The Veldt "Afrodisiac" (1993)

Memory is a thickle thing. Essential, yet always fading, it shapes our reality in many ways. Fortunately this was harmless, a little shock to stumble over a record I thought could not exist. Seems I forgot of their history on my previous encounter with The Veldt. Their return fusing Dream Pop and Trap was a passing enjoyment. Its a farcry from Afrodisiac, a record fitting snugly into its era, without seeming remarkable or impactful. So far Its stuck me as the sort of album that just gets lost with the times.

With a lurch of early 90s Alternative Rock and Shoegazing distortions, the group fuse timely over-driven guitars with the sparse echos of Funk Metal groove. Its also a textural experience, sliding into dreamy spaces with glittery acoustics. The occasional fusion of Trip Hop drum loops proves expansive as the record sways between styles. Consistently singer Chavis's bold charismatic voice resembles an 80s ballad singer.

His presence is swell, a delight when the vibe clicks but often it arrives with friction. Its this contrast that all of its elements have in some degree, giving it a sense of "almost genius". The songwriting plays into this, ideas merging from different directions, a lot of material exposes its origins and the union doesn't quite find the apt chemistry.

That being said, its an exploration of ideas that has plenty of engaging moments in its lengthy hour long stay. Heather strikes me as a peak, a broody dark wailer of a song powered along by its Industrial percussive thuds. Ultimately, Afrodisiac strikes me as a clear product of the times, not quite finding a way for its unique overlaps to blossom. That being said, it gave me a sense that continued exposure would grow on me more.

Rating: 6/10

Regina Spektor "Home, Before And After" (2022)

 

Six years have whizzed by since Remember Us To Life. An impression was left, one of age and fragility, a beautiful moment of vulnerability captured on Obsolete. That emotive power of honest introspection has felt absent on this newest venture. Regina goes through the motions with embellished instrumentals, a far cry from the origins of her lone voice and piano. Still singing in her cutesy quirky cadence of whispers and wordplay, the synergies between intention and expression seem bold and obvious.

Home, Before And After mostly struggles with if that synergy clicks. Each song has its own character, often emphasized more by the extended array of warm instrumental sounds than Regina herself. On-boarding lavish string sections and 80s Synth Pop tones among others, the album cycles through bright and varied aesthetics. So often do they burst to life with emphasis and purpose, as if to say the words not spoken.

Its simplest song, Raindrops, was my favorite. Just her delicate voice and a soft piano. Humming tunes along the way, the endearing Regina emerges in her element. Many of the other songs have these humble beginnings too. Yet they often stray into the crescendo, a need to swell and bloom in extravagant conclusion. From a song writing perspective, its well orchestrated but on this outing the big production stripped out her charming personality. The instrumentals seem to drain Regina's unique vibe. They drift away from the magic, a soft, subtle and calming setting she is more suited too.

Rating: 5/10

Tamaryn "The Waves" (2010)

 

Without the punch and powwow of tuneful Pop sensibilities she would develop later on Cranekiss, Tamaryn's debut leans hard on its textural Shoegazing haze. Its a dreary debut hinged on distant guitars that wail harsh Ethereal ambiguities. The groaning textures shimmer and stew in the heat, droning without a gratifying conclusion. Its song structures I take issue with. Each whirling, repeating wash of noise and her various weaving of voice tend to ride the initial exotic wave. As its character sets in, the songs lack a counterpoint, and thus the hazy guitar textures begin to grate.

The percussion is often distant, a drum machine falling mercy to smothering aesthetics. Often its a step behind, lacking presence to command tempo or inject a rhythmic groove. Love Fade is one song that stands apart. The drums have comparable gusto. The gratifying vocals in the chorus give it a half hearted shift off the main loop. Its a single exception among a collection of nine songs that couldn't find an aesthetic chemistry or musical component to define themselves. Every spin of The Waves has been somewhat uneventful. Mediocre and mild as background music but in the foreground it seemed so lacking in life. Quite a dull affair.

Rating: 3/10

Exhorder "Mourn The Southern Skies" (2019)

 

If anyone had a claim on Pantera's era defining sound, these neighboring Louisiana's had the framework for a new metallic approach locked in years before Cowboys From Hell. Having disbanded in 94, I was shocked to hear them in rotation on Spotify with new material decades later. More so was the similarity to the "Phil Anselmo" breed of groovy Southern Metal. With a foggy memory I returned to Exhorder's debut, Slaughter In The Vatican. A brief reflective listen had me in awe. Kyle Thomas's cunning vernacular a blueprint for Anselmo to emulate. It's been quite the historical reminder and undoubtedly I'm gonna have to dive into those old records again.

Mourn The Southern Skies is a ripe affair. Reviving classic groove oriented, fist pumping power and might, the southern swagger scales atop fiery momentous. Kyle rides the waves of crushing guitars and battering drums with attitude as they burn through iterations on the arsenal of techniques accustom to this sound. Its secret weapon is quality. With little in the way of innovation, the band churn through sludgy stomping rhythmic grooves. Baked by southern humidity, it oozes style and persona. Guitar solos dazzle but unsurprisingly, can't charm like a Dimebag. Reasonable in theatrics, a couple leads take a more dynamic roll in musical direction, a niche touch.

 

A competent production aesthetic serves its purpose with a touch of rawness, possibly brought on by budget constraints. Exhorder have never been a big name in Metal. Its kind of remarkable to hear they have been sitting on such talent and inspiration. However this return has influences in reverse as the last twenty plus years of Groove Metal's legacy can be heard throughout. A great record but it can't claim originality this time out. Final thoughts? Listening to this record feels like stepping into an alternate reality given the back story. Looks like I'm adding nineties Metal to the playlist next!

Rating: 7/10

Municipal Waste "Electrified Brain" (2022)

 

I may be mistaken but I believe Municipal Waste were among the first of this modern nostalgic Thrash Crossover "revival". Its no new trick nowadays, the access and availability of music today has inspirations run amuck in all directions. I was introduced to the American thrashers at Download Festival 2008. Despite a fantastic live show full of mad mosh pits and crowd surfers armed with surf boards, I never brought into their studio records. Having forgotten the mediocrity of Slime And Punishment, It was only a passing curiosity that brought me here.

Electrified Brain had me in its grasp from the first spin. Unlike prior efforts, its crisp, clear and cutting production aided its mission. Along with a fully fledged arsenal of classic Thrash and Crossover riffs, the two push the bands ideals to about as good as it could get. Pulling no unsurprising punches, the galloping speed and chugging chops of 80s Metal was set to to strike a nerve. With filtered cuts rarely exceeding three minutes, the fourteen tracks get to rattle wall to wall off five years of curation.

The main distinctions felt like variety and lead guitars. Although operating within a strict blueprint, the rotating shouts, screams and gang vocals kept things fresh and exciting as the rapid rhythmic abuse was electrified by periodic guitars solos. A handful of song endings struck me as having some momentary but keenly distinct riffs woven in. Perhaps an intentional nod to their eighties Thrash Metal influences? I definitely heard Metallica on more than one occasion.

Despite seeming excellent, its gravitas has dwindled. With frequent spins, my initial excitement has politely dulled. This however feels like a symptom of nostalgic Metal, always competing with your appetite as its novelty wares off. Either way, in times of growing metallic lackluster, it was good fun to head bang again!

Rating: 6/10

Favorite Track: Grave Dive, Crank The Heat

The Gathering "Nighttime Birds" (1997)

 

Shrouded by the swift abrupt judgements of youth, my initial contact deemed Nighttime Birds unfit for consumption. Supposedly not cut from the cloth as Mandylion, one of my all time favorite albums, it has sat snugly in the shadows, patiently awaiting me all these years. Like a broken record, past judgements have failed me once again. At this point, it might just be worth conducting a list of all prior dismissals...

Nighttime Birds is the broody matured brother of a band once ripe with color and youth two years prior. With a touch of restraint and a seclusion of craft, the band withdraw their eternal melodic delight to initiate songs with darker morose tones. Heavier guitars lean in shadowy chromatic, luring Anneke's sublime, luminous voice to a weighty pensive reflection. The duality explores a beautiful and burdensome contrast. Its a measured friction that compliments, coming to fruition with increased exposure.

Where its synths once adventured with bold punctuation, the keyboards now withdraw to a subtle, powerful role. Lurching behind steely distortion guitars, they await a turn to chime, often guiding the music from its beautiful gloom, soaring to blossom its hidden hues. Each song journeys to blushes of sequestered warmth. Familiar simplistic lead melodies gush from guitar and keys with their classic, distinctive personality.

Comprised of mostly lengthier tracks above five minutes, the album locks in a mood and explores it in beautiful increments, each exploring this darker chemistry. A union of thick power chords and cold acoustic guitars is explored early on. The May Song introduces a powerful, emotive organ tone to set off one of Anneke's most delightful performances. She wails sublimely, ascending with spirit much like that of Leaves. In fact, I'd go as far as to say its this albums equivalent, given the familiar guitar solo.

The following songs invoke soft computerized effects expertly, characterizing synths with subtlety. Later on a soft violin can be heard too. Each song finds subtle shifts to define them. The band fire on all cylinders. The shuffling contributions from its instruments explore so many ideas within a snug sound. Even moments of heavy metallic groove emerge in climatic beat downs and sluggish power chord brooding.

Nighttime Birds promptly made itself apparent as a lost classic from my youth, one I would have adored. However, I persisted. With my love of its saddened tone growing, I couldn't put it down. Weeks turned into months and that emotional evocative magic kept oozing. I feel so fortunate to have discovered it now. The Gathering's spell is truly eternal with me. Although a fraction behind the charm of Mandylion, this record has a clear sense of maturity and direction locked in by a fruitful yet cold concept.

Rating: 10/10

Chaosbay "2 Billion" (2022)

 

With surprise struck off, the stakes were high. As a result, 2 Billion had a harder time leaving its mark. As one of my favorite discoveries this year, Chaosbay swept me up with conviction through their prior Boxes EP. This following four-track fits the mold set earlier in the year, possibly all material for a future album. Rock-steady on the same path, another round of blows is exchanged as high octane Djent Metal explores the dynamics of bow wrapped, polished brutality and bright melodic gleams, present in both glossy synths and through the energized emotive vocals of Jan Listing. Once again, I'm immensely impressed with the song writing and breezy flow of these songs. They swing from hard chugging grooves to soaring tuneful lines with class. Sadly, its all still mostly in the shadow of Periphery who came before them. That lack of originality may explain why they are yet catch a viral wind within the Metal scene.

If there is any distinction to be drawn, the mechanical nature of tight metallic chops and slick production imbues many of the slamming chugs and tightly gated riffs a real sense of "computerization". The bass pedal stomps with precision, in unison with "on off" guitar grooves. Being rigidly syncopated, they sound almost glitched like a record skip. Its satisfying tho, a treat that moves sweetly with the momentum. Furthering this industrious precision, the rhythm section sits up front in the mix, dominating. The magic, in my opinion, mostly stems from the electronic tones layering in an airy ambience and the acoustic guitars that weave in the luscious melodies. Hard to fault, as it works so apparently. I do wonder if more emphasis on this calmer, more uplifting side would serve them well. Either way, they have both aspects locked down.

Rating: 6/10

Phoebe Bridgers "Punisher" (2020)

 

The Punisher lays bare a calming rot of depression, manifesting itself in aimless drifting atmospheres. With internal frictions, social worries and self deception explored, the record seems harmless in its meager meanderings. Instrumentals wade through the minimal and ambient with spells of swelling pushed on by the breathy motions of Phobe's voice. As a folksy Indie Rock singer, her plain voiced resonance and murmurous singing plays into this sleepy state. The music looses itself in pained vulnerabilities, deceptively feeble and soft yet oddly harrow and hopeless.

Is it the lack of gusto in her voice? She leans into a gentle tone to express hurts, such a contrast. To my ears, the album plays like a subtle oxymoron of sorts. Its timbre and temperament at odds with the difficulties its lyrics explored. Conceptually its a charm but in execution the music drifts by in limbo, unsure of itself, one foot in the morose and an other in dreamy illusions. Aesthetically gorgeous but emotionally confusing.

Punisher has been on my playlist for months now. The lack of hooks or keen melodies, not a crime of course, makes for a dreary experience of unsettled lingering. Its creeping moments of Americana bring about a grounded footing but these influences are brief at best. Otherwise I'm stuck with its lack of oomph. The perpetual meandering of the music comes across bleak, vague and restless. This may be more down to my preference in vocals as I rarely vibed with Phoebe's singing.

Rating: 5/10

Autumn's Grey Solace "Therium" (2022)

Another year, another album but alas, my wishes have not come true. Therium continues firmly rooted in an unchanging Ethereal form. Anticipating a familiar lack of novelty and surprise, I approached this newest installment of eight soothing tracks with nothing but warmth for enjoying Autumn's Grey Solace's charm once again.

Shimmering crimson acoustics gleam tranquil melodies once again. Erin offers her sweet wordless drifting as a human compliment to the serinity. Washes of ambiguous guitar effects sparsely chime in. The base guitar occasionally busies upfront with plodding rattles. The percussion keeping pace with simple patterns lacking theatrics.

 Its various shades and timbres seem like a deck of cards shuffled from the back catalog. So to do vocals and melodies conjure deja vu like symptoms. I wouldn't be surprise if previous riffs and notation were simply lifted and interchanged. I'm not suggesting its so but the experience of a new AGS record has become pretty much that. Always welcome but it seems they do not want to explore any new directions.

Rating: 5/10

Darkane "Inhuman Spirits" (2022)

 
For some time I've wanted to get around to this band. Born out of the Swedish Melodic Death Metal scene, I found their Thrash adjacent approach enthralling in my early days of exploring Extreme Metal. Crossing my path in the early naughts at the peak of their freshness, they join a handful of bands that share that inexorable link to youth. All thanks to Nuclear Blast records no doubt, who signed and promoted a lot of decent Metal in that era. After nine years of silence they are still brandishing the same intensity and character with little new to offer. Although I'm keen to hear innovation and new ideas, I'll hand it to them that sticking to their guns worked out for the better against a popular Djent seven string sound you might expect them to onboard.

I'll save my enthusiastic descriptions for another day when nostalgically reflecting on their discography. Although Inhuman Spirits plays to the Darkane sound strictly, its only brief moments of carbon copies that conjure the adrenaline. The lead guitars have its distinct melodic flavor and battering drums team up with the rhythem guitar for choppy, pacey grooves just as before. Its only the vocals that venture into a new territory with fitting deep guttural roars akin to fellow Swede Akerfeldt of Opeth. 

Alas this blog mostly serves as another entry to catalog the memories of a never ending journey. The early Darkane records are far from remarkable but bring enough distinction and character to give them some edge if Melodic Death Metal is your thing. With my apatite for Metal dwindling, this was a nice reminder of their competency. A Spiral To Nothing had some cracking discordant riffs held within, one that stood out. Possibly a better re-emergence than most returns but my excitement was quelled.

Rating: 5/10

Malcolm Horne "Mending" (2022)

 

Shedding the antiquities of Jazz Hop's established union of styles, this third stroke rids itself of percussive burdens. No longer hinged on crunking snare kick grooves and subtle boom bap rhythms, Mending arrives at the source of inspiration. An orchestra of instruments croon. Luscious, resonate and gently woven they harmonize at a place of healing. Soft airy reverbs and atmosphere indulge as soothing calm sweeps over every track. Minimal, spacious percussive lines subtly hold tempo, an evolution felt between Infinity & Volume II. With Mending, a conclusion of that trajectory is met. Malcolm accomplishes inspired moods free from shackles of the genres tropes.

The delicacy of performance is a delight. We are spoiled to baselines hinged on texture and feel, over power and force. Many instruments follow suit, perusing, swaying with persuasion. Capturing the essence, a symphony of minimalist parts amassing a serine outcome. Mending's warm calm is evening sunlight, the yawning death of a beautiful day. Cool airs breeze by, so welcoming in its gentle demeanor. This outing is an inspired refinement on the instrumental magic heard twice before.

Nothing is perfect and for all the praises, Mending does serve its conventions to sooth and relax with formulas. On inspection, the looped nature of compositions emerged, highlighted by instrumental drop ins and outs, a key song structure utilized. Lead instruments are often absent, leaving space in the music for a voice to shine through.

The moments where a guitar solo steps up are grooving, variation aids its purpose. Like before though, they cropped up before fade outs. Grander directions would be very welcome but perhaps not as suited as one might imagine. Lastly, the Synthwave and 80s Synthpop influences are amiss. Constellations treats us to this charm again but its brief stay perhaps signals the style no longer has a place. Quite a shame as I enjoyed this take greatly yet its absence makes sense given what Mending is, a cohesive record of introspective healing. This is definitely my favorite of the three.

Rating: 8/10

Tamaryn "Cranekiss" (2015)

 

It took but one listen of Cranekiss's euphoric Shoegazing title track to win me over. Spotify's algorithm has figured me out! Serving up a slice of the finest Dream Pop, I felt the warm fuzzy charms of Cocteau Twins alongside an effeminate apparition resonating an eerie similarity to Erin of Autumn's Grey Solace. Those heavenly fragile breathy voicings, ascending over top the bustling baselines and stiff drum machine grooves gave me chills. The song is awash with shimmering reverbs its melodies get lost in. Best of all, the song comes in hard with dense bendy effect drenched guitars, a fond reminder of ideas introduced with My Bloody Valentine's influential Loveless.

Cranekiss is an 80s love letter. Its aesthetics rears the nostalgia with a lean grip. The brilliant song writing captures all the charms of Art Pop and modern conventions. On its venture, the crevasses of influences part. Post-Punk, Ethereal, Synth Pop and all others mentioned so far unravel on catchy songs ripe with stark punchy melodies woven through a dreamy web of ever shifting reverberated sounds. The wonderfully indulged singing makes for many a memorable chorus on the Cranekiss journey.

 With a strong Electronic maturity in composition and execution, Tamaryn reaches into the past for inspirations, shedding her music of any cheese and dates ideas. Although it lacks originality at every turn, the nostalgia dance is a beautiful one. Its vague and shapeless rumblings create a mask for potent percussive grooves and dazzling instruments to punch through, best of all her voice sits central to all the wonder.

Its emotions are powerful, a curious love, often emanating a contagious warmth yet peering off into ambiguous moods of unsettled footing. As the album plays its deviations and themes keep the tone flowing with fantastic cuts Softcore and Sugarfix to be found towards its conclusion. The last of which has an uncanny resemblance to Elizabeth Fraser's wordless musings, followed by a lush, smothering choral hook.

I've sung Cranekiss's praises. That's because all its avenues of sound touch on my favorite ideas within these overlapping genres. It has a handful of songs a grade above the rest but not every track needs to be a hit when the mood flows so slick. It may lack surprises but the main show is the excellence in which ideas from a few decades back are executed. For me, this will be a great record to return too.

Rating: 8/10

Kalandra "Beneath The Breaking Waves" (2017)

 

Seeking more of The Line's immense serine soundscapes has led me here. Beneath The Breaking Waves is lacking its keen persuasion. After many spins, the scent ruminates like a "warmup" EP, a group finding their footing. Released three years prior to their debut, the magic is either sequestered of lacking entirely. Don't get me wrong, this folksy six track charmer cruises in a parallel lane but the chemistry is yet to be arrived upon. Each musician brings beautiful sounds, textures and craft to their parts.

Lacking the drive to swell and croon together like a symphony, much of the music lays its ideas bare. Padded by interludes and gentle atmosphere building, the feistier surges and potent melodies are brief sparks in fields swept by the drab calms that simmer in their own quietness. Unlike the experience of encroaching growth that came with each listen on The Line, these tracks tired quickly. It seems the components are in place but missing an inspiration to bring Kalandra to life, I'm glad they found it.

Rating: 4/10

Tiamat "Clouds" (1992)

 

My metallic ventures of late have leaned towards nostalgia. This path however, id not previously indulged with. Uncovering this European scene of melodic Gothic Doom and gloom, unearthed parallels capture much of my attention as the tapestry of influence enriches. Yet to devise the matured atmospheres of Wildhoney, Clouds builds on the heals of Thrash Metal. Its weaker songs burdened by the tempo and intensity of the 80s scene, a hangover needing a cure. The dusky keys and tuneful melancholy struggles with reflexive sways into choppy aggro and sluggish groove.

Magic emerges when its macabre themes blossom. Funeral synths and grievous melodies paint its Gothic graveyard blues vividly. The record finds stride with songs like The Sleeping Beauty as its distortion guitars lean into the lurching terror Doom Metal. In other chapters the spell is broken by pivoting guitar solos. They wail dazzling flushes of theatric on the gallop of thrashing riffs and doubled drumming tempos.

To my ears, Clouds suffers its influences. Aching from within beautiful, inspired song writing emerging stiffly in its calm and dark temperaments. Stitched together through tropes not quite suited this vision, my ears can't help but linger on the disparities. One of which is Edlund's wretched poetic "cleanish vocal" readings and lightweight guttural growls, the latter of which surprisingly suited the dreary cumbersome tone.

In brief glimpses, its keys yawn similar to a favorite of mine, Always... I especially loved the arrangements utilizing cheap and effect Casio keyboard tones for its Gothic cast. I wouldn't consider Clouds great but It seems fitting that adoration can be bestowed if discovered in the right time. For me, that probably would of been in my youth when reveling over Cradle Of Filth's starkly Gothic take on Extreme Metal.

Rating: 6/10

Steve Roach "Mystic Chords & Sacred Spaces" (2003)

As of late, I've needed focus and calm. With Mystic Chords & Sacred Spaces, I've found that, a spiritual soothing far from hurried. In search of temporal meditations to aid the mind, Steve Roach's daunting discography has gems to be unearthed. Its knowing where to look that's tricky. With apt research into online discussion, the record popped up alongside his classics on occasion. As a massive 150 minute experience, it serves as a majestic ethereal tone setter, devoid of any sense of structure.

Each track dissolves into the next as its array of dense soundscapes are explored, carved apart with the notable aesthetic shifts. Melody and rhythm are absent, this is all about texture explored through temporal organics as its existence sways to the whims of winds, the invisible hand. Every moment is singular and unmovable, yet in a constant state of shimmering change. Sure, a few eventful transitions and animated passages are wedged in sporadically but for the most part, its mesmerizing demeanor hinges on the deep reverberations that birth these shapeless musical forms.

 Its first half is superior, a select cut of lengthy sessions, each reveling in their particular flavor. The second half plays more like a jam session, split into parts as tones are transformed on the fly. Its leads to shorter cuts that don't quite fit the meditative format. Whats remarkable is how masterfully Steve constructs these sounds. Despite being somewhat predictable in nature, they still conjure and evoke a stillness in the mind of this listener. Oracle was the track that did that best for me.

Rating: 6/10