Depeche Mode "Music For The Masses" (1987)

Taking off where "Black Celebration" left, Depeche mode's "Music For The Masses" takes a step towards a simpler, easier to digest format that sees much of the instrumentation focused around its main lead rather than the layered constructs of Black Celebration. This minimal and simpler approach is subtle by design but becomes apparent as repeated listens fail to invigorate the same energy and captivity the previous record had. Its a calmer beast by design, and my tendency to compare the two may hold back my enjoyment a little, but there is no doubt that this is a solid record that at no point has felt stale or mediocre at any point.

The calmer tone of this record is soothing, the compositions and arrangements pair well with lush sounding synthesized instruments and a soft, yet punchy kit. The subtlety of the less "grabbing" leads make for great enjoyment, but not the sort that comes to the forefront of you attention and fills you with awe, like "Stripped" and "Fly On The Windscreen". Thats whats disappointed me most about this record, the hooks and leads are less ambitious, and mostly remain in the quieter comfort zone this record muddles through without having any bigger or bolder moments, with one exception, "Strangelove" which genuinely sounds like a left over from the previous album, boasting a more upbeat energy and catchy hook.

What may lack between the two records is certainly not in identity, Depeche Mode very much sound the same band, retaining their colorful sound and moody undertone. Every listen has been enjoyable but theres rarely a moment that jumps out and grabs your attention, its a subtle experience, maybe more suitable to the background while working on other tasks. The album as a whole is decent, but a few slower, moody tracks towards the end are not always what I'm in the mood for when listening to this group.

Favorite Tracks: Never Let Me Down, Strangelove

Rating: 5/10

Marilyn Manson "Holy Wood (In The Shadow Of The Valley Of Death)" (2000)

Having really enjoyed "Antichrist Superstar" & "Mechanical Animals" I was rather hesitant to listen to this record which I remember listening to many years back, and not being particularly impressed. Whatever my thought were then, they are certainly not relevant now that I have connected with Manson's music. "Holy Wood" is the first of 3 records released in reverse order. Confusing, but conceptually these albums are linked and acclaimed as Manson's golden era, or creative peak, following a decline in popularity with later releases which I am considering checking out since Ive grown a lot of respect for a musician who's music is intelligent and thoughtful despite its grotesque and confrontational presentation through art and aesthetics.

Holy Wood is consistent with their style established so far, but represents a more condensed and metallic approach. The overall mood is darker and at times feels rather pessimistic through Manson's hopeless lyrics. The band bring a more traditional rock feeling forward with riff oriented guitars, either distorted or clean, being a bigger focus than the keys and synthetic sounds that brought a lot to the tracks on the past two records. The drum machine is the most diverse element, offering variety and creativity through different kits that guide the tracks they are utilized on with driving energy. The straight forward approach serves the record well, there is no shortage of ideas and the tone of the distorted guitars sounds ripe with hate. There a lot of aggressive energy on display focused through Manson's iconic lyrics.

"Well I'm not a slave, to a god, that doesn't exist. I'm not a slave, to a world, that doesn't give a shit". Lines like this got stuck deep in my mind and despite delivering some of his best hooks, I felt it came in smaller quantities with a lot of the better tracks appearing at the beginning of this record. Holy Wood has some of Manson's most aggressive, abrasive and catchy tracks, but across the course of the record there were quite a few numbers that couldn't quite match the intensity laid down by the love and fight songs. Overall this album offers up more of what I've grown to love about this band, but as an album it falls short of previous works.

Favorite Tracks: The Love Song, The Hate Song, The Death Song, Burning Flag

Rating: 6/10

Ice Cube "Amerikkka's Most Wanted" (1990)

American rapper Ice Cube may have a different reputation in this generation, but back in the 90s he was one of Hip Hops finest. He made an explosive debut with N.W.A. on "Straight Outta Compton", an all round classic that set the group on a course for world domination. Cube made a sudden departure from the group in 89 following disputes over his contributions the the lyrical contributions on N.W.A. and Eazy-E's albums. He was the groups most talented rapper and walking away from something as prolific as N.W.A. was a bold move. In retrospect it has served him well. "Amerikkka's Most Wanted" is Cubes solo debut and one of the first rap albums I got my hands on. As a kid I loved this record and having picked it up for the first time in years I was blown away by the lyrical and instrumental content of this record. Its still angry, violent and explosive, and more so feels relevant following the racial unrest in America in response to police brutality. "How the fuck do you figure, that I can say peace and the gunshots will cease? Every cop killer goes ignored, they just send another nigga to the morgue". Not only relevant, but a sad reminder this has been going on for decades.

Cube has it all, voice, flow, lyrics and inspiration. We find him here at his peak, delivering a record fueled by anger and frustration towards racism, police brutality and social injustice, as well as aiming some raps at radio stations and telling stories of life in the wrong neighborhoods. His flow is sublime, a fast yet sturdy pace delivering fueled raps with an audible grace, every word is crisp and easy to follow. The content is even stronger, Cubes story telling is engaging, passionate and structured. Every track keeps you locked in to the stories which unfold steadily. Theres a lack a filler, Cube keeps banging out the rhymes from start to end with many tracks ending with a sudden feeling as Cubes intensity fails to dwindle before the end of the verse. His engaging and charismatic style is genuine, one of the most talented to grace the mic.

Lyrically this record is extremely progressive in the context of a rappers freedom to express oneself. Its no surprise coming from the group who drew FBI's interest with the classic "Fuck The Police" that Cube would kick up the heat with violent and aggressive raps, flirting with sexist and racist themes that would make this record a focus for controversy and censorship, ultimately paving the way for more expressive freedom in the future of Hip Hop. For all thats ruthless or vulgar depending on your perspective, it comes in a relevant and necessary context as Cube raps stories about crack dens, drive byes and a girl from the projects who claims to bare his unborn child. Cubes dynamic story telling here is stark and unforgiving, telling everything how he sees it, not dressing it up for record sales or commercial success, which this record ironically became a huge success at the time. 

Cube's known as a west coast rapper, but on this record we have production from the legendary Bomb Squad who work with Public Enemy. Their contribution is monumental, providing the backing for Cube that makes this record a classic. Their beats are energetic and layered, bringing that unpredictable and dizzying sound, but packaging it up with a flavor that really differentiates the style from their work with Public Enemy. These beats have got bounce, groove, and best of all they are crafted and catered to Cubes input, following his lead and providing plenty of breaks and variants to keep these songs vibrant as Cubes mesmerizing raps suck you along the course of these instrumentals. Its a fantastic chemistry, one we will never hear again, and for all the positives I've talked about, it has to be said the second half of this album is a grade behind the opening 8 tracks, after the comedic track "A Gangsta's Fairytale" the albums sound and tempo varies as production from Sir Jinx doesn't follow the energy laid down by The Bomb Squad, the track "Who's The Mack" even sounds like a prelude to Ice Cubes later releases. Blinding album, the first half of which is pure classic.

Favorite Tracks: First half of album.

Rating: 9/10

Wu-Tang Clan "A Better Tomorrow" (2014)

Wu-Tang Clan, the legendary once nine-piece rap collective shook Hip Hop with their rough and rugged style. Cut with Kung fu movie samples over gritty low fi beats, their lyrical talents flourished and shined bright. Their debut "36 Chambers" became a classic and follow up "Wu-Tang Forever" established them as a dominant force in hip hop. The release of this album was a complete surprise to me. The last I heard of the Wu-Tang they were working on a double album that only one copy would be produced and sold. The record would go on a tour around the world for fans to listen too before being sold of to the highest bidder, leaving the future of the album in their hands to do as they please. Its was a interesting idea, and an fascinating way to earn money in the changing landscape of record sales. I've since learned that they recorded that 31 track album alongside this new record "A Better Tomorrow" which suggests a return to form. It arrives 13 years after "Iron Flag", and 7 since the disappointing "8 Diagrams".

The album opens with "Ruckus In B Minor", including samples from the late ODB who's inclusion in this record feels fitting and respectful. He pops up throughout this album which as a whole feels patchy and inconsistent. There are some terrific beats, samples and verses throughout and a variety of themes but conceptually it feels like a few ideas and concepts have been thrown into the mix. There are some darker, grittier tracks "Necklace", steady movers "We Will Fight" / "Keep Watch" and positive uplifting tracks "A Better Tomorrow". The progression feels scattered as these tracks jump from one mood to another. The start and end feel like the better parts of the record, the middle includes the cover track "Preachers Daughter" that felt unnecessary and was soured by RZA's "singing" in the chorus, I'm a little mystified as to how they thought it worked, because it didn't, it was flat.

Inconsistency may be the theme so far, but should not undermine the quality on display. The beats are sharp, creative and on point, and at times capturing that classic Wu sound. The rapping may not but as classic and memorable as those endless recite-able verses on "36 Chambers" and tracks like "Triumph", but its a return to form, and there are decent verses scattered throughout, with everyone sounding there usual selfs. Method Man was most notably a notch above everyone else, always sounding fresh and energetic with his charismatic flow, dropping a great verse wherever he went. Overall this album could of been a mark or two better, what we want from the Wu-Tang is here, the group are just not as in sync as they could be. Theres great verses, beats, but rarely all in the same track. Ironically I felt the best tracks were "A Better Tomorrow" and "Wu-Tang Reunion", two soulful movers with great vocal leads, a contrast to their usual style, but two where they came together for the idea. A great album for fans, but leaves a taste that something better was possible.

Favorite Tracks: Mistaken Identity, Hold The Heater, Pioneer The Frontier, A Better Tomorrow, Wu-Tang Reunion

Rating: 5/10

Melvins "Houdini" (1993)

American Metalers "Melvins" are an interesting group. When it comes to Metal I am fairly well versed, except in the Sludge / Doom sub genres, which would explain why this band has alluded me all these years. They are acclaimed as a group with strong influences on the emerging Seattle Grunge scene in the early 90s, Cobain is even credited for his involvement in the production of this record. Drawing influences from Black Sabbath and Black Flag, Melvins forge slow, sludging music with that obscurer Ginn approach to guitars that can be felt in moments throughout this album. This is their fifth release and one I chose to listen to simply because it was the first full length to appear in a search result, no surprise it is their most commercially successful release too.

The Melvins sound on this record is a mixed bag of approaches to their slow and sludging style which is mostly achieved through song writing, more so than aesthetics. Boasting a light, rock drum kit, clean, slightly gruff vocals and modest overdriven guitars with pale lead tones, Melvins do not need pummeling kits, bludgeoning guitar tones or screams and growls to achieve brooding sludgy sound. Carefully crafted riffs and composed drumming unite to create some decent grooves and head bangers, as well as crushing, slow movers, of which their is a fair variety on this record.

There were many interesting, and captivating moments on this record, but for the good there was equally some drawn out, duller moments too. The flow of this record is a bit sporadic, with the tempos and vibes changing a fair bit from track to track. "Honey Bucket" kicks up the tempo with the albums thrashiest track, to be flowed up with "Hag Me", a lethargic sludger. Both equally good tracks, but the constant changes made it hard to stay with this record. Melvins have every right to experiment and put out varied music, the result is enjoyable but as an album for me it feel short of creating a consistently captivating listen.

Favorite Tracks: Night Goat, Going Blind, Honey Bucket, Copache

Rating: 6/10

Haken "Aquarius" (2010)

London based Progressive Metal band Haken have been stuck in my mind this past month. Their debut "Aquarius" is where I decided to start following a recommendation from a blog reader. Its taken me a long time to understand and feel comfortable talking about this record, which I believe is testament to the diverse and varied offerings this record brings. In true Progressive Rock style, Haken let their music ebb and flow, twist and turn in whatever direction they are inspired to do so. The result is a record that feels grand and timely, clocking in at 72 minutes its an generous feeding of delightful Progressive music that almost to much for one session, with songs averaging 12 minutes it was tough to full grasp each of these tracks without lots of sessions.

Technically the album is solid, a clean and colorful production that captures the instruments with a touch of class, letting these talented musicians perform their captivating, exploitative music that utilizes a wide pallet of instruments, mostly likely through keyboards providing pianos, strings, organs and other synthesized sounds. Acoustic, Overdriven and sometimes Djent like guitars play along side the keys and a warm bass that brings a classic high end Death Metal sound at times. The drumming provides a fantastic backbone, building a big presence in these tracks, keeping score and participating in the narrative. This wide pallet and unity between instruments is widely explored on this record that goes through many moments and passages its hard to keep track of all the sounds, moods, tempos and dynamics experienced.

All of this diversity in sound does reside within Progressive boundaries, but its the diversity of theme that caught my attention most. Haken can bring gentle acoustic moments together with crushing Djents and dark Metal styles with effortless execution. For example the track "Streams" starts with a bright, cheerful piano lead that builds into what I can only describe as "Disney Radio" song. Warm friendly acoustic instrumentation alongside some playful lyricism about swimming with the fishes... which as I say certainly does not have a dark undertone. This song progresses, evolves and expands into a dark beast that brings one of the heaviest moments, with slow crushing guitars, doom-like keys and beastly growling vocals. This diversity is executed brilliantly, and I have nothing but good things to say of this record, however its sheer size and difficulty to digest has left me unsure of where I stand with it, its definitely great music thats throughly enjoyable, but I'm not sure it stands on the emotional level. Only time can tell.

Favorite Track: Aquariam

Rating: 7/10

The Smashing Pumpkins "Adore" (1998)

The fourth Smashing Pumpkins album is one I have been anticipating with a touch of unease. Having unexpectedly fallen for this band, I realized its been a long time since I've discovered a musical genius with a body of work to explore. "Adore" is where many have cited things dramatically change, and Corgan himself has described it as "A Band Falling Apart". This album sees the departure of drummer Jimmy Chamberlin replaced by a drum machine, which seems to be a keen talking point of this record. The album cover and band's image at the time is very much Gothic, hinting a shift in sound, which was the biggest surprise with this record, there is simply nothing Gothic about it.

Adore has the Pumpkin's sound, but its a shift in style and execution that puts more attention on their gentler side and Corgan's vocals. Theres an unsettled yet relaxing air to this record, its calmer, dramatic in its own way and has a touch of Ethereal influence in the aesthetic as reveby electronics muddle with the acoustic guitars. At first the drum machine was very apparent, very stale and stagnated compared to Chamberlin's free and energetic drumming, the programming felt stiff, a lack of subtle timing or volume fluctuations and no fills or pattern variations made it feel a little droning at times. On some tracks this worked surprisingly well, but overall my reaction was mixed. At times it felt like the drum machine was intrusive, on others it complimented the track. Throughout it melded well with a warm bass that moved well with these acoustic numbers. The electronic elements are somewhat overpowering of the acoustic guitars, but thats its charm, it served to create a unique sound for this one.

Despite a mixed sound, the theme of this album was very consistent. Its a steady, moody ride, full of love, sorrow and romanticized poetry thats lyrically maturer in nature. Gentle and melodic this album drifts though itself and calms into an almost lullaby like state in moments. For what there was to enjoy about this shift in sound, in came in small quantities, only a handful of songs had the substance to make a memorable Pumpkins track, and the songs in between those just didn't captivate like the first few tracks which made for a promising listen. If the drum machine is a problem or not, its irrelevant, some songs just didn't cut it and "Adore" just doesn't have the arsenal their previous efforts had. Its inconsistent, but it does have a couple of gems.

Favorite Songs: Perfect, Daphine Descends, Tear, Pug

Rating: 8/10

First Aid Kit "Stay Gold" (2014)

Swedish folk duo First Aid Kit are the best thing about Kanye's "Yeezus"... Hu? What? Heres an interesting story, as Yeezus came to a close it was preceded by what I initially thought was an "ironic" counter culture sample. Like at the end of a Metal or Hip Hop show the house lights come on and sometimes the PA will play something to juxtapose the mood, ie the Bee Gees "Staying Alive". Being completely oblivious to what was next on my playlist, I genuinely thought this was the end of Yeezus. I grinned, thinking "Ironically this is brilliant, best part of the record". As the song drew on I released my foolishness and checked the playlist. First Aid Kit was recommended to me by a reader on this blog and after checking them out on Youtube I ordered this record, which I have now fallen in love with.

Stay Gold is a bright, warm, uplifting and introspective record that brings the loving and harmonious voices of sisters Klara and Johanna to the forefront of colorful, melodic instrumentals reminiscent of American Country music and other Folk like music. Their voices are sunny and powerful, possessing only a fair range their charm comes from the honesty in the lyricism and ear for the catchy hooks in their imaginative and soulful delivery of heart warming and positive messages. What I like most about the lyrics is there acceptance, rather than ignorance of life's struggles, providing uplifting introspectives on dealing with hardships and creating an air of maturity towards the topics explored on the record. Its paints a strong picture of these girls who despite their youth seems to have their heads firmly attached to their shoulders.

Even though their voices and lyrics stole the show, the instrumentation that backs them is not to be overlooked. A pallet of Country instruments provide rich and moody backing for the vocal leads. Their acoustic guitars tend to fall back into these instrumentals, a little buried, providing some gentle strumming but often letting the strings and piano take lead on guiding the narrative of this songs. The chemistry is strong, they build intensities and ease off in-line with the direction of the vocals. It adds a touch of class to the execution of this record which is stellar and has me yearning to listen to it frequently. I feel this one may be a personal favorite of mine, but only time will tell.

Favorite Songs: My Silver Lining, Stay Gold, Cedar Lane, Waitress Song

Rating: 9/10

Pantera "Vulgar Display Of Power" (1992)

Today is a sad day. The 8th of December marks the 10 years its been since the death of Dimebag Darell, one of Metals greatest guitarists, known for his sonic lead guitar solos and tight groove rhythms as well as being a all round nice guy and drinking machine. He played lead guitar in Pantera, the group that prevailed Metal through the 90s in the absence of Metallica and rise of Alternative and Grunge. His death was tragic, the events of that day in 2004 shook the Metal community hard, and this day, or more so his music, has since been celebrated by metalheads around the world. It seemed fitting today to write about "Vulgar Display Of Power", Pantera's "second" album and the peak of their commercial success and a massively influential album on the next generation of Metal.

Having reformed their sound with the previous album "Cowboys From Hell", Pantera define what their about on this record, ditching the high pitch vocal leads and focusing more on tight grooves, Pantera create a powerful, violent metalic sound with crushing rhythms to pound your fist and bang your head too. Anselmo backs the attitude of this strong, aggressive sound with his Hardcore like lyrics of self empowerment and mental strength, his voice is powerful and angry, he screams with a balance that makes him audible and understandable. He's a character, one some consider one of metals greatest of vocalists, but for me he brings an undeniable energy when coupled with the instrumental sound of Pantera, one thats not there in other projects of his.

Taking the forefront of attention in Pantera's music is Dimebag's guitar presence, boasting a dense, thick crushing guitar tone, he bangs out endless tight rhythmic grooves song after song. There performed to perfection, continually energetic and enthralling, getting stuck in your mind. Dimebag has a great understanding of both simplicity and complexity, understanding the relation between the two and how to execute them with attitude. For example "A New Level", a simple, effective chord progression that any beginner could learn to play, the song then shifts gear into a tight picking rhythm, upping the anti. "No Good" demonstrates Dimebags technical riffing, something more frequent of other records. The most important factor in Dimebags rhythm guitar is his musical relationship with his brother Vinnie. Often overlooked, Vinnie's machine like drumming is crucial in Dimebags grooves, providing narrative and often emphasizing the harder hitting moments in his riffage. Vinnie's beats are not like regular Metal drummers, and playing Dime's riffs to regular drum patterns will demonstrate this clearly. Drummers are often overlooked for their contribution, their flair can be limited by the objective of their position, as opposed to the wide range of sounds a guitarist can produce. When it comes to Dimebag's tight Rhythmic grooves the importance of Vinnie is often overlooked.

When it comes to Dime's lead guitar there is no competition. This man accelerates into his own universe when hes shreds, leaving everyone behind. His leads are colorful, imaginative and mind bending, always executed with impeccable precision, even when performing when heavily intoxicated. Across Pantera's discography, his solos are widely varied, imaginative and inspiring. There captivating and something you need to hear for yourself to understand. Vulgar Display Of Power is a full on record, its spruced up by two gentler melodic tracks "This Love" & "Hollow" that demonstrate the groups genuine musical talent. It's a break in pace but doesn't stir up what is a straight forward execution of pummeling aggression from start to end. Its a great sounding record, the guitars and drums are captured dynamically. The kit sound fantastic in the mix, every kick, snare and cymbal punching in with reverb, and without clashing with the guitar. The bass is a touch tame, just backing the guitar throughout. Classic record, one to get will get you pumped up and full of energy, great for running or lifting. RIP Dimebag. I Can't believe its been ten years... Thank you for the music.

Favorite Tracks: Walk, Fucking Hostile, This Love, No Good, Hollow

Rating: 9/10

Kanye West "Yeezus" (2013)

Kanye West is an American producer / rapper who came up in the 00s through production with Jay-Z. Gaining recognition and acclaim for his beats, he was able to release his first solo full length in 2003. From there his success has continually grown. Hes now arguably one of the biggest names in Hip Hop and popular music. What originally drew me to his music was the forward thinking production and soulful themes rooted in Hip Hops culture and past. Of all the post-90s styles and sounds, Kanye's felt the most like an evolution into the modern era. His first two album where as far as I got. I was apprehensive to listen to "Yeezus" without bringing myself up to speed, there is an apparent void between "Late Registration" and this one, the soulful uplifting sample driven numbers are gone. Here we find electric synthesized minimalism and harsh, noisy aesthetics, coupled with rough and rigid sampling that create a bold and uncompromising sound to which my overall impression was hit and miss.

Tracks like "Black Skinhead" and "Send It Up" do everything right. "Black Skinhead" offers up some simplistic grooving tom and clap percussion accompanied with distorted vocal samples building up to a sublime sub bass kick where Kanye does his 300 romans thing as overly loud drums, peaking both the momentum of the track and volume, as they distort through compression. "Send It Up" accompanies a minimalistic bass kick / thud with a obnoxious siren like sound that follows its own groove. On other tracks it doesn't quite work. Kanye's electronics aesthetics and interrupting cuts are anti indulgent for me, like the screams on "I Am A God" which break up the track, I'm not sure if I like them or not but they indicate a Death Grips influence that could speak to the entire approach to this album, and its the approach that should be applauded. Theres experimentation and ideas at work that really hit the mark, just not on every track. One of the most prominent experimentations was in the rhythm department, a lack of cymbals and excessive minimalism, often letting the synths guide the rhythm, through the bass or not at all. It was quite refreshing, and it worked.

Now lets talk about the "Raplic priest, getting head from nuns". I've never been convinced by Kanye's rapping, and "Yeezus" hasn't changed that. On his first two records there were some pretty appalling verses. The highlight of those albums and more so with "Yeezus" are the beats. I can't think of a single line thats stuck in my mind for anything other than its obnoxious or ridiculous nature, but thats just Kanye's "lyrical wordsmith" style. It's not all bad, his flow and tone, style of rapping is enjoyable, its just the lyrical substance I question, however I commend him for following his own style and establishing himself as a rapper. He doesn't sound like anyone else, but for me hes the producer that needs to stay behind the beats, not the mic. For the things "Yeezus" does right with its beats and instrumentals, its let down by the lack of anything to get into lyrically.

Favorite Tracks: On Sight, Black Skinhead, I'm In It, Send It Up

Rating: 5/10