Sikth "Opacities" (2015)

With the recent touring reunion of infamous English metal outfit Sikth, its no surprise to see this mini-record released after nine years of silence since their second full length in 2006. It consists of five songs and a brilliant acappella performance in the vein of 2003's "The Trees Are Dead And Dried Out..." weird and eccentric closing track "When will the forest speak?". It has been great to hear the group back together however nothing here stuck quite like the classics of their past but didn't stop it from being an exciting listen and a welcome return.

Opacities bares the signs of a band getting back into the groove of things, but not quite where you'd expect. What they have got right are the aesthetics. Their identity is intact, mostly in the vocal department with Mikee and Justin reuniting their distinctive chemistry, dynamic range from clean to guttural and theatric, playful performances, sounding as youthful as the decade gone by. The guitar tones are on point with many of the notable techniques, like hammer-ons, sounding the same as where they left off. The underlying music however doesn't follow the same flow as before and sounds somewhat more generalized of a modern Metal band.

Opening with a bombastic groove riff they quickly conform to more comfortable metallic styles unlike their previous unpredictable nature. Where they were once spectacular in the spectrum of unusual or unfamiliar musical ideas there are now echos of these ideas surfacing between the groove heavy poly chugs that take charge for most of this record. Given their track record and the sparks of excitement that crop up through the EP they sound like a band still reconnecting with their identity. 

It may sound a little gloomy but this is a band that have set high standards for themselves and Opacities is a charged, energetic ride of a record that never settles for a dull moment. Its ripe with enthusiasm and punch, plenty of atmospheric moments and inspiration to soak in, but its still just a sign of where they can go. If a full length is in their plans they have certainly shown the signs of getting back into their prime.

Favorite Song: Under The Weeping Moon

Rating: 6/10

Dead Can Dance "Aion" (1990)

Here's a fascinating record that was sent to me by a dear friend, I've had it on repeat often and have been looking forward to sharing this gem. Dead Can Dance are an Australian duo who formed in 1981 and have produced eight records under a myriad of musical styles and influences mostly from within the sounds that emerged from Post-Punk and Neoclassical. On this record we get a strong Medieval vibe that feels recreational and purist in spirit but lets a few modern musical ideas in to great effect. The records cover features a tiny snip-it from the Triptych "The Garden Of Earthly Delights" from the early Renaissance era.

In a truly recreation style the dramatic moments of this record follow the breath taking performances of Lisa Gerrard, who's vocals transform time and age with a stunningly powerful and spiritual performance that changes ones surroundings to the aged wood oak of church pews. You can feel the cold stone beneath your feet, the robes around ones body, the smell of candles drift by as we get a feeling of our ancestry through sublime Gregorian chants. Brendan Perry also gives enigmatic performances that are transforming as if from a man not of this time. Its truly remarkable and the backing vocalists that join them on a couple of tracks also give a spirited performance.

The record drifts between three types of song, some instrumentals composed though sounds of the era, vocally led numbers with minimal compliment, like an organ or bagpipes and songs that trip gently into modern ideas through the use of 4/4 drum beats. It's the use of rigid drum machines and sequenced electronic instruments that gives this record a point of interest. Not to tip the scale in either direction they are both recreational sounds and inventive elements. For example "Black Sun" has the most rigid and repetitive sounds looping from a sequencer and its atmosphere is less purist as a result, yet its also one of my favorites for its captivating atmosphere.

Its a mixed bag of nostalgic treats, all of which has been a joy to indulge in. Id like to hear more of this group, however it would appear that something different should be expected of each record in their discography, which in a way gives me more reasons to give them a chance considering the quality of this one. I'm left curious as to how often I'll get an inkling to return to this one.

Favorite Songs: The Song Of The Sibyl, Fortune Presents Gifts Not According To The Book, Black Sun

Rating: 8/10

Lard "The Last Temptation Of Reid" (1990)

Investigating some of Industrial legends Ministry's many side projects I stumbled into the abruptly named "Lard" that features Dead Kennedys singer Jello Biafra alongside the Ministry lineup of the time. Delightfully for me it retains a lot of the attitude and industrial aggression of the group at their peak, with Jello's vocals providing a slightly maniac dimension. The biggest point of contention would be the chemistry between the two. Having spotted Biafra in Ministry's "In Case You Didn't Feel Like Showing Up" live show VHS it wasn't quite a surprise to find the musicians from different scenes has struck up a friendship. Jello's theatrical and flamboyant style is a little soar against the rigid industrial sounds of drummer Ward's machine like timing and Jourgensen's mechanical guitar riffs. It grows with each listen but never finds the right cohesion.

The guitar work is undeniably in the same vein as Ministry at their best, the drums too, and much of whats on offer feels like it could be reworked and slipped into one of their classic records. At times some Hardcore Punk influences show their merit but the main separation is the inclusion other musical ideas, some punk, some more melodic, cropping up in-between the repetitive onslaught of the instrumental Industrial beast. Of what sounds best, is mostly of what that is most familiar, however the track "They're Coming To Take Me Away" steals the show with a dark, grizzly and haunting march through the sounds of mental insanity as a gritty baseline plugs away behind a military drum march that as the sounds of screams and cries filling the void between scary coo coo clocks. Jello gets his performance spot on with his creepy "Hee hee", "Ha Ha" and "Hoo Hoo"s. Its a dizzying track of metal darkness but makes its point splendidly. Great record for a Ministry fan, but nothing to spectacular taking place.

Favorite Song: They're Coming To Take Me Away

Rating: 6/10

Tycho "Dive" (2011)

Turning to something calm, upbeat and electronic I browsed my way to a record that really grabbed me a few years back. Its not a classic, it has its flaws but indulgences us in a unique style of electronic psychedelic and dreamy wet vibes delivered with a touch of accessibility. Tycho, or Scott Hansen, is an American electronic musician who's been actively releasing records under this moniker for over a decade and "Dive", his forth full length record, was the first of his music I heard.

The records style, substance and pallet establish itself immediately as the echoing, vibrato synths warm up into a pleasant and calm atmosphere. The down tempo beat comes in steadily with a hard, thudding kick and light snappy snare that feels as effortless as the breezy atmosphere that's growing. The song winds down a little before kicking back in with faster drums and growing layers of instruments and rich synths. A bold and calculated baseline grooves under airy synths that ooze and drift between the other sounds in an entrancing state. It washes over with an almost ethereal vibe, one that's much brighter and uplifting. At times these synths expand and contract to the beat of the bass drum, reinforcing a strangely organic vibe that creeps through electronic tapestry.

From the opening track alone you get a a vivid picture of what the rest of the record will offer. With such a lush and enigmatic sound Tycho fails to push the initial premise any further and the album can certainly lull if your not quite in the mood. But that's not what this record is about, its a moment of beauty, calm and serine, entrancing and psychedelic that stretches on and on. Although each song is great in its own right the lack of variety or imagination in the melodies has each song feeling like the one before it. The approach is the same each time and little is expanded on from the first track, which I feel could be a love or hate scenario. Maybe you want that one moment to stretch on, or maybe like me you need some spice and theater in a fifty minute record. Its brilliant, but flawed and on a final note I love the album art. Its simple but beautifully painted, and is a perfect fit for the sound inside.

Favorite Songs: A Walk, Dive, Melanine

Rating: 7/10

Agalloch "The White" (2008)

Browsing through my archives I stumbled into and old gem, a lost treasure, something that must be shared for its intrinsic beauty and deeply spiritual sound. Agalloch are a highly praised American Black and Folk Metal band who released this record between a string of noisier counterparts. Not being that familiar with anything else in their discography I remember it as a u-turn to the roots of their Folk influences, a tribal, pagan ethereal experience that places one at the heart of nature.

The record establishes its Pagan theme immediately opening with a sample of children chanting "We carry death out of the village" from the movie "The Wicker Man" about a Pagan community on an isolated island. Its followed by bright, infectious acoustic guitars, vivid and clean they swoon simple melodies and chords with a Folk charm. It reminds me of the acoustic moments present in Metallica's "Battery" and "To Live Is To Die", a similar tone but a loud and strongly plucked playing style.

Aside the core instrument, the guitar, there is a imaginative variety of sounds that give each track its own dimension, "Birch Black" has swirling synths falling from the sky, a crunchy theatrical baseline signaling the tribal drums that pound the way for a tremolo plucked lead to crash into and narrate the song from a soaring height. "Hollow Stone" plays with brooding ethereal noises that sound like soft winds with distant voices in a choir, morning a lost beauty. It paints a picture of great loss in the cold foggy moors of the countryside as night is setting in. "Sowilo Rune" has a warm, adventurous but tamed piano playing of a soothing chemistry between the ethereal synth and strummed guitar chords. Whispering voices and a deep base moog give it a touch of mystery and mysticism while remaining an upbeat and positive song.

The final song ends where it all started, with a sample from "The Wicker Man" and often it is my cue to return to track one and enjoy it all over again. Its a record of substance and inspiration, one could of wished for more but of the thirty two minutes, not one moment is wasted. Its a mesmerizing, spiritual record, isolated in a bands discography, unlikely to be returned to again. Either way its a treasure I've enjoyed countless times and will continue to as time races on-wards.

Rating: 9/10

C418 "148" (2015)

C418 returned late in 2015 with a lengthy, two hour epic record titled "148", the rearrangement of numbers slightly confusing. Initially cited as a "departure" from his traditional sound I found myself at a loss to what this departure was, with a big dose of new sounds and ideas there is certainly a freshness in the air but this record is about as C418 as It gets. Its starts at a strolling pace with a trilogy of down tempo sleepy numbers breezing in with the sentiment of "I don't need you to agree with me" on the opener. It concludes with a gradual climax as airy, dreamy synths grow around his vocals gently musing the lines along "life's illusion" before returning us to a familiar setting on the next song. C418 distinctive melody style and pallet comes into its own here as it does throughout, often shifting between his more traditional sounds and some of the new ideas this album plays with, which often revolves around the beat.

Its not long before the records longest and most delightful track "185" kicks in and sets us on an electronic dream world journey through a continually grooving baseline led dance groove that plays out like a drone. Unusual quirky synths slowly grow and transform alongside the other instruments while the groove hammers on and on in a trance like state. The following "Jimitention" plays around with sleepy lullaby melodies in the beginning before finding its way to a harder groove following the principles of its predecessor, transmuting and morphing around the core.

"Tsuki No Koibumi 2" brings in one of the albums brightest moments with some beautiful, unusual and softly sung vocal lines from Laura Shigihar and her charming foreign language. After "Friend" the record drifts into a string of House tracks that play out in the typical C418 manor, full of slow and sweeping transitions between steady thudding kicks leading the beat and unraveling synths that stealthily change. They are deep and atmospheric, lengthy, spectacular and having an entrancing quality that's calm and relaxed. The track listing gets broken up a little with some different songs, "Divide by four add seven" bringing some bright bells to the forefront to play a soothing melody directly and the remix of "Beta" an energetic transformation of the classic minecraft song.

Its long, lengthy and full of tracks that take their time and surprisingly it holds up across the two hours. Its the kind of album you can dive in and out of and although their is no overall theme or uniting concept it has a lot of continuity and flow. His traditional style is met with some stronger House and Drum n Bass influences but overall its still the same style and charm we are used to from C418, or Daniel. Looking forward to whatever is next.

Favorite Tracks: 185, Jimitention, Tsuki No Koibumi 2, Aria Economy, Divide By Four Add Seven

Rating: 7/10

Judas Priest "British Steel" (1980)

Pounding the world, like a battering ram! British Steel is English Heavy Metal band Judas Priest's sixth album released at the beginning of a new decade for the band, the 80s, and would be their most definitive and celebrated record. Having pioneered a heavier, unique and charismatic style in the 70s with records like "Killing Machine" it was this record that it all came together to produce an anthemic collection of songs that paraded the hard metal and leather niche of Heavy Metal they had created for themselves. I was lucky enough to have found this record at a young age around fifteen years ago and time and time again its been a go to record for getting the adrenaline pumping with Heavy Metal fever.

Singer Rob Halford's unrivaled vocal range leads the charge with a commanding and fearless attitude through a forceful strength in his voice which despite being relativity smooth and audible has the grit and clout to enhance the bands heavy attitude. Alongside him the guitars blaze a trail like the sirens of Heavy Metal, assaulting the listener with crisp, metallic tones, dynamic and powerful as they combine a sense of melody and rhythm together in a power chord led offensive of endless tunes to hum along to. The bass takes a tamer roll, often mirroring the guitars but sounding solid and bold. The drums have a mighty tone, a rounded, cutting snare and a thudding bass kick that arrives in the higher ranges gets a workout with double pedal techniques cropping up on occasions. Considerably heavy and progressive for the time and holding up as sturdy backbones for the songs.

Nearly every other song feels like an anthem, or one of importance. The radio hit "Breaking The Law" probably needs no introduction. "United" a true spirited sing along that combines the groove and grit of metal riffage with a shoulder to shoulder chorus of unity. "Red, White & Blue" sounds like an alternative, metallic version of the American anthem and was actually a popular live song when they toured there. Each song has its own reason to be great and my favorite might just be "The Rage" for its genre bender intro which could pass as a piece of Reggae or Dub before crashing in with a thunderous beast of a riff, excelling into a ferocious atmosphere led by Rob's vocal foray.

Its the moments where Rob unleashes the high end of his range that are truly riveting. The power, speed and pitch is mighty and unrivaled as he broods his way through songs, ready to unleash his climatic falsetto at the given moment. Even more impressive is the length he can hold these notes for, reaching mountainous heights and holding his breath longer than the listener. The guitar solos also leave a lasting mark on metal with a slightly chaotic flair that would influence bands like Slayer. They erupt and explode with an energy that illuminates with a frenetic momentum that could go in any direction. The whole thing is an absolute treasure and for its time you can't find a flaw with it. Its stood the test of time and as much as it did for them then, its still a Metal classic.

Favorite Songs: Grinder, United, You Don't Have To Be Old To Be Wise, The Rage

Rating: 10/10

Mac "Shell Shocked" (1998)

Coming from the No Limit music factory, Mac's "Shell Shocked" is another from the year of 98 when No Limit Records pumped out 23 record from 20 different artists. Going for quantity over quality it would be hard for many of the artists on the hyped label to stand out and Mac is one of those who didn't sell as well at the time but this record is respected as one of the labels best. It's also got the most sensible album cover Ive seen of the over shopped and sometimes tacky southern style.

Its a typical record fitting Master P's formula. 73 minutes of solid beats stretching the format, compact disc, limit. On first listen it felt like Mac was being smothered by other characteristics, being another voice in a large crowd of No Limit artists it was the presence of Master P that seemed over the top with a barrage of over enthusiastic UGHs and Tupac pronunciations, emulating his delivery style and using similar lyrics, best head on "Money Gets" or "Memories". Getting used to Mac's voice I heard solid and steady flow more reminiscent of the east coast sound than southern. His lyrics flowed tight from word to word and sounded best when double tracking or using reverb on particular tracks.

Beats by the pound provided another set of sturdy beats with the typical range of styles and themes expected of this era. "The Game" recycled a beat from Silk's "Aint My Fault", nice to hear, and "Be All You Can Be" uses the classic melody from George Michael's "Careless Whisper", might sound odd but it works. I always enjoy noticing these entities in Rap music, as well as recycling beats the "Tank Dogs" would be reused Silk's "Southside Niggas" along with components to its beat. The records title track has some weak gun sound effects at the end, including the shotgun sound from the classic game Doom! "My Brother" also uses a sample from the eJay music composers that were popular at the time.

These quirks were fun to notice but the most important point is the strength of the beats holding the record from start to end, there maybe a few tracks you'd want to skip if not in the mood but it has what a good record needs and although nothing special happened in the lyrical department it still made for a great listen, one that's continuing the itch for more of Master P's brand of Hip Hop.

Favorite Tracks: Murda Murda Kill Kill, Tank Dogs, Can I Ball, The Game, Memories, Beef, My Brother

Rating: 6/10

My Top 10 Music Discoverys In 2015

 

Every year is a great year for music, because even if there isn't a lot interesting going on (not the case) there is an enormous ocean of the past gone by to wade through. As always I love to find new artists to listen to alongside the new records coming out from the ones I know. As well as countless good records Ive seen Meshuggah, Korn, Slipknot, Shikari, Devin Townsend, Nas playing Illmatic AGAIN! Download festival was a blast and in the summer caught Cypress Hill, Snoop Dogg, Napalm Death, Death and Opeth! Later in the year Killing Joke, Manson, Deep Purple and Public Enemy! Its been one heck of a year! for my top 10 records released this year click here.

(10) IGORRR

Truly an artist of the internet era, with instant access to a vast depth of music, IGORRR's music draws from many obscure niches of Death Metal, Glitch and Baroque to collide in a frenetic maelstrom of noise assault. Perfect for my taste in aggressive oddities.

(9) Birocratic

Biro initially came across as a Nujabes clone but has managed to define his own style and sound across the course of a few records. Being a fan of Nujabes I obviously liked this from the get go, but it was great to hear Biro develop into its own brand of instrumental Jazz Hop.

(8) B.G.

My exploration of Southern Hip Hop hasn't led me to too many gems, but there's something to B.G's flow and laid back persona that really works, and when paired up with the right beats he makes a reputable impression.

(7) King Crimson

Their debut is a celebrated classic and having finally gotten around to giving it a listen I understand what the fuss is about and can't help but feel there is more on offer in their discography I wish to dive into soon.

(6) The Beach Boys

All I knew of this band were the Surf Rock numbers like "Surfin USA" which I had little interest in. Had no idea there was another side to the band, or more so Brian Wilson who composed the entirety of this record which I have fallen in love with.

(5) Master P

Master P was a name I knew of in the rap world, but this year I learned the story of his entrepreneurship with No Limit records and of the short lived success his label went through between 97 and 99. I wouldn't say he is one of the greats, but his style, the UGH and the crew he brought together he has definitely been responsible for a lot of enjoyable music that has satisfied my craving for more Hip Hop.

(4) Dead Kennedys

I've known about the legendary Punk group Dead Kennedys for years, but finally cracked the case this year with Frankenchrist which really struck a nerve with me. Although its significantly different from there other records its opened the door for me and I hope I'll get into their other records soon.

(3) Killing Joke

What a tough choice the top three has been, at third its Killing Joke, a band who I've heard of many times as an important influence on bands like Ministry, Korn and Godflesh I finally understand their importance and have grown ever so fond of their first two records, however the rest of their discography is proving to be rather patchy. I like their style, their identity which is very niche, a mix of Post-Punk and Industrial Rock with a charismatic voice.

(2) Kraftwerk

Its not strictly the year that Ive I learned about Kraftwerk's legacy and contribution to electronic music but it has been the year Ive really gotten to grips with their music and whats so fantastic and amazing about it. They had the vision to write emotional and imaginative songs at a time when electronic music was still seen as a novelty. The set the foundation for an explosion of synth pop in the 80s and subsequently everything else that followed. What's best of all is their music is fully realized and stands the test of time.

(1) Outkast

I have a soft spot for Hip Hop, so its no wonder to see Outkast here. Growing up I remember hearing B.O.B and Miss Jackson on MTV and this year decided to listen to their discography sequentially. Ive followed the journey of these two talented and articulate individuals who have crafted some of the finest Hip Hop records id never heard... or was waiting to hear? This is why I seek out new music, Outkast are one of Hip Hops greatest acts with a unique and defined sound that fit right into the vibe of the 90s. It was capable of pushing boundaries and I'm shocked its taken me so long to get around to that southern playalistic duo from my youth.

My Top 10 Albums Of 2015

So its nearly the end of the year and time to write about my favorite records released. Now that I think back over the year there have been some terrific records and compiling a top 10 wasn't too difficult as there had been about that many that stood out as being the most memorable and enjoyable. Alongside the best there were also a few stinkers, disappointing records I had been anticipating that unfortunately didn't deliver. Overall its been decent but not remarkable, of all that was great much of it was great within its own context with nothing ground breaking or revolutionary reaching my ears.

(10) Killing Joke "Pylon" Link

 Not a record I expected much from, having gotten to grips with Killing Joke's identity this one felt at home with everything they were about. The production and choices in the instruments tone really gave it a new dimension. Possibly their best since their first two records, however there still a lot of records for me to get through first.

 (9) Arcturus "Arcturian" Link

 

One of the most anticipated records I could ever think of. A decade of wait for the return of a band who's music has been both riveting and engulfing with their unique, distinguished sound and unforgettable songwriting that did not fail to deliver. It felt as if no time had passed, despite an awful production, the music shined bright and charmed once again with a familiar sound.

 (8) Izioq "My Own Private Video Game" Link

 

 Izioq second project was an interesting evolution from its predecessor. Moving away from the purist retro sounds of the debut, this sophomore record felt right at home while deviling into a more expansive and imaginative set of sounds that is full of charm and soul, creating nostalgic memories with the power of imagination.

(7) Joey Badass "B4.Da.$$" Link

I heard about Joey with a promise of a 90s nostalgia trip and boy did we get it! This record has the heart of the 90s spirit without being nostalgic or recreational, Joey brings his own style and flavor and it works. Solid record that's full of decent tracks.

(6) Iwrestledabearonce "Hail Mary" Link

I very nearly passed this one up. What a mistake that would of been! This has been the years most fun and "don't take seriously" record. Full of grooves, dichord abuse and maddening shredding, "Hail Mary" is an unrelenting onslaught of rhythmic aggression goodness that never lets the foot of the gas!

(5) The Underachievers "Evermore - The Art of Duality" Link

I like this duo a lot. They have a unique style and seem to be on their own path regardless of what trends are leading Hip Hop music. After checking out last years "Cellar Door" I had to pick this one up, turned out to be a real gem, conceptual and executed well this was full of food for thought and meaningful lyrics alongside tripy beats.

(4) Ghost "Meliora" Link

Heavily anticipated from one of the most exciting Metal bands active and they are going from strength to strength. Meliora gave a fan everything they could hope for and more with the classic "He Is" song. A true gem in one of Metals best records this year.

(3) Periphery "Juggernaut: Alpha/Omega" Link Link

A sublime double record with no shortage of inspiration. Periphery created possibly their best work to date with infectious grooves and lush harmonies bouncing back and forth from one another in the fold of progressive and creatively written songs that have been stuck in my mind.

(2) Marilyn Manson "The Pale Emperor" Link

 A stroke of genius, the return of a true musical great who's been drifting through obscurity in recent years. "The Pale Emperor" is one of Manson's strongest records, embracing a new introspective approach that works so well for the man who used to poke at anything else. Moody, dense and folk like, its a grabbing record that sucks you in.

(1) Enter Shikari "The Mindsweep" Link

From the first listen it was obviously a great record and possibly one of Shikari's best, but as the year went by this one wouldn't get out of my head. As a long time fan it made me realize how much the band had matured and progressed over the years. They have the same charm yet now their music has a greater sense of vision and clarity, a richer diversity of ideas and inspiration that keeps on giving. The band musically shape-shift through styles and aesthetics so effortlessly it has accumulated to the years most exciting record for the band who's future never stops looking brighter.

Native Construct "Quiet World" (2015)

Recommended to me as a cross between Haken and Opeth I couldn't pass up the promise of some epic Progressive Metal which Ive been enjoying over the festive season. This is the American three piece bands debut record released on Metal Blade Records and they will no doubt go on to become a popular band in the Progressive Metal scene that never seems to be short of new and promising acts.

The records colorful, lush and bountiful cover is a fair representation of the music that's full of bright and imaginative adventures unfolding within the organic flow of its ever changing passageways. Its quite an atypical and expected sound for the scene, but executed to a high standard within a flawless production of instruments captured in a luminous glory that's a simple pleasantry for the ears.

The record falls short in making its mark, defining what makes it unique in two different senses. Firstly no distinct characteristics in tone, delivery or composition jump out, for example a band like Opeth have Akerfeldt's voice and recognizable character in the guitars. On a second front the broader sense of themes within the songs never made themselves known. With a wide range of ideas and genre bends the record effortlessly flows and transition between extremes but it never make much sense of itself. Moving from doom blast beats and growls to serene ethereal synths and chilled, laid back rhythms sounds brilliant but its following a path that leads nowhere. As much as I enjoyed every listen, the songs never amounted to an experience where I could see the full picture. I don't want to put this one down yet, I hope with a few more listens it will make sense but it feels unlikely.

Rating: 6/10