them into quirky songs that flow in there own direction, free of conventional song structure. When you deconstruction the songs in your mind its easy to see what makes these songs works, however there creation has a subtle touch of genius I couldn't see myself recreating.

The riffage on this album is varied, sometimes metalic, punkish or even stadium rock, but its always performed in a brash, clunky, out of tune act that give this record the quirky and sporadic vibe aforementioned. The drumming is fantastic, wild, free flowing and interesting throughout. It may be a little shadowed by the guitar, but its impressive and a highlight. Matsuzaki's vocals are playful and have a childish energy about them, often singing quietly alongside screeching guitars, she provides another quirk to this record with her wordless vocals adding extra dimensions to the intense guitars. Their sound and style on this record is in full effect, theres plenty of memorable moments and the album progresses into a more melodic state before blowing up near the end with the intense track "Adam + Eve Connection", which gradually builds and explodes with distortion. A great listening experience!

Favorite Tracks: Sealed With A Kiss, Flower, My Diamond Star Car, L'amour Stories, Panda Panda Panda

Rating: 6/10

Lycia "Cold" (1996)

Lycia are a Darkwave group from Arizona USA who formed in 88 and have released 13 albums since then. This is the one album I have treasured from there discography, at a glance it pulled me in, and after many listens I am still captivated by its bleak and, no surprise, cold sound. This record is dreary, spacious and artic in design, these may sound like negative observations to those who like there music upbeat and chirpy, but these are all positives, in "Cold", Lycia craft a chilling soundscape that explores the darker side of life and self.

Across nine tracks this slow and bleak record paces itself with a genius that keeps me gripped from start to end. Despite similarities from each song to another, they provide passive melodies, subtle sounds and shadowy riffs that stick in the mind. The chilling sound is shaped through guitars and keys soaked in a vast reverb that bleed into each other effortlessly. The drum kit follows the same aesthetic and its slow, decaying pace and lack of complexity fitting the mood entirely. There are both male and female vocals that provide an important human presence in the experience, they are gentle, distant and sorrowful in nature.

There are some beautiful and effortless progressions in the songs as they gradually build up to crashing bells, subtle eerie choirs and other sounds that really add purpose to these passive pieces. This is a soundtrack for the cold, obviously, but these songs really paint a picture in the mind of countrysides covered by snowy blankets that captivate and dazzle, yet are perilous to humans. The dark and bleak atmospheres this music produces is unique, yet familiar, I enjoy it every time I visit.

Favorite Tracks: Frozen, Bare, Colder, Snowdrop, Drifting

Rating: 8/10

Cannibal Corpse "A Skeletal Domain" (2014)

Cannibal Corpse are a band that need no introduction, having sold over half a million records world wide they are the best selling death metal band of all time. Over the years have developed a cult following that has allowed them to continue touring and writing music for 26 years. This wasn't an album i was especially looking forward too, the last two albums had been a bit lack luster and fell far behind 06s "Kill", however having a lot of respect for this band i had to give it go.

This record was pretty much what i anticipated, 12 tracks of tightly executed death metal in a typical Cannibal Corpse mentality. The recording is crisp, every instrument is clear and powerful in the mix, quite possibly there best sounding record so far. Fishers voice is as menacing as ever, and it all sounds great... but what is wrong?

As good as this album sounds the songs are almost cliché, which is what a lot of fans love. Cannibal Corpse are pounding out there dark and brutal style yet again, but for me its become stale, they are sitting in a comfort zone and repeating themselves. Sure there are some good moments and head banger riffs but its pretty forgettable being almost a repeat of there previous efforts. This band has undergone a lot of evolution over their career while managing to maintain there sound and identity, but in the last few years the expansion of there sound has been missing.

Rating: 2/10