Slayer "God Hates Us All" (2001)

The beast that is Slayer has been blowing us away since the 80s with their devilish aggression and pummeling brutality, an undeniable force of sound that has shaped the generations of metal to come. Slayer are gods, their legacy is pioneering and there character, the soul of their music is pure enthralling chaos. Songs like "Angel Of Death" and "South Of Heaven" never fail to get the goosebumps and adrenaline flowing. They are anthems of darkness, the celebration of the evil in ourselves. Slayer paint the ugly truth in our reflection for all to see and question. To listen to Slayer is to clench your jaw and fists, bang your head until your neck hurts as the music bleeds out all your hate and aggression. In the 80s the group released a string of iconic records that stood aside from anything else at the time, and even now no one has been able to step up their sound. "God Hates Us All" was the Slayer record of my generation and one that received a mixed reception. The record got a lot of hate for incorporating ideas from the Nu Metal scene and stirred huge controversy when it was released on September 11th 2001, 10 year after the controversy with "Seasons In Abyss" being filmed in Egypt before the Gulf War.

 "God Hates Us All" is a record that deserves more credit than it gets, after the general disappointment of "Diabolus in Musica" Slayer come back with a record so violent, angry and spiteful its a dose of everything a fan could want. Departing from there traditional songwriting style Slayer reinvent them-selfs with a deafening guitar tone that bludgeons and pummels the listener with tight grooving palm mutes, slamming dropped guitar riffs and throttling thrashing riffs entwined with those haunting melodies and demonic, chaotic solos the band definitively call their own. Somehow holding the relentless pace together is Paul Bostaph's sticks and kicks crashing through the fold with booming bass kicks, a sharp, clinical snare and thunderous tom rolls. Araya's vocals are as on point as ever, possibly the greatest Metal vocalist ever, his forceful shouts are decipherable in a rage of anger and hate. They capture all the scream has to offer, but somehow he finds a stunning balance to get the words across to those less a custom with shouts and screams.

The title alone sets a vivid tone for this record. If you were to take the old testament God literally, it would be a fitting statement. Slayer see religion as a problem, and make God their enemy in a record that asks many questions of hypocritical practices in society carried out by church and government. It address those who are alienated by biblical beliefs and mocks religion and money for its apparent incompetence to solve the worlds problems. At times its clever, but mostly its not here to change your opinion, this is release of frustration and hatred best displayed on "Exile", a song that rips through curses and intense violent imagery aimed at anyone in Araya's way. His audible delivery makes for an engaging listen that will have you screaming along in anger.

Slayer do a lot right on this record. Musically they nail the influences from the trending Nu Metal scene, the guitar tone is massive, the bombastic chord riffs are executed to perfection, and at no point do they compromise their identifiable sound. From start to end "God Hates Us All" rips through track after track of aggressive hate fueled fire that burns bright. My only quarrel with this record is a lack of stand out melodic leads and unique riffs, almost everything here is working around chord driven ideas and thats fine, but Slayers best moments come from the songs that extend their theme through unforgeable leads and crazy unpredictable riffs, ie "Raining Blood". As the record draws on its hard to remember which moments stood out the most, the constant whirlwind aggression pummels on without break for a anthemic lead or riff it so dearly needed. Bloodline comes close with its breakout sing along chorus, but it doesn't come close to the classics.

Favorite Songs: Disciple, New Faith, Cast Down, Exile, Bloodline, Deviance, Here Comes The Pain, 

Rating: 8/10

Kraftwerk "Computer World" (1981)

My fascination with Kraftwerk was reignited after catching a BBC documentary about the group. It covered the bands history and impact on electronic and pop music in extensive detail. Of course I had to seek out a new record to listen to after enjoying "The Man-Machine" and "Trans-Europe Express". "Computer World" or "Computerwelt" as its German recording is called, is the groups eighth album, one that could be considered their last as the pioneers of electronic music given the lukewarm reception of future releases.

The title of the album alone captures the essence of theme and concept this album puts across so boldly, in a typically quirky and eccentric Kraftwerk manor. With the songs "Computer Love" and "Home Computer" predicting a future where computers become an integrated part of our lives, both personal and societal. Kraftwerk, in retrospect, saw a coming change in society and packaged it into an artistic observation and expression. Through their minimalist lyrics, they express a world of connectivity to digital media that leaves us isolated from one another. Its poetic, and true, depending on your interpretation or perspective. The quirky, digital electro sound and theme may not reflect the feel of a future now present, but how their vision sounds "retro" is charming and full of a timeless character.

The aesthetic itself is much softer and rounded than previous records, the buzz saws and sine wave synthesizers are significantly easier on the ears from where technology has improved. The warmer, richer instruments fill more space and disguise the minimalism at work with their lush and gentle tones that play out glorious melodies, one of which from "Computer Love" is their most wondrous, a timeless melody so graceful and innocent, you'll simply never forget it. A chromatically soft pallet doesn't hold the group back from finding a darker tone. "Home Computer" splices in with a dizzying melody picturesque of the deep sea and "Numbers" creates a lifeless computed atmosphere with its vocoded words and shuffling percussion as the computerized vocals count up and down. Its a fantastically progressive and forward thinking album that sees the group execute a visionary theme while further expanding the possibilities for electronic music.

Favorite Songs: Pocket Calculator, Computer World 2, Computer Love

Rating: 8/10

M.O.P "Warriorz" (2000)

Browsing through my archive, looking for something to work out to, I stumbled across this record which I had not listened to in years. M.O.P. are a Hip Hop duo consisting of Billy Danze (left) and Lil Fame (right) from Brownsville New York. In 2000 the group peaked commercially with this, their fourth record, Warriorz. Hit songs "Cold As Ice" & "Anti-Up" saw unexpected mainstream success at a time when Eminem & Dr.Dre's popularity was undoubtedly influencing mainstream's exposure to Hip Hop music, and opening the doors for other artists. Although its not a classic, this record was a favorite in my youth at a time when I was discovering the worlds of Hip Hop and Heavy Metal. "Anti-Up" was especially successful, so much so it charted in the UK outside the usual alternative charts which it topped. Ill never forget hearing two old radio presenters on BBC radio one loving the track and getting into it, rapping along with the song live on the air.

The duo have a dynamic relationship, complimenting one another at every turn. M.O.P. deliver a lot of energy through their raps and fiery vocal delivery. In their stronger, energetic moments the two back up each others rhymes and chime in to echo one another in an interlinking manor. Its not uncommon to hear rappers support other rhymes, but the two do it in a hyped and intense character that is their own. Both Danze and Fame have big, loud delivery and slightly gruff tones to their voices, their frenetic, shouty flows are attention grabbing and make for a fiery delivery of their lyrics. The content is surprisingly tame in retrospect. Lyrically they write solid raps, but the violence isn't quite what I remember, lots of stories of street life and coming up from it, but next to no misogynistic lyrics which has become so commonly associated with Rap music. On the track "Face Off" Danze delivers the a verse that stuck in my mind all these years, a track of two distinct half's that goes from struggle to swagger, "I'm a mess with stress, though I present it with finesse, sometimes I feel as if my heart is coming out my chest". A dramatic expression which Fame's verse in the second half goes in another direction. Across the record the two deliver many gripping stories and thoughts to dive into.

The beats that back the duos energetic presences are solid, audacious, polished works finely constructed with drum machines, electronic instruments and unimposing sampling that reflects the 90s-00s era. With production from DJ Premier its not surprising the quality is high. The beats have that composure and air about them, similar to Dr.Dre's "2001", that give lots of room for the drums to deliver tightly composed kick and snare grooves, accompanied by clear, melodic keys and instruments that drive home catchy melodies and kicks. The albums first half is strong, tight beats, a range of themes and a tribute to the oldskool, but the second half does tire a little as the album spans seventy minutes. Despite a range of creative beats the formula stretches on to a couple of good tracks near the end. Terrific record from my youth that still sounds great in its best moments.

Favorite Tracks: Everyday, Ante Up, Face Off, Warriorz, Old Timerz, On The Front Line, Cold As Ice, Operation Lockdown, Foundation.

Rating: 7/10

Fen "Carrion Skies" (2014)

Fen are back! With another record, for which as long as they exist, I will be interested in hearing. As I touched on in my blog of their previous album "Dustwalker", Fen are a group from England who's sound captivated me on their first album, but have since failed to spark a magic I believe they have within them. I walked away from Dustwalker with mixed feelings, their gorgeous sound of dark melodics, naturist beauty glazed in ethereal shoegazing is the perfect setting for wondrous, captivating music, but never a melody sticks in my mind or does their music leave me with something eternally lasting. Its always a rich, absorbing listen, but is momentary within the music. It's selfish, but I want something more from this band.

Every listen of "Carrion Skies" was a positive one, relaxing and naturist, it was exactly what I expected from them, but as I've already touched on, it feels like it could be something more. The band cruise through progressive epics that mostly last ten or more minutes, winding their way from riff to riff, through passages of melodics and inspiring ethereal indulgence, that often accelerates into traveling energy of blast beats, tremolo picking and rough, beastly screams, utilizing many traditional Black Metal and Post-Rock approaches in their own way. Its not until the track "Sentinels" that my ears perk up to a hazy melodic riff coarsing under dreamy vocals crying out "The sky is a sphere". Its a moment that stuck with me, but a lone one through sixty minutes of music id say is "doing everything right", but somehow doesn't.

There are many varying degrees of enjoyment with music, and to be analytical about it prompts many questions about the listener, the music, and what it all means. With an intrinsic imagination for music I can hear beyond the aesthetics, I hear the notes, the rhythms, in any form, but the artists expression is always the mystery to divulge. With Fen I feel their genius is one I hear, but perhaps I don't quite connect with it. Always enjoyable to listen to, but always leaves me feeling like something is missing. Whatever it is, I am clueless.

Favorite Song: Sentinels

Rating: 5/10

Master P "Ghetto D" (1997)

Taking another dive into the Southern Hip Hop scene I picked up "Ghetto D" based on a recommendation from a friend. Hailed as a classic, it's Master P's sixth album, a rapper who's name I've heard often and is cited as the most successful from the South, maybe more so for his entrepreneurial business endeavors than his rapping. This is P's second best selling recording released on his own record label "No Limit Records" that stars a whole array of guest rappers who span all but one track on this lengthy record. 

My initial impressions were not so pleasing, the opening track's crack production tutorial set the tone for an unapologetic attitude that initially was hard get into. The souths boisterous, aggressive delivery style took some getting used to. Shouty, jittery delivers from some of the albums guests served as a style over substance that grew on me greatly. The use of subtle echos and reverbs add a lot to raps, especially when the focus is flow and texture, more so than the lyrical content. Through it all Master P is solid as an anchor, his low-toned, deep voice and competent flow delivers consistently, engaging us in socially conscious and drug-related topics with no shortage of boasting provado. His style is his own, but there are some big 2Pac influences at work on this record, ranging from the beats to rapping which includes quite a few reiterated lines and statements for Pac's songs, the track "Tryin 2 Do Something", a rework of "Bury Me A G", or the original "For the Love of You" by The Isley Brothers, depending how you look at it. And of course I have to mention the UGH. P's loud, forceful ugh shout which caught my attention with a touch of amusement, a primal expression that was so simple and catchy that by the end of the record had me saying UGH too. 

The beat production of this record is solid, timeless. The style is focused on drum machines and electronic instruments that create a crisp, solid and punchy sound from all instruments that play our some grooving arrangements. Theres room for the occasional sample, but in general its a progressive step away from the sample oriented sound of the early 90s. Warm simulated baselines, colorful keys and electronic leads decorate these tracks with energy. The hi-hats also caught my attention, with a recent introduction to Trap and its fast rhythmic notation I heard an early incarnation of appreciation for the hi-hats that had them inflecting rhythms instead of keeping count. The variety and quality in this record is substantial, the 19 tracks range all sorts of classic Hip Hop themes and vibes and through the 80 minutes it never tires. Although I prefer shorter records, this one just didn't let the foot of the gas, there was only one or two "stand out" tracks, but none that felt unworthy of my attention. Great record, I feel this one will help me step into the Southern scene as I seek out some more artists to listen to.

Favorite Tracks: Ghetto D, We Riders, Plan B, Weed & Money, Captin Kirk, Stop Hatin, Make Em Say UGH, Going Through Some Thangs, Come And Get Some

Rating: 7/10

The Knife "Deep Cuts" (2003)

Having adored Fever Ray's only release "Fever Ray", I sought out more music from Andersson who is one half of Swedish duo "The Knife" who sound a different breed to Fever Rays inducing Art-Pop experience. Deep Cuts initially came of as a quirky, retro electro record that wouldn't be to my liking. But first impressions are simply that, impressions, and deciding to pursue this record was the right choice. Upon several listens this album really started to click and my initial dislike of the bold buzz-saw synthesizer and dense buzzing bass subsided as the chemistry between theme and execution started to make sense, and the songs started to reveal there charm. Its since become a favorite of mine in recent weeks, serving as an upbeat, warm and fun record that breaks up the moreso morose music I usually find myself drawn too.

My context of this album in relation to the electronic scene is basically non-existent. I was a little surprised getting ready to write this blog that the album came out in 2003. I'm not sure how but I had it stuck in my mind this was a recent release, but considering its over 10 years old, it seems relevant to point out this record sounds fantastic and I can picture the music itself being of influence to others at this time, however this is speculation and beyond my comprehension. So onto the album, its an energetic listening experience, one which does not repeat itself, and with a measured pallet of sounds explores an array of moods and ideas which range from obnoxious pumping dance, to gentle, ambient strollers. Each track presents and sticks to an idea within its shorter duration, 3-4 minutes, each song delivering catchy leads and hooks its fails to slow down as the album continually moves from strength to strength.

The chirpy, buzzing synthesizers carve the character of this record, but behind their bold intrusive sound lies great composition, creating poppy, layered, simplistic melodies that shift and swap between one another, allowing the focus to shift effortlessly between instruments. The drum pallet its typically dance with the rolling bass kicks, snaps and claps, and also a pleasant of occasional inclusion of tropical steel drums. In front of it all Andersson's off kilt and eccentric vocal performances act like the fusion point between the instrumentation and their ideas. Her leads shift with the songs, delivering the higher rangers with the dance songs and, low artsy readings with the slower tempo tracks, and the unusual use of electronic voice morphing on tracks like "The Cop" is another nice touch in a collection of expressive and artsy performances. The record's production is solid, not a bad word to say about it. Great record.

Favorite Tracks: Girls Night Out, Pass This On, The Cop, You Take My Breath Away, You Make Me Like Charity

Rating: 7/10

Killing Joke "What's THIS for...!" (1981)

Killing Joke are an English Post-Punk band who on this record, as the genre term suggests, are writing music and developing their sound in the Post-Punk era. Looking back on it through records like this and many others in the early 80s, it was an interesting time where the DIY punk approach had opened the doors for aspiring musicians to find audiences on a smaller scale outside the mainstream, the result is a foray artsy punk records, laying down ideas that would develop into Alternative, Industrial and Gothic Rock in the coming years. After enjoying there 1990 release "Extremities, Dirt And Various Repressed Emotions" I decided to head back to their second album purely for its title track "The Fall Of Because", which by no coincidence is the original name of Industrial Metal legends Godflesh.

Listening with the intent of hearing what inspired Godlfesh to create such a monolithic sound, I could instantly hear what it was this album offered. Through a Punk aesthetic Killing Joke take an entirely different approach to songwriting, turning most the norms on its side and rebelling against most the ideals laid down by the Punk movement. The band create big drawing atmospheres by slowing down the tempo, pounding tribal, repetitive percussion that most notably makes almost no use of symbols, and a very quiet hi-hat. The bass chugs and thuds under the discordant guitars that riff out an unconventional style, making great use of noisy chords and striping out any melodic leads or hooks. It drones and hums through repetitious riffs that contribute to an almighty sound thats desolate and baron, yet full of energy and culture, Coleman's roomy shouts further capturing this unity of separation.

The album is varied within its concept, alongside some moodier tracks the group deliver some classic tunes, "Tension" & "Follow The Leaders", with a fantastic sense of rhythm you can clap and move along to, the second of which uses some subtle synthesizer elements, including a high pitch string and shaky tonal noises that subtly add a lot to the song. A few other track utilize some electronic sounds that really do give this album an extra dimension. I wonder if it was noticed much at the time considering the emergence of electronic instruments as a result of Kraftwerk's experimentation. The album sounds great, its got character and holds up well today. Terrific album, one which I think will grow on me with time.

Favorite Songs: Tension, Butcher, Follow The Leaders, Madness

Rating: 8/10

Napalm Death "Apex Predator - Easy Meat" (2015)

The new year gets rolling with another release from a favorite band of mine, the legendary Napalm Death who's legacy and importance in extreme music is undeniable. With a career spanning over 30 years the group are still capable of outputting relevant and impacting extreme music. This, their sixteenth album, is the latest in a string of quality and consistent albums that have established a definitive sound since their groovier experimentation in the 90s. Having digested a lot of this band in recent months I was excited to hear about the release of this album which establishes its theme and inspiration through the album title and cover alone.

It was no surprise to hear the group stick to their guns, theres barely a shift in tone or style from the last few albums and serves as another dose of what most fans are after. The album opens up with a diversely different song to start the record off, vocalist Barney bellows a slow, deep series of lines that drive in the theme this album wants to make very clear. Some tribal, borderline industrial drums chime in as Barney delivers some snarly leads for noisy discordant guitars to rise up alongside the angering percussion. As the song intensifies and ends we are throw right into the pit, fast swirling riffage, blast beats and angry brutal screams unite to burst out into a bombastic groovy riff. Its the formula that works, carnal aggression and energetic brutality leading into a tangent of grooves or "breakout" moments that this album didn't quite have in the quantity of previous records. As a whole the record seemed to focus on the overall intensity of the songs which were relentless and grinding as ever. It saw the groove element pushed to the side in favor of those blasting circle pit riffs that they delivered in quantity.

The aesthetic of this album is chugging and dense, a lot of the mix happens through the midrange giving the kick plenty of room to breathe alongside the bass as the guitars and vocals cram up alongside each other, the design is executed exceptionally well and gives the guitars an aggressive edge in its higher ranges. Its a terrific sound matched by some great brutal music. With a large discography of records and songs Napalm have to compete with them-selfs in some respects, and Apex Predator holds up well in their catalog, which despite its quality wasn't quite what I was hoping for. Having enjoyed a lot of Napalms groovier records my apatite wasn't quite met and my personal enjoyment of this one doesn't really reflect a great record which has a lot to offer anyone in the mood from some intense, pummeling grind.

Favorite Songs: Apex Predator - Easy Meat, Smash A Single Digit, Hierarchies, Adversarial - Copulating Snakes

Rating: 5/10

I Built The Sky "I Built The Sky" (2012)

I Built The Sky caught my attention in a VSauce video showcasing the arts and music, this young guitarist was riffing out harmonious melodic Djent and shredding into vibrant sweep picking solos with a comforting fluency. I've since picked up the record for free on Bandcamp and enjoyed these records which I would describe as "instant gratification". It may have just suited my taste, but these tuneful numbers sound the same as the first time I heard it, the charm of this music is out in the open and easy to access.

Being a one man band from Australia this instrumental Djent music servers as a showcase for the guitar to worm its way through bright imaginative passages that range from acoustic rockers to full on metalic grooves. In the rhythm end theirs plenty of almost "polyrythmic" grooves and hard hitting crunchy Djents, but it never strays to far into the heavy, always retaining melodic sensibility and creating a very accessible entry to this style of music. The grooves are accompanied with dazzling harmonious chords strum out in a Post-Metal style creating an epic air underneath the riff fest. In its most acoustic moments the strength of the melodics shine as the captivating sound transcends between a chasm of difference from the crunchy Djents to the almost Post-Rock harmonious epics. 

Alongside the massive guitars is a clear, punchy drum kit that sounds adequate with its hammering pedals, sharp snare and slick symbols. It sounds very much like a drum machine, the toms being a dead giveaway. Either way the drumming itself was thoughtful, lots of care put into the grooves and fills, but despite being positive in general, I feel it lacked a spark or flair to do something interesting, maybe its purpose was met as this album really does focus on the guitar. The bass seemed non existent, either mirroring the guitar or being the low end of Djent, there were only a couple of moments where underneath layers of building guitars did it sound like a bass line might be at work. The instrumental aspect of this record was a success, the guitars felt like a voice of their own and their artistic vision would be dampened by such a bold element as vocals, clean or screamed. There were a few inconsistencies in the production formula from track to track, but nothing major, in general this was a fantastic sounding record expressing some brilliant musical ideas. With a new album due in 2015 I will be keeping a close eye on this musician.

Favorite Tracks: Nebulosus, Opacus, Cumulonimbus, Stratus, Spissatus

Rating: 6/10

Foetus "Gash" (1995)

Starting from zero, the opening track "Mortgage" slowly progresses through a grudging beat that pounds as pounds as instruments and abstract sounds pile into the mix one by one. Narrated by musician J.G.Thirlwell the song evolves into a noisy, dissident dystopia of sound colliding together with strange harmony and balance. Its says much of this experimental record which juxtaposes all sort of musical styles with the ever-present noisy Industrial backbone in a chaotic fold of sound. Foetus is the main project of aforementioned Australian Experimental musician  J.G.Thirlwell who has built a large body of unique music over the years, under multiple pseudonyms. As well as developing connections with some prolific artists in the 90s, his own work has never seen much commercial success or critical acclaim but has certainly carved him a niche that sees him active to this day. "Gash" serves to be his biggest record, the only one to ever make a release on a major record label, Sony, who can be seen on the album cover, possibly intentional.

A lot of what is established in the first track is elaborated on throughout the album, noisy, Industrial tracks with a less intensive focus or vibe. Underneath the hard shell the guitars play out some Rock / Metal like riffs with minimal intensity, they often compliment leads and melodies brought in an array of instruments and styles that seem to consistently pull from different sources track to track. After moments of intense noise abuse, and eerie synths the album finds its way to a Swing / Big Band number "Slung", its jiving swing leads and clamorous undertone meld and stroll into a lengthy jam fest that returns to the main theme across eleven minutes. The track that follows couldn't find itself further away, a screeching, dark number. Thirlwell's vocal performance give this snarling shock rock track a Manson vibe. The bizarreness continues as a Classical, theatrical war like composition leads us into a quite genius dramatic piece that utilizes the progression of its noisy oddities with a peaking string number. Its an album of surprises and experimentation that doesn't fail to get your attention.

With the good often comes some bad, and this record would tip the scales in the wrong direction with its production which served to really hurt its potential to be great. This album is also produced by Thirlwell who's worked with big names before, but here on his own record his production style has held back everything great thats at work. I've listened to my fair share of Avant-Guard, genre blending music, and more so than often the unusual ideas presented need to be complimented by decent production. The guitars on this record are muddy, foggy and loose their impact in this messy production which fails to facilitate the needs of each instrument. The drums are thin and flat, the bass is a low fuzzy growl that occasionally gets noticed for something other than a loud rumbling, and for all of the extra instrumentation that comes and goes, none of it comes into the mix without clashing with something. Noise may be an important aesthetic here, but it can come from the layers of strange noises and instruments without clashing. With so much going on in the same space the low fidelity makes it difficult to absorb without focus and effort. Track after track throws down fantastic ideas, riffs and leads that are buried amongst one another and serve to suck the moment dry with lackluster fidelity. Its been a while since I've heard a record so hurt by production, but its a reminder that good musical ideas are not everything.

Rating: 5/10

Favorite Tracks: Mortgage, Mighty Whity, Slung, Steal Your Life Away, Mutapump