Howling Giant "The Space Between Worlds" (2019)

Following up on a dazzling four track instrumental EP Alteration, it became swiftly apparent the band are side stepping from their core sound. As part of a growing trend in Metal that is already tiring me, the excitement wore off quickly. Initially spurred on by Ghost, this revivalist sound heard here reminds me of other fond discoveries, Green Lung, Beastmaker and a touch of Baroness vocally. Rather than riding the cusp of whats extreme or current, these songs look back to decades past by to pull together solid fundamentals of songwriting and classic riffage yet for all its excellence, the spark doesn't light a fire for most of the nine tracks found here.

 Ghosts In The Well peaks my interest, stalling the albums starting momentum and general temperament. Its acoustic strum sing along a cold and cautious tone of subtle sombreness. Its a rooted, cultural vibe standing in contrast to the swaths of loose and rumbling groove overdriven riffs that roar through every track. Its brief but welcome as the records aesthetic gets stretched on repeated listens. The soft chime of organs beneath every riff dulls the power of rhythmic guitar ideas, cushioning them into a common corner where one song to the next gets a little bland.

Cybermancer And The Doomsday Express may spice things up with hurried tempos and saw-wave synths but it feels like another idea entirely strung into the mix as its lyrics stand in direct contrast to the rest of the record. They in contrast, continually conjures images of mystic implied rural life from decades gone by and re-imagined, a romanticism of woods, wizards and witches. The vocals do deliver the theme so well, soaring with clarity and conjuring a creativity to resonate of the instrumentals below. Its a keen performance at the front to sell this nostalgic metal ride.

The groove riff that concludes Everlight, its fantastic guitar solos and the creaking Post-Rock build up makes for one wonderful song where the stars align but for much of the record that doesn't happen for me. I don't want to knock the record, My own exposure to this movement has this one feeling a little underwhelming despite clearly being a well written and performed album. To any Metalhead who yet to catch this sound though, it would be a great introduction worthy of checking out.

Rating: 6/10

Nas "King's Disease II" (2021)

 With less than a year elapsed, legendary New York rapper Nas returns with a second installment of King's Disease. These fifteen new tracks are clearly less married to the original theme, much to its merit. Initially I feared this might be left overs and b-sides from the original sessions but rejoice, this second chapter has a fine artist re-invigorated, finding stride and inspiration with whatever topics he approaches.

Reflecting on what didn't work with King's Disease, it becomes apparent that the production aids Nas greatly here. Too often do nineties rappers try to abridge current aesthetics with clunky beats, awkward hooks and impersonating flows. Still working with Hit-Boy on the beats, this time the relationship births a selection of instrumentals that could slide sweetly back into that glorious era, practically unchecked.

Its not a set path, tracks like 40 Side, EPMD 2 & YKTV throw a modern spice in the mix with aggressive trap percussion to break up the soulful 90s vibes. Sadly Eminem and other features on these cuts feel underwhelming in the shadow of the albums superior tracks. It lends Lauryn Hill a spotlight to shine again with an aged voice, rapping with a laser focused verse from one legend to another. A beautiful moment.

Lastly, there is Nas himself, sounding free, loose, in flow and speaking his mind with a candid honesty underwritten by good intentions and propelled by an unshakable talent. He brings the instrumentals to life with words and story's, turning the beats into songs that last. Coupling his verses with hooks and words between, the frameworks for themes are set wonderfully, leaving a lasting sense of wholeness.

There is much wisdom and warmth to be heard in his lyrics. Always gushing from that timeless flow and crafty wordings. On occasions his descriptive and associative raps conjure a little spirit from the Mafioso Rap era once again. These two notable aspects overlap heavily on the dynamite track Death Row East, an insightful song illuminating details around the East Coast West Coat beef. An era that ended so tragically.

This second chapter has offered up far more than a fresh crop of tracks to enjoy. Its lyrics impact and land with intent to carry. Much of this album feels classic, something to enjoy over and over for years to come. No record is perfect though, there are definitely favorites to pick over others. A little trim would have served it nicely but the majority has a wonderful artist finding their stride again as if it never went away.

Rating: 8/10

Hiatus Kaiyote "Mood Valiant" (2021)

 

Six years out from Choose Your Weapon, the Australian outfit Hiatus Kaiyote return with twelve classy cuts of modern, creative Jazz Rock to move, sooth and groove the soul! In my mind their tone, composure and aesthetics have barely budged yet something seems seductively easy and relaxing on Mood Valiant. With an emphasis on soulful vibes and vivacious singing from Nai Palm, the music often swoons and croons into eruptions of energy guided by lively percussion rhythmic power. As such the music comes with moments, gentle rivers of warm persuasion suddenly surging with its meaning as a bend in the stream swerves, relinquishing itself to the current. Not all of the record fits this stride, towards its conclusion a couple of songs linger in moody places, drifting through dreary moods, flailing a brush of color on route.

The chemistry is wonderful as one might expect from this group. Its Nai's words that frequently arises as a poetic peak to the crafty instrumentals. With lyrics being a weak point for me, her repeated hooks dig their claws in chiming of the music with thought provoking sentiments and questions to give context to the musical direction. My favorite moments often came with the mustering surges mentioned before. Another niche observation that came with my preferences were keen druming grooves finding a sweet snare kick groove to bring some passages near to a Jazz Hop equivalent. Ultimately Mood Valiant is a very stylish record, modernizing some older values with courage and passion and forging a warm environment to slip into in the process.

Rating: 7/10

Arcanist "Poseidonis" (2021)

 

Fortune or chance, whatever your fancy, had me stumble onto this record that speaks to a particular niche I've been into as of late. Perhaps it is more likely this luck was bestowed by internet algorithms figuring out our inner workings from the mass of data our listening habits feed it. Akin to Old Sorcery and Jim Kirkwood, this French artist Arcanist steps right into a sweet spot, close to the middle of a cross section between the gloomy Dungeon Synth but more so psychedelic 70s Electronica. The latter here being described as "Berlin School" is something I will have to research into further.

For me, this record feels shrouded by its own mystique. Slow, brooding and atmospheric, the excitement of its animated crescendos feel sparse and rare. Their magnificence often eclipsing the magic of its soothing build ups which conjure a majestic calmness through luscious interweaving electronic instruments offering both texture and melody to engross with. Distilled in unsettled atmospheres of creeping mischief, its synth tones and keyboard notes echo a little in the vein of Progressive Rock, most notably a similarity to Contact and the nightly chill of Oscillotron.

Its two part, seventeen minute epic, The Death Of Malygris, bursts this welcoming temperament apart as we plunge into the horrors of nightly creatures. Woven percussion and dense buzzing baselines usher in nightlife Synthwave vibes, vaguely reminiscent of Dead With The Dead but vastly more artistic. Its a wonderful execution of elements that play out an eventful journey leading into to big thematic theatrics with its densely orchestrated introduction to the second half. Here, a brief crossover between the records opening vibes. It then dismantles itself into an eerie Black Ambient horrorshow.

Its final track leaves me unsatisfied, a curious experiment in tonality and melody, shifting from one distinct arrangement style to another, neither of which ever feel comfortable. It fizzles out to the fading embers of an airplane engine drone that ends quietly. As a whole, its a stunning adventure but one that ends with the adventurer lured deceptively, lost forever in endless caverns of ruin. On paper an intriguing way to journey a record yet for me it never quite works? A small quarrel, Poseidonis is remarkably wonderful album, a nightly, mysterious and esoteric journey forged through the fantastic tonal ideas of an era long gone by.

Rating: 7/10

Wampyric Solitude "The Splendor Of Loneliness" (2021)

 

So distant now from its curious origins and sparks of individual majesty, The Splendor Of Loneliness has me checking out from this artist as a clear downward trajectory continues. It is never fun to be critical but this record has been bloated with lengthy and repetitious loops of grating low-fi. Its ideas are obvious but the execution misses the mark too often. Its opening track holds its own, the sparse percussion and esoteric gong strikes from the deep push along a slow whirl of shadowy synths. Devoid of uplift, it stares into the cold, lonely abandon that lays before it.

The music has a chemistry between instruments that overcomes its deliberate distortion and wavering fidelity. The issue is, this approach to tonality swiftly falls apart with tracks like Crypt Of Vampyric Darkness, Eternally I Hate, Enthroned Amongst The Eldritch Shadows and A Putrid Stench From The Grave Of Hope. They all push minimalism on repetition with uncomfortable synth tones that miss the sinister, imposing or demonic presence they likely aim for, sadly faltering to become an irritant for the ears. Singular notes, or small groupings of, lethargically drone sluggishly, cycling incessantly with little sense of building up tension or atmosphere.

For me, it doesn't even work as mood setting background music. Ironically its two shortest songs have flashes of magic. Grave Syndrome ushers in a creepy yet charming sinister energy as its brooding acoustic guitar gets mustered into action as a devious baseline propels it along. Ultimately, I had very little to take away from this experience given I didn't vibe with the aesthetic. I do think a lot of this musicianship rests on a blades edge. Tricky to pull of the chemistry but step wrong and its game over.

Rating: 2/10

Vince Staples "Vince Staples" (2021)

 

What is the significance of a self title record? It tends to signal something of importance, often a debut naming or musical statement of intent. For Vince on his forth outing, its a reflection of self, affirming his artistic stride with a concise record. Its a lyrical ride reflecting his intellect, making mockery of braggadocio and show boating, while shining a light on the influences, pressures and hypocrisies of his upbringing and environment. Of course this is all wrapped up in controversy as he shifts the perspective from himself and packages the outlook in the crooked lines of ugly lines and verses. At twenty two minutes its another very concise album, same length as FM!. There is little room for anything that's not sharp and pointed. Its song titles often hint at an intersection between his characters and the reflection he shines on them.

These ten numbers run fast, no song surpassing the three minute mark. This flow gives power to its subdued instrumentals, led by sparse percussive beats. They rattle pacy, tight hi-hats and groove of the deep 808 kicks with sharp swift snare strikes between. Its all packaged with fast attack and minimal decay for quite the flat tonality, a bland aesthetic that masterfully resonates of its backing instruments and samples that bring in the flavor. It is as mentioned a subdued experience, a tricky chemistry to get right. Its cousin would be those classic G-Funk vibes yet a sleepy alternative, arriving with the bombast stripped out. The loops can linger on a couple of ambiguous elements, shy of potent melody and forging atmosphere through the obscurity of its dreamy arrangements. A lot of the record feels like a hazy memory, much to its charm.

Initially I found the record a little dull but that is the misleading nature of the beast. Its livelier beats get going from Taking Trips onwards, which would peak my attention. As Vince's lyrics set in, I found the keenest of his musings in the opening with some his critiques and perspectives coming back around again later on, always sharp though. On another level these songs play like flipped bangers with the essence of that ripped out. His steady and soft spoken word delivery a breeze to follow on these sleepy tracks. Giving attention to the craftiness of his lyrics, these lines could play like killer hooks yet its all played down into this style that suits him to well. Being a sucker for a little bombast and bravado its what this album does right that perhaps makes it a little harder to get stuck in my mind, however it does play like the kind of record to experience as one thing, because it lacks any weak points, a very clear vision well executed.

Rating: 7/10

Billie Eilish "Happier Than Ever" (2021)

Just a reminder, Billie is still a teenager. This is remarkable within the context of a wonderfully mature and wise record that sees the young star navigate fame and fortune with a rarefied grace. Her lyrics here are a treasure to embrace. I hope she can continue in this well handled direction, were too many that have come before end up ravished by the spotlight, media and unfair pressures of fame. For two siblings making quirky music together from their bedroom, to then be catapulted to the peak of stardom, this is quite the force to reckon with. The music too moves with this mature navigation of choppy waters. Stripping back youthful experiments with noise and ASMR, the ship is now steered in a direction reminiscent of many classic singer songwriters that glowed in the spotlight of decades forgotten to this generation.

Billie's voice has flourished from intimate wordings and quirky whispers to classy undressings of emotion through power and strength. Vulnerable, yet in control and laying all bare to be heard by those who listen. Having frequently been at the attention of a news cycle set on critiquing her presentation of self, the topics of the record get wrapped up in a critical awareness of this pressure which she replies to with unshakeable truth through reason. For young people growing up, these messages are so on point. The mesmerizing transient drone of Not My Responsibility sets an intense focus for Billie to talk truth of all the commentary on her clothes, appearance and sexuality, illuminating that the problem lies with those who choose to speculate and judge themselves.

Getting Older and My Future deliver such a charming maturity and positivity from a young person navigating the waves. "Cause I'm in love with my future, can't wait to meet her", wonderful lyrics, its so nice to hear warm outlook on ones life and aging. The classic taste of airy reverberated synths, soft inviting pianos, gentle guitar strumming and crafty grooving baselines somehow nestle sweetly between their "traditional" sound with tracks like Oxytocin, I Didn't Change My Number and Overheated, these songs being more rooted in the style that defined her breakout.

Billie may take the spotlight but Finneas deserves much praise for masterfully expanded the albums pallet to sound as if a group of top session musicians had been brought in to gloss up the electronic aesthetic of his When We Fall Asleep Where We Go instrumentation. The record navigates both ends of the spectrum and all in between as its run time offers up a fair helping of variety. Billie too overlaps her playful whisperings and glowing traditional singing to keep things healthily interesting. Their chemistry is sublime, offering up an engrossing engagement from subdued instrumentals that embrace sparsity and slow tempos to give keen power to the minimal melodies and aesthetics left to be heard. Most the instruments arrive soft, ambient and incidentally with flourishes of energy coming from snappy percussion forging interesting grooves.

With every listen I've felt a fizzle in the end starting at NDA, a quite remarkable lyrical tale and musing that doesn't seem to hit the stride instrumentally, the bite of the words just don't resonate for some unknown reason. It tempo shifts up at the end, transitioning into Therefore I Am, which quite honestly felt all too much like a rehash the debut records vibe. Then the title track, gets off to a wonderful start but suffers growing pains agressing up into a sing along grunge blowout that lacked the right melody or lyric to give it the vibe it clearly strides for. No album is perfect and not every track resonates quite like some of Billie's words which are as stated, quite remarkable for the pitfalls she is successfully navigating.

Your Power makes a personal favorite for me. With a soft gush of Ethereal wind, the two usher in a heartwarming guitar and voice song reminiscent of Mazzy Star. Its lyrical content feels intentionally offset from the melancholy vibes the song ushers forth. I doubt Happier Than Ever will have quite the impact its predecessor had however between the two we simply have more fantastic songs to enjoy and plenty more to look forward too it seems. The one thing I hope people take away from this one is the lyrics. So much to be learned from someone else's experience here.

Rating: 8/10

Jim Kirkwood "Master Of Dragons" (1991)

Its round two with Jim Kirkwood and sticking to these early releases has unsurprisingly yielded a similar experience to that of Middle-Earth before it. Likely to be Tolkein inspired, or at least adjacent given its title and cover. Master Of Dragons steps into a more obscure realm as the 70s inspired electronica dominates its bolder phases. Unpinning the music with its whirl of psychedelic oscillations, a curious feeling of wandering is born. Less scenic and more personal, the music paints lonely journeys through mind and soul with moments of beauty woven between when its keyboard synths and soft reverbs forge yearning atmospheres of nature in a colorful bloom.

With its two halves both comprised of shifts, twists and phases in their twenty minute stays, its the second half that darkness a little. Percussion is heard for the first time as a steady, simplistic beat hold pace for the brooding of eerie, spacey synths. It breaks through with lively dramatic strings punching and jolting in with a threat, the tension growing yet without crescendo. The song plays itself out on a string of melodies, intertwining, steadily winding down only for deep tom drums to pound and stir up a racy finish that doesn't quite find a crown or peak and thus fades out into obscurity.

Its immensely enjoyable for this listener. At the time I imagine there would of been little interest given the dated electronic tones behind the curb of the 80s and 90s. Yet with nostalgic interest and the awakening of Dungeon Synth to the Likes of Fantasy and Tolkein inspired music, this plays wonderfully like a video game soundtrack, the backing to wild adventures of imagination and thus feels oddly fresh and exciting. Then again many discoveries of old can be like that. Music discovery is always fun but with the added dimension of being able to share them through streaming, I've found this music to be a wonderful addition to the livestream experience.

Rating: 7/10

Tyler The Creator "Call Me If You Get Lost" (2021)

Keeping on track with a constant flow of records over the years, this sixth installment in Tyler's evolution feels like a step back from the striking charm of IGOR. Its personal preference but I'd argue the presence of DJ Drama drags this project down a notch or two. With his frequent commentaries, a steady flow of interrupting remarks bark over the musics atmosphere, seemingly disconnected in tone and temperament. At apt times he does indeed reinforces Tyler's words and points but mostly he seems like an obnoxious observer interrupting.

Blemishes aside, Tyler's production is on fire again, bringing cutting edge beats and grooves to his pallet of colorful quirky synths. Drawing from classic Soul and R&B vibes it ends up a flavorful show, rich in variety and some avenues into the dark and grizzly aggressive side of Hip Hop music. It would be hard to argue a favorite niche. Its perhaps the swings from the breezy love struck summer vibes of Sweet, into the funk and crunk of the bass driven groovier Rise that gives its flavors more spice as the record weaves past monotony much to the delight of this listener.

Getting both halves on point its the topicality that goes over my head at times but there is plenty of keen lyrical tales. Reflective themes of past triumphs and contemplating personal change illuminates alongside some of his most baited lyrics with the "Rolls Royce pull up" line on Lumberjack. It and other dives into social political topics come with clever rhymes and food for thought. He seems particularly on point in this regard, especially when in a more casual tone, opening up.

Call Me If You Get Lost also hosts a few guests of notoriety who bring some interesting verses. This paired with its fluid changing of instrumental ideas and DJ Drama's commentaries has the records quality feeling oddly fractured. Its a smooth, fun ride, visiting place to place like a road passing through villages, towns and cities. There is plenty to see and touch but as a whole... it doesn't have that defining piece or magnetism like IGOR did. Ultimately a very cool album brimming with talent and creativity but lacking a little glue? I can't quite land my finger on it.

Rating : 7/10

Malcom Horne "Infinity Volume II" (2021)

 

 Smooth, sweet and soulful, this secondary installment of Infinity pairs the modern Low-Fi influenced Jazz Hop aesthetic with a classy voice through exuberant musicianship. Malcolm litters these dreamy beats with gushes of emotional expression, always emerging through subtly and captivating fondly as a voice. Each of its twenty seven cuts are rooted in the timely pairing of percussive grooves and jazzy persuasion, foundational to its flushes of warm sunny color that ooze from guitars, synths and the like, giving many of the loops a real sense of unique identity.

Its other edge comes from its backbone of looped beats. Born less of sampling and more of instrumental arrangement, its texture and aesthetic is a consistent dazzle of breezy easiness and soothing reverbs, taking us to an easy space to escape all worries and leave ones mind at ease. With this, more love and care can be heard as little accents and notations arise from multiple instruments to compliment its main direction. M.A.D. is a keen example, its fluster of melody jumps between instruments with the tang of a guitar lick nestled between, the resonance is simply lush.

At a whopping ninety one minutes, Volume II excels at finding its target audience. Where Volume I fumbled in its inconsistencies, II focuses very much on the chilled out and lounge alike styling of its sound, channeling the music into a very streamer friendly lane. As a lone record it one could yearn for a little more progression or evolution to take off for new heights, especially when a swooning guitar solo drops in. Of course restraint is placed with these songs being fitted for smiley backgrounds.

Despite that, Volume II is actually rather engrossing as a lone experience. When paired with an activity, focus arises as the meditative quality of its easy flow and steady pace locks one into a mental groove. My only negative take aways are some of the sudden cut offs, Lemonade a criminal culprit of sapping away the buzz just as that charming lead guitar was wooing away. I'm also left missing a little of the punchier Synth tones heard on the first record. Otherwise its a fine collection of lush songs with a strong human expression some of these other Jazz Hop beats miss out on.

Rating 7/10

Jay-Z & Linkin Park "Collision Course" (2004)

 

Delighted by the recent Rap Metal adjacent works of Hackivist, I found myself thinking back to this record, which I had barely paid attention too upon its release. Back then I probably had my mind deep in the world of Extreme Metal and nose turned up... But with age, a renewed fondness for the music of my teens now has me wide eyed getting into this collaboration by two of the industries biggest names of the era.

Born of MTV's Mash Ups show and masterminded by Mike Shinoda, the brief six track Collision Course sounds born of that spirit, the interchanging of instrumentals and accappelas between opposing musicians. As a collaboration its sounds just like that, however the enthusiasm shared between the two camps had Linkin Park and Jaz-Z meeting in the studio to re-record parts of Shinoda's arrangements to ensure quality.

It speaks volumes to the seamless nature, everything aligns sweetly. Crunky percussive kicks and snappy snares give the metallic aggression of the guitars a ground to the Hip Hop persona. Both Chester's moving cleans and raw screams match the Rap instrumentals, Mike's roll as a rapper obviously fits but its mostly Linkin Park who dominate the vibes with their songs taking up most the runtime.

Big Pimping and Izzo stand out as the cuts which hold onto their original beats but the other songs get overridden by the metallic energy when the guitars arrive. Its all fantastic but perhaps my emotional attachments have me reveling in nostalgia from these re-worked bangers. Points Of Authority and One Step Close overload 99 Problems for goosebumps inducing mania as Jay-Z drives the crossover with his raps.

I am ultimately left fascinated by this EP, a commercial peak at the end of an era when my two favorite genres rubbed shoulders. For all the Rap Metal I've adored, missing out on this was a major fumble. I can't get past how wonderful the chemistry is. It feels like an obvious mash up yet that doesn't hold it back where you might expect. Its like bottled lightning, perhaps amplified by my own personal excitement. Given the two toured this together, the accompanying DVD is now mandatory viewing for me.

Rating: 7/10

Turnstile "Turnstile Love Connection" (2021)

 After the release of Time & Space Ive been keenly awaiting another album from this keen Hardcore outfit. This blitz of an EP has got me buzzing now! Baltimore outfit Turnstile give an aged sound renewed youthful excitement, frothing with energy and kicking in subtle influences to character their sound and start apart in the crowd.

Holiday kicks things of with its soft murmuring baseline bursting into a riot of sharp power chord strumming. Its somewhat predictable for this group yet lands like a riot, the hooks of Brendan Yates reeling it in, "Now its a holiday", "I can never feel the cold", "I can sail with no direction". There is so much exuberance being exhorted, exactly what he does best. In the opening and throughout the use of an electronic 808 akin drum kit adds a little bark to the rhythm section. Subtle, yet a texture that gives the music a little of that extra character they bring to many of their Hardcore songs.

No Surprise serves as a dreamy soulful interlude to abridge its Grunge number Mystery, fitted out with a brief noisy solo and curious spacey synths in its intro and outro, that later sounding like a space ship taking off. Title track TLC takes the tone back to the bands roots with a strictly fast, hard Hardcore sound with fiery vocals and gang shouts too. Its mid section brings in electronic toms as the music pivots, an odd choice that once again musters a little oddity. It gets explored again as the track devolves swiftly with an experimental vocal cut to end the brief eight minutes of music.

Turnstile is in a groove, writing keen songs that have the power and charisma of what came before. The use of alternate percussive aesthetics and moments of electronic and vocal experimentation are peculiar on analysis yet to just enjoy the music, it works and flows effortlessly. Something in the temperament of this group just lets it all work. If these are the "weaker" tracks left out from an up and coming album then we are in for a treat! We are probably in for a treat either way...

Rating: 3/10

Old Sorcery "War Of The Old Kingdom" (2021)

 

It is my guess that the recent Hand Of Merlin soundtrack left the Finnish musician with inspiration and ideas that have spilled over to this wondrous three track EP. They are somewhat disconnected from one another yet equally fantastical, the thematic moods and drama of the OST had Old Sorcery reaching into new territory. Now clawing it back into the Old Sorcery cannon, a familiar esoteric, foreign and cryptic voice narrates these three adventures, giving them a loosely unifying through line.

Council Of The Battle Sorcerers is an eight minute epic of distant tensions, epics yet to be told in a fantasy realm of gleaming beauty and natural magics. It steadily journeys through majestic scenery, the discernible words of a shadowy, ancient voice ushers in moments of creeping darkness that never outpaces the warm embrace of this lush soundscape. Its adventurous melodies, through many phases, continuously usher in a magical warmness fit for a world of fantastical beings devoid of technology.

Triumphant Eyes ramps up the intensity in a sudden change of direction. The drums of war beckon, tense strings heed the call of battle and a sense of coming destruction broods. Its an animated number of moving parts and scenic magnitude fit for a big screen epic. The drama is flushed aside as our cryptic narrator returns over the sounds of sword and shield clattering on the battlefield. From there though, things steadily unwind and fizzle out for echos of the voice to call again from the ashes.

Echoes In The Stillness is perhaps a crossroads between the two. War drums drive the track forward as its melodies linger between the fantastical and illusive mysterious of this fantasy realm. As the drums pull out it meanders its direction to that recurring voice again, this time a little less potent in direction and theme. Overall this is an impressive release bringing new ideas into the fold but aside its one unifying element, seems a bit disjointed track to track. It is all immensely enjoyable though.

Rating: 5/10

Hocico "Broken Empires" (2021)

 

Ever since Memorias Atrás, Ive always been in the mood for some Hocico. I've found there output to be somewhat stale despite loving their Aggro-Tech sound. Its in smaller doses I tend appreciate their work more. This two track EP with accompanying remixes has been fun! Both offer up hard banging beats and harsh synths to revel in a little cyber goth dystopia. Both songs run through the expectant arrangements, typical build ups and flows but its the aesthetic detail that catches the ear on this outing.

Title track Broken Empires hints at its killer bite early on as dense chunky bass synths ride up against a stiff hi hat on swift repetition. The cymbal is interchanged with that classic 90s House hi hat tone and when the song peaks the two resonate off one another with a relenting energy that's hard to resist. The dark spooky melodies that accompany are decent but its really the labored texture of that bass synth that drives the song along, drifting in and out of intensities with a helping of atmospheric design.

The other song, Lost World, is a production powerhouse of driving density, all the sounds are crammed into gaps between its thick rhythm section of pounding kicks and engulfing bass synth. Its a rather linear push of dance energy fit for the club floor, mostly ebbing and flowing around its main catch while also throwing in a little niche audio gimmick as the shouted words get cut and shuffled into the crowded mix.

The additional cuts of Broken Empires offer some alternate version but with little deviation from the original they add little to whats already been offered. These two songs are tight and well written. I wonder if in the duration of an album they would be lost on me given the mediocrity of Artificial Extinction. Having to focus on just two songs really let me digest and enjoy them! These will be songs to return to.

Rating: 3/10

Backxwash "I Lie Here Buried With My Rings And My Dresses" (2021)

 

As a personally highly anticipated record, this one did not disappoint. God Has Nothing To Do With This grabbed my attention with its metallic crossover appeal, uniting the darkness available to Metal with the grittiness of Rap, uniting them with renewed artistry. I was swooned by the grabbing expressions and impressed by Backxwash's frothing flow. Returning a year later with this brief twenty two minute album, she's bottled the evil of the Sabbath inspired predecessor and unleashed it again in a darkly Rap context that flirts with the danger of channeled noise and anger.

As the record plays, it descends. The overall tone gradually lurches into the bowls of hell as drum grooves groan with the pains of its horrorscapes. Driven by deep, gritty and slow baselines, uncomfortable atmospheres are bred from noises that align conventions in an unsettling fashion. Distant screams, distorted voices and gritty Industrial sounds overcast the soft and subtle melodies that have an intentional lack of impact. Its design gives wake to the power of texture and aesthetic which powers the music forth on slabs of filthy, intriguing noise, guided by timely percussive patterns.

The lyrical content is harrowing. Is it the wrenching delivery gushing forth raw pain and hurt? The dark journeys the words walk us through, or the alarming concerns some of these tales turn up? At times its all three as Backxwash walks us through some troubling struggles. The tales of vulnerability, abuse and lack of support around transitioning and drug abuse are all to vivid. There is no cheese to be found, the malevolent tone of the record mirrors the underlying pain and suffering endured. 

The opening sample, purpose of pain is a rather underwhelming start but with reflection of the emotional narrative undertaken, it seems all to fitting that ones emotional pain extended to the wrongs of our environments. Clipping turns up an instrumental production for Blood In The Water on what feels like the "true" intro track. 666 In Luxaxa is an utterly fantastic repurposing of the jovial and spirited singing style one would associate with African music. Its misplacement in this darkness is fascinating. After a string of solo tracks, a slew of guests line for the last six tracks.

So many Hip Hop records feel routine with the roll of features but these collaborations feel so integral, defining the music with their presence. Ada Rock's scream rap hooks on the title track are simply unforgettable, sounding like a demonic entity raging with malice and spite. Wail Of The Banshee takes the win on my favorite Instrumental. Its a bleak and harrowing soundscape of human pain and torture, driven by monotone bass and slow drums that put all the emphasis on its evil, terrorizing aesthetic.

Like last time, I'm left floored, feeling like this album offers so much in its short duration that will continue revealing secrets from its dense textures for time come. Last time there was some uplift and reprise to be found in conclusion but this time we burn to ashes and ride out on a drive of speed and momentum as the music refuses to relent from its plunge into the abandon. Whats both beautiful yet glum is the dark attachment to reality. Much of the lyrics here are truly troubling.

Rating: 8/10