Savages "Silence Yourself" (2013)

Taking a step back to their debut record we check out the UK based Post-Punk revival band Savages critically acclaimed arrival onto the music scene. With three years between it and the brilliant "Adore Life" the bands identity and defined sound remains as firmly in place as its successor with little evolution between the two. Its another riveting collection of brooding songs that shimmer in the darkness as grey, and cloudy aesthetics let a myriad of energy emanate from within through its grisly exterior.

With retrospect I hear a rawer expression at work, bolder, daring and noisy but with less craft for the subtleties and focused song writing on what was to follow. With that comes a few track that delve deeper into atmospheres of struggle and conflict and others that play fearlessly with lively, excessive noise. Beyond its differences a lot of these tracks feel interchangeable with "Adore Life" and stir up many similar feelings, thoughts and emotions.

I do feel that singer Jehnny Beth has more energy and strength in her performances, although singing with the same attitude one can feel more energy and passion for most these songs. Even in her softer moments she sounds more involved. The instrumentation and production is on par and I'm left with not much more to say about what isn't a wildly different record. I do feel the bands songs are a shell to be cracked, the sort that take time to fully appreciate. For the many times ill be enjoy their records in the future, I hope to understand the depths they clearly offer.

Favorite Tracks: Shut Up, She Will, No Face, Dear Marshall

Rating: 8/10

Killing Joke "Night Time" (1985)

Its the fifth record of our beloved Killing Joke, the niche Post-Punk, Industrial Rock band of the 80s and an expected return to form considering it produced two of their best songs. Following a duo of unfavorable records its great to hear the group back on track but this time in a new and refined direction. "Night Time" tones down the aggression and Industrial accent, dialing down the loud, smothering distortion guitars in favor of a more spacious sound that still retains distinctive qualities of the identity they created for themselves but with a more accessible sensibility.

Singer Jaz Coleman may be the one exception, shifting his style to a significantly softer, resonate delivery, melodic and bolder. He still retains his voice, but in moments sound like other singers of the era. Behind him the lightly distorted guitars emphasize on strung out chords plucked into atmospheric reverbs. They often drop out for quiet and thin synths to eerily drone in the distance. For the most part the drums and bass chime with one another, rhythmically clattering away through short jolting grooves that pound away, repeating over and over.

It works! And with better clarity from the production, the nosier moments don't cloud the listener. There is room to breathe and the bass's tone keeps it right in the front of the record, grooving away with a thick, vibrant tone. Song structures are nothing to marvel and if it wasn't for the two spectacular tracks there isn't to much going on. Its a record of moody vibes that sets its timbre and rolls with it through a soundtrack of cold concrete and rainy days. It elevates itself to inspired heights with "Love Like Blood" and the albums closer breaks to what feels like a different record altogether. With a different aesthetic, hard hitting drum pedal, "Eighties" ends on an upbeat note with a party, sing along track to pump your fist to.

Favorite Songs: Love Like Blood, Eighties

Rating: 7/10

Dimmu Borgir "Enthrone Darkness Triumphant" (1997)

Norwegian Symphonic Black Metal outfit Dimmu Borgir have been my absolute favorite band for many a year but with a recent inspired lust for their music I am reminded as to how remarkably well I know the ins and outs of this record and how much pleasure and joy can come from the depths of familiarity. Their music is my catharsis, an escape from any burden, a spiritual experience and the bands following record, "Spiritual Black Dimensions" is the greatest of musics to ever grace my ears. Of course music is subjective and personal and it is my personal experience that has solidified my love for them as waves of memories and nostalgia hit me with intensity listening to this one again. At a time when music sharing over the internet was in its infancy, songs like "Morning Palace" took me by storm with a flood of exhilarating noise that rocked my perceptions of music forever.

EDT is the bands most important record, taking a definitive step away from the low fidelity, traditional style of 96's "Stormblast", into the lush and lavish world of fine tuned, ear melting production that would bring their ambitious musical ideas to life in a new dimension. Refining their approach to songwriting and taking full advantage of a gorgeous production sound the band forge a masterful chemistry between guitar and symphony. Soaked in majesty, blasphemy and wonder these hellish dark anthems are engrossed in inspired melodies and harmonies that tunefully wist us into riveting musical worlds to paint the mind with an endless depth of emotion. Its significance and influence on the direction of the growing European metal scene is their to be seen. Taking Black Metal to a more accessible place, while expanding the possibilities with intelligent and thoughtful musicianship.

As mentioned, the chemistry of symphony and guitar is a key component in this records brilliance. The synths are thick, bold and shapely, carving distinct signatures that define the atmosphere. Beside them dense, burgeoning distortion guitars are tightly performed, oozing and melting into a shimmering harmonized wall of sound with the synths, and standing vibrantly on their own feet when commanded too. Behind them whirling blast beats and dizzying drums rattle away with precision force, joining the barrage into the glorious wall of sound. The bass is the think underlining to fill the dimension with a low warm boldness that has a few moments to inflect its own lines, but mostly acts as the dense undergrowth.

Leading the charge is vocalist Shagrath, who's praises I will sing from the highest mountain. His voice and scream is one so familiar the nuances are all known to me. Its in the finer scrutiny of his tone, snarl and delivery that a true charm can be heard through passionate delivery that has a fair few moments on this record where the words and meaning move through him. "Relinquishment Of Spirit And Flesh" for example, the growls and guttural screams through the songs mid section bellow, roar and howl with dimensions other screamers just can't reach. Its a moment of true inspiration and his voice surpasses the mortal realm, lunging us deeper into these devilish songs of eternal darkness.

The records theme, as you might of guessed, is of evil and darkness, however its forged through bright and intelligent melodies that make for memorable hooks and endless unforgettable riffs, harmonies and moments. The song structuring is smart, mixing the basic elements with some unraveling passages that make for continually exciting and easy to comprehend music. It can be a little rigid with section repetitions but not to a flaw. If this record does have a criticism it might just be the track "Entrance" which despite being a damn good song is overly simplistic in structure and feels somewhat like a rehash of "In Death Embrace" echoing a similar vibe between guitar and bright pianos.

Ive listened to this record well over a couple hundred times. Its an insatiable and riveting experience ripe with luxurious synths, rocking aggression from the guitars and that pummeling swell of darkness from Shagrath's evil screams and the menacing blast beats that have plenty a moment. The vivid atmospheres conjured have been endlessly inspiring and just hit me on that indescribable level. Its been an absolute pleasure to have enjoyed this music for so many years and I will continue to do so for the rest of my time!

Rating: 10/10

UGK "Ridin' Dirty" (1996)

The Underground Kings, abbreviated UGK, are a southern Hip Hop duo from Texas, America. Released in 96 "Ridin' Dirty" is considered a classic and remarkably sold shy of platinum with no official singles released. On my first spin I recognized a few tracks from various movie soundtracks and shows Ive watched, its like another piece of the puzzle falling into place with lyrical references lining up, like Jay-Z's "We like underground kings, riding dirty" from "The Blueprint". This wasn't as distinctly southern as I was expecting. With tinges of Outkast's debut vibe, UGK find the best of the east's sampling and the west's programmed beats, it amounted to a very defined and accessible record.

The two both have strong, clear and steady flows with a keen ear from rhymes and hooks, Bun B with the deeper tone and Pimp C a sharper, aggressive delivery that compliment each other. It makes for great listening but on a deeper level there isn't to much to delve into lyrically beyond the gangster lifestyle. Its about the mood and moment, telling it through slick rhymes for the listener, UGK ain't trying to make a point or reflect on their lifestyles but just tell it how it is. With a blunt approach and unapologetic story telling there's plenty of disagreeable misogyny and glorified violence on display.

Where the record works for me is the beats and production. Most these instrumentals are simple, to the point and can be deconstructed with ease as they don't over complicate. Its a fine line to tread but "No Joe" and the two rappers handle the production with a keen ear for samples, mixing some Funk and Soul sounds with sharp kits playing out tidy grooves. At around an hour it shows its consistency without a weak track. It couldn't be done by the instrumentals alone which are often small sections on repeat with a few breaks. Although there wasn't much food for thought the duos rhyme styles carry weight and keep one entertained for the duration of what I can agree is a classic record for its time.

Favorite Songs: Pinky Ring, 3 In The Mornin', Good Stuff

Rating: 7/10

Kauan "Lumikuuro" (2007)

Following up on the spectacular "Sorni Nai", an album which really blew me away, I find myself at the Estonian bands roots, their debut dropped eight years earlier. It caught my attention for possibly the wrong reasons, a song "Savu" containing a slower tempo moment of Dimmu Borgir's classic "Relinquishment Of Spirit And Flesh", a near carbon copy pulled of in a different context. Not accusing the band of anything, it simply caught my attention and sucked me into what is a light, easy and enjoyable record with a unique chemistry between the dark and light elements of its design.

The experience is defined by a distance between its lush melodious bells, graciously dancing over soothing strings and the dark, narrow, dense distortion guitars that chop and churn under snarly, grim screams. Some acoustic guitars and softer electric leads bridge the gaps with harmonious folk singing but its the disparity that creates an unusual chemistry where the bells and strings guide us through ethereal like, atmospheric moods as the linear distortion guitars chisel and drone away in the distance. Its moody and the slow tempo influences of Doom Metal can be felt throughout. The writing can be both graceful, sudden and blunt as instruments interchange focus around one another and it is often where the guitar takes lead that the magic can be dispelled.

For eight years and five records, "Lumikuuro" isn't to far behind "Sorni Nai" in terms of identity and aesthetic. Some of the bands defining characteristics are here and even a few comparable moments. Its overall direction feels a little murky when chunky, groove oriented riffing crops into an otherwise atmospheric experience where the guitars are a distant fuzz. The record can also swiftly shift from one moment to the next and it isn't always pulled of with the agility they would later find. I'm fond of this record, its flawed and rather unusual in its own identifiable way.

Favorite Song: Savu,

Rating: 6/10

Liam Looper "Mental Projections" (2016)

This young Australian rapper is a Patreon of mine who sent me a link to his debut record that took over a year to make. With an obvious passion for rapping Liam has been at it for eight years, now only just fifteen years old. Not knowing what to expect I was pleasantly surprised with the tone and vibe of this record. Laid back, introspective and thoughtful rhymes over jazzy beats is my cup of tea. The closing track was also produced by Birocratic who's music we have discussed here before. Its interesting to hear rhymes over beats so solidified in familiarity without theme. I must say it was the other producers worked with that made the record shine.

Mental Projections is an honest and personal record from a young man working through his issues with words and rhymes whos rapping ambitions have become a part of his internal struggles. Its raw, intimate, heart-felt and authentic. This record might have not charmed me as much if it wasn't for the instrumentals which fit snugly into the sort of beats I like. Their are moments where the vocal experimentation and flow don't quite come off but on the flip side plenty of captivating rhymes, word play and the easy going style of rhymes makes it effortless to follow along with the train of thoughts. Its not often I hear an Australian rapper and I felt initially, and still with familiarity, that the accent works well in the flows where it naturally dominates the pronunciation but there are weaker moments where the influences of American rappers can be heard and it comes off jumbled between the two tongues.

 The production behind the rhymes are solid and come in a variety of themes, generally on a moodier, introspective scale but always, melodic, colorful and jazzy. An easy record to chill out and vibe with. "Bonethebeathead" provides a couple of tracks reminiscent of Down To Erf and "Tom Misch" steals the show with loving warm piano samples and the records best moment on "Home" where Liam's emotional struggles climax through dramatic rhymes amplified by a gorgeous guitar solo which breezes with the beat. For a young person I was surprised to hear such thoughtful lyrics and ideas articulated on a concrete level. His ambitions are clear and shows a wealth of potential to make something of his dreams. A charming record!

Favorite Tracks: Hello, Rain, Vote

Rating: 6/10

2Pac "Strictly 4 My N.I.G.G.A.Z" (1993)

The late American rapper Tupac Shakur is undoubtedly Rap and Hip Hop's most acclaimed, celebrated and mourned artist. Shot several times and fatally wounded in 96 at the peak of his career the man has a legendary status in music with a body of widely influential work including a plethora of posthumous records created by other musicians who strived to keep his name alive and relevant in the post 2Pac world. In popular culture his "All Eyez On Me" and Death Row era is the most celebrated but for me its his first two, often overlooked, that mean the most. On "2Pacalypse Now" a young teenage Tupac charmed us with his social conscious, intelligent, intrepid flow and weightless articulation. The talent was raw, untouched and full of promise but the events that would follow would set him on a wild journey through the pressures of being a person of national interest.

Following a violent police beating and public criticism on his music from senator Dan Quayle, Tupac arrives at the microphone with the anger and frustration frothing at the mouth and with his unrivaled talent focuses it all into his words with an endless onslaught of rage induced rhymes to strike back. These where times when Rap music was shining a light on the systematic racial impoverishment in American society and being targeted for shining that light Tupac strikes back "And now I'm like a major threat, cause I remind you of the things you were made to forget". The record is loaded with sharp and concise rhymes like this which convey so much weight and meaning when you understand there context. Given the recent attention to racist police brutality and the outcry in response its as relevant as ever. "So we live like caged beasts, waiting for the day to let the rage free".

Head locked with the political system, Tupac's once observational lyricism heats up as he steps inside the minds of the characters he speaks for, taking things to the next level as he tells the struggles of ghetto life. It can easily come across as glorifying violence and is often misunderstood as such. Tupac see's criminals as what they are, people, and gets us inside the mind to understand the social and economic environments that create criminality in his neighborhood. He gives them a voice and does so with the help of legends Ice Cube and Ice T, as well as Treach of Naught By Nature for some brilliant and would be classic collaborations.

Behind an arsenal of eye opening lyricism the production is one to remember for being vibrant, aggressive, noisy and obviously flawed. Through its shortcomings it triumphs in making a memorable and firey backing to Tupac's inspired attitude. The beats are chaotic, layers of samples stacked noisily and at times incoherent. Theres similarities to Public Enemy's Bomb Squad style, and underneath deep sub bass lines groove in an unsettled and restless set of beats. The consistency is varied, some tracks sound like they are from the previous record and others, mainly the records closer have a Naughty By Nature vibe. It rough, raw and ambitious, with more polish it could of easily been a classic but feels rushed and results with an easily aged character to it.

This was the first Tupac record I brought, must of been over fifteen years ago and it was the wild fiery, red and green album cover that sold it for me. At the time I enjoyed it but it was many years later that my appreciation grew as I understood its context more. Interestingly, I can draw some comparisons to the southern Hip Hop style with the cover art, years before it became popular in the south. One other thing I adore about this record is the use of deep pitch shifted vocals like on "Something To Die 4". Its fantastic but hardly ever utilized, although Killer Mike's recent "Rap Music" does it to great effect. On another note, Tupac's most known track "Changes" is actually a leftover from this record. Having collected all the outtakes I can hear why, the beat just isn't on the same level as Tupac. Anyway, there's my thoughts, I adore early Tupac and this record gets me fired up and angry when I need it.

Favorite Tracks: Holler Ya Hear Me, Point The Finger, Something 2 Die 4, Last Wordz, Souljah's Revenge, Strugglin', Guess Who's Back, Keep Ya Head Up, Strictly 4 My N.I.G.G.A.Z, The Streets R Deathrow, Deadly Venomz

Rating: 9/10

Slowdive "Blue Day" (1992)

Digging into the wealth of knowledge the Internet has to offer, I found my way into the pre-Britpop Dream Pop / Shoegazing scene of now somewhat forgotten bands that had their moment in the early nineties. Slowdive's "Blue Day" had a familiarity and touch of Ethereal that sucked me in to this short, breezy dream of a record. Like a fair few bands of this scene their time was short lived, forming in 89 and disbanding in 95 however they have recently reformed with no new material. This record is a compilation of three EPs released before their debut in 91 and it doesn't feel like one. In fact the production and theme of the record is very consistent across the six tracks.

In many moments, they are most reminiscent of Lycia's dark, baron and freezing sound, however Slowdive have a warmth exuding through the soft, sleepy wall of sound that engrosses the listener. The guitars shimmer in the distance, illuminated through odd, layered guitar effects and distortions that despite seeming harsh in an analytical sense, are inviting, soft and hazy as they drift through their own web of reverb and echo in a mesmerizing persuasion. A warm and thick baseline holds a steady progression under the atmospheric soundscape and the drums work up some energetic beats that get displaced in the best of ways under a wall of sleepy noise. They are buried and muted to great effect. With two vocalists there are some double tracked moments where the duos excellent chemistry comes across almost as a singular voice soaked in reverb. The two both have a soft lucidity that gives a very welcoming human touch to the music. Underneath it all some low, foggy synths brood and moan, soaking into the dense atmosphere with a powerful subtly.

For all that's fair this record suffers a little from its production, which on the flip side is a massive part of the positives in the bands sound. In all the haze and drone the clarity of most instruments feels a little lost and is without some oomph to reinforce itself. The mix is narrow as only the snare and hi hat breaks into a large portion of the high frequency ranges, it can be felt at all times. This could all be for the best though, this record has some fantastic moments with vast reverbs growing into an engrossing wall of sound that almost losses itself. "Shine" reminds me fondly of Autumn's Grey Solace and a few track are a touch mediocre but there is magic hear to loose yourself in here.

Favorite Track: Morningrise, She Calls, Shine

Rating: 6/10

Macabre Omen "Gods Of War - At War" (2015)

Purchasing a couple of records at a gig I went to recently, the seller encouraged me check out his band and I'm very glad I did! "Gods At War" is a swell Pagan Metal album that delves into Greek mythology, the Athens based bands own ancestry. We are used to seeing Viking Metal and the likes from Scandinavia, so its fantastic to find a gem like this where metal isn't as prominent in southern Europe and of course a different source of mythological inspiration.

Macarbe Omen have a loose, liberated flow to their music that doesn't stick to one distinct path to embellish us in ancient settings. Ever twisting and turning through champion riffage, soaring melodies and a barrage of clattering drums an experienced listener can hear tinges of many bands and styles teetering from Black, Death, Pagan and everything in between. The rhythm guitar muddies through hazy distortions and chunky riffs as the leads coarse over with inspired wistful tunes. Charging like a beast into battle the drums constantly bear down with endless blast beats and nimble batterings that can seep into all the creeks with its bellowing echo and reverb. The records voice comes commonly in two forms, shrill, distant howls reminiscent of In The Woods... classic "Heart Of The Ages" and burly lower ranged half growls. There's also a fair few helpings of Greek choir chants to drive home the records heritage. Its inspired and travels through its motions with plenty of spectacular moments that is helped along with an undercurrent of carefully placed symphonics.

Its a record to remember but not without its flaws. Although distinctively Pagan there isn't much beyond a handful of strikingly obvious moments and the song titles to define the Greek mythology theme, maybe in the lyrics but not much can be said of indecipherable howls. "Man Of 300 Voices" however does this with a lengthy acoustic interlude to set the tone. "From Son To Father" is where the record shines brightest. Epic in scale and tone we are lavished with inspired lead guitar melodies and a memorable group chant chorus to conjure the gods.

At just over an hour its a lengthy record, that can be felt as it draws to a close. Eight lengthy tracks of which a handful do take their time to progression through the motions. The production is also a little slack and forgiving of itself. Although the fidelity is key to its atmosphere and ancient feel, the drumming can be overpowering and constantly competing with the guitars. Its a bit nit picky, but where this record aims high it achieves it musically with an inspired touch that fell short on execution.

Favorite Songs: God's Of War, Hellene's Do Not Fight Like Heroes, Heroes Fight Like Hellenes, From Son To Father

Rating: 7/10

Killing Joke "Fire Dances" (1983)

Steadily working my way through the Killing Joke discography we arrive at the bands forth "Fire Dances". At this point I'm starting to wonder if I've heard the best of what they have to offer, however the next record includes two classics. "Love Like Blood" and the song some say Nirvana ripped of "Eighties". Unfortunately the progression to that point has yet to begun with this album mostly toying with the same ideas "Revelations" explored. A touch better overall it suffers from the same flaws as its predecessor. Even though I wouldn't rave about this release, I have to say Killing Joke do a great job at creating an original sound. When its fresh it has its charm but quickly tires as a session draws on.

The opener "The Gathering" gets things charged up with a rampant tom snare beat that glimmers an inkling of hope for another "Tension". Unfortunately the guitars are set on exploring discordant rumbling noises and creating a paranoid, nightmarish semblance. The baseline holds it together with solid melody line and the song experiments with some harsher noises groaning into the landscape. Much of the record follows this formula, tribal primitive drum pound and throb there way through drizzling distortions and nonsensical riffage that doesn't offer much in the way of song structure or progression and the bass guitar is often the only comforting outlet in a maddening climate.

Obviously its the point of this record. Much better than "Revelations" did, "Fire Dances" clearly establishes its vibe of mental insanity and playful madness no thanks to singer Jaz who seems to be enjoying his performances, flamboyant, theatrical and jester-like one can picture him dancing in front of the fire. Records that play with any theme can easily engulf you in it, regardless of if it borders on morose. There are moments where the band achieve this and their unusual riffs and style come off well, however it was to little as a whole. I'm left with an odd appreciation for this record. Its not one I wish to listen to often however it fills the gaps of experimentation that has led to a lot of extreme music I listen to today.

Favorite Song: Harlequin, Dominator, Lust Almighty

Rating: 4/10

Dio "Dream Evil" (1987)

Venturing back into the spirit of Heavy Metal we get fired up with Dio's forth in as many years. Like a blast to the past we are whisked up back to that air of epic fantasy and big rock atmosphere fit for festival headliners. Its hard to think this band were once controversial and attacked on the grounds of being "satanic" music. It just seems like harmless good fun and that's what I had with this record. Now being more accustom to Ronnie James Dio's voice it was very easy to step into "Dream Evil", led by his pioneering charge, followed by rocking instrumentals and a subtle layer of 80s synth.

Much of what I said on "The Last In Line" could be said of this album too. I find Dio slips neatly into the selfless level of enjoyment fit for festival fist pumping and joyous escapism. Powerful, dramatic and full of Heavy Metal thunder the group sound completely in sync with one another, the riffs and song structures revolving around Ronnie's mighty soaring vocals which will have you at their mercy, bobbing your head and singing along with every word through a great set of choruses.

Four years on the production is a touch clearer and generally better. The keys on this album feel under realized, when they crop up they add another dimension to the sound what wasn't explored enough. "Night People" has a foggy organ-like synth subtly enhancing the atmosphere. On "All The Fools Sailed Away" they suddenly, without prompt, jumps into the track with a jiving, vibrant Prog Rock homage lead solo. It gave these songs an edge that didn't return often enough but in all fairness didn't hold this one back from being another Heavy Metal classic.

Favorite Songs: Sunset Superman, All The Fools Sailed Away

Rating: 7/10