Saturday 21 February 2015

Bill Evans "The Bill Evans Album" (1971)


For as long as I can remember I have always been fascinated by Jazz music, not for just its soul, but its fade into the shadows over time. Jazz evolved and developed over several decades at a time where information and ideas moved slower. Over this time many styles, ideas and "sub genres" formed before its eruption in popularity in the 50s. This era gave birth to a lot of classic records which have since been forgotten by current generations following its rapid decline through the 70s and 80s. The emergence of Rock music and TV changed society in a big way, so much so that you can barely feel its legacy in modern music. With this disconnect it can be hard to find the right records for you, considering the substantial back catalog of Jazz thats available it is a sea of forgotten wonder to wade through, and its always a pleasure to find something to digest. "The Bill Evans Album" was certainly something I can dig my teeth into, having never heard of this musician before I had no idea what to expect, but alas here was a record I could dive into.

I find it especially difficult to differentiate the deeper artistic expressions in this music, for it is wildly different from modern music. Jazz is classy, bright and sophisticated. That may sound cliche, but its true. This music doesn't revolve around melodic hooks, repetition, beats or sing along lyrics. Its an entirely different construct of sound thats artistically inclined towards free flowing expression and atmosphere. Despite my love of this music, its one I struggle to articulate. Jazz is mysterious and felt beyond words, its as if a higher sense of self is reached through sound that strives for so much more than what we are. What I'm trying to say is despite my enjoyment of this record it doesn't leave me with much to say.

"The Bill Evans Album" is another liquid record that gracefully jams through lush fields of indulging Jazz as Rhodes keys, bright pianos and a walking bass groove vibe back and forth from one another as the kit guides them with gentle timbering ride cymbals, gracious snare fills and sensitive tom rolls. The pianos dances fluently with intricate melodics that glide through scales with a effortless free flowing spirit, signs of a great pianist at work. The bass is often a quite mode of groove, hammering away behind the Rhodes and piano, it occasionally steps into the limelight as all instruments do at one point or another. Its a warm record to feel good with a touch of introspection, more so that acceptance. With no hooks or obvious "moments" to point at, its a fluctuation of feels that wash over at their own desire, occasionally the Rhodes and piano chemistry peaks as captivating melodics overlap in brief instances. Another record in my collection, but nothing on par with the classics.

Favorite Tracks: Funkallero, Re Person I Knew
Rating: 6/10

Friday 20 February 2015

Berlin "Pleasure Victim" (1982)


Searching for something a little out of my comfort zone I stumbled across "Berlin", an 80s Synthpop group who despite their name are from America, not Germany. Checking out this band in brief was a bit of a trip, a throwback to a scene barely recognizable in modern culture, but only in terms of looks and fashion. Synthpop left a resounding influence in pop and electronic music that can still be felt today, and despite a limited knowledge of the genre, this sounded like a prime example of the sound in its retroactive peak. This was when pop music exploded with rich keyboard synthesizer leads and catchy melodies, an emergence that leads us back to Krafwerk. "Pleasure Victim" went platinum in the states, it took ten years to do so, but now its success seems like something washed away in a ever evolving musical landscape.

Opening with a rigid and plastic electro bass lead, it doesn't take long for the retro sound to kick in as a hyped, glistening synth lead bursts into the fold with an almost cliche melodic lead. Rich synth strings fill the space behind as laser zaps and explosion sounds play away in the background alongside a condensed drum kit that sounds narrow and contained, but of course fitting of this style. Terri Nunn's vocals were initially a turn off, theres a raw authenticity to her voice that felt slightly contrasting to the music, there is a distance created between her traditional singing style and the glistening synths, which as time went on I found to be one of the more enjoyable chemistries on the record. Occasional guitar leads and overdriven chords bring some rock to what is fairly unadventurous record which exemplifies the Synthpop sound.

The record is short and sweet, across the 29 minutes 7 numbers play out with catchy infectious melodies that border cheesy, depending on your taste. The song "Sex (I'm A...)" grows into a cringe fest as moans and groans infest the track as it progresses. Its a thick slice of cheese between two enjoyable sides of a sandwich, which was easy to digest. After repeated listens I felt there was a lack of depth, light and cheerful on the surface the songs were simple pleasures of glittery sound of hooky melodies, but only a couple of songs had the character to stick in the mind. A worthwhile listen, but nothing especially great unless your really keen on Synthpop.

Favorite Songs: The Metro, World Of Smiles
Rating: 5/10

Thursday 19 February 2015

Enter Shikari "The Mindsweep" (2015)


For me, Enter Shikari are no normal band. They were once thee band in our local scene, playing at our schools, pubs and clubs we saw this band grow from the back garden to headlining festivals. Back when they were the unsigned hype in the UK we all knew where this band were going, they had heart and charisma, a sound they could call their own and a determination to live out their dream. I have an immense amount of respect for these four friends who started the band while still in school back in 2003. Through relentless touring and commitment to their music they have built a large audience across the world from the ground up with a DIY ethic, creating their own record label to release their music on and touring constantly, playing many clubs and venues across the land. Eight years on from the release of their debut major release Shikari have matured as musicians and this, their fourth, is their most structured and diverse record to date.

The record start of with a familiar feel as Rou gives another rousing speech regarding the state capitalist society and the problems we face with the need for social awareness, the music steadily builds intensity before breaking out into rocking riffs emphasized by sporadic synths and climatic melodic vocal leads. A warm opener for a record that got a lot to offer, Shikari's diverse sound is know for pulling many elements together, Alternative, Rock, Post-Hardcore fused with Techno, Trance, Drum N Bass and even tinges of Dubstep. The group are not afraid utilizing electronic club sounds alongside their traditional instruments. More so than ever we hear a dynamic fusion where the glistening synths and noisy glitch sounds compliment the core of the songs, giving them a rich musical dimension that never falls short to deliver delight. Whether rocking a guitar heavy breakdown, a moving rock ballad or slamming drumstep break, they find cohesion between the diversity of styles and write effortless music which further incorporates raps alongside the scream and clean vocals, even a Symphonic element is present with some soft strings dropping into particular tracks.

The albums production is classy, with so many instruments at working its great to hear them meld effortlessly, aided greatly by the production from Dan Weller of Sikth. Beyond the flush sound, the music itself is positive, upbeat and full of good vibes as the album courses through tracks that focus of the best of their diversities. Each track feels characteristically different from its predecessor and all of them are pack with musical moments you look forward too, whether a melody, riff or hook every song is filled with something to enjoy and despite being such a varied record is flows effortlessly. Its the first time I had listened to them and not yearned for something like the old classics "Sorry Your Not A Winner" etc. Shikari have matured, but here it really came together, firring on all cylinders. There was only one downside to this record, the lyrical content. Not much resonated with me, or even grabbed my attention, but that is no fair critic as words and lyrics often go right through me. Its been great to see the band progress, but here I hear their flame grow strong, a terrific record that sets them on a path for great things.

Favorite Songs: Anesthetist, The Last Garrison, Myopia, The Bank Of England, There's A Price On Your Head
Rating: 9/10

Wednesday 18 February 2015

A$AP Ferg "Trap Lord" (2013)


"Trap Lord" is the debut album of New York rapper / producer A$AP Ferg, a member of the A$AP Mob, a Hip Hop collective consisting of 14 members who have been active since 2007,  finding success in recent years. I found my way to this record looking for "Trap" music, a term used in Southern Hip Hop in the early 90s that has seen a wave of revival and innovation in recent years in both Hip Hop and Dance music. "Trap Lord" was a record of two halves, one great, the other awful, so we will start with the good. 

There is a stylistic formula at work on this record that doesn't take long to break down. Ferg's production follows some core principles that doesn't stray to far track to track. The kits are tight, sharp and cut finely. Crisp claps and snares groove with sudden kicks that leave a big space that even the sterile hi-hats don't touch, they rattle and stutter at varying tempos creating dynamic grooves that even the occasional reverb soaked snare doesn't touch. It leaves much room for the instruments to fill and the compositional arrangements have their own style not afraid to bring in minimalism with frequent kick and snare dropping. Filling the space the kit leaves are minimal leads from a variety of electronic sounds that rarely move beyond one or two layers. The melodies are simple, consisting of a few notes that repeat over and over. Its easy to strip down, but built up these songs build a contrasting air of swagger and paranoia that paint an image criminal wealth and looking over your shoulder. Further stylizing the sound, the vocals come with distant echo affirmation shouts and aren't afraid of using pitch shifts and effects in places.

Ferg's rapping is both rigid and laid back, his flow is often tight and repetitive, choosing words to fit a tight rhythm that loops over, occasionally Ferg suddenly shifts gears to double the tempo of his lyrics. Spitting stiff his tone and delivery is contrasting, sounding casual, often slurring or drawing out words, mispronouncing to fit a rhyme he creates a lot of substance and style. But thats where the good ends for me, the lyrical content of this record his ruthlessly misogynistic and graphic. Between boisterous sexism and degrading imaginary their is little substance that grabs me. Not a line sticks in the mind, even if the flows are enjoyable what their rapping about is hardly. On "402" and "Dump Dump" Ferg hits a low as he shows his self centered moral-less attitude, glorifying his promiscuous behavior and rubbing salt in the wound, depicting his victim crying on the record. I enjoyed the instrumentals, but the lyrical content leaves nothing to return to once the beats dry out.

Favorite Songs: Let It Go, Shabba, Lord, Hood Pope, Fergivicous, Cocaine Castles
Rating: 5/10

Tuesday 17 February 2015

Madball "Set It Off" (1994)


Madball are a Hardcore group from New York who formed in the late 80s and released this, their first album, in 1994, a post prime era for the Hardcore Punk / Crossover Thrash sound they deliver so boldly on this record. It exemplifies the energetic, attitude driven approach laid down by Hardcore bands in the 80s and delivers them in an easy to digest package that makes for a reasonable debut record.

In twenty six minutes Madball shred through 14 tracks of fist pumping, adrenaline soaked aggression. Focused tight palm mute crunching and power chord slamming, the guitars guide these songs to their grooves fit for mosh dancing. A ruthless atmosphere is built as the kit punches tight bouncy rhythms between the crisp snare and thudding base kick, the guitars delivering riff after riff of Hardcore fueled aggression. To no surprise the themes put across through Cricen's gruff shouts are of mental attitude. Pride, honor and respect, telling stories of personal betrayal, justice and the strength to deal with the hardships people put each other through.

The album starts of with a bang as their best songs slam down the thrashy aggressive dance friendly riffs to get you pumped and fired up with an attitude, dropping the tightest grooves and catchy shouts the record has to offer, as it stretches on the intensity loosens and songs get shorted, never quite reaching the energy and momentum the record starts with. Its a decent record, but only in its best moments.

Favorite Songs: Set It Off, Lockdown, New York City, Down By Law
Rating: 5/10

Monday 16 February 2015

Tombs "Savage Gold" (2014)


Tombs are an American four piece band from Brooklyn, New York. "Savage Gold" is their fourth full length release, and beyond that there is little I can say about this group. I had not heard of them before noticing this album cover, which caught my attention and so I picked up a copy. Hailed as an "experimental metal" group I was slightly bemused as to what exactly was experimental, this was one of the most straightforward and gratifying Metal records I've heard in recent memory, yet it has to be said for everything that feels "normal" about their approach to writing music, the end result certainly has a unique flavor to it that I struggle to pinpoint its origin.

From the moment this album kicks off, it offers up a familiar formula of sound most common with early Black Metal. Crisp mechanical drumming hammers out blast beats and shuffling fills in between commonplace Metal rhythms as dense tonal guitars tremolo pick slow, snaky scale progressions. Mike Hill's gruff, narrow shouts snarl and scream with the blackened music. Melodic inflections character these songs in the moments the lead guitar breaks into a cleaner sound, but for the most part they follow a typically singular, simplistic approach, climbing up and down scales with an evil, haunting vibe, utilizing tremolo picking, power chords and the occasional dischord. The group don't stray far from this sound, the tracks like "Deathtripper" and "Severed Lives" bring the pace down, and atmosphere up as Hill draws out whispering screams over menacing guitar leads.

The album has a patient flow to it, despite its blasting drums the pace is steady and many riffs and moments are drawn out, not in a hurry to leave the place they create. Its an unusual listen. To break it down there is nothing unique or special, yet as its own art it offers something subtly distinct, despite its familiarities. Its the kind of record that doesn't blow you away with any moments, but creeps up on you as it slowly wraps its tentacles around you, sucking you in. Equally so I didn't find these songs to stick in my mind, yet they are a pleasure to listen to. I think these are all signs of great musicianship that is focused on the consistency and subtleties, more so than an upfront, in your face attitude. And on a final note, the kit sounds gorgeous, the snare has texture, the kicks rattle deep and the toms are given treatment too, one of the best sounding kits I've heard in a while.

Favorite Songs: Seance, Deathtripper, Edge Of Darkness, Severed Lives
Rating: 7/10

Sunday 15 February 2015

Russian Circles "Memorial" (2013)


Russian Circles are an American three piece instrumental Post-Metal band from Chicago who formed over ten years ago in 2004. This is their fifth full length release and my first exposure to this band who are receiving much critical acclaim at this moment in time. "Memorial" has been a curious listen for me, a slow burner of which my appreciation for has steadily grown with each passing listen. Its one that calmly drifts into the background, yet with more familiarity becomes increasingly captivating and indulgent. Its a bi-polarizing record that can be gentle and soothing in its calmer, melodic moments and morose in its dark and heavy passages that are orchestrated through dense atmospheres of metallic shoe-gazing.

With no room for cheap tricks, hooks or verse chorus structures, Russian Circles create a constant evolution of sound where each moment feel as relevant as the next. Each song expands and contracts, grows and flourishes in climactic glory before fizzling out in a wash of atmosphere that leads into the next moment. The guitars sound enormous as they wrap there selfs in layers of thick sound, achieved by reverb and echoing effects that amplify and build up the grand moods. The drumming is a commanding and driving force that guides these songs too their destination with thoughtful rhythms and crashing symbols that create a thick layer of noise above the thoughtfully composed base snare grooves that subtly magnitude the music without crashing into the spotlight.

Across the eight songs the group offer a diversity of unraveling ideas that in a fair few darker moments utilize some common Metal riffing styles in the most uncharacteristic of ways. It ends with an extension of the opening track, featuring Chelsea Wolfe's vocals that tease a glorious compliment between the two musical forces. At no point in this record is their a moment where the instrumental arrangement is questioned, but her voice brings them to another level. Its an interesting way to end the record which has proved to be an artistic endeavor of rich atmospheres and dense sounds. Although not every track hits the same level of indulgence, its a record that continues to grow on me with every listen.

Favorite Songs: Deficit, 1777, Lebaron, Memorial
Rating: 7/10

Saturday 14 February 2015

Pearl Jam "Ten" (1991)


Peral Jam are an American Rock / Grunge band who rose to fame in the early 90s with the explosive popularity of Grunge. Coming straight out of Seattle, the scenes origin, the group would release their first and best selling album "Ten" in 1991. The record was not an instant success but continued to steadily sell and picked up steam the following year. It has since gone 13 times platinum in the US alone and has helped cement their place in Rock history. Despite being a seminal act of one my favorite eras of music, I had hardly ever heard the group before, so I picked up this album with very little idea what to expect.

My first impression was good, but quickly I found myself asking "Is this grunge?". Softer guitar tones, less aggression and gliding, passionate vocal leads painted a Alternative/Classic Rock feel to a record that swiftly captivated me with composed rocking grooves, subtle melodics and Eddie Vedder's mighty, captivating presence as the front man who pours an immense amount of heart into his free flowing afflictions and anthem like singing. Before I barely knew a song I found myself singing along to his wild descending ascending vocal hooks on "Alive". Singing and lyrics are often like another instrument to me, and although they sit in the forefront of much music, its not often I find myself engrossed in what their doing. I've been scratching my head trying to remember when a singer last captivated me like this, but Vedder's passioned singing is memorizing and by grabbing my attention so vividly he lets the quality of the music behind him speak volumes in a subtle magnitude, before breaking out explosively in the moments of his absence.

The chemistry between the instruments is dynamic and powerful. The group achieve a big rocking sound with no need for heavy overdrive or cheap tricks. On the track "Why Go" the guitars slam in over a glistening bass line with a mammoth, melodic groove. There is a big space in the sound, the drums rattle away orchestrating the rhythm and although feeling distant from one another they fill this space rocking out Classic Rock riffs with a jamming feel. On particular tracks the group bust out into guitar solos that have a magnetic energy to them as they wildly shred leads reminiscent of Skynnard and Hendrix over a steady bass. The more I talk about it the less I see the Grunge. This group just rock hard in a classic style, but bring a newer sounding tone and drive, complimented by Vedder's theatric perfomances.

The group also calm the mood with some dreary melodics and quieter, progressive numbers that build up big atmospheres. All of this is amplified by the subject matter of the lyrics which are surprising candid and bold. Tackling topics of suicide, depression, abortion and mental illness this album strolls through dark territory while maintaining an upbeat mood. The track "Jeremy" really pulls at the heart strings as Vedder sings tribute to a young boy who took his life in front of his classmates, a mental state reached from the abuse suffered at home and from his peers. Its a climactic moment in an album full of terrific songs, the sort that closer examination just yields more admiration of the instrumentation that can sometimes feel I little hidden behind Vedder enigmatic performances. A stunning debut record.

Favorite Songs: Even Flow, Why Go, Jeremy, Release
Rating: 9/10

Thursday 12 February 2015

Emperor "In The Nightside Eclipse" (1994)


As a young teen I found myself drawn like a magnet to the Norwegian Black Metal scene of the early 90s. Not long after finding my way to Metallica and Metal music I was scouring the Internet with a thirst for more. I'm not exactly sure where it started, but quickly I was ordering obscure import records from Norway, utilizing the Internet at a time when online shopping was in its infancy. Having heard very little of this music I was sucked in by the mystic, pagan artwork and before long I was picking up records from bands like Mayhem, Darkthrone and Burzum etc.. At first I barely knew what to think of this dark and overwhelming music. It was loud, a noisy claustrophobic dive into a dark and mysterious world. Somehow I knew it was the music for me, and as time went by I got deeper and deeper into this dark and wondrous music. Emperor's "In The Nightside Eclipse" was one that at the time that "broke the ice" and was the first record I really understood. Almost 15 years later I still can't get enough of this masterpiece. Last year had the privilege of seeing it played live in its entirety, something Ill never let go.

Nightside was released when the scene was in its infancy, more specifically right at the beginning of controversy and intense media scrutiny surrounding the scene as a result of the church burnings, murder and satanic rituals that had become linked to the music scene at the time. Black Metal's original concept revolved around "anti-music", the idea to intentionally make inaudible, low fidelity, harsh music that was everso rebellious in nature. Taking on a stark image through corpse paint and satanic symbols, the scene quickly attracted extremism that would result in the aforementioned controversies. Nightside is where things changed. Emperor took the aesthetics and dark sound of Black Metal, and used it to write deep and intelligent music while fusing a symphonic element into their sound, a move that at the time would of seemed "experimental" but would inspire a generation of bands to come.

A whirling storm of evil and descending eerie synths march to a thunderous noise as the record plunges us "Into The Infinity Of Thoughts", a title fit to set the tone of the vivid ride through your imagination this album will set you on. Blitzing blast beats and hazy, tin guitars tremolo pick a furious melody. Ishan's snarly, raspy screams crash into the fold with the symphonic keys, revealing their glory immediately. The vocal like choir synth expands the record into a new dimension, brining an enormity and epic feel that quickly and almost subtly shifts into one of many beautiful moments on this record. The key shifts up and the dark sound reveals hidden beauty, descending strings amplify the underlying majesty of the music and we get our first taste of what makes this experience a transcending one. Diving further into the track, it breaks from the relentless onslaught and between thunder strikes and cavernous winds the choirs calm like the quiet before the storm and then plunge us into symphonic, melodic bliss with a stunning imagery of limitless magic.

The rest of this album marches forward triumphantly through seven more tracks that further explore the principle and theme so well expressed on the opening track. Without repeating themselves, Emperor dive into the majestic eternal world and steer us through the mysterious ancient. The vivid imagery is painted through timeless riffs and choirs that make every song a sheer joy to indulge in. As the album draws close to its end the infamous "I Am The Black Wizards" plays out some of the most memorable riffs, leading the song into an epic climax as endless synths ooze their glorious absorbing sound over the bass and guitars. The song then plays into what could almost be described as a "breakdown" riff before ringing out a timeless melodic lead as the song sorrowfully concludes with Scandinavian clean vocals and snarling screams.

From a technical standpoint, this record sounds claustrophobic and messy, but more so than ever does it play into the charm of the record. The extremity of the musical delivery, the noisy shell it resides in further amplifies the distance from reality this record exists in. The dense guitar chords and thin tremolo leads are bombarded by nauseous drumming, the synths bleed their way through the wall of sound and this is where the magic happens. The keys come from a far and are absorbed into the fold, leaving a tonal wonder instead of clarity that compliments the mystic themes perfectly. Plenty of technical errors and noises can be heard, but they don't detract anything from this record as the tonal sound the mixing style achieves just amplifies the immersion and wonder. Its a strange thing to describe, as it captures the magic through what could be perceived as inferior, but thats the way it works. "In The Nightside Eclipse" is one of my all time favorite records, one that has never failed to excite and invigorate me. A timeless record I can listen to endlessly.

Rating: 10/10

Wednesday 11 February 2015

Napalm Death "Words From The Exit Wound" (1998)


Here we are again with another Napalm Death record to consume and digest. Having recently covered their newest release "Apex Predator - Easy Meat" I continued, based on a recommendation from a friend, with another record from their 90s era of experimentation with incorporating elements of Groove Metal and Hardcore into their sound. Just two years after "Diatribes" I was expecting a dose of groovin grinds, slamming blast beats and head banging hooks, which the opening track "The Infiltrator" delivered like a hit to a fiend. Excited for the rest of the record, I found the mood and pace to shift direction, and within a few tracks and this album had a harder substance to divulge and after several listens I've grown fond of this record, which although feeling similar to Diatribes, its quite a different beast.

By the third track "Next Of Kin To Chaos" the tempo is calming and a slow grinding tremolo picked riff guides the song too discordant notation and progressive leads that focus on developing a mood and builds up an intense atmosphere thats not orchestrated by dizzying blast beats, or pummeling aggression. From this point forward Naplam feel co-ordinated and expressive through guitar riffs that contain tempered grooves and chugs, instead of blunt force brutality. Theres a subtle Hardcore vibe at work in the guitar rhythms that resonate tightly with themselves as the drums keep pace. This feels especially emphasized on "Devouring Depraved" as the orcherstrating drums build up suspense by crashing down on the toms with tribal instinct, for a subtle, powerful and chugging riff to slam in with the songs climax.

As the record plays out the group play through a variety of ideas that let the guitar speak for itself, aswell as bring in some "clean-ish" vocals in places. "Incendiary Incoming" is a track worthy of mention that sees Napalm step to a southern vibe with slick pinch harmonics and a bendy, shuffling groove rhythm guitar reminiscent of Dimebag. The tighter guitar and composed attitude of this record makes for one that offers more than "all out heavy". The mood and vibe of each track becomes bigger than its peak or "break out" moment, and an array of interesting compositions emerge in the quieter moments, many with a subtle Hardcore tinge to them. A strong album that does not show its colours without several listens through.

Favorite Tracks: The Infiltrator, Next Of Kin To Chaos, Cleanse Impure, Devouring Depraved, Incendiary Incoming, Thrown Down A Rope
Rating: 7/10