Papa Roach "F.E.A.R" (2015)

Papa Roach are an Alternative Metal group from California, America who have been together for around 20 years now. In my youth I was a big fan of their major label debut "Infest", an album that epitomized the Nu Metal movement. As a relatively unknown band their album was slow to sell on release, but the popularity of its music videos and continual airplay on MTV lead it to triple platinum status over the years. Many songs have been featured in games, movies and popular culture at the time, and thus it sticks in my mind as a big part of my youth. The groups success would decline over the years and after a follow up in 2002 the group switched their direction with 2004's "Getting Away With Murder", moving towards the rising popularity of Emo / Screamo music and changing their image. It turned me off their music, and listening to Infest again can also be difficult, the bands negative, self destructive lyrics don't offer a lot of positivity or good vibes, but I decided to check this one out to see where they are at 15 years later.

I wasn't expecting much from FEAR, but I wasn't going to be disappointed either, they are no longer a band I care much for and I was pleasantly surprised by the opening track, uplifting lyrics, big punchy Nu Metal guitars and a positive vibe. The song itself was simplistic but had a crisp, over polished, squeaky clean sound that worked well for it. The drum kit punches through with thudding base pedals like a Dance kick and Shaddix's melodic vocal hooks tied together well. The inclusion of a Trance like electronic synth brought a lot to the track and raised my hopes of it bringing a competitive edge to their music. From this track onwards the positivity and electronic element seemed to dissolve as "Skeletons" dived into a typically self loathing and moody indulgence of self inflicted pain with no resolve. A few tracks later it became clear the best of this album was over on the first song alone.

Musically the album tired its way through riff after riff, verses and choruses that felt uninspired and formulaic. The guitars riffed out simplistic drop chord riffs and chugging patterns that were dangerously dull, it felt like they just swum around the same idea over and over. Lyrically it got worse, more self destructive lyrics with nothing to offer but an indulgence into misery with no ambition. If the topics weren't a bummer already, the lack of lyrical creativity or expression made it worse, delivering the concepts with unimaginative expressions, very straightforward use of language that made me wonder where Shaddix gets his inspiration from after singing about his self loathing behavior all these years. I don't want to be condescending, but my only way of expressing my thoughts is to say its typically "teenage" in a way I once identified with their debut record.

This album offered a spark in the opening track but quickly descended into monotonous self loathing and uninspired, simplistic music that offered nothing. The super polished production didn't add any character to the lack of depth and a strange, short appearance from Royce Da 59 left this one with a sour taste.

Favorite Track: Face Everything And Rise

Rating: 2/10

Sithu Aye "Invent The Universe" (2012)

Sithu Aye, pronounced see-too-ah is the name of this young Burman guitarist who is currently residing in Scotland where he performance and produces lively, jubilant uplifting Progressive Metal similar in style to pioneering acts like Animals As Leaders, Gru or Periphery, taking the Djent metallic foundations laid down by Meshuggah in a melodic direction, showcasing some of the best young talents in modern Metal guitar shredding. Sithu brings us an indulgent record of appealing tracks with plenty polyrhythmic grooves, audacious guitar leads and solos, airy synths and a helping of acoustic flair. This spacey themed record was instantly gratifying as a fan of this musical direction Metal guitarists are taking.

Sithu brings us into the record gently with ringing guitar notes and climactic strings that transition into glitched electronic beats concluding with the introduction of the guitar with its first Progressive riffage as the programmed drums and soft bass power us into the rhythm guitars impressive cohesion with the lead, expressing some layered ideas before momentary electronic glitches throw us into an adventurous, empowering guitar solo. From here on the album crusades through riffs and leads before brining in some bright reverb soaked acoustics to jam with a tight bass and drum groove. It sets the tone for whats to come and alongside a continual evolution of guitar work some lighter electronics decorate the outer layers of the music with subtle layers and rhythmic amplification best heard on the beginning of "Baryogenesis".

Each time the record plays through its a delight, passages of progressive unraveling riffage and tireless soloing that feels inspired every time. Theres a few grabbing moments where Sithu's riff's and leads strike a nerve but mostly he stands in a shadow cast by his counterparts in the scene. Without bringing anything distinctively different a lot of this falls in a comfort zone, but its one of positivity as the quality of his expressions are easily approached for fans of this melodic Djent style thats evolving. The production is equally impressive with the inclusion of electronic instruments, but as always the drum machine can be left. Sithu opts for a lot of tight breezy rolls and fast pedal blasts that feel mechanical and stiff as a lack of volume randomization amplifies the perfection in timing. Terrific record, a lack of surprises but a genuine talent, one I will be following closely.

Favorite Tracks: Grand Unification, Expansion, Recombination

Rating: 6/10

Karl Sanders "Saurian Meditation" (2004)

"Saurian Meditation" is the first of two solo records by multi instrumental musician Karl Sanders of the prolific, ancient Egypt inspired, Death Metal band "Nile". For the average listener this record bares no resemblance to the bludgeoning sounds of Nile's music, but for those who hear the cultural mysticism between the blast beats and growls will know this record draws from the same inspirations.

The music is rich, ripe with cultural instruments and sounds that illustrate a vivid folk music we associate with ancient Egyptian culture. Scuttling Sistrums, tambourines and Tombaks narrate rhythms of pace that roar with the crash of giant cymbals as guitars, lutes and lyre's pluck affluent mystic melodies in eloquent, lively soundscapes that takes you to the ancient times of past in a manor so vivid your imagination needs little fuel. Images of mortal gods, serpents, hieroglyphics, seas of sand and the pyramids are painted with sound.

Not so much can be said for hooky melodies or grooves, this is not a theme or hook for modern music to execute ideas with. These songs are moments, passages that sway, contract and expand as Karl expresses ideas relevant to the times hes inspired by. The result is substantial, a brilliant work of music that resides inside itself, never conforming to modern musical ideas and exploring the ancient mystic world through cultural instruments and rich musicianship that pulls together songs from lush layers of sound flowing in unison. Theres variety in the ten tracks that make the record up and the final track brings in a distorted guitar leads in the Nile tone that sees a dark song climax with a distant roaring solo to end the record on a high and pay tribute to his band as this journey ends.

Favorite Tracks: Awaiting The Vultures, The Elder God Shrine, Temple Of Lunar Ascension, Whence No Traveler Returns, Beckon The Sick Winds Of Pestilence

Rating: 7/10

Dusted "When We Were Young" (2001)

Dusted is an English duo consisting of producers Mark Bates and Rollo Armstrong of Faithless. I was turned onto this, their debut record, by a friend and was originally under the impression this was a soundtrack, due to a movie of the same name. I now know that its unrelated but this record actually played out like a soundtrack with many slow, chilled out, carefully crafted numbers that can shift moods and grow into big moments. It all came together like the setting for a tale to unravel and if anything, is the soundtrack to imagination and the power of music that is of the craft and subtitles this record posses in great quantity.

The opening track here sets a bright and warm tone for a record that in its chilled out nature will invoke good vibes and set a pleasant atmosphere of positivity and relaxation. With a traveling baseline groove and plucked melodic guitar strings the gentle, downtempo drum loops guide us into a warmth of sweeping strings and random electronic noises as the pace thickens like a rising sun, its rays of warm light arriving for the first time. With a memorable start the record it makes no strives to pick up the pace or jump into anything advantagous as it strolls through track after track, delivering chilled out, relaxed numbers that each deliver their own moment in between lush orchestration of layered sounds. Theres plenty of variety beyond the soothing electronics and steady drums, "Time Takes Time" introduces some graceful lead vocals and "Always Remember To Respect Your Mother" builds around stunning youthful choir leads that inspire greatly.

The album shifts gears with "The Biggest Fool In The World" as the tempo perks up with a big clap in the loop for a grooving moment in an otherwise chilled out record. As things progress we dive deeper into the Dusted world, continually exploring new territory with each step before climaxing with a dazzling piano number that ends the record with a lasting impression as the pianos descend into a wall of reverb. Overall its a breezy, carefree ride through chilled out music of craft and design, a concept played out brilliantly that unravels like the soundtrack to your imagination and inspiration.

Favorite Tracks: Childhood, Always Remember To Respect Your Mother, Oh How Sweet, Under The Sun

Rating: 7/10

Russian Circles "Empros" (2011)

American three piece instrumental Post-Metal group Russian Circles are a band I'm new too, having enjoyed their most recent record "Memorial" I decided to go back and listen to their previous record, the bands fourth. Like before I found a strange sense of passing immersion in their music which is powerful, moving and has a momentous gravity about it, but when the record wasn't playing there isn't much I could recall. I believe this is a reflection of their musical approach, no hooks or cheap thrills, not even straight forward melodies and leads. Its an unconventional approach to melody and noise which is not unfamiliar, but on this record their dive into momentous noise and sound is one of progression, atmosphere and cascading distortions.

Compared to "Memorial", "Empros" is a darker, grittier atmosphere, rough around the edges rhythmically aggressive on its darker tracks like the opener "309" which progressed into a primitive assault as the bass and drums pound out a crunching militant groove under expanding, noisy guitar ringing reminiscent of Godflesh in the "Streetcleaner" era. After this track the album takes a more melodic accent, yet with harmonious, cleaner notes ringing out, there is an underbelly of rumbling distortion from the bass and massive atmosphere from the drums that continually layer sound into the mix that goes beyond timing and groove, the crashing symbols and rolling toms expand the atmosphere into darker regions.

Unlike a lot of music, Russian Circles don't leave you with a hook or melody stuck in your mind, and its this I gripe with. Every listen has immersion, as soaring noisescapes expand and contract with dramatic enormous guitar tones, but the riffs are reactive to the moment, and never formulated to fit a structure or progression. Its impressive and remarkable in its own right, but the years and years of traditional verse chorus music has made it harder to re-imagine in the mind, and thus I find I never have an itch to put it back on. If anything I think its a reminder to diversify more often. I think this record has a fair amount to offer, but my aforementioned gripe has me wondering of its value to me.

Favorite Track: 309

Rating: 6/10

Joey Badass "B4.Da.$$" (2015)

"B4.Da.$$" or Badass, is the debut record of young rapper Joey Badass from Brooklyn New York who at the age of 15 made waves with a youtube video of himself freestyling and has since been active making several mixtapes leading him to a record deal that saw this drop on his 20th birthday. Its a strong debut that feels like the 90s was frozen on ice, as if we never moved on from that classic early 90s sound, that notably happened just before his birth. Its a surprisingly mature album, musically and lyrically Joey is smart, and offers a lot of substance on this one with no cheap thrills.

Production wise, this album uses hindsight and retrospect like an art. Track to track touches on many vibes from Boom Bop to Jazz Hop, theres grittier beats reminiscent of "36 Chambers" and Gangster Rap and uplifting soulful numbers with hints of RnB and Soul influences that can be heard in the choice samples. The quality is sublime, even with a modern production value these songs could easily fool you to what decade there from without closer inspection. The best of many styles of that era are cherry picked on this record that has 15 diverse choices, giving each one a flavor reminiscent of many classic beat producers. Towards the end of the record a few modern ideals creep into the mix, keeping things fresh and offering some new ideas as well as old.

As a young rapper, Joey's got a lot going for him, but its his potential to be truly great thats exciting. Hes got a chilled flow and great pronunciation and can change up his approach, pulling the aggressive style on tracks like "No. 99". With fantastic beats Joeys presence doesn't always find itself being the show, and as I played this over and over I found that a lot of his raps accommodated, more so than dominated. The most distinctive moments I remember where lines that are reuses of Nas's "Illimatic" and Wu-Tang's "C.R.E.A.M." with "Cash ruins everything around me", theres a couple of cool hooks like the "Check my style" on "Big Dusty" but most of his raps tell a tale without the articulation to really drive a home run. He's engaging in his moment, and pleasant to listen to, but I feel he has potential to improve and with this record has set himself up for great things if he can step his game up.

Another pleasant point to bring up is the maturity he shows and choice of topics, very little flash and a lot of substance, food for thought. You can tell he gets this wisdom from his mother hes so fond of, you can hear her offering him valuable advice on "Chicken Curry" about perspective and how he will known for how he's perceived, more so than who he thinks he is. Overall I felt the production and his attitude were the highlights on a very promising debut that will have me highly anticipating his second, whenever that comes around in the future.

Favorite Tracks: Save The Children, Piece Of Mind, Big Dusty, Christ Conscious, On & On, Escape 120, Curry Chicken
Rating: 7/10

Bone Thugs-N-Harmony "E. 1999 Eternal" (1995)

The once called "Bone Enterpri$e" Hip Hop group was signed by the late N.W.A. rapper Eazy-E in 93 to Ruthless Records. Acting as a manager and mentor he guided this quartet to success, giving them their name "Bone Thugs-N-Harmony" and producing their debut release "Creepin On Ah Come Up". This record is their third album and second on Ruthless Records that dropped four months after the death of Eazy E, the album title is a tribute to the late rapper and ties in to the groups origin neighborhood.

What sets BTH aside from other Hip Hop groups is their distinctive melodic rapping, the group harmonize together and sing melodies with their rhymes. Their annunciation is accentuated and delivered in a pacing flow, often accelerating and slowing while amplifying the syllables, creating a sharp continual jolt like pulse through the rapped words. Its a strong characteristic of the record that is emphasized on tracks which look to explore the possibilities through many different ideas with harmonization and overlapping. The performance and execution is dynamic and serves as no gimmick, but an enjoyable delivery style.

Behind the raps the instrumentals create a smooth, yet dark atmosphere thats got a subtle G-Funk vibe to it. Compositions consistent of clean instruments, bright pianos, synthesized strings, bells and ghetto whistles that come together in a mature manor, playing out their melodies without over emphasizes. The kits are laid back and sturdy, theres a lot of space in these tracks that don't try to over do it, giving plenty of room for the vocal element to take the lead. There's not a lot of hooks or breaks, a few strong melodies elevate a few tracks but most of the time its about the melodic raps.

As an entire record it dulls with length. Although the group establish a great sound and showcase their unique rapping style their is a lot of filler. The subtler, calmer instrumentals occasionally mis the mark, failing to deliver enough energy or any melodic hooks, and with 17 tracks theres a lot of material here that could of been condensed into something more grabbing. That being said their are also some great tracks where the chemistry between the two are spot on, but they are far and few between. I really liked this record on the first few listens, there were new musical ideas to digest but with continual listening I didn't feel a depth to many of the tracks which would mostly drift to the back of my mind. Well worth listening too though.

Favorite Tracks: East 1999, Eternal, Down '71, 1st Of Tha Month

Rating: 6/10

Gru "Cosmogenesis" (2010)

How did I discover this record? I actually have no recollection of how I found my way to it, but I do remember the instant gratification and connection I felt. "Gru" is a mysterious one man band musician from Poland who put out this masterpiece of Progressive Metal in 2010 and has since ceased any communications to the music community of his current activities. With no known identity there is no telling of the reasons behind his silence, I hope that the reasons are not fatal, for Gru has shared with us something timeless and beautiful with this peach of a record that in its short 34 minute length has never failed to delight and inspire.

"Cosmogenesis" is a lavish helping of inspired progressive bliss that shows off the skills of Gru's accomplished guitar manipulation, intertwining tight, technical Djent rhythms with organic, sweeping melodic scale shredding that weeps melodies and grooves movement that has two musical forces working in unison. The leads are bright and polished, continually sailing through seas of notes that blaze past at soaring speeds in what feels like a never ending solo. From track to track this lead presence is awe inspiring, shifting gears between drawn out bends, notes, harmonics and charging into sweep picked shreds and lightning fast playing that memorizes both technically and musically. The rhythm guitar is tight and audacious, performing complex time signatures with a forceful Djent that maintains clarity and understanding without diving too deep into the big distortions it could achieve. Its a solid backbone for the melodic adventure that unfolds above it, and on closer inspection you can often hear the two complimenting one another with the subtleties in timing.

For all thats written, descriptive or technical, its hard to describe the emotional response to this record. Its deeply satisfying, a sort of memorizing state is achieved as Gru sucks you into his universe of blissful sound that has a strong sense of character and theme, one which feels like space, looking to the stars in wonder. This is emphasized by the title and track listing no doubt. I've listened to this one over and over and it simply never tires. The production here is sublime in terms of guitar tones and general aesthetic. Theirs the presence of drum kit from hill, so common in one man bands but it fails to deter. Gru composes thoughtful fills and grooves that add a fair amount to the sound, as well as airy, spacey synths and electronic sounds that linger in the reveb. Its a beautiful record that I return to over and over. Hopefully one day we will hear more from Gru, a second album would be heaven.

Favorite Tracks: Pulsar, Stellar, Aurora, Andromeda

Rating: 9/10

Killing Joke "Killing Joke" (1980)

Killing Joke's self title debut is one synonymous with its cover, an infamous picture taken amidst a riot in Northern Ireland with the groups name gratified onto the wall. Its an image that comes up a lot in music culture and appreciation. After connecting with their second release "What's THIS for...!" I got into this record quickly which was similar in nature, but less focused on the Industrial / Heavy Metal tones, and remained closer to its Punk influences. It also included the song "The Wait", covered by Metallica on their Garage Days EP recorded with Jason Newstead.

Quiet unexpectedly I found what initially grabbed me on this record to tire more and more with each listen. On this one Killing Joke play closer to the Punk aesthetic, but with some interesting twists, utilizing spacey buzzing synthesizers and morphing vocal effects to give their sound distinction along with the pounding, marching rhythm they play out through repetitious guitar riffs and a chunky bass. Its in the moments were the band deliver the hooks and catchy riffs that it stands strong. "Requiem" and "Complications" drop in with rocking grooves and vocal leads to sing along to. "Wardance" stands aside with its alien vocal musings, the droning mechanical rhythm and subtle drilling sounds draw a close resemblance to "What's THIS for...!", along with "Bloodsport" which follows the mechanical marching rhythm while playing through some "cheesy" sudden synth sounds.

As a whole it delivers a foray of experimental Post-Punk ideas and creativity that despite delivering a couple of classics, feels halfway their in terms of formulating its ideas musically. The lyrical content is more reflective of the albums cover, addressing and commenting on societal behavior concerning war, pollution and the negative sides of societies construct. The daunting themes aren't in-line with overall vibe which changes from track to track with changes in pace, tone and use of instrumentation. My enjoyment was soured a little by the lack of direction and although theres some great music here, its a little scattered and fails to build an engaging atmosphere that retains the excitement.

Favorite Songs: Wardance, The Wait, Complications

Rating: 8/10

The Smashing Pumpkins "Monuments To An Elegy" (2014)

So far I have listened to the Pumpkin's records in chronological order, but while listening to "Machina" I couldn't help myself, after enjoying the "Being Beige" single I was itching to hear "Monuments To An Elegy" and didn't fancy the wait. The group split in 2000 and since Corgan revived the project it has received a mixed reaction from fans on critics alike, but the single promised a sound closer to their "classic" era, one I am very much fond of. On a side note I also like the album art here, whatever it supposed to be it looks different each time I see. Much like seeing shapes and face in the clouds.

Monuments is a straightforward record of simple pleasures, short, punchy songs that get straight to the point. The guitars aesthetic is reminiscent of the "Mellon Collie" era, warm tones of distortion that crash in with big chords and have a diverse composure that find new directions, bordering Indie at times but in general blurring the lines of rock and its counterparts in typical Pumpkin's fashion. Its exciting, an evolution of ideas that retains the core. Alongside the main instruments, Corgan brings in a strong electronic element through bright and vivid synth leads that add an expansive dimension to the sound. Either organs, bells, strings or phased buzz-saws, they gel with a contrast that matures with each listen and familiarity. On one track "Run2Me" a pulse dance beat and bright chirpy synth create a very different flow and vibe that really didn't work for me, it stuck out like a sore thumb in the middle of the decent track listing.

The instrumentals are strong, progressive and focused, but Corgan's charactered singing is the glue holding it altogether, every riff and groove is amplified by the eternal youth of his voice. Now approaching fifty, his voice still has the charm it did twenty years ago, most obvious on "Dorian", the most infectious vocal hook the record offers, one that gets me singing along with the simple to follow afflictions of the name. The chemistry at work on this song is a prime example of the album in its better moments, the instruments come together under his captivating lead, with a punchy dance kit, astral plucked strings, pianos and a crusading flanged guitar orchestrating a big atmosphere. Its a great record, only 32 minutes in length its quick to consume but has great songs and really sets a positive tone for Corgan's current creative state. Looking forward to the next record at the end of the year.

Favorite Songs: Anaise!, One And All, Monuments, Dorian

Rating: 6/10

Beyond Creation "Earthborn Evolution" (2014)

Canadian Death Metal outfit "Beyond Creation" from Montreal are back with another healthy serving of their tightly performed, squeaky clean technical onslaught of growling gutturals, crunchy guitars, fancy leads and tactical drumming. They caught my attention with a viral video of their song "Omnipresent", standing aside from other bands for two distinct reasons. Firstly the fretless bass, a bright colorful sound that bounces and slides its way from the background to foreground in a tasteful manor. Secondly the overall aesthetic is crisp and orchestrated with a delightful balance between the instrumentals which compliment one another in a genre that can often be plagued by emphasis on brutal tones. Their debut "The Aura" was an interesting one and I have kept an eye out awaiting a second record, which arrived late last year.

"Earthborn Evolution" is a cautious step forward for the band, working within the same frame they set for their selves as on "The Aura". In terms of production the most notable change is the drums, slightly softer, less of a sharp sting to them, otherwise it could almost be the same record. Musically its a continuation too, not a lot of evolution in style or experimentation, the band play out ten tracks of enjoyable high-octane technical death thats continually frenetic, shifting mercilessly with grindy riffage and shuffling blast beats while the fretless bass dances around between the instrumental onslaught. Constantly rearranging themselves, these songs unfold like a tapestry of ideas being unwound and stitched back together as the guitars and bass dance around one another with complimenting ideas the exhausting drumming narrates with its continual hammering. The guttural vocals come in with force and power over the top of the musical onslaught, they are captured with a textural quality that amplifies the brutality through that texture, as opposed to volume or force. It has a strange effect of leaving these songs feeling complete with or without their presence. When they come in they add a new dimension, but one thats not felt in its absence.

For all thats good and said there is a big negative. Across the 46 minutes of technical bliss there is little that feels memorable. It is pleasant to listen through each song musically unwinding its way through its gorgeous aesthetic, but never does it "strike a nerve" like "Omnipresent" did. There are a few share of unique moments, like the speedy bass fretting on "Theatrical Delirium", but its impact is momentary. After listening through several times it is apparent that for all they do right there is a certain spark needed thats absence can not be disguised. A good record needs to leave you with music you can't get out of you head, and despite being a great listening experience there was nothing here that did it for me on that level.

Rating: 5/10

Outkast "ATLiens" (1996)

Following up on 94's "Southernplayalisticadillacmuzik", Outkast's second album is a relatively big side step from the cultured southern character established on their debut. The album cover stands out as a Hip Hop record for its cartoon inspired graphic and primative 3D fonts. The logo and price an added oddity that as a whole is reminiscent of old Playstation games, at least for me. The cover hints at a strong sense of theme that is present throughout in the production and lyrical content. Reflecting on their commercial success and maturity as people, Andre and Big Boi focus on introspective and social topics in that lyrics that address family responsibility, urban life and a sprinkling of extraterrestrial activity that often feels like a metaphor for social alienation, the name being a combination of Atlanta, where the duo are from, and Aliens.

The theme established is played out well on this record which comes with a thick consistency from track to track. The production opts in for tight, crisp kits and constructed loops that provide a strong backbone for the raps without being bombastic or hyped, they subtly impress with quality and no cheap thrills. Working with the drums a cautious, paranoid bass line creeps around these tracks in the deep low end, playing out paced out grooves that break often to utilize its own absence. The two have a minimalist chemistry the sampling amplifies through quiet samples of various instruments and sounds that leave a big air in the mix for the duo to fill with their raps. Most tracks are devoid of hooks and melodic leads, the samples paint the atmosphere cautiously with alien, out of space sounds and noises to complete the sense of theme so strong.

Big Boi and Andre both shine on this record with continually engaging lyricism taking us through their introspections and thoughts that come with a handful of memorable lines and thought provoking lines, especially with their attitude towards women that displays a lot of change and maturity. With the musings on fame the two show a level headed character not phased by the ego or illusion success can bring. Their engaging intellect is a strength from a record that has no cheap thrills, needless violence or boasting. Solid lyrical content that feels like a breath of fresh air for this listener, despite it being almost 20 years old.

Overall I felt this was a solid, absorbing record, but maybe not one to pick up too often. The calmer vibe and subtler approach is a two edged sword that doesn't fit every mood, but in the right one this stands tall. It wasn't till I started to write that the era crept into my thoughts, this was 96 and a solid execution of new production ideas that were emerging at the time. This was also the beginning of the bling bling era and the record is rather bi-polarizing of that direction. In retrospect this album's importance and significance could be something I overlooked when gathering my thoughts, but for now I will look forward to obtaining their third "Aquemini".

Favorite Songs: Two Dope Boyz, Atliens, Wheelz Of Steel, Elevators, Mainstream, 13Th Floor

Rating: 8/10

The Smashing Pumpkins "Machina - The Machines Of God" (2000)

Its been some time since I last listened to the Pumpkins, we last left off with "Adore", an album that marked a shift within the band that set them on a different path musically. Suffering the departure of drummer Chamberlin and brain of the band Corgan going through a deep depression, the shift is considered the end of their "classic" era and has since left fans divided on the bands musical output after this point. I found Adore difficult to fully appreciate, but it wasn't till after a wrote my blog and put it down that the melodies and echoes started to play in my mind, and picking it back up I really grew to love and appreciate what it was about. Having not been especially swooned by this record I'm wondering if it will follow suit with Adore, a record that absence grows fonder.

Machina sees the return of drummer Chamberlin and departure of bassist Darcy, but not a change that makes a drastic impact on the record, even with their drummer reunited the drumming has the stiff looped feel of Adore. On first listen their is a lot that feels like a progression from it, theres a thick ethereal ooze of airy noise between instruments, many acoustic moments alongside the return of distorted guitars that are fitting of Corgan's style that blurs the lines of Rock and Metal. It is a sound certainly identifiable as Pumpkins, but only lives up to their reputation in the strong moments of this record, of which their are many, but as the record draws on there are some less attentive tracks, namely "The Imploding Void" and "Glass And The Ghost Children", fifteen minutes that fall flat. Machina was originally proposed as a double album, and after being rejected by the record label the second half was released online for free the same year. One of the first records distributed online free of charge.

The strengths of Machina come from Corgan alone, his voice cruises over lush ethereal tonal guitars ringing out in a haze of distortion and melodic acoustics. Either jamming out a riff or parading a thoughtful lead, his voice coursing over the airy soaked layered sound is comforting and warm from track to track. The other instruments don't quite speak in this volume, the bass muddles on with a basic groove behind each riff and the drums are not as adventurous as they have once been, but its looped feel and contained approach may server as a better backbone for what is an indulgent and intoxicating sound on its best songs. On its quieter tracks Corgans ideas feel solid but just fall short in execution as the mediocre suffers the flow set by some of Pumpkin's best songs with "Stand Inside Your Love" and "The Sacred And Profane". Time will let me know more about this record, I certainly found some gems here, but as a whole it didn't quite smooth out.

Favorite Tracks: The Everlasting Gaze, Stand Inside Your Love, The Sacred And Profane, This Time, Wound

Rating: 5/10

Haken "Visions" (2011)

Following up on my enjoyment of English Progressive Metal band Haken's debut "Aquarius" I had to check out there second release "Visions". Continuing from where the first album left off, Haken bring us another installment of there grand progressive form that sees no major shift in style or sound. "Aquarius" told us a fantasy tale revolving around a mermaid, and "Visions" comes fit with an equality solid, but vastly different, theme as a boy sees visions of his own death in his dreams, the lyrics tell a story of his life spent avoiding the knowledge of his impeding death. Its an interesting step from humorous fantasy to fearful introspection, but on the surface of the music its barely noticeable, the music operates on the same theatric level as before, giving us another epic serving of their unique flavor of Progressive Metal.

The record opens with an instrumental number that sets a tone and lays down some of the main themes heard in this album. Followed by "Nocturnal Conspiracy", the albums first lengthy epic, we are gently brought into the story with Ross Jennings soft and tonal voice narrating and hitting sublime notes as the song gradually intensifies. It builds to a moment where everything parts and a gorgeous piano lead gracefully enters over ringing guitar distortion and subtle strings and horns. Its a distinctive moment, one that revisited a couple of times. The following instrumentation really dives into quickening melodic leads exploring scales in a style reminiscent of Nobuo Uematsu's approach to progressive leads, it was a vibe I felt over and over in the better moments of this record, although a strength of this record was its consistency, continually impressive and well put together there wasn't a single dull moment. Progressive music of this nature is forever winding through passages and moments that its almost impossible to summarize, for all this album goes through it ends on a powerful high as the album's theme falls into place with the title track "Visions" a twenty two minute epic that ties everything together.

It should come as no surprise the record sounds great. Moving forward from "Aquarius" the fidelity has only improved. The kits got a lovely punchy bass kick, big spacious tom drums and a rounded snare that add up to create a kit for purpose, capable of theatrics and Metal rhythms. The strings and symphonic elements are exquisite, sounding almost real at times. Theres a great continuity, as the electronics and strings always participate and linger in the background when not in the forefront. It all ads up to a lush and capable sound thats fully utilized by grandiose musicianship. Visions is a strong record, self realized and stimulating, it conjures up a grand show of sound.

Favorite Tracks: Nocturnal Conspiracy, Portals

Rating: 7/10

Bauhaus "In The Flat Field" (1980)

With a recent exploration into the origins of Gothic Rock, Bauhaus's "In The Flat Field" was one I picked up alongside Christian Death's "Only Theater Of Pain" & The Cure's "Boys Don't Cry". It's a Post-Punk record thats been hailed by musicians as a hugely influential one, making them a "bands band" in some regards. The Post-Punk era is a fascinating one, a time of great potential and innovation. Here we can clearly here the origins of new ideas blooming a sound of gloom and darkness arriving with a distinctive clarity of vision. The expression and musical theatrics feel void of experimentation despite that era indicating you could of labeled it "experimental" at the time. This was the groups debut record and they released another three before disbanding in 1983, leaving a short lived legacy behind them.

The record starts with its most bi-polarizing track, "Dark Entries", which starts the record of with a declining single strum note riff that rings out some chords and shifts octaves in between blazing out the dark riff over and over. Theatrical, moody vocal musing don't detract from rocking feel this track delivers, but its far from what the rest of the record offers. As "Double Dare" starts we get a different feel from the same pallet as a submarine ping introduces distorted, fuzzing guitars into a dark, hopeless atmosphere. The guitars play between crumbling drum rolls that rattle in the absence of the distortion. This goes back and forth as Daniel Ash's vocal theatrics embellish like a performer at a play, exaggerating every word. Quickly a dark and paranoid atmosphere is established and explored as the song descends into itself, heightening with Ash's tempering line "I Dare You", performing the "I" over and over. It paints a powerful image of him parading around a set as he performs.

From that point on the album plays out an hour of theatrics, bold, dramatic, audacious and artistic manipulations of sound explore the doom and gloom through screeching guitars, muzzled electronics and big, tom rattling drums. The bass diversifies itself continually with all sorts of fx pedal manipulation. It sounds terrific for an old record, the space and atmosphere is captured finely without a dated feeling. The group utilized what was available and captured there expression timelessly. I have a lot of admiration for this record, but its not one that gets me especially excited. Perhaps they captured the gloom all to well, as these songs plunge into despair they do so artistically, not manipulating it for bombastic effect, but for the art itself. Every moment is intense and gratifying, but tends to stretch on as only a couple of songs change up the pace. Terrific record, was well and truly worth my time.

Favorite Songs: Double Dare, In The Flat Field, Dive, Stigmata Matyr

Rating: 5/10