Motionless In White "Disguise" (2019)

 

Proceeding their latest effort Scoring The End Of The World, Disguise plays through similar rebellious dystopian motifs. Downtrodden and disconcerted, these self loathing lyrics vent social frustrations and systemic critiques. Emerging in a mangled messed, this personal emotional darkness gets tuned up to a feverous anthemic pitch.

Continuing the legacy of key 90s and 00s bands, another energized romp of animated Metal bangers play off Chris' hooky infectious singing. Tuneful synths and stomping guitars set the stage for ghoulish themes teetering on Gothic at times. Its essentially the same architecture, possibly less impressive now familiar with the bands construct.

Early on the band show their Nu and Industrial Metal influences a touch more directly, however the amalgamation holds strong. On the flip side, Broadcasting From Beyond The Grave and following Brand New Numb play like a shameless Marilyn Manson covers. Fun but a stint lacking originality from a band that usually mix themselves in.

Disguise has entertained but failed to impact. Now lacking a novelty, Motionless In White play with a comforting familiarity, flying the flag with a bold stride that's difficult to critique. My teenage self would adore this punchy angered energy yet I've found it hard to pick favorites among its consistent tone barely hitting a peak or valley either.

Rating: 6/10

Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Eminem "The Marshall Mathers LP 2" (2013)

 

Sequel to his notorious Marshall Mathers LP, this lengthy, convoluted follow up strikes me as a turning point. Passing beyond the woes of his return to the game, Em no longer embodies the moment his iconic guile. Arguably one of his most impressive lyrical bouts, no ambitious rhyme scheme or dexterous flow can save it from circling back on the past. Loaded with witty wordplay, call backs and ferocious energy, his topicality spins a tired trend. Forever locked horns with his usual cast of demons, the latest wrestles bestow entertaining reflections but lack a lasting impression.

Picking up where Recovery left off, the inclusion of Pop stars Rihanna, Sia & Skylar Gray sit among a mix of ideas. Arena Rock kicks, tributes to classic 80s era Hip Hop, lightly "experimental" leaning beats and throw backs to the original record. It makes for an unsettled listen, shifting tone frequently, while perusing across the spectrum of his prior work. There's a track for each record but sadly no Slim Shady resurrection.

 Rap God is an obvious highlight, a moment where concept, execution and substance align for an impressive, if not slightly repetitive song, culminating in a status affirming technical feat. Early on, a handful of beats charm alongside crafty lyricism. There is plenty more in patches to be heard, with Em frequently verging on fiery shout raps delivering his cheeky quips. Although his passionate energy is always present, its as if Eminem is pushing himself more so for the art form than led by his emotions.

That reactionary dynamic once fueled his genius in the past. This shift away started with Recovery. Familiar with the rest of his discography, it ended here. MMLP2 is one mighty swing for the ropes but leaves me impressed rather than connected, as Em circles the usual themes with a lack of freshness to drive a point home. True for much of the record, yet of course he does the complete opposite on his victory lap Rap God.

Rating: 6/10

Oscillotron "Oblivion" (2024)

This artist made quite an impression on me! Their crafty approach to dark atmosphere through delicate, minimal synths has been a delight to return to over the years. Now trading in the stellar visions of astral tension and alien mystique, Oscillotron returns eight years on to abandon inspired compositions in favor of a dull monotonous drone.

 

Oblivion is unrecognizable, a reeking fuzz of noise to drown too. A blurry haze of hellish bass distortion, muddling through the cracks within its own distortions. The wall of sound makes for brooding, ominous tension, until a few minutes in you realize this is the entire hour, offering rumbles and blemishes as its only discernible distinctions.

 

Drone Metal isn't my cup of tea and the bleak aesthetic on offer does little to impress as a lone offering. Although crafting this particular growl might have been a feat to accomplish, its enduring stay is not. Unlike some other spacey drones I have enjoyed, this pale vibe feels hollow an empty in comparison, a drab rot to rid oneself of.

Rating: 0/10

Sabrina Carpenter "Short N' Sweet" (2024)

 

Currently topping the streaming charts, this former Disney star charms with her strong soft voice dynamic. Backed by a seasoned production team, who have handled many big names, the instrumentals of Short N' Sweet croon. Pulling from Country, Soul and Rock, one half of its runtime paints a earnest singer on stage, armed with acoustic guitar and small town Americana charm. The other half gracefully pivots from emotive expressions with energetic bursts of Dance, Disco and Synthpop, armed with sharp wit and knack for hooks. Its fondly reminiscent of Jessie Ware's nostalgic revival.

Sabrina has a wonderful voice, easily slipping between temperaments seamlessly, she colors many a song with subtle shifts that elevate the chemistry. For me, its her sweet falsetto's that perk my ears. The lyrics however, mostly play a hormonal mess of youthful love and relations channeled into cute, quirky expressions, often juxtaposing the warm delivery tone against lyrical content. Its charm is flirtatious, playful, teenage. Fun, mostly harmless but nothing much to latch onto for this listener.

The record is solid from front to back, a breezy, warm, uplifting thirty six minutes that finds a fantastic stride with Bad Chem, Espresso and Dumb & Poetic. The vocal hook on Bad Chem, descending in a dance from breathy high notes is an utter joy. The closer Don't Smile might be joining this list too, another highlight on a solid record that indicates Pop Music is in much better shape than the boy/girl band tripe of my youth.

Rating: 7/10

Eminem "Recovery" (2010)

Reading between the lines of his bars, its obvious the unsavory critical response to Relapse greatly shaped this followup record's direction. Full of enthusiasm for the craft, a scraped sequel has Em questioning himself. The poor reception causes metal turmoils, grappling with his relationship to fame, stature as an artist and the departure of his best friend. This distress makes for tender moments of vulnerability between the usual spats of foul mouthed provocative profanity. Of course, its all channeled through his classic energetic flow and knack for wordplay, which is occasionally rather juvenile.

Recovery's main distinction is the tone of its production. Doubting the direction of his planned sequel, Em parts ways with Dr. Dre, teaming up with the hot producers of this era. For me, they fail to craft grabbing instrumentals, deploying trendy soft-Trance synths and stiff drum patterns. In my opinion, they don't compliment Em yet don't hold him back either. His lyrics carry the usual dynamism one would expect. It's no surprise my favorite beat Ridaz, a bonus track, was produced by Dre. His style is timeless.

His story telling, introspection untangling verses are the records staying power. Featured guests barely make a mark, working with big names of the time, Em casts them in his shadow. A couple of odd interpolations crop up. No Love resurrects Haddaway's 93 classic, transforming the tuneful hit into a peculiar Dance-Rap hybrid. The sung hooks are a touch wild, an aspect that occasionally gets grinding as Em lacks restraint on the limits of his vocal range.Going Through Changes is another, using Ozzy Osbourne's classic voice and yearning strings from the original.

 

Definitely the smoother of the two. Overall, Recovery is a solid listen but I walk away from it lacking the sticky songs that keep you coming back for more. Sticking to the original Relapse 2 plan would of have been mile better. Em is firmly in form on this one, its the pieces around it that are not quite to my preference sadly.

 

Rating: 6/10

Childish Gambino "Bando Stone And The New World" (2024)

What a glorious return for Donald Glover! Bando Stone plays a treat, a wild ride through a tapestry of sonic sound. Seemingly defying labels and convention whilst being pallet-able and poppy. Its refreshing, delivering unique fusions of aesthetic and composition from start to end. This feels like a passion project, birthed from free form jam sessions, capturing the snippets of magic and fleshing them out into exotic songs.

Opening with glitches, aggression and zany vocal manipulations, a bold tone is set yet swiftly we pivot into a heartbreak ballad, gracefully fusing the odd coupling of Soul and 90s Alternative Rock. Survive toys with Dream Pop vibes, Steps Beach croons into an acoustic lullaby, then we swivel again into a dark crunking Trap beat. Unsurprisingly energies shift once more with a lively The Prodigy interpolation of Breathe. A classic!

 

 This tone switching rarely relents, keeping listeners on their tones. Its a refreshing experience, full of unusual surprises and great songwriting. Layers of voicings natural and manipulated seem to be the recurring theme, lots of joyous harmonies permeate many a song on the record. Another through line are these brief interludes painting a picture of modern man stranded in the wild. Without the tools and skills to survive, the dialogs become rather comical, birthing amusing moments between the varied music.

The New World is a hard one to summarize with words. Put simply, it needs to be experienced. The music ventures into so many avenues, siring up striking aesthetics with charm. Donald's apt lyricism delights too, littered with social commentaries and cunning observations he delivers food for thought on rap verses and entertains with creative, expressive singing, frequently shifting into the higher registers, something I don't usually tolerate well. Here I adored the exchanges with his many guests.

 

Rating: 7/10

Last Wishes "Organized Hate" (2022)

 

 

Conjuring echos vague echos of 80s Crossover Thrash and 90s Alternative Metal, Last Wishes play classic beat-down Hardcore with a familiar flare. I'd avoid baiting nostalgia but all my points of reference reach back to bygone eras. This production packages the music convincingly, feeling as if it would fit snugly into a glorious 90s.

 

Armed with throaty shouts, softened guitar distortions and plenty of percussive groove, the aesthetics achieved greatly compliment the music. Gang shouts, two steps rhythms and routinely dropping into half-time all accompany on this feisty ride of channeled anger. The usual topics of loyalty, self empowering attitude and social frustrations get vented through the unchanging scream of front man Corin.

All these tropes may sound antiquated but Last Wishes execute this vision with an arsenal of competent riffs fit for purpose. Its an endearing record, reaching for a specific inspiration and finding it. No remarkable peaks are summited yet it holds its tone firmly for the twenty six minute stint. I happen to be quite keen on this arrangement, it routinely reminded me fondly of classic records from my youth.

 

Rating: 6/10

Andrew Odd "Visions Of Red" (2017)

Wishing to "scratch the itch" from an artist who's discography is unfortunately light, I've rummaged around the mostly one track singles for Visions Of Red, comprised of three soothing space themed songs. Arcadia is a beautiful "pale blue dot" inspired piece. Leaning into the cosmic perspective, yearning string scale the epic expanse of space in a trance like state. A deep yet soft rumble of bass murmurs below, between them heavenly choral voices subtly emerge to peak the musics blissful tone.

Elysium turns a little esoteric, its fleeting voices steeped in mystery as layers of airy choral synths gradually climb an underlying tension. Piano notes smothered in a dreary reverb eventually arrive to resolve this ambiguous enigma. Tharsis leans Psybient. Embracing upfront melody, pronounced synths exchange, brooding towards a sense of eruption. I always anticipate a harder pivot but when the percussion arrives, its toned down, a distant snare kick groove, with narrow aesthetics.

 

 Visions Of Red delivers on this artists ability to cut past the mediocrity this astral music can often slip into, creating three intriguing songs to fire up the imagination. Fingers crossed for more Andrew Odd in the future, their craft is one with distinction.

Rating: 5/10

Zeal And Ardor "Grief" (2024)

 

Now a seasoned act, Zeal And Ardor's third full length has soured in lack of reverence. I'd previously been enamored with their dreary, foreboding yet somehow colored fusion of Black Metal, Chain Gang chants and Electronics. This re-imagining of the genres anti religion inspirations birthed excitement. Unique atmospheres and musical oddities emerged from this exploration, both in concept and execution. Powerful themes and striking compositions, twisting both aesthetics and melodic expectations, yet somehow packaged for consumption. This promising act delivered some amazing experiences in years but on this outing, those ideas run short.

Grief retreads familiar themes, lacking cunning for the shock and awe that surprised beforehand. Leaning on dreary atmospheres, the album routinely tries to foray into theatrical lullabies, toned down interludes with subtle instrumentation, striding for something grandiose, emotional and impacting. The vision gets broken up by the bands various shades, leaning into particulars rather than fusing them together.

Mediocrity and tone rotation seems to dispel each songs magic. Plenty of interesting aesthetics and compositions individually emerge but rarely do they converge. Clawing Out is one excellent track that does this. Dissonant guitar noise and creepy whispered chats lure us into the eerie as hastening guitar riffs jostle for impact. Increasing tensions loop over, building on prior ideas before striking us with gratifying siren synths and a thudding distorted bass drum. Its a rhythmic oddity that just works.

Une Ville Vide was another unique cut, a cozy yet mysterious keyboard piece more akin to a Dungeon Synth record. Other than those two songs, not much resonated with me. I do however appreciate the craft. This experience strikes me as being more about my own personal mood than the record itself. I expected a lot more but left sadly quite disappointed. I'm interested to look up the broader reception this received.

Rating: 5/10