Tool "Opiate" (1992)

Following up on their promising demo 72826, American Alternative Rock outfit Tool put together Opiate, an EP consisting of six tracks, four from the demo and two new songs. Its all recorded in a new studio however two tracks are actually recordings from a new years eve show. They sound fantastic in the live setting, giving a lot of charisma and energy to songs that previous sounded a little flat within that chromatic demo quality. Unfortunately these re-recordings don't add much to the experience. Hush and Part Of Me both sound mediocre on this recording. They have stepped up the overall clarity but things still have a sloppy demo sound, the bass guitar suffering the most.

The title track Opiate certainly raises eyebrows with its roaring scream of "We both want to rape you". The music aggrandizes this dramatic moment and a dive into the lyrics hides no secrets to its religious context. An exact meaning may be down to interpretation but it seems to criticize the evil that can be bestowed in the name of God. Its the records best song with a thunderous momentum of bustling tom drums and dramatic, sinister guitar work after pivoting from a more generic rock song. Eventually it fades out to a break of silence that reveals a "secret" track with some patience. This hidden music is a psychedelic jam of comedic musing and cried of Satan. Doesn't add much to the record, but it is its own experience.

The opening and other new song Sweat has crunchy rolling guitar riff work in its opening phases that sets the tone for some anxious lyricism. Its breaks to expansive, atmospheric driven guitar licks are appropriate but its far from a memorable song. So far Ive found myself understanding the music and picking up on the vibe but not feeling anything remarkable bar one or two moments. This rehashing of their demo was a little underwhelming but I am hoping for great thing with their debut Undertow.

Favorite Track: Hush, Opiate

Rating: 5/10

Sarah Longfield "Disparity" (2018)

Following up on the captivating Collapse // Expand record, talented Guitarist Sarah Longfield takes a freeing step forward with Disparity, an album that further unshackles the chains of this colorful Post-Djent sound. With a notably more polished production Sarah lets her creativity and vision flourish in directions that feel unconstrained as her monstrous 8-string guitar drifts from focus and the other instruments, often electronic and welcoming, blossom into various avenues of exotic and cultural sound.

There are still two tracks that revolve around her excellent guitar playing. Cataclysm spurs up the dizzying Gru melodies and the following Sun has a noticeable gleaming guitar lead reminiscent of Sithu Aye. Sun, however, entangles its lead guitar with goosebumps conjuring exotic, alluring xylophone chords. They resonate with a summery warmth as the song then pivots with a Smooth Jazz saxophone lick, its reminiscent of 90s daytime TV theme songs to be heard again on the next two.

These are just a couple of examples in this stunning record loaded with bright, colorful, warm and harmonious instruments diving into luscious avenues over and over again. Every track has its own flavor and they are held together with recurring electronic tones and a slightly Ethereal vibe enhanced by Sarah's singing. She finds a new vocal approach, with a layering and harmony that reminds me fondly of Autumn's Grey Solace. Its mostly instrumental but she pops in at just the attune times.

The music offers so much and her percussive composure is exquisite, rarely falling into a simple beat, commanding momentum with shifts and turns that utilize other instruments in its build up. The drums often mingle in with the various electronic tones and uncommon percussive sounds too. Their is cohesion on all fronts and my only criticism may be that these songs never escape the three to four minute range. That may be a conscious decision but given the sheer excellent compositions at work, it feels like a time constraint of sorts given the progressive and expansive style of sound at play. This is the sort of record that's hard to tire yourself of. I can't get enough of it!

Favorite Tracks: Sun, The Fall

Rating: 8/10

Haken "Vector" (2018)

Ive spent a couple months with this record and come to a conclusion that some things are objectively better than your experience of it. That's not to say Vector is a poor record, quite the opposite. Its a sweet, dazzling album loaded with succulent, oozing Prog to melt in your mouth. I feel guilty that I should be enjoying it more! On all fronts this record excels yet it doesn't get me fired up in quite the way Id like. I very much enjoyed the modern Progressive Metal behemoths Haken's previous records Aquarius and Visions. I was hyped, excited and they delivered but like much of this breed of Metal I am a little checked out from the whole experience when the music is mute.

Firstly, this record sounds as you would expect, modern and crisp, all instruments are slick, lush and audible. There is plenty of dense music and build ups that cram a lot of instrumentation in, the production holds up well in its most challenging moments. The aesthetics are terrific, especially the bass guitar and vocals. The bass has a broad grizzly clunk that plods and pumps its rooted notes from deep below with occasional moments upfront as other sounds part. Ross Jennings soars at the front with his high pitched and silky smooth tones that get challenged on occasion but mostly get to emanate of the musics energy and crescendo the songs most powerful moments.

Song structures are grand and fleshed out as one would expect with a typically ever unraveling feeling to the whole experience. Bursts of synthetic drums and whirling electronics spice up a recurring aesthetic, yet subtle, theme. As you might expect the album flexes its intensities from thunderous clatters of sound, monstrous math guitar grooves and Djent open close riffing all the way too stretches of calming quiets of sombre singing over acoustic guitars and soothing jazzy interludes. Its a wild ride of peaks and valleys never ceasing to evolve and unfold in its inspired complexity.

Not falling victims to the folly of over-indulged technicalities and music theory hackery, Haken forge a fantastical journey through their inspirations and vision that all its songs share with purpose. Its one big experience that can be enjoyed at the surface or sunk into. When focusing on details there is a plethora of intricacies that all feel necessary in making it come together. The record ends on a high with its best vocals and an infectious riff that keeps recurring its way into the final heart beat of the song. It ends on a stunning note as it swiftly cuts itself short. Their best album to date no doubt.

Favorite Tracks: Puzzle Box, A Cell Divides

Rating: 8/10

Ho99o9 "Mutant Freax" (2014)

Mutant Freak is Punk Rock and Hip Hop duo Ho99o9's debut EP release. I was initially not so interested, I got the impression from the differences between Dead Bodies In The Lake and United States Of Horror that the pair where an upwards path. Occasional tracks bang with hard hitting grooves and heretic energy but a lot of their material revolves around unhinged "atmosphere" and aesthetics that culminate to a strange breed of rebellion born from their unique fusion of influences.

With Cyber Cop the two produced a very cohesive set of songs which mostly rocked from front to back. Its not what I expected but the three tracks of Mutant Freak do this too, without any apparent bangers or big beats. On this eight minute listen their dark aesthetics and sporadic mic presence finds a dynamism I didn't hear before. Their selection of gritty, night time synth samples play against loose drums as they drop darkly verses between odd vocal inflections with an interesting spark.

Split in the middle is Hated In America, a heated Punk Rock track with fast tempo drums, thrashing power chord guitars and a infectious amount of reverberation to echo and add some maniac energy to their screams. Its short but sweet and far better than I had expected. In this case the two forge engaging music that doesn't rely on head rocking tropes. Something I didn't think they did to well before.

Rating: 4/10

Ice Cube "Everythang's Corrupt" (2018)

Its been a long time awaiting. Legendary rapper Ice Cube of N.W.A is back after a six year delay since the release of the albums lead single and title track. I'm unaware of what took so long to finish the project but to be fair, I wasn't anticipating much. Its decades since the West Coast rapper's hay day but approaching fifty years of age Cube can still deliver tight rhymes with his strong persona on the mic. Between a fair amount of braggadocio he gets into the state of affairs, addressing the American president, the latest statures of political correctness and events like Charlottesville.

Everythang's Corrupt is topical and current, Cube can deliver coherent verses, reasonable hooks and choruses over a distinct production style marked by electronic bursts resembling trumpets and horns that form the key melodies and tunes. A fair amount of Trap drum aesthetics and patterns creep into the percussive construct. Lots of synthetic instruments bring textural tones for the looping melodies that make its crispy clean production sounds sterile at times. Through the sixteen songs everyone is bound to find a selection of preferred cuts however Ain't Got No Haters and That New Funkadelic stand out as a break from the norm with Cube's classic laid back G-Funk vibes being resurrecting for shadows of his best work like Today Was A Good Day.

There is a lot to digest lyrically. Fifty five minutes of verses all of which are pretty coherent to follow dive into various topics and Cube's prominence on the microphone makes for no weak links however he resides firmly in the realm of expectation and thus not to many rhymes schemes leap out at you. He does try out a couple of slower paced, short line flows but not to much effect. Essentially this is a very established rhyme style however the last couple of tracks end on a high. The title track has an amazing energy thanks to the electric instrumental and it rolls into Good Cop Bad Cop which has Cube flowing with a little spice and passion in his voice that hails back to the immediacy of his youth, Its got some of the records best rhymes on it.

This record might be written off by some as an old timer coming back with a routine record for fans but I think Ice Cube's skill as an MC holds up. The instrumentals are infectious with repetition and perhaps some curation condensing this record to its best would of made for a tighter listening experience as their is plenty to enjoy here. Ive liked it more with every listen and I think I will continue to enjoy it until that steam runs out. When trying to hold together some objectivity listening I find that Cube has such an amazing persona on the mic that I always feel lured into whats going on.

Favorite Tracks: Chase Down The Bully, Ain't Got No Haters, That New Funkadelic, One For The Money, Everythangs Corrupt, Good Cop Bad Cop

Rating: 6/10

Tool "72826" (1991)

I'm not new to Tool. I've been well aware of their reputation for many years but never found my way into their music. With a Download Festival show looming and a probable fifth album In the works its time to really give them a go! Working in chronological order we start with their demo tape 72826, a name which decodes to Satan. It feels like an excellent choice as I hear some clear links to sounds of other bands in the early 90s Alternative music era and I'm already picking up on some unique themes and concepts in their sound and identity.

On the lyrical front a majority of songs stem from personal relationship struggles manifesting into venting agitation yet most often with a streak of underlying intelligence. It rises to the forefront with Hush, its words challenge the ideas and norms of freedom of speach from a grounded, thoughtful position rather than that of rebellion. That perspective may be shaped by the more artistic and intentional construct of their sound. The words frequently blossom with clarity and wisdom as Maynard James Keenan cries out "I can say what I want to, even if I'm not serious. I can say what I want to, even if I'm just kidding". Its a thought provoking statement when juxtaposed with shouts of "kill yourself" which may initially seem thoughtless.

The music reminds me a lot of Post-Punk in some ways, just within the realm of Rock and Metal. Tool shape up their aesthetics and musical constructs with an ear for opposites, striking balances of melody and demonstrative groove with the guitars leaving space for big prowling baselines to clank and rattle in behind the animated drumming of Danny Carey. Its all comes together without a cheap trick of trope. Every track, although varying in quality, has a set of riffs that firmly establish the tone of the song without an over reliance on any particular instrumental approach or style.

The production for a demo in 91 is alarmingly decent yet objectively its aesthetic is brittle and colorless. The guitars are a dulled by their fuzzy distortion, the bass guitar clanks for volume like a Primus record and the drums lack depth, sounding metallic, especially the tom rolls. Despite all this the charm firmly emerges. Keenan establishes himself upfront with a great performance that reminds me on Eddie Vedder when he boards on a similar flamboyance. Its a great demo and has actually got me excited for the next few records as they will undoubtedly evolve to a Progressive behemoth.

Favorite Tracks: Hush, Sober

Rating: 6/10

My Top 10 Music Discoverys In 2018

 

Last year I wanted to tone down the amount of routine Metal records I delved into. I'm still yet to break that cycle but looking back over the past twelve months I am far happier with the short list of new discoveries. Narrowing it down to just ten, we have only three strictly metal outfits! Success... maybe, then again it should be about finding quality music, regardless of type. Anyway my plan for 2019 is to focus my efforts to music beyond what I normally gravitate to and not paying attention to releases from mediocre bands.

(10) Sleepy Sun

I only got into a single record of theirs but what an amazing listen Fever was! This American Rock band pull influences from many of the greats and put together an engulfing experience that ebbs and flows at all musical levels. It was a peach to engross in and Ill be sure to grab another record of theirs soon, I hope it will be as gorgeous as this one!

(9) Algiers

A fond discovery! Algiers are another act similar to Zeal And Ardor in resurrecting century old Blue and Chain Gang singing, fusing aspects with Post-Punk and Psychedelic Rock together, even Industrial accents encroach aesthetically. Its a real cluster of influences that has a clear vision and soul at the heart of their music.

(8) Janis Joplin

She's a legendary name in the history of music from decades gone by and I'm glad I found the connection at last but I am guilty once again of only getting into the one record! Pearl is simply stunning, a treat fueled by her passionate singing, a voice one can't forget easily. No doubt Ill pick up the other record she released soon.

(7) Pallbearer

Doom Metal most certainly goes a little beyond what clicks with me but one can really appreciate what this band do musically even if its not quite your cup of tea. Getting through the Pallbearer records has certainly lured me in closer and I am always fond of these scaling, epic songs whenever they return on shuffle.

(6) Myrkur

I was blessed to hear her angelic voice live twice this year! It was first at Download Festival, a happy accident! I have since worked through their records of which the latest, Mareridt, is the best. This band show huge potential and her singing and cultural roots is at the heart of that. She is as good live as on record!

(5) At The Gates

The name is unmissable at Metal shows and finally Ive haven gotten around to checking them out. Their early records are far more interesting and their later, like Slaughter Of The Soul, firmly fit them into the foundations of the Melodic Death Metal sound I know all to well through bands that came after them. It takes the edge of somewhat but you can still hear the magic of the music at that time.

(4) Steve Roach

My exploration of ambient music is often thwarted by its palatable nature but Structures From Silence and Dreamtime Return are exactly the sorts of albums I seek out. Magical records stemming directly from principle and inspiration that birth magic from minimalism. I was fortunate to hear of Steve, he is a pioneer in the genre and these records are mood transforming magics from the 80s before the connectivity and accessibility of the internet.

(3) Old Tower

I adore the idea of Dungeon Synth. In reality its a genre bogged down with waves of low effort music and releases given the low bar of entry. That's made it hard to discover decent artists over the years and Old Tower certainly started in that low entry range but with The Rise Of The Specter the dutch musician excelled and birthed something unique to give meaning to the Old Tower moniker. Its a uniquely meditative and spiritual take on the sound.

(2) Turnstile

 I cannot get enough of this band right now. Having gotten through all their records Ive found a Hardcore band that excels at being energetic and passionate without barbaric machismo. Their lyrics get in your head while the music continuously propels the momentum. Its infectious and which each record they have grown leading to the fantastic Space & Time with made My Top 10 Albums Of 2018 list this year!

(1) Logic

 Who else could it be? With a firm collection of records in his back catalog Ive spent the year getting through them and growing to really appreciate this artist. His name does not carry as much clout as it should. Being of the Eminem inspired generation I think critics don't give him credit where his technicality outshines originality. Logic also lacks curation but there are plenty gems to be unearthed in his plethora of songs. As records I think The Incredible True Story and Young Sinatra: Undeniable are his strongest. Only a few projects of his left to get through now!

My Top 10 Albums Of 2018

The year rolls round and another selection of great records are added to the collection. Overall this year hasn't been quite as exciting as previous ones when it comes to top record lists. There were not as many apparent contenders, so it was an easier pick but the quality always emerges and this year has been marked by the trend of brief records. Short and sweet is a lasting formula when done right, six of the records in the list are under thirty minutes and have been the most returned to! I'm personally hoping this trend for curation continues, more of less and less of more!

(10) Zeal And Ardor "Stranger Fruit" link

A highly anticipated released that time will tell us of its greatness. Their new take on Black Metal is fresh and exciting and this new album builds on their notorious entrance onto the scene, becoming a bands band in the space of a few years. Its a mighty piece of music but one that still suggests their are places to groom and grow while in other cracks and avenues it firmly reaches musical peaks.

(9) Kanye West "Ye" link

Kanye leaves his mark on this year with three records in my top list. All of them needed time to grow on me. I liked them all to begin with but Ye took the longest. Its precisely what I prefer from artists of his stature, introspection and of the moment lyrics. It just took me a while to digest them fully but with that time I grew a lot of fondness for the vulnerability and honesty he showed in his words.

 

(8) Ho99o9 "Cyber Cop" link

 

Cyber Cop has the advantage of being in recent memory but since inception it has forged an unstoppable riot of frenetic energy within my mind. This is my workout music! It never fails to get me pumped up and enthusiastic. Unfortunately with any adrenaline fueling music that spell needs more absence to recharge but of the weeks I've binged on its chaotic Punk attitude I am yet to feel any tiredness to its charm.

(7) Pusha T "Daytona" link

At first I found Pusha T's plain tone and clear pronunciation a little dull but with every listen, and those beyond my initial post, I found myself myself being pulled in closer to his craft and growing a true appreciation for the record. His verses are concise and condensed, a series of firm statements and narratives that took me time to chew thru. It also helps to have a banger, What Would Meek Do, to pull you back in again from time to time! I need to check out more of this guy.

(6) Irreversible Mechanism "Immersion" link

 

I think I should schedule regular returns to this record. Its so dense and loaded with complexity, a beast to digest and talk about in my post. Whenever I return to it I am still overwhelmed with that dazzling feel of being mesmerized in its presence. Its truly a marvel of extremity and aesthetic, a reminder that there is always room to push further in the world of Extreme music. It will take many more spins to really wrap my head around. So much of it still takes me by surprise.

(5) C418 "Excursions" link

Its probably both a blessing and a curse to have your musical career kick started by a cultural phenomenon in the form of a video game. Anyone with a keen ear for music will know their is magic in the Minecraft soundtrack that goes beyond the game but that extends to C418's stand alone records too. This beastly one hundred minutes of new music felt like an exceptional stride forward from the strengths already established in his sound that may go unfortunately overlooked by the broader musical community. Its his best to date, a truly indulgent set of songs.

(4) Plini "Sunhead" link

This short twenty minute release is a fine example of curation at its best. With this cut Plini has delivered a gorgeous aesthetic treat of gleaming melodies spliced with chunks of groove and spicy instrumentation on all fronts that makes every second a delight to indulge in. Admittedly it slipped my mind however giving it another spin I hear that wonder and bliss is still firmly intact and charming.

(3) Ghost "Prequle" link

Ghost are one of my favorite modern Metal bands. With this release they flex their musicality into interesting avenues diverging from their roots and they do so with that brilliant ear for song writing at the core. They set them selves up for a great future with this album while simultaneously loading it with unforgettable songs to grace many future set lists. A lot of infectious choruses and grooves laden throughout.

(2) Turnstile "Space & Time" link

Turnstile have captivated me so much this year with their breed of Hardcore that seems to step out of the limitation of the genre while simultaneously maximizing its best attributes. Every time I put this record I find myself pumping fists, singing along infectiously and giving myself a potential case of whiplash! I cannot expressive enough how wonderful these short and animated songs are. Everything this band do just seems to be bordering perfection. Most the songs of this record is gem after gem.

(1) Kids See Ghosts "Kids See Ghosts" link

Guess what baby... I AM FREEEEE!!!!! Hahaha, It was a tough choice but Kanye and Kid Cudi take the top spot. Kids See Ghosts is a stunning collaboration where the two artists get the best from one another. Its sometimes psychedelic and exotic vibes are a refresher and much of what it offers feels like a river gushing creativity. Every track has its flavor and the seven play stunningly together. Its been one Ive gone back to over and over. It still sounds utterly fantastic and thus takes the top spot!

Turnstile "Move Thru Me" (2016)

So I thought I was done with the back catalog of Maryland based Hardcore band Turnstile. Then I stumbled onto this four track EP for Pop Wig records. Released two years prior to their major label debut Space & Time it includes a song from that record split into two on Side A and another two fresh tracks to be enjoyed on Side B! It all comes from a different recording session that has a warm "live" feel to it. The drums are crisp, punchy with a healthy dose of reverb that other instruments share to give it this roomy lively feel. Its a big and spacious sound the instruments fill with clarity.

This four track doesn't showcase Turnstile's emerging eclecticism, all the songs are meat and bones Hardcore with a crunch and their curation for the best riffs and grooves. The songs new to my ears are on just about par with their current form. Move Thru Me deploys some gang shouts between pinch harmonics as big tom drums and guitar leads builds up the songs momentum through its two repeated sections to an almost big slam of the main riff at the end that's just an iteration of a drum pattern.

Its a somewhat lack luster conclusion but the following Fuck Me Blind makes marks with its dissipating lyrics of ideas, boundaries and liberties. Effeminate vocals feature in the "wash it all away" section as the song shifts into summery pop and grunge vibes of the 90s for an uplifting finish to an otherwise fast and energetic listen of aggression and empowering Hardcore attitude. Its a great little find to squeeze more from a band I am highly anticipating another great record from whenever that may be. Turnstile have definitely been a favorite new discovery for me this year!

Favorite Track: Fuck Me Blind

Rating: 6/10

Bloodbath "The Arrow Of Satan Is Drawn" (2018)

Four years have passed since the bland and disappointing Grand Morbid Funeral. Death Metal supergroup Bloodbath have raised their game for a second record with singer Nick Holmes at the helm. Having enjoyed this new release so much I had to go back and give GMF a spin again, it quickly becomes obvious why this new record is far superior. The band have recaptured the musical spark that made their records from the naughties so memorable, the production too has an energy and ferocity in its grasp where as its predecessor was a dull and lifeless grind of uninspired, routine and bitter Death Metal. Far from the heights soared in their past.

Given that previous setback, I almost passed this one by! I am glad I did not, The Arrow Of Satan Is Drawn brings the fun and flavor back to their music. The guitars are no longer scared to venture into grooving tangents and inflect characteristics a little of cuff for the brutal music, allowing the music to brood its atmospheres without constant excess. Its lead guitars rekindle those enigmatic bursts of twisted color that elevate and inspire conclusive climatic moments for its songs. The harmonization hits that sinister yet gleaming vibration, setting the tone for a proper Bloodbath record.

Its aesthetic are primed by distortion guitars frothing with a readiness from its thick, buzzing distortion tone that characters every note, lead and chord with a malevolent intensity. It fills and bleeds into the crevasses between instruments, an overpowering quality carefully managed as it nozzles the impact of its drums which sound permanently attached to the smothering buzz of this excessive guitar tone. It works but also means the riffs are king grabbing most of your attention and focus.

Its a guitar led record with a rare few compositions deterring from its lead. A couple of songs and sections slip past the quality filter, Levitator being one, sounding a grade behind its counterparts, a minor drawback. The majority of this record is firm and robust, a cutting selection of music good for the Bloodbath name but undoubtedly not their best work. The self awareness of its own ridiculousness seems to be ever more present with song names like "Chainsaw Lullaby" and it serves them well. Not taking it seriously lets the theatrics come to life. A far better record, I hope they keep this form.

Favorite Tracks: Bloodicide, Deader

Rating: 6/10

Can't Swim "This Too Won't Pass" (2018)

Last years Fail You Again was a peach! Now Can't Swim are swiftly back at it for round two with their sophomore record. They hit the ground running and kept going. Now there is a real contest between the two records because once again we have another solid set of songs you'll struggle to figure out your favorites from. This Too Won't Pass clearly steps in a brighter, pop direction with more tuneful singing and a generally lighter tone that can be heard in frequent acoustic guitar breaks and Emo, Pop Punk and Indie Rock strains in their sounds. It doesn't derive far from the blueprint at all and once again they challenge my conceptions of Genre's I'm less comfortable with as they pull off musical tropes with a touch of genuine class.

The record is wholly defined by its lyrical themes of breakups, heartaches and relationships. Chris LoPorto has a fantastic ability to channel his stories and musings into a catchy hook that resonates with the core of the song. It can be poetic, intelligent and blunt but more often a mix of all three. There is a fantastic chemistry at work, his words flow through the musical changes in temperament, always inline with the instrumental energy. Tracks like Amnesia 666 executes this with a stunning symmetry. Much like the instrumentals he exhausts a wonderful range of intensities with clean to screams consistently molding a unique persona for each track. The backup shouts and throaty yells of his band mates are not quite on his level. Bordering cringy at times but just about finding themselves on the right side of the line.

Much like their front man, his fellow musicians bring about a fantastic variety of intensity, color and charisma to flourish these themes into vivid visions with a ranged approach from the distortion guitars. They flex a whole range of chords, picking and strumming styles with varying degrees of overdrive that set distinct moods and compliment his words. The songs may have repetitive, simpler structures in places but the chemistry is so strong that each return of a riff or section feels as fresh as the play through before. The drummer also plays a key roll in fusing this all together with lively animated playing of grooves that flesh into the tom drums and livens up many of the chunky bass guitar grooves heard deeper in the mix.

For a record outside my comfort zone its quality really speaks volumes that the music transcends styles and themes I don't particularly vibe with. There are many objective moments where I heard something I wouldn't normally dig but these guys pull it off with true artistic intent and emotional meaning. Perhaps its just the open mind fighting old preconceptions. Either way I think it might be worth investigating more bands in this realm because if there are others as good as these guys I'm sold!

Favorite Tracks: My Queen, Hell In A Handbasket, Malicious 444, Amnesia 666, Winter Of Cicada

Rating: 8/10

Ho99o9 "Cyber Cop" (2018)

Horror, stylized Ho99o9, are one of the most exciting acts Ive heard in recent years, their fusion of hardcore Hip Hop, Industrial and Punk with an anarchistic flavor is exhilarating! This new soundcloud EP flew right under my radar, which is a shame because its probably their best work yet! They struck me as having potential but in this moment its really manifesting. Their recent collaboration with The Prodigy seems to of rubbed off well on the duo as the production style here has more composure and occasional Big Beat vibes. The opening track even has a tune you could lift into a Prodigy song. Its also another short and sweet seven songs amassing eighteen minutes. A curated approach to music that is serving many artists well in my books.

A clear theme and identity for the record is established through its fascinating online release including digital artwork. Cyber Cop revolves around digital paranoia in this connected ages and stylizes its songs as unauthorized viruses. It lets the electronic aspect of their sound flourish with flavorful synths and digital noise playing into the computing heart of the theme. Just about every song has talking points. The second track has a hard siren and glittery beat you might link to Death Grips, however its the vocals that almost sound like MC Ride himself chanting Internet Thuggin' in a low voice. Its a maddening orgy of noise which much of the record indulges in. Mega City Nine samples Slipknot's Only One and Tattered & Torn, fusing their darkly demented melodies with vicious street raps. Its a treat for a metalhead who loves crossover however its the Punk and Industrial influences that dominate the narrative here.

Punk Police brings the unapologetic attitude to the forefront as the two yell into peaked mics shooting back at their critics. Its a short track with dirty synths and gritty drums, total Punk aesthetic! Delete My Browser History slows down the tempo and brings in some gorgeous 90s Industrial synth baselines also heard on the opening track. Its focus on atmosphere heightens when twirling, snappy synths jive in, leading to an explosion of distortion guitars that culminates exquisitely. It ends with Leader Of Pain, an absolute banger to play at high volume! The singing is phenomenal. They fully embrace a over the top echo reverberation and deliver unhinged maniacal chanting over slamming guitar riffs. It only plays its sweet spot twice and the second time it suddenly cuts off short, always leaving me yearning for more of the madness.  

Ive only talked in specifics so far. This record conjures it own realm of anarchistic digital madness that's spurred on by an aggressive release of youthful energy and rebellion. Its immediate and fiery, an adrenaline shot to the mind as it takes on an aesthetic assault fit to diverge down different paths which it does! Not a moment repeated itself and the seven tracks forge a unique distinction within the experience. Thrashing guitars, expansive electronics and a relentless vocal presence unite with explosive chemistry. This is undoubtedly their best to date and my current addiction!

Least Favorite Track: Forest Fires

Rating: 8/10

The Prodigy "No Tourists" (2018)

Many years on from their hay day, English Big Beat legends The Prodigy bring back their sound again for another round of 90s electronica mashed with booming drums beats on No Tourists, their seventh full length. The project was initially intended to be an EP but the quality of the music led them to a full length release that is noticeably shorter than The Day Is My Enemy. If it is curation or a short and sweet principle, this newest chapter definitely carries a more vibrant energy as it breezes by with a lively energy, charisma and focus on the big pounding drums that you'd expect of them.

The approach to sampling, electronics, melody and vocals all have a strong 90s feel, hailing back to their best era. Its not on par but their knack for jittery synths and the cramming together of intricate sounds to form a whole feels fluid and vibrant. Massive kicks and snares snap and pop throughout and the arsenal of accompanying sounds makes for a fury of body moving energy. Interestingly a collaboration with duo Ho99o9 stands out as an excellent moment where the two acts find a common ground to accommodate one another and produce the records most infectious song!

Beyond that one moment not much breaks expectations or deviates from form. Vocally the group focus more on the hooks and have their snippets on loops for the choruses. A lot of synth setups, tone, delivery and vocal samples hail back to their early days. If you know them well you will hear the links. This is The Prodigy delivering what fans want and if in the right mood it makes for a heck of a listen. Its far from original, a few spicy arrangements are in store but this is a full speed ahead, wild ride!

Favorite Tracks: No Tourists, Fight Fire With Fire, Champions Of London, Resonate
Rating: 7/10

Arks "Twins / Interface" (2018)

I was searching for the new Tesseract album but happily stumbled onto a record label based in the UK, distributing Drum N Bass music and just the sort I like! There is little to known of Arks but this two track release delves into the atmospheric side of the genre, dabbling with ambiguous spacial, glitched and industrial noises between the hard mechanical jive of the fast tempo beats. It comes together with an astral vibe fit for the mysterious night sky and all the wonder the stars may evoke, however it leans into the cold and heartless reality of the vast voids between sytems.

 Both songs are structured similarly. A hard backbone of tight crunching drum loops pop and snap on repetition as they set a cruising pace for an assortment of sampling to flavor the scene. Between the two a stiff baseline rumbles and both songs go through phases of build up, then dropping out the drums in the mid section to bring it back with the same set of accompanying samples. It ultimately feels rather linear and one dimensional with a lack of flair or oomph on its return to the main structure.

Its atmosphere building samples are devoid of melody. Shimmering noises flicker in and out of existence in a web of intricate sounds with an industrial edge, the likes of glass smashing and mechanical clicks and clanks, sparks and zaps paint the picture of foreign technologies. The main sounds are warping, morphing synths that rattle like a voice and on occasions sound similar to Dubstep wobbles. Its a decent pallet and approach for the vision it encompasses but with just two songs the repetition is a little nauseous. Great music, would prefer to enjoy it in a longer session of tracks.

Rating: 4/10

At The Gates "Slaughter Of The Soul" (1995)

Another musical journey comes to an end! It has been well worth the time and Ive come to understand why this band are so revered. They sit like a jewel in the heart of Melodic Death Metal, though it has to be said, The Red In The Sky Is Ours and With Fear I Kiss The Burning Darkness are praised more so their third and this. It is these two that possess the classic sound many bands have re-spun to their own flavor, a far brighter, palatable sound, easy to enjoy with gleams of melody between aggressive aesthetics. Slaughter Of The Soul is essentially the same sound as Terminal Spirit Disease, however it is an actual album lasting over the thirty minute mark.

With a string of fast and keen songs lingering around the three minute mark the music sprints its way through a deluge of riffs on a slick, crunchy, tearing guitar tone fit for chugging rapid rhythms and splicing infectious melody into the fold. Simple song structures and a keen ear for dynamism between groove and melodic surges let the music sway between the two worlds. It has to be said a lot of the riffing styles steer away from the brutality of Death Metal and sound more along the lines of Proto-Metalcore. I'm guessing these guys has an influence on that scene too given the similarities in riffing techniques heard on this record and before.

The aesthetic is pleasing, it comes together with a touch of gloss yet on closer inspection their is some grit in the guitar tone. Singer Lindberg's screams are the same crass, raspy howls as before yet something about how they are mixed in let his barks chime in, more so than tear through. This makes them quite likeable. The drums sound fantastic and snappy on a great sounding production that has held up over the two decades since. Obviously the music itself is king and At The Gates nail their style here. They also show off a little dexterity with a folk-ish acoustic guitar interlude, Into The Dead Sky, and a symphonic outro track lined with a drum beat. It shows off the genuine talent behind the music. Fantastic record!

Favorite Tracks: Slaughter Of The Soul, Suicide Nation, Unto Others

Rating: 8/10