Jay-Z "The Blueprint" (2001)

American rapper Jay-Z needs no introduction, a household name around the world he dominated Hip Hop in the naughties as an artist and a business man who's built a substantial amount of wealth. A true rags to riches story of a young man who went from drug dealer to international rap star. I've never found myself drawn to his music, however I adore the Mafioso Rap debut "Reasonable Doubt" he dropped in 96. Watching the movie "Dope" the lead character referred to this record as the end and "exclamation point" of the 90s era I love so much. Of course I promptly picked this one up and found a couple of familiar songs, "Izzo" I remembered from MTV in my youth and "Renegades", a menacing and dark duet with Eminem who drops a classic verse from the prime of his defining style.

So "The Blueprint" is hailed as a classic, and picking up a record like this its hard to avoid the acclaim and ratings the record received. It certainly set the bar high, but didn't get my blood pumping around the clock. That being said its a mighty fine record illuminated by production from Just Blaze and Kanye West who both make their breakthroughs with a fine set of instrumentals that was the highlight for me. It steps away from the radio rap of "Volume 3" and brings a soulful vibe to snappy beats with a variety of kits and themes to keep the track running fresh. The track "Girls, Girls, Girls" is a blinding moment on the record, Just Blaze sampling Tom Brock to perfection, a true example of what the art of sampling is about. Legends Q-Tip and Biz Markie dropping in with the hook borrowed from the oldskool Crash Crew while Jay-Z talks about his promiscuous lifestyle.

The record opens up with Jay-Z making his return statement before dropping into a diss track aimed at Nas and Mobb Deep, I know Nas's response "Ether" and "Takeover" pales in comparison but to give Jay-Z credit the raps are tight and creative but again the magic comes from the beat with its rumpus baseline and baron atmosphere characterized by samples between the kick snare and bass groove. Jay-Z's raps are alright, hes straightforward, easy to follow and light on the ears, but quite honestly he rarely does much to grab my attention. Sometimes a rapper just can't do it for you and its hard to put my finger on why. He did drop a couple of great lines though "I sell ice in the winter, I sell fire in hell, I am a hustler baby, I sell water to a well" is one that's stuck in my mind as well as his tragic mathematics on the diss track, somehow calculating four records in ten years is a two in ten average.

The only other times Jay was grabbing my attention was dropping references or recycling classic rap lines. The best rap came from Eminem on renegade, also with a fantastic hook chorus. I walk away from this record dazzled by the production, desiring more from the lyrical substance and understanding its reputation. Surprised I didn't find this one sooner but there is an ocean of music out there and the size of a name is rarely a hook to pull me in.

Favorite Tracks: Girls Girls Girls, U Don't Know, Holla' Hovita, Heart Of The City, Renegades

Rating: 8/10

Erang "Tome X" (2015)

That time has come again when out of nowhere the day is illuminated by the arrival of a new record from French musician Erang, the one man band and composer of nostalgic, atmospheric Dungeon Synth, the microcosm genre that has flourished in recent years. Following the progression of this project has been enjoyable but with the last few records Erang has really come into his own, mastering his vision and elevating his compositions to the next level. "Tomb X" is the 10th full length and forth with the mysterious Tomb name. At first glance I thought this might be a trip back to the roots and on some levels it is, however much of what has developed on recent records is to be found here again.

Its no surprise to find a wondrous collection of melodies that spark the imagination, visions of rich fantasy realms lost in nostalgia come to mind with every passing song. Each song has its own moment, memory, story to tell and establishes its presence quickly for short and indulging tunes which rarely break the themes they define themselves with through a diverse set of lush and charismatic instruments mixed with grace and care. There is a constant duality of string and lead that has one or two melodies dancing over deep, atmospheric choirs and strings that fill up much of the void the simplistic nature of these songs could so easily leave unfilled.

This is possibly the best sounding Erang record to date, however with nine full lengths to compete with many of the songs do wash up into a haze of similarity. The atmospheric nature of this record is fantastic for setting a mood and indulging oneself, but flicking through the tracks reminded me there aren't to many sparks that jump out in the track listing, though there is a strong group of adventurous songs in the mid section. Another great chapter in the tale of Erang, as always I'm left with an appetite for more.

Favorite Tracks: The Crocodile Fairies Of The Mayoo Wood, Lord Phantom, Ghouls Grotto, The Infinite Steppes Of Kolm

Rating: 7/10

King Crimson "In The Court Of The Crimson King" (1969)

I was pleasantly surprised by how swiftly I found my way into this record. Hailed as a classic of an era gone by I was a little hesitant this might be out of my reach. Ive always had a soft spot for Progressive Rock and this record is often considered the birth of the genre, turning away from the Blues roots in Rock and inspiring Classical influences into the scope of their songwriting. What I found though was a luscious warm record that felt like the precursor to much of the lullaby like themes found in early Genesis records. King Crimson are the credited creates of Prog Rock and have been going at it for 45 years with plenty of lineup changes a many intervals of hiatuses.

"In the Court..." is their debut release, a varied record with a lot to offer. "21st Century Schizoid Man" the slightly mad, energetic free jazz swings coupled with a traditional Metal attitude that starts the record of with a bang of announcing trumpets and a wild improvisational mid section of madness. "I Talk To The Wind" takes a u-turn in tone and pace, setting us on a soothing lullaby of innocent, gentle melodies climaxed by a gorgeous flute solo at the end. "Epitaph" brings a somber tone in as we sail to an epic swan song that's illuminated by a dreamy string section and dramatic, haunted synths. 

"Moonchild" mostly consists of a lengthy ambient jam of quiet mustering on the drum kit and sporadic improves on the lightly played guitars and keys. The jam doesn't lead anywhere much and conjurers up images of the band roasted on drugs, lying around tapping on their instruments. The record ends with the title track which is a rather similar sounding song to "Epitah" and delivors some lush vocals harmonies over the ever enigmatic synth and string section.

The records over 45 years old and sounds fantastic today. The drums have a narrow dimension, but the other instruments sound big, bright and free. I especially liked the keys string sound which had a slightly harsh tone yet came across so smoothly with a lot of energy, it reminded me of Genesis's "Watcher Of The Skies". Another band this reminded me off was Messenger, their album "Illusory Blues" one of my favorite from 2014. Definitely heard a lot of the influence that inspired that sound here. Solid record, can hear why its held in such high regard.

Favorite Songs: I Talk To The Wind, Epitaph

Rating: 9/10

Farmer Boys "Countrified" (1996)

Farmer Boys are a German Metal band from Stuttgart who are still technically together despite years of silence and no studio record since their forth in 2004. With little chart success or renounced acclaim it was quite fortunate to stumble across this small band that play a breed of Metal perfectly suited to my taste. Had I found this in my youth I'm sure I would of lapped it up. I can hear that energy, but these days it doesn't have quite the same effect one me. There's also an interesting "Depeche Mode" cover in there, with Anneke of "The Gathering". Which is how I found my way to this group.

Their sound was immediately identifiable. Big crunchy distortion guitars, angrily shouted vocals and subtle symphonic elements to break up the metal assault. Initially I heard tinges of Industrial with a "Die Krupps" feel to their style, especially in the dense, chunky guitar tone. That might be a regional thing but as I got to know these songs all the influences became apparent. Forces of Groove, Thrash and Nu Metal converge through the riffage with a Doom and Gothic tinge amplified through the acoustic moments and subtle strings that sit quietly under the guitars while choir aah's covertly grow and creep into the songs.

The album drives through a straight forward arrangement of songs that work through the motions, playing out aggressive riffs, broken up by mood shifts led by Matthias Sayer's gloomy, sorrowful clean vocals. As the album gets deeper some very obvious sounds surface with "Pantera" blunt force style riffs and grooves emulating "Machine Heads" classic pinch harmonic groove. For 96 its a great sounding record and the group sound relatively original in the Doom Metal moments of their songs but they do sound a little drawn between styles. Either way they define themselves and despite a very decipherable style, the album flows effortlessly and the songs are really enjoyable. As I said in the beginning, ten years ago me would of lapped this up.

 Favorite Songs: Farm Sweet Farm, When A Chicken Cries For Love, In A Distance To God, Call Me A Hog, Countrified

Rating: 5/10

E. Jacobs "E Q U I N O X" (2015)

The equinox is the debut instrumental Hip Hop EP or "Beat tape" of Colorado based producer "E. Jacobs". Having followed Jacobs and his regular instrumentals on youtube for over a year I've been looking forward to a record release for sometime. The record doesn't break ground or steer much from Jacobs traditional style, but does hold together a chilled introspective vibe that flows through each of the tracks.

As always the same two thoughts come to mind. On one hand Jacobs has a flair for composition, finding unique samples to mix with well crafted beats that catch the 90s feel yet with modern trap influences as intricate high hat patterns shuffle back and forth on most of these songs. On the other hand the production is amateur and lacks balance. Often the different samples overpower each other sometimes bury the drums as they compete for volume. On occasions its worked to effect, on this short EP its often disrupting the clarity of what are essentially laid back, calmer beats.

When it comes to the instrumental aspect these beats are very much constructed for verses with repetitive loops that don't offer much variety. The better beats carry themselves with an indulgence but others tire a little from the repetition and could do with some flair to spice them up. The beats on show here may not be Jacobs best work, but how they flow together and set a tone certainly elevates this short 20 minute record.

Rating: 4/10

Favorite Songs: Vernal, Atlantis

Travis Scott "Rodeo" (2015)

"Rodeo" is the debut full length of young Hip Hop producer Travis Scott who's named I'd not heard of before but has some hype around him being signed to Kanye's Good Music label. I decided to give this one a whirl after hearing good things and found a bi-polarizing record that gave me a lot to think about. "Rodeo" brings both the best and the worst of "Hip Hop"s almost unrecognizable current trap influenced direction, and pushes them into new territory id not heard before.

The record starts up with cold urban, spacious beats and an ethereal edge through excessive reverbs and echoing vocals. It takes a fair few songs to get to a decent rap as the balance plunges overboard in favor of style and texture. Boisterous showboating lyrics with one word rhymes bang out over and over with a lack of emotional context or any point other than enforcing attitude, wealth and excessive lifestyles. Its all about the delivery and production that treats the vocals like instruments, auto-tuning on overdrive and turning the "raps" into textural lavishes that tie tightly with the instruments and make use of many reverbs, pitch shifts and stylish distortions.

As the album develops it really comes into its own at the mid point with tracks like "Night Call", its big atmospheric nightclub sound dripping in deep base and ethereal chords buried under layers of synth, kits and echos. Its a prime example of whats great on this record, the production has an ambition and idea that's realized and reached in these dreamy "lose yourself" tracks. Despite feeling spacious and open, most the songs have many intricate noises detailing the backdrop and adding up to a bigger picture. The percussion takes a laid back roll often dropping out of focus and minimizing its roll in maintaining the pace, yet even in minimal moments its the backbone.

On one side of "Rodeo" we have unique, ethereal beats and the other a complete absence of lyrical substance. In between the two an overdose of auto-tune that tests my tolerance every time. I have to give credit through, auto-tune is not to my taste but its execution is creative and interesting at all times. This album could of been so much more to me with some rhymes and messages but instead the lyrical context and showboating tires and bores me.

Favorite Tracks: Wasted, Pray 4 Love, Night Call, Antidote, Flying High

Rating: 5/10

Slayer "Repentless" (2015)

As Henry Rollins once so elegantly put it, Slayer are like a band frozen in ice, every few years they are taken from hibernation to write a record and they sound as angry and ferocious as in their youth. That is very much true of Repentless, the first slayer record I've given a proper listen since 2001's "God Hates Us All".  Its their first without legendary guitarist Jeff Hannerman who contracted a flesh eating disease which seriously affected his health before passing from liver failure two years ago.

Of what little I heard from "Christ Illusion" and "World Painted Blood" I was only expecting disappointment from a band well beyond there peak. But Repentless is an accessible and anger fueled record with the speed and aggression of past heard through a weighted production that makes light of tightly rounded, dense distortion tones and a hammering drum kit that pounds away endlessly. Its heavy, hard hitting yet a very warm and open sound that's about as audible as Slayer can get.

Unfortunately the songwriting isn't on the same level and the record opens up with some promising songs that get the blood pumping with those classic circle pit riffs, pummeling snare beats and erratic guitar solos, but after a few tracks the album drifts into a lull of slower power chord led songs that wouldn't be so bad if it wasn't for the lack of progression or direction these songs showed. Just some temperate riffage and angry vocals. The songs had a distinct lack of spark to fuel the energy and define the songs. A break out moment or interlude moment, like "Angel Of Death", could of added so much to these tracks but instead they settle for linear songwriting.

On the vocal front Tom is his usual self with the typical Slayer approach and for the most part its great. At times it gets a little starch and off key from the music and the lyrical content is blunt and unapologetic with the usual range of murderous, satanic, misanthropic themes coming across very direct and without poetry or much to dilute the point. Relentless has there best sound ever, but the songwriting is far behind, with a touch more inspiration and creativity this record could of been something great.

Favorite Tracks: Repentless, Vices, Cast The First Stone, You Against You
Rating: 5/10

August Burns Red "Found In Far Away Places" (2015)

 August Burns Red are an American Metalcore five-piece band from Pennsylvania USA who have gained considerable momentum and praise in recent years among the various Metal scenes. The band formed out of high school in 2003 and have been consistently releasing records and developing their sound since 2006 of which this is their sixth full length release. I'll admit from the get go that I've not been in the mood for Metalcore but I couldn't deny the level of quality this record produced.

Working with the finest production the band has received yet we have an inspired and crafted record where the two guitarists make a mark with an endless flow of tight, chompy groove riffs and energetic rhythms interchanging with dynamic leads that guide the songs. There's many techniques, approaches and ideas at work in the rhythm guitar and they meld effortlessly with the leads that constantly light the path with a fluid energy and enigmatic tone that doesn't falter, continually progressing the music from one step to the next.

Breaking up the heavy and sometimes relentless aggression comes in some acoustic, folk moments that have a tinge of Kentucky about them, reminding me of Panopticon's "Roads To The North". At times the music subtly transitions into these calmer moments with gentle guitar leads and jiving base. In others can be rigid and hard cut but always sounding fantastic, adding an effortless dimension that's quite bipolar compared to the anger fueled chugging moments, yet we can be led so easily between the two. In those generic breakdown moments the band do a fantastic job defining there own style with tight choppy grooves that don't stray to far from the winning formula.

The guitar work stole the show, and beside them big bold baselines and brutally precise drums hammered away reinforcing the tightly woven aggression they led. I couldn't say too much for the vocals, I didn't find the tone and delivery anything special, but there was no harm done it was just a adequate performance that didn't have a spark. At the same time the Metalcore vocal style has never been a favorite of mine. Its a brilliant record from a band maturing well in their peak.

Rating: 6/10

Digable Planets "Reachin' (A New Refutation Of Time And Space)" (1993)

Reading a top 90s Hip Hop songs list cropped up an unheard of group at number two. Its somewhat of an oddity to find groups from this era that escaped my radar, but lo and behold here was Digable Planets and the super slick track "Cool Like That" with its big groove baseline and the Jazz Hop vibes similar to "A Tribe Called Quest" and the Native Tongues. They are a trio of Rappers from Brooklyn who signed to Pendulum in 92 and this is their debut, which had the hit single from the list.

The record's a smooth, gentle breeze of laid back jazzy vibes blowing in the wind as the trio deliver soft, warm and welcoming raps of expanded consciousness and social political awareness. The trio all have such friendly and polite tones with chilled flows that make for the most inoffensive rapping I may of ever heard. Lyrically its a little inconsistent, in some moments they nail the vibe with memorable lines "We be to rap what keys be to locks", smart and intelligent lines but often it doesn't come of with the same finesse. With a lot of witty lines to burn through it does tire a little as the record draws on.

The beats have a spark of magic, the epitome of the classic 90s sound with a current of cool jazz struck a nerve. Undoubtedly some of my favorite beats Ive heard this year, especially "Jimmi Diggin' Cats" sampling of Kool And The Gang's "Summer Madness", a song that's in two other I love, Ice Cube's "You Know How We Do It" and DJ Jazzy Jeff And The Fresh Prince's "Summertime". There's many terrific uplifting samples and a great selection of beats that aren't to overbearing. Unfortunately I felt the final tracks on the record drifted in mood and didn't have the same spark. My overall impression is that of a flawed classic. There's so much good to praise, but its also inconsistent and patchy too.

Favorite Tracks: Pacifics, Where I'm From, Rebirth Of Slick, Jimmi Diggin' Cats

Rating: 7/10

Gnaw Their Tongues "Abyss Of Longing Throats" (2015)

Its been a while since Ive delved into the hell hole of depravity that is Gnaw Their Tongues, one man band of Dutch musician Mories. I discovered this project back in 2009 and it has remained as one the most haunting and bone chilling sounds Ive ever heard. Its a noisy, claustrophobic and harrowing musical experience with an unrelenting apatite for discomfort in the exploration of perverse corruption in humanities darkest corners. With a large, patchy discography littered with EPs and limited releases in between its hard to stomach it all, but of what filth I've wadded through there is plenty of quality compositions to be found in the full lengths, including this one, his eighth in nine years of the project.

In the earlier days Morries's music was a catastrophe of symphonies colliding in a haze drenched with thunderous crashing symbols and tormented screams. Over time inklings of structure and Black Metal crept into the fold and made "Abyss Of Longing Throats" a vastly more approachable listen than I previous remember. The constant ticking of buried drums and their alterations helped guide the listener through the shifts of tone and direction under the constant haze of evil and discernible noise. Erie distortions, muffled screams, bellowing baselines, distant bells and howling winds. There's an endless list of what might be happening in the frenzy of noise these songs concoct.

The opening track is by far the records best. A discordant fuzz of guitar sets an instantly unwelcoming tone as the screams of restless spirits drag us below into the sound track of hate, pummeling crashes and strikes of metal. The nefarious choir chants build a dreading atmosphere that continually shifts one to the next before reaching an interesting conclusion in the endgame of the track as buried horns cry out from an industrious soundscape of grueling mechanical construction. The guttural vocals and lighter atmosphere on the following track also made a mark but beyond that the record descends into an expected trail of endless noise that fails to spark a memory. I'll always be interested in this project, however I find it no longer has the capacity to be unexpected or as mesmerizing as when first discovering such godless music.

Rating: 4/10

Dead Kennedys "Frankenchrist" (1985)

The Dead Kennedys are a legendary American Hardcore Punk group from California who developed a large underground following in the 80s. They had a short lived life-span, forming in 78 and disbanding a year after this record having become disillusioned with their own music scene that no longer represented what they stood for. They were involved in a few controversies but time has served them well, their music and legacy often held in high regard. I was introduced to them around eight years ago and I knew one day It with click with me, and that's what happened! Listening to Black Flags "Damaged" got me in the mood for more Hardcore Punk and I picked out this record having recently learned about the HR Giger artwork controversy that took the band to court following Frankenchrist's release. I can't believe its taken me so long, but now I adore this band.

This record really sucked me in, Its got a lot of energy and quickly I found myself running and working out to it, making the most of the exuberant, youthful energy the music and lyrics filled me with. It didn't take long understand their sound, there are some very distinctive accents that flavor the Hardcore Punk sound. Slower tempos and guitars leads with a western flick vibe make there mark on the songs flirting with tinges of Surf Rock and Psychedelia in between its aggressive and angry Punk core. The creativity flows freely through a track listing of distinct songs with variety in plentiful amounts. Its either riffs, vocal hooks, guitar leads or Biafras politically and socially charged lyrics, each track has a distinct quality and from start to end the group roll out brilliant ideas one after another, even extending to interesting song structures.

The records production does a lot for it. The guitar leads have a raw and hazy tone that comes to life in a recording that fills the space with a big hall feel, creating a ton of atmosphere. The drums and vocals feel more contained and muted in comparison, but its a rocking chemistry and the bass is gorgeous, deep and tonal, rattling and pounding away, often leading the march and throughout the album its very audible, its texture contributing a thick backbone under the spacious guitars. Even some Mexican horns crop up in "MTV Get Of the Air" record, alongside the western guitars they fit right in. The following track "At My Job" drops the guitars for a big synthetic saw wave lead emphasizing the horror show circus vibe of the track. Again, it fits right in.

Whatever the Dead Kennedys set out to do its done with style and substance and the record is littered with inventive approaches, especially front man Jello Biafra who's charged and thought provoking lyrics come wrapped in a variety of deliveries that range from driving sing along hooks to moody theatric play acting. Everything about this record was a delight and I still can't get enough of it.

Favorite Tracks: This Could Be Anywhere, Chicken Farm, MTV Get Off The Air, At My Job, Stars And Stripes Of Corruption
Rating: 8/10

OverClocked ReMix "Doom II Delta-Q-Delta" (2008)

 Here's a record I almost passed over but curiosity got the better of me. "OverClocked ReMix" is an online community of musicians who re-imagine the soundtracks of computer games in their own vision. Despite hearing nothing but praise it didn't appeal to me much, but how foolish could I of been? I picked out the Doom soundtracks since its my favorite game and just after a couple of listens I was sucked in! The vibe and atmosphere was very fitting of the game, and the instrumentals had a level of craft and care similar to the C&C soundtracks composed by Frank Klepacki.

As a community driven record there are many musicians at work here, sometimes collaborating but mostly working on their own, each with a level song to rework. Despite a range of aesthetics and approaches, the record has a strong flow as the themes and mood shift through track to track. Even going from chirpy electronic led tunes to pounding on metallic guitars the record flows well with one exception, "31 Seconds" sounds out of place, its indie guitars, bright pianos leads, light drum kit and voice samples had me thinking I was listening to "Public Service Broadcasting". I thought id messed up my records playlist!

The atmosphere is ripe and the songs stroll through with an ambient quality that has subtle leads, chords and arrangements working around one another a typically soundtrack fashion, letting your attention focus to whatever is at hand while these songs steadily build and grow with a few distinctive melodies and moments cropping up in between. The whole soundtrack is a mash up of styles that has many dynamic components working together. You can hear elements of Metal, Noise, DnB and Big Beat around the predominantly Electronic and Industrial tracks.

The chemistry between these styles is executed with a vision and on "Icon Of Sinewave" we hear samples of our hero and the demons that create a dark and gruesome scene of the game before crashing into the main theme which amplifies the grueling intensity before breaking to an uplifting fast tempo beat that reminded me of being "in the zone" playing Doom. The samples could of featured more but it may have been overkill to do so. This is a fantastic soundtrack that produced a couple of real gems I will be returning to fore times to come.

Favorite Tracks: Westside Archvile, Crushing Headache, Silent Healer, Icon Of Sinewave, Ablaze

Rating: 7/10

Die Krupps "V - Metal Machine Music" (2015)

Die Krupps are a German Industrial Metal group known to some for their tribute record of five Metallica songs released in 92, and to others for their unique blend of EBM and Industrial Metal. In the 80s the group was making Electronic music Ive never given much of a listen. In the 90s they started incorporating distortion guitars and changing the mood of their sound to form a new identity which can be heard on the record "I", of which this is the fifth chapter. Despite a large sixteen year gap in their discography following the groups split and reunion, this record very much retains the identity from 97s "Paradise Now" and made for a familiar listening experience.

Metal Machine Music is a meaty grinder of a record that pounds and churns through aggressive tracks brim with attitude and aggression. Fronted with sharp, potent distortion guitars and front man Engler's shouty German accent the record conjures up a vision of post apocalyptic industrial mayhem much like the Mad Max world, exemplified by the track "Woad Rage Warriror". Serving as the backbone, deep chunky synths pound out buzz-saws and sine wave leads in front of a rather lost and muzzled baseline. They do a lot for the record as the guitar often cut out and let the electronics take lead with a grit and attitude that unifies the sound and gives it much needed flexibility that keeps the songs interesting given their rigid aesthetic that doesn't change up much through the listen. Its a great sounding record with audible instruments however the drum get a little lost and buried at times, overpowered by the guitars and synths which are so hard hitting and rhythmic oriented its almost like they are all pounding out the rhythm together. Its not a complaint but something I think actually worked really well.

Lyrically the "eyes open" anger comes across with apocalyptic end game lyrics citing capitalism's flaws with anti corporate messages, propaganda and double think musings that suit the theme well but do little to raise an eyebrow, however the song "Fly Martyrs Fly" caught my attention with risky lyrics singing from the perspective of the pilot of 4U9525 that crashed into the french alps in march. The song includes samples from TV reports and what its point is exactly I'm not sure but it makes for a good song with a catchy hook. "V" is a solid record and it was nice to get a dose of the Die Krupps sound again.

Favorite Songs: Fly Martyrs Fly, Road Rage Warrior, Branded

Rating: 5/10

The Gathering "Mandylion" (1995)

Casting my mind back across through all the years this record has been with me, time may have gotten the best of my memory. How I found this band is hazy but of the ten plus years Ive been listening to them this record has always been a real treasure. The Gathering are a Dutch band with a patchy history of style and direction that started with a Death / Doom Metal debut that would be short lived as the group progressed through different Metal sounds before switching to Progressive and Alternative Rock after this record. In their beginnings they had trouble securing the right front man before uniting with Anneke Van Giersbergen who's voice is a free spirit with a charming purity and spirited power.

Despite the line up changes and wandering direction, on their third record, Mandylion, The Gathering created a magical record complete in concept and bearing. Anneke is the star of the show, her voice glides freely over the music, dazzling and mesmerizing with every word she utters. She guides the emotional narrative of the songs through the lows and highs with an impeccable range that gets the feels running every time. So soft and pleasant yet powerful and moving, soaring at times. Even though shes the star, the instrumentals are on an elevated level too, captivating, inspired music which we have the pleasure of hearing them both firing on all cylinders with a unique vision and chemistry that creates a "place".

The instrumental compositions are deceptively simple, aiming for an easy to digest experience with an approach to riffing and symphonics that pieces together simple ideas, often repetitive in delivery but with quality in mind over fleshing the songs out with needless complexities. The gorgeous aesthetic of the mix and Anneke's voice chime together to create a spirited and organic sound with another world feel that strays far from its metallic roots. The guitars have a tight tonal distortion thats played for its texture as the riffs take a far from aggressive approach, focusing on simple drawn out chords and melodies. The dense symphonies intertwine and weave around one another, allowing the two to both guide the songs, either in turn or together and its a real treat when all three fire with Anneke's voice.

On the track "Mandylion" the electronic instruments strike up a rich atmosphere of tribalism cultures and natural spirit that evokes vivid images of a forgotten meaning of humanity and our ancestors. Its a powerful track, but this power is their throughout the record, working with the guitars and drums which sound big and commanding on this record, holding together the pacing like a sturdy strut. The snare has a sharp and dense tone that sounds great in the mix alongside some big and yet not overpowering symbols that crash away prominently. The bass guitar has a big and warm tone that gets plenty of exercise under the guitars, not always mirroring them and adding a rooted variety that doesn't have much impact, but sounds great when its noticed.

 Its a special record to me, one that gives me a ton of inspiration, especially Anneke's voice which always gives me goosebumps. Listening to it again reminds me of all the times I used to play my guitar along with it and the youtube videos of them playing live in the 90s with Anneke dancing on stage with a youthful innocent energy that would captivate the crowd. Its a real gem, a beautiful and unique blend of Symphonic Metal with a tinge of Gothic on the side that I've never heard anything quite alike. Can't praise this one enough, its as perfect as it gets.

Favorite Tracks: Strange Machines, Eleanor, Leaves, Mandylion

Rating: 10/10

Birocratic "Beets 3" (2015)

NYC based producer Biro is back again with the third installment of "Beets" and the longest yet, clocking in at thirty three minutes it delivered a better listening experience than the previous two which were a little to short for my taste. Beets 3 isn't quite the strive forward I was hoping for. The unique vocal cutting is less prominent however Biro shakes it up with new techniques and ideas too.

In general Biro lets the Jazz Hop vibe shine bright on this one, letting the jazzy pianos, classic strings and smooth samples take the lead. The tempo feels faster but the beats, sequenced or sampled, have a spice of energy to them that steers this one away from feeling like a Nujabes clone. Spliced vocals often feature buried between the layers adding to the composition which did have a feeling of depth to it the others didn't. I could play these beats over and over and pick up on little nuances each time.

Mid way into the record "Formula Fun" introduces a virtual instrument lead, a vibrant chirpy ghetto whistle like lead with a buzz-saw undertone that gives this one an urban edge. On the follow up "Favela Beat" Biro explores it further with a prominent lead that helps define a casual track into a memorable one. "Disembark" puts in an experimental lead sound, a mix between drills and bells that dispelled the chemistry with its harsh and abrupt aesthetic mixed to loud for effect.

The production was solid, however I noticed on this record more than before Biro was a little ruthless with the cuts which could be very rigid and choppy at times. Its the sort of thing you see and can't un-see. The way the samples and composition flowed wasn't the issue, its the rigid cuts that stuck out like a saw thumb on occasions. Other than that qualm this was a really enjoyable record.

Favorite Tracks: Hurry!, Garoto, Formula Fun, Jon Gordo

Rating: 6/10