Austra "Olympia" (2013)

Following up on the Canadian trio's darker leaning debut "Feel It Break", we arrive two years later at "Olympia", a measured refinement of style that steers the ship to a slightly brighter, broader appeal, while still retaining the core of their identity. Its a fitting follow up, no leaps, tricks or wild cards in store, just another collection of short songs where the synths lighten up in tone and dazzle with chirpier, friendly melodies.

Even though the instrumentals are rich with layers of complimenting melodies and a memorable tunes, it is singer Stelmanis who once again becomes the focal point of the emotional narrative, crowning the songs with her infectious hooks that hit with magnitude as a sublime energy and character resonates through her empowering vibrato. She carries on where the last record left off and bar a few sharper ideas its a predictable performance, one that's unsurprisingly indulgent as the melodies flow around her swooning vocal lines.

The biggest progression felt is the instrumentals, tuned for a brighter ear the record feels a little looser and organic in reflection of "Feel It Break". The drums especially, including bongo arrangements and less electronic kits. With a lighter pallet of sounds the band often resonate short Neoclassical melodies over pulsating dance baselines. Soft strings, flutes and plucked strings illuminate these cohesive moments of indifferent styles that otherwise sound odd on paper. Its very much a more obvious extension of what came before it.

"Olympia" is a strong record, however the bands approach to songwriting limits what feels like an obvious potential for them to do much grander music. Short, verse, chorus song structures and a lack of theatrical progression leave the songs contained within the walls of repetition that doesn't expand on the magic of Stelmanis' voice. The last album had a stand out track "The Beast" where convention gave way to inspiration and that is what I was hoping for more of. Even where potential feels disappointing this record is fantastic and very enjoyable, one I'll return to often.

Favorite Tracks: Painful Likes, Home, Reconcile

Rating; 7/10

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Repulsion "Horrified" (1986)

Ive been meaning to get around to Michigan based Repulsion's debut and only record for the longest time. When researching Grindcore and Goregrind I often come across "Horrified", cited as a classic record in the genre's early days which despite being recorded in 86 wasn't actually released for another three years. Taking oneself back to that year, Metallica's Definitive "Master Of Puppets" had come out and the first few Death Metal tapes were circulating the states. Napalm Death has started to beef up their sound with blast beats during line up changes and the birth of a new sound was upon us. Although it wouldn't of assaulted ears for a few more years to come, Its quite possibly the "heaviest" record you could find of the time. That's why I had to check it out sooner or later.

Despite being an "old" record its abrasive demeanor took me a few listens to adjust. The hideously ear piercing ride cymbal making its mark on a loose and chaotic aesthetic where low, dingy guitars grind away at linear, one dimensional riffs with temperate grooves as the drums come crashing down around them with mosh steady beats. Vocalist Scott Carlson's screams are not much of a charm. Its a rougher, harsher form of Thrash Metal scream that has the fast and frantic delivery of Grindcore lyrics but yet to evolve into the deep growl so many other bands would take up. The base guitar most likely a mirror of the guitars but sounds somewhat non existent in a mix that constantly peaks the mid to mid-upper ranges.

In there moments, the blast beats crash in with full intensity, the ride cymbal smothering the tone, overloading the accompanying guitar riffs. The band have the measure to break it up with slower tempos, punk and thrash sections that turn the dial from eleven to ten. The riffs are simplistic, easy to follow and employ some techniques and styles that would become commonplace, the grinding of low strings and using snaky note progressions. On the lead guitar front Thrash like solos seem to crash into the mix at regular intervals with a fast and frenetic unleashing of notes that spiral around the listener before dropping out as quick as they came in.

At thirty minutes its a great length where a rather abrasive collection of short, frontal songs don't take themselves to seriously and outstay their welcome. Initially I was impressed by its age but dubious I would really enjoy this record given the length of stylistic evolution that laid in front of it. A few listens warmed me up to the sound but it was hard to make more than a retrospective impact. It was however worth my time, a coy enjoyment and an interesting piece of music poised slightly ahead of its time despite the delay in being released to the rest of the scene.

Rating: 5/10

Emmure "Look At Yourself" (2017)

Its been a while since I last checked in with Emmure, often labeled as Deathcore they are mostly characterized by their obvious Nu Metal influences and a tonal "over the top" approach to the aesthetics of their sound. I personally never brought into them much beyond a handful of songs but talk of a return to form and complete lineup change, bar front man Frankie Palmeri, had my curiosity sparked. Three years since the bands last full length this new lineup has held everything that made this band what they are intact, while as always trying to turn the dial up another notch.

With a spew of short songs that barely grace the three minute mark, Emmure go full throttle through a barrage of dirty, disgusting noise eccentric riffs that bombard the listener with a constant assault of short elasticated grooves, pummeling hard on the Djent tone, accommodated by brutal drums and Frankie's fiery screams that fill the ranges as they peak the microphone for an intensive effect.

None of these songs have a sense of grandeur, theme or purpose. Instead they stride from one idea to the next, throwing just about every arrangement of two note beat down riffs at the mercy of whatever noise they can manipulate from the guitars and electronics. Sometimes these take shape like the creepy, eerie melodies reminiscent of Korn, mostly they sound unique as dystopian airy synths grace the space in the silence of the guitars which themselves make a considerable effort to throw in bends, harmonics and other oddities in the mix.

Aesthetically it comes off well, a hard hitting mix of throttling eccentricity with groove and attitude to match. On the flip side the short nature of the music and lack of coherence beyond a riff fest left the songs feeling lackluster. The constant thundering of overly loud guitar tones and heavily compressed production with no direction in sight took the wind out the aesthetics sails for me. Despite many particularly interesting ideas and oddities of noise they fall flat on a lack of direction and amount to nothing interesting beyond one or two listens.

Favorite Tracks: Russian Hotel Aftermath, Turtle In A Hare Machine

Rating: 4/10

Daft Punk "Random Access Memories" (2013)

Over three years ago the French duo released their fourth and classiest record to date and somehow my utter excitement to listen to It got buried by other distractions, I have no excuses. A month or so ago It dawned on me that I forgot of its existence, a shameful crime... Daft Punk need no introduction but if your unfamiliar then a little history is due, they are a pair of Electronic musicians who emerged from the House scene, contributed massively to the mainstream success and sound of modern electronic music while sealing themselves in an air of mystery at the same time, given their robot avatars. With four records in twenty years and one soundtrack the two have a lot of integrity to put the music at the foremost of their art, rarely touring and always striving the reach new heights with every ambition.

RAM is the moment where the two unchain themselves of their electronic origins and delve deeply into their disco, funk, soul and 70s music roots. Slick acoustic guitar licks, rock steady, grooving baselines and classy, subtle drumming all set a solid tone. Its gorgeous, slick, smooth and easy on the ears, all made possible by a collection of prestigious session musicians who revive the music of times gone by without a sense a nostalgia, a quite remarkable feat not commonly encountered. It plays out like a refined Disco of the future, finely tuned and polished to sparkle.

It comes full circle as the music's electronic aspect goes through a completely organic process of becoming the humanistic aspect as the lush instrumentals set a harmonious tone for bursts of measured synthesizers to find their moments between the ensemble of vintage instrumentation, captured together in a masterful production. Where a guest vocalist isn't present the pairs auto-tuned, electrified voices take command and bridge the connection. With an analytic mind its as if a case of reverse role has taken place, the voice electronic rather than the music but with a keen ear one can here the littering of subtle keys and murmuring synth lines between the traditional music.

All of this is essentially stated on "Giorgio By Moroder" through Italian producer Giorgio who, with a brilliant quote, captures much of the essence of whats at work on RAM. For all the praise I could lavish it with, RAM is a record of tone, mood and charisma. With a run time of seventy four minutes it does little to shake up its pace and energy and with consistency finds itself drifting out of my attention in the final stretch. By the time "Contact" rolls around with its ambitious noise abuse I'm about done with things and awaiting its conclusion. A brilliant output by the duo, a vision well and truly executed but perhaps lacking a little in variety and experimentation where its consistency runs dry.

Favorite Tracks: Give Life Back To Music, Loose Yourself To Dance, Get Lucky, Doin'it Right

Rating: 8/10

Suicide Silence "Suicide Silence" (2017)

American Deathcore kings Suicide Silence tragically lost their iconic frontman Mitch Lurker back in 2012, his distinct screams and lively stage persona was a defining aspect of the bands identity. The choice to continue on without him would pave for difficult times as the impossible task of replacing Mitch would unsurprisingly cause mixed reactions among fans. 2014's "You Can't Stop Me" featured new vocalist Eddie Hermida and was no stylistic departure but for an old fan of Deathcore it was quite a forgettable record.

Using the self titled card, the band have set out to redefine their sound, much to the disappointment of a quite frankly ludicrous reaction from their "fans". A petition to stop the band releasing this record actually gained traction and signatures within the music community, something Ive never heard of before and is quiet insulting to the band who should never be told what to do with their art. That must be even harder to taste when it comes from within your own fan base. Metal music has always taken quite the beating from the outside world but this is unprecedented.

History and controversy aside this new direction is far from awful but not flattering of these musicians. If I could summarize, Its as if I'm listening to a demo that's got a lot of potential, the elements, ideas and inspiration is all there but it comes together a little flat. So what sort of direction have they taken? Nu-Metal, an instant nose up for some people but its a little misleading, the band have aimed for the more artistic side, were bands like Korn and Slipknot where creating atmospheres of frustration and despair in the creepy moments riddled between bombastic dropped tuning riffs.

Suicide Silence have stripped back that frontal, riff eccentric approach to their sound and although It can still be heard a little in tone, the metallic riffs play second fiddle to noisy dissonance and reverb buried chord picking that has cagey drums and Eddie's unhinged singing forming a fiery emotional atmosphere. It sets the stage for off note, loose and unrestricted ideas to emerge in a constantly tumbling of deranged ideas. Many of which are quite imaginative and of their own identity, although others are distinctly like bands of that bygone era.

Unfortunately these ideas come together with a lack of structure or direction. The bands age would suggest they grew up in the Nu Metal generation and it is great to see they have picked out the lesser explored ideas of that era to go forward with but turning that influence into good songs has not come to fruition. Nothing is bad or awful, in fact there are a lot of intricate, unusual, interesting sounds at work and Eddie's performances are very emotional and grabbing. It just doesn't come together well. No song here creates something powerful as a whole. Even its best riffs fall flat into songs that don't progress with a direction to make anything remarkable of its contents.

Rating: 4/10

Hellmouth "Oblivion" (2017)

With fire and flames "Oblivion" burns through its sixteen tracks in a frenzy of anger, rage and fury. Clocking in at thirty three minutes its a relentless pummeling that only lets up in moments of atmospheric Post-Metal guitar noise that is a welcome twist to a primarily Crossover sound. Being the Detroit bands first record in over seven years, it doesn't sound like a big stylistic leap is at work but between sticking to their full throttle, high octane guns. Their sound inches into new territory in several moments littered through the track listing. With slower Post-Metal moments and tinges of Black Metal, Post-Punk and Groove Metal licks there are brief instances of creativity and imagination that trumps the unfiltered violence of their rage educed thrashing.

Motivated by humane, religious and political corruption themes the album plays like a constant thunder of urgent alarm. Its production is intense, monstrous guitar tones clamor into the forefront, accompanied by the powerful, brutal drum kit that thunders away as lots of noisy dissonance melds into the unleashed musical force. Singer Jay Navarro leads the charge with an alarming scream that although may not be the most welcoming of textures has a ton of passion and anger coming through furious shouts.

In the bands core identity lies a rather predictable approach to Crossover brutality. In some moments it hits hard but in others it feels as if the uncontrollable aesthetic tone just isn't quite as exciting as the energy it puts forth. Its in the slower moments where atmosphere and craft emerge from the routine trashing that more excitable music is found. Unfortunately the elasticity between the two didn't spark anything special and it played out like a routine stretch of brutality with bits of life briefly sprinkled in. Hellmouth have a great aesthetic but for me its most pleasing within the creative and atmospheric moments rather than the constant barrage of hate the band aim to assault you with.

Favorite Tracks: Welcome To The Undertow, Blood Free, Dementia From The Void, Coliseum Oblivio, Pathetic Bullshit

Rating: 5/10

Austra "Feel It Break" (2011)

The ambiguous, symbolic, dark symetrical album cover may conjure impressions of an artsy Black Metal project but alas, no stretch of extremity is to be found here other than its sheer wonder. Austra are a Canadian Electronic Art Pop trio illuminated by the dazzling vocals of Katie Stelmanis who's voice resonates on a deeply emotional level. Her singing is strong in presence, consistent in tone and dazzles with a stunning vibrato, executed with mesmerizing precision in speed and evolution as it expands its ferocity with mechanical precision. She steals the show but the instrumentals are of merit too.

Forming the rhythm section, programmed drums take on a measured position between more organic samples and sturdy dance kits. The base kicks thud and the hi hats are a little less intrusive, setting the tone for atmospheric Synthpop with a sturdy backbone. Around it layers of moog synths and baselines come in and out of focus with temperament for the power of each melody, not trying to constantly output sound and allowing the songs the expand and contract, which they do, however it is always Stelmanis's voice that takes the limelight as the various melodies play of her lead.

With a deliberate and balanced sound it remains rather consistent in tone and structure, nothing too adventurous emerges from the formula and the songs go through the motions in typical formats with a great selection of drum kits and playful melodies to compliment. Short sweet and repetitive, the tracks consist of melodies in tuneful arrangements that make for easy digestion. Its poppy but artistic and its mood despite a bright exterior feels as if something more sinister may be over the horizon.

For me the album grows stronger as it progresses, the song "Loose It" has a very pop friendly vocal hook and sweet charm about it but as progression takes place the flow seems to loosen up a little. More indifference is to be found in aesthetics and melody as the music starts to resonate emotionally. There are moments where her voice is "enhanced" for lack of better word when reverbs give it a different edge and she delivers some breath taking singing on "The Choke" and more so on "The Beast" which sees the album out on a chilling high with goosebumps and all as she hits the most powerful notes of the record over a troublesome piano.

A great debut record that really highlights the beauty of Stelmanis's voice and its fair to say this will be one of my go to records for a long time. I have to thank my friend Lord Lovidicus for introducing it to me. I should also mention that Fever Ray came to mind in my first few listens. Although distinctly different in style and tone I can't help but think the band would be fans of her work. Loving this one, looking forward to picking up their second release and anticipating a third for 2017!

Favorite Tracks: Beat And The Pulse, Spellwork, The Choke, The Noise, The Beast

Rating: 8/10

Iron Reagan "Crossover Ministry" (2017)

Given this bands line up, consisting of members from Municipal Waste, Cannibas Corpse and Darkest Hour, you may consider them a super group of sorts. They are very much in the spirit of Singer Foresta's main band Municipal Waste, Crossover, that moment in the 80s where Thrash Metal and Hardcore music crossed paths. Iron Reagan is all about the fun and attitude of the music, with the occasional political statement sprinkled in it is mostly a balls to the wall thrasher of a record that goes full pelt for the hell of it, barely letting up for a breather.

Its leaning is far more to the Hardcore but the occasional bursts of fast guitar thrashing and electric guitar solos keep it all hanging in the balance. With that comes a consistency as the eighteen short songs stick to a fairly routine formula instrumentally. The albums tone is frenetic, sonic and sounds is if its ready to burst at the seems in any moment. A gorgeous, punchy snare drum compliments the distortion guitars that has a reminiscent Slayer tone to it with the more Metal riffs. Underneath it the thuds of pedal kicks and rumbling baselines add to the imminent and maddening vibrations.

With a consistency in approach one song generally bleeds into the next and the affair becomes a little monotone but in a few moments it elevates itself with theme and a sense of humor. "Fuck The Neighbors" poking fun at party hard attitudes with an anthem to blare at rude neighbors who complain about loud music at five in the morning! Total jokes... that and a few other songs liven up what is a little stale album given a large selection of similar sounding riffs. The records tone, energy and attitude makes for a fun experience although it was dampened a little for me by Foresta's thin screams which just aren't to my taste the gang shouts however are fantastic and make many a good hook through the run time.

Favorite Tracks: Dead With My Friends, Fuck The Neighbors, Bleed The Fifth, Dogsnotgods

Rating: 6/10

Neil Cicierega "Mouth Moods" (2017)

To describe "Mouth Moods" as a comedy record would be a fatal mistake. Although it provides plenty of laughs and giggles, it is a far more impressive artistic mashup experiment than it is purely for laughs. Artist Neil Cicierega is a creative individual and as a musician has struck gold with his collection of "Mouth" record, this being the third and best yet! If your from the 90s, 00s generation then this will be a trip down memory lane as many popular songs of the era find themselves stitched together with a touch of genius, inducing one into a state of confusion, "how is this even possible".

"ACVC" has to be the records finest moment on the confusion front, AC DC's "Back In Black" mixed with Vanessa Carlton's "A Thousand Miles". Sounds like a recipe for disaster but somehow its fantastic despite the contrast of Johnson's raspy, scratchy snarls and the lush piano led instrumentation behind it. There is a selection of crossovers involving two contrasting songs that have somehow been fit together. If I'm not careful Id simply end up writing a list with all the popular music included in the record. Not everything is a straightforward mash up. Neil finds themes in the music to include other coherent samples from TV commercials, shows and pop culture in its audio form. If not Tony tiger shouting "There great!" alongside the classic "Eye Of The Tiger" vocal, Neil also lets these non musical samples set the tone, either an advert for CD-ROM's or a Blockbuster Video commercial can lead the song to its point. There is also two fantastic vocal snippet songs with a large string of vocal hooks stitched together in maddening style!

There aren't weak points to be talked about, everything works, some with a little more charm than other but every experiment is rewarding, even odd moments where Chester's vocal from "In The End" is alarmingly transformed and distorted it somehow sounds fantastic. For an audiophile like myself its a very engaging listen. Between the light bulbs popping off at all the nostalgic samples I recognize, I find myself mystified as to how he has found so many instrumentals, acapellas and carefully extracted samples. I'm assuming its likely he doesn't have access to the masters of so many pop songs and I'm left with a curiosity to the production techniques deployed. Its a fantastic sounding record despite some obvious problems you'd expect to encounter however Neil has remixed everything to a fine art. Bravo, a brilliant musical experience, especially for my generation.

Rating: 8/10