Kid Cudi "Entergalatic" (2022)

 

Having adored a collaborative Kids See Ghosts and the psychedelic tinged Cloud Rap of Man On The Moon III, time with the American rapper slash producer seemed overdue. Lured in by the infectious hypnotic mellow sways of Do What I Want, exploring this newest record seemed like the next logical step. Entergalatic plays like a river of vibes. Its a series of Ethereal moods drifting by, mostly pronounced by its dreamy instrumentals and Kid Cudi's ability to converge on a gratifying hook.

Most the lyrical verse seem like casual commentaries on life's unfolding events. Passing observations and emotive expressions suit the conjured atmosphere. Cudi arrives calmed, smooth and chill. The beats touch on tensions and introspective degrees, never veering to far from its soothing allure. Occasionally the percussive attachment drifts into restful, relaxing states as atmospheric ambiences take hold.

A track featuring 2 Chainz, Can't Believe It, arrives with apt timing, breaking up the mid point with a nightly low key banger. Cudi's deepened flow, mostly the hook, has an uncanny resemblance to Rich Brian. Its a welcome change of pace among a river of catchy hooks and ambiguous melodies that swoon sweetly to its own rhythm. Its Kudi alone who builds much of this rapport, his guests don't bring much to the table.

Despite such good graces, little emerges beyond the sway of its tantalizing yet mellow vibes. A selection of favorites will rear their heads among the variety but the album mostly slides into mediocrity. Fertile ground for embracing the mood but never commanding the listener to yield. Could of been much more despite easy enjoyment.

Rating: 6/10

The Meters "The Meters" (1969)

 

What a blast from the past! American instrumental Funk outfit The Meters debuted with timeless swagger and groove, an attitude still holding up till this day. Kicking off with Cissy Strut, the stage for jiving licks and crafty rhythmic grooves to swoon and croon is set. Boisterous percussion bangs out easy strides for aged guitars and warm bass to bounce off one another with stabs of intricate Funk melody over strutting baselines. Organ keys shimmer and chime in on occasion, with this unshakable 60s psychedelia aesthetic. The influences of Jazz and Rock from the decades past converge here with attitude to form an unshakable Funk sound.

Its instrumental nature leaves much space for guitars and organs to step up into and lead, expressing human instincts like vocals would. The whole affair feels like a loose jam session. The percussive arrangements tend to loop over endlessly as the rest of the band groove around its firm beat. This leads to many moments of magical chemistry but also detracts musically into moods without direction. A fun experience, yet plays without any overarching theme or sense of arrival beyond favorite tracks.

The Meters starts high and ends with another strident show of swagger on Sing A Simple Song. Whats in between is a mixed bag of goodies tiring somewhat with repetitions. The audio fidelity shows its age too. Guitars and drums peak often, tones blemished and of the age but all with a charm to gives it some edge, a punch that makes it stand out. Being mostly ignorant to this era, its legacy and place within the formation of Funk is unknown to me but I love how embryonic it sounds to my ears. Curiously poised for a new decade it sounds like the emergence of fresh ideas.

Rating: 6/10

Ziggurath "Jungle Majesty" (2023)

 

From Desert Synth, to Jungle Synth, Ziggurath's exotic inspirations turn wet and tropical on this humble second outing. With this friendly incarnation of simple synth arrangements, the music barely resembles Dungeon Synth anymore. Jungle Majesty feels more like a homage to 90s video game soundtracks. With an "at your leisure" pace and ever pleasant mood, the atmosphere conjured is ripe for scene setting.

Further embellishing this era defined soundtrack design inspiration, the simplistic MIDI compositions run stiff with precise timing. Despite this "flaw", a selection of rich virtual instruments, cared for with soft space filling reverbs, somehow washes away that sharp digital precision. Even in its slower paced cuts, of which many have a tortoise like crawl, the aesthetic charm of its gorgeous tonality wins one over.

The song titles are fantastically suggestive, both complimenting imagined events within the game and finding a fun temperament to match. It doesn't lean to heavily into the dark, keeping its light hearted tone throughout. A couple of moments muster more musical layers into compositions with more visual gravitas on occasion. Again its a vague yet fond reminiscence of the worldly Dead Can Dance that can be felt.

The recurring use of some distinctive instruments further highlights the fantastic chemistry at work. Bongo percussion, lone tambourines and voicey choral synth conjure charm again, yet aptly repurposed to this new jungle setting. These new claims to Synth genres are somewhat futile. Jungle Majesty doesn't create new ground but certainly evokes a nostalgic presence fit for enjoyment once again.

Rating: 6/10

Ziggurath "Tales From Southern Realms" (2022)

 

As Dungeon Synth ages, the potential for its maturity and new avenues of evolution is exciting. Despite the possibilities, many branches Ive heard seem a step in front of themselves. The notion and presentation exotic yet execution lacks musical vision. Ziggurath, and the notion of Desert Synth, initially seemed doomed to the latter.

Minimal use of rich tonal virtual instruments, sleepy tambourine and bongo led percussion, the unshakable humanistic choral synths. All too simplistic. My first impressions were as dull and lifeless, as the windswept dunes it was trying to sell.

There are still tracks who's spell seems absent on me. The incessant bird tweet on Assassins In The Courtyard an annoyance. It pulls me from the nightly Ethereal magic, brooding around the saw wave melody, which blossoms into an exotic mystery.

As familiarity settled in, the ancient dusky dune civilizations came to life. Steeped in cultural mystery, lost to the ages, the world building flourished with spurs of foreign instrumental chemistry akin to the delights offered by legends Dead Can Dance.

With ebb and flow, temperaments lull, then pick up pace. A sense of cycle emerges, the lively activity of daytime markets and trade, descending into night as the dangers of moonlit dunes sit softly in the backdrop, awaiting risky adventurous who tempt fate.

The brighter instruments highlight its potent melodies, forging a focal point for the records apt chemistry on this Desert Synth notion. In its calmer spells the minimalism feels lenient on the suggestion but its best sell are the bold, throaty, voicey synths.

They weave in a sense of ritual and spiritual tradition that illuminates a fantasy Egyptian alike culture with esoteric mythology at its core. This is where the record excels, a most gratifying component among a set of songs that work mostly for mood setting. The immersion doesn't quite grab you by the throat but the sell is strong.

Rating: 6/10

Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Rune Realms "The Fate Of Atlantis" (2016)

 

Seeking a record for the next step in our Rune Realms journey, The Fate Of Atlantis caught my eye with its soft pastel colors and suggestion of thematic departure from nature driven inspirations. The title too resonated, sharing name with a classic MS-Dos Indiana Jones game from my childhood. Had I payed closer attention to the attributions given bottom of its album art, I would of known the echos of that timeless, classic movie theme song, were not my own impositions on the music itself.

Upon learning this, the sparkle of adventure waned, as research revealed most, if not all, of the music here is built upon the MIDI soundtrack for the 1992 computer game. I was curious to see how this artist would handle myth and legend through the lens of a cultural, human setting. Instead, what was experienced was that of another. One I had technically enjoyed as a child, however, no dusty memories were unearthed.

The project, however conceived, has been a pleasant companion. Its shifts in temperament stir the spirits of adventure as moseying lulls and cautious tensions seem to hold over the mythical curiosity. Soft, luscious instruments gently guide one from mundane to mystical as its individual songs cut into moments of discovery and intrigue. The pacing is apt, a smooth, subtle journey conjuring great wonders.

Horns, strings, bells, harps and trumpets all have their moments, yet meld with a warm cohesion, giving the record an easy flow through its impressions both suited for ones attention and the background. The mystique isn't overt or over powering and perhaps suggestion has its power over where the imagination goes but overall its a fine experience for intended theme. A record worth returning to on occasion!

Rating: 7/10

Maurice Brown "The Mood" (2017)

The Mood, an apt name for a record that can impose its own upon one so snugly. This forth outing of veteran Maurice Brown, composer, voice and Trumpeter, bestows itself so elegantly. The soft swaying swagger of Smooth Jazz. Extended aesthetic pallets akin to Jazz Fusion. A subtle rhythmic groove fond of Jazz Hop. Maurice creates a modern, relaxing take on the classics. Fleshed out with occasional vibrant verses by himself and guest rappers, they somehow cut the instrumental flow perfectly with the sudden arrival of deep, thought provoking lyrics. The silence between barely yearns for more, despite the expressive words and chemistry they adorn.

Past its warm welcoming open cuts that set a firm groundwork, the album moves into a couple of Avant-Garde leaning songs. Its percussion busying and with dexterous, dissonant leaning leads emerging, it end up rustling the feathers of its slick persona. Upon finding a way back with Capricorn Rising, the musical themes and key melodies seem to lack the initial dazzle that captivated ones attention. Despite still possessing an easy charm, loungy vibes and full of good mood, It seems a step lower in energy.

Destination Hope, the album closer, rekindles that early magic. Bringing on a fine R&B singer, the Jazz hybrid template finds another soothing chemistry as Chris Turner swoons in to the forefront. Returning again with an epic, softly reverberated chorus. The message is strong and sweet, the melodies croon again and then a spoken word, half rap cadence, from J Ivy blossoms briefly as a fond unity is achieved. The Mood is a hard record to knock. Despite delivering such delightful magic upon the way, it falls short of a classic album experience despite its remarkable impressions.

Rating: 7/10

Ryo Fukui "Scenery" (1976)

Always one to be drawn in by the calming allure of Jazzy sophistication and lounge atmosphere, sadly I did not find a depth here beyond its smooth surfaces. Scenery is self taught Jazz pianist Ryo Fukui's debut, accompanied by ponderous bass guitar and drums, the trio only became appreciated by enthusiasts outside Japan years later.

 

The pleasantries of its soft, observational presence has a few strides of gusto, riling up energy with its thematic seasonal shifts. This is where percussionist Yoshinori Fukui shines, the intricate rolls and shuffles bustle with excitement. Yet in its dizzying sprints, Ryo Fukui comes off stiff and constrained as a soloist. His pacey piano strikes rotating notes with a mechanical lack of imagination for a listener to read between the lines. These particular leads played more like Heavy Metal guitar solos than Jazz.

In its less enthused drives the music melds into a comfortable rhythm, the slowest of tunes seeming to posses the most charm as the space between notes croons with smokey allure. Sadly though, I was looking for a spark I could not find. I've always been a sucker for Jazz, yet it seems only the most appraised of the genres works resonate deeply. I found myself with little to take away, despite enjoying my stay.

 

Rating: 5/10

Rune Realms "The Snowforest" (2015)

 

Noticing a purposeful theming in both presentation and naming, I decided to pick out this frosty, earlier incarnation by Rune Realms. The Snowforest suffers the shadows of its successors on first impression. Virtual instruments run stiff and seemingly lacking subtleties that eventually blossom as its theme sets in. The embrace is surprisingly calm, summery with a soft stillness. A stoic beauty of awe, a snapshot in time. Setting aside commonly encountered tropes of mother natures harsh cruelties, one observes the timeless majesty of snow blanketed landscapes, dense woods and white fields, forever unchanged in their shiver. Deathly cold, yet here we observe its genuine charm, free from the chains of mortal perils in such severe conditions.

On occasion, the albums steers itself into extended lulls. Deliberate and minimalist it again focuses on noninvasive melodies and chords deliberate in world painting and atmosphere, the strength that Rune Realms offers beyond its counterparts. On this occasion the frosty stillness can be particularly dreary in pace, despite a touch of jollity in its charming aesthetics. This changes with Snow Waltz, a lively piece conjuring gusto to sweep one up into its natural dance. More of this type of tangent on the theme would of been welcome as it explores more possibilities. Despite lacking a curious variety, the record serves its purpose in transforming the minds eye of this listener to vast and awe inspiring landscapes gleaming in the sun, despite the cold.

Rating: 6/10

Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Malcolm Horne "Frost Walker" (2022)

 

Released Christmas day, with seasonal, wintery hints in theming and bowing out on a familiar festive melody, Malcolm Horne gifts us a mini record for the holidays. However Frost Walker's synergy doesn't house that timely cheer. These are rather typical sounds for him. Leaning into the soft and gentle, breezy side of mellow Jazz Hop beats, the instrumentation croons in its gorgeous setting. Roomy pianos, glistening bells, humble organs keys and echos of drifting acoustic guitars shimmer above warm bass resonance. The spacious groove of sparse bass kicks and snare clicks guides tempo, anchoring otherwise lofty music that could almost drift away without it.

Frost Walker is one for the vibes, a mood setter. Its occasional voicing of soothing saxophone seeming like an ethereal voice in the winds, aching to roar yet subdued on this instrumental voyage. Its pleasantries are welcome company, a warm fuzzy set of songs with the easiest of pacing. As often happens with seasonal suggestions in music, the tone seems flipped to my mind. I hear cool summers days and relaxation. Not as wintery as intended for me but a welcome set of songs to mellow out with.

Rating: 5/10

Rune Realms "Caverns Of Gemfire" (2020)

 

Unlike the aching curiosity and gleams of majestic beauty Secrets Of The Deepwood possesses, Caverns Of Gemfire passes one by with a gently brooding and indifferent unease. Brought about by tensions in softly groaning bass synths, It too lacks a sense of being, intent or presence. The record plays, once again, like scenic explorations. Sites of calm and stillness visited, yet their wonders remain sequestered from contact.

My frame of mind could influence perspectives but I suspect it is not so. Unable to escape the disquiet bass murmurings of Caverns Of A Hidden World, Spire Of Crystal Spirits and Hidden Builders Of Gemstone & Crystal, their is a definite tension reflecting the empty solitude of lonely caves and caverns. Devoid of life and sheltering perilous conditions for such, these atmospheres carry a quiet impersonal hostility.

This darkness fluctuates back and forth with the presence of its plucked instruments. Gleaming harps, crystalized bells and subtle strings of warmth add shimmering spells of mystique to an otherwise cold and inhospitable terrain. One would not wish to be trapped within these spaces, yet through the expression of this crafty musician, another distinct sense of place is arrived upon. Seemingly simple in construct, the emotional magic mother nature provokes is achieved again in auditory form.

Rating: 6/10

My Top 10 Music Discoverys In 2022

The relationship with music is changing. Having adopted Spotify, I not only have access to a larger library of music but the whims to pursue sounds at the click of a button. With this, I've found many new acts and novelties I'd of missed out on as a purchaser of records alone. Its been my most "productive" year with this blog, amassing 217 entries. I've also decided its time for a change. In the coming year I want to lower the amount of albums I get stuck into and focus on more of an transient experience, following my fancy and committing to records only when they seem to show something of merit. This means less dissections on music that didn't click, a shift to focus on what resonates deeply. My goal is to make next year the richest reading experience, yet not abundant. As for discoveries, there were plenty to pick from but a group of clear favorites emerged swiftly.

(10) Old Man's Child

Not a discovery but simply a joyous journey over a bands discography from the years of youth exploring Symphonic Black Metal. Revisiting these Old Man's Child record's brought about immense pleasure, unearthing a few new gems too with the albums I didn't fully digest back then. I'll always have a soft spot for Galder's solo project and last I read, we might get a new one in the next year!

(9) Toadies

Although it was the lone record, it left nice to get stuck in with a sound that an older me would have turned a nose at. Their Alternative post-Nirvana sound is not one I am familiar with but the character of these songs and the energy they roll out with struck a vibe. Perhaps one to go a little further with!

(8) Kero Kero Bonito

With quirky pleasures of simplistic expressions and lively instrumentation unabashed by aesthetic, often more musical merit than initial impressions, Kero Kero Bonito made a splash with a style marked by childlike innocence. Their youthful joy and happy energy ran counter to my musical norms yet with an open mind I found a fond connection to uplifting and spirited music, occasionally wrapped in a contrasting twist.

(7) Timewave

Soundtrack to my summer holiday ambience, these lengthy stints of lively Pysbient Downtempo bangers scratched a niche I rarely encounter. Much of the electronic music scene explores vibes and melodic styles that don't resonate with me. This shift to an astral, cosmological focus gave it exactly what I needed. Since discovery, its been a constant throwback when in need of energized focus.

(6) Kyros

One of Spotify's recommendations, something that will dominate the list next year no doubt, is Kyros. Reset/Rewind is still a juggernaut song that I can't get enough of, yet plenty more we to be enjoyed in this Progressive Metal band's discography. They have a distinctive expression and when it comes together, its wondrous yet their output is somewhat mixed. I have no doubts they could pull off something remarkable so anything new will come with giddy speculation!

(5) Tamaryn

With roots in Shoegazing and Cocteau Twins influences, Tamaryn's steady progression over four albums to Synthpop is where the magic lies for me. Each record has matured with Pop sensibilities that resonate strongly. Ditching dreary guitar aesthetics and incorporating bolder, punchier melodies was a delight to behold. If this direction continues, the next installment could be something special!

(4) Dreamstate Logic

Always in search of cosmic ambiences, the discovery of Dreamstate Logic was a blessing. Not only a dense discography of records with a keen focal point on mellow spacey Downtempo drones but a license to use the music commercially. Therefore, it has been a welcome soundtrack to my livestreams, creating a cool, calm atmosphere fit for introspection and astral thought. The pace and temperament is perfect. Plenty of Synth lead lulls that gently swell into drum lead grooves. A pleasure to unearth.

(3) Andrew Odd

Discovering the term Pysbient led me to Andrew Odd, who also operates under the alias Timewave. His distinct approach to melding Psychedelic, Berlin School adjacent synths with cosmic ambience and the steady blooming of Downtempo grooves struck a nerve. Of this genre I have dabbled with through the aforementioned artists, his Random Thoughts record moved me the most. Its energy another to invoke deep focus and relaxation when needed.

(2) Matt Uelmen

Matt Uelmen is no stranger to me, in fact his Diablo II and Starcraft soundtracks have been an eternal source of endearing warmth over the years. Deeply tied to youthful nostalgia, imagine my astonishment when discovering his Torchlight II soundtrack was built of the foundations of that Diablo magic. A gift I have literally dreamed for over the years. Normally reserved for artist discovery, this record had to make the list.

(1) Type O Negative

A name I've known over the years, possibly once encountered directly yet was never taken in by. It took a friend to nudge me into the dreary heartbroken beauty of Type O Negative. Eclectic and estranged, their musical genius stems from the sluggish carved grooves of Black Sabbath and chirpy appeal of The Beatles. Yet these pillars manifest into romanticized Gothic soundtracks, oddly brash and deeply emotive, the expressions of Peter Steele are immortalized in the soaring brilliance their songs offer routinely. Between enigmatic anthems lies an unrestrained creativity, peering into Hardcore energy, metallic sway, Noise aesthetics and Pop Rock sensibilities with a most curious origin. The union of these four men is a blessing, one for the ages. I can only dream of discovering more deep connections again. Type O Negative have touched the peaks of my personal musical landscape. Brilliant.

My Top 10 Albums Of 2022

 
Reviewing the shortlist, It didn't take me long to pick out ten. Quite a few bands, Slipknot, Puppy & Ghost to name a few, have come through with solid efforts but what were the moments that resonated the most? Novelty tends to be a strong fancy yet sometimes a dose of what you know and love has sticking power. This year didn't produce as many deep impressions, with exception for the top two, clear favorites that are still mesmerizing. I look forward to giving this all a listen again in coming weeks!

 

(10) Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022) link

The re-ignition of Frank's C&C era music has been an absolute delight. Although parts of this brief four track EP may have been clunky and obtuse. Its spirit melds that Industrial Metal magic with Power Metal gleams and fantastical RPG VGM themes to a degree that's grown on me. In general its exciting to hear these musicians working on this sound. Even not if exactly what I wanted, together, they have so much potential to appeal to my nostalgia!

(9) Chaosbay "Boxes" (2022) link

A front runner in a post-Periphery era, these Germans made such a remarkable impression with their high octane meld of gleaming melody and hard hitting Djent. Its a juxtaposition that can play to delights on occasion and this EP captured a consistent magic stunningly. Like anthems, its soaring choruses got stuck in the mind and its five songs continue to bestow crunchy, shinny magic.

(8) Malcolm Horne "Mending" (2022) link

Malcolm returns to the top list again with another warm, endearing record of Jazzy Hip Hop beats, now fine tuned for a calmer atmosphere. Mending, crafted for streamers, finds balance and consistency as its flow of gentler crafts keeps one safe while accompanying adventures. This intention is felt so well as the record strides smoothly for its hour duration. An easy pleasure for sure!

(7) Nas "King's Disease III" (2022) link 

Seeming like a routine entry now, the "Goat" returns with an undeniable assembly of rhymes to grip this listener with a dose of the Hip Hop I adore, done to a level of excellence. Its main fault is its strength. That persistent theme. Lacking a little surprise, Nas continues strong with an installment to stand head and shoulders above anything I heard in the scene this year.

 

(6) Sabaton "The War To End All Wars" (2022) link

As a newly indoctrinated fan, I got another dose of exactly what I wanted. Their WW1 themed music got a second stint, recycling the same musical ideas and pumping out more of what works. It can't go on forever but as a result of such, they pulled of another cracking record that gets me fired up again and again. 

(5) Warpaint "Radiate Like This" (2022) link

 

 With so many crooning grooves, gleaming warmth and vulnerable emotive singing, this one read a resounding impression I've gone back to plenty of times. In need of warmth from a sincere, beautiful, endearing place, Radiate Like This has a sweet tone to indulge with. An exploration of prior records has taught me this band like to experiment and explore. I doubt they will repeat this formula, usually leaning to a darker grit. The Ethereal aesthetic here will likely be my favorite of theirs.

 

 

(4) The Weeknd "Dawn FM" (2022) link

You can't escape the Blinding Lights, however the craft of a whole record triumphs here as Weeknd takes on a nostalgic re-imagination of 80s Synth and Michael Jackson's singing style. With that music so rooted from my childhood it was beyond a pleasure to enjoy such a masterful handling of creative vision. In retrospect, the radio interludes are a little on the nose and break up its flow. Its also a record of two halves, the first I find much more appealing.

(3) Ocean Grove "Up In The Air Forever" (2022) link

In another case of "all I want is a repeat". Ocean Grove deliver the goods with another fantastic chapter. Re-imagining the Brit Pop, Grunge, Alternative Rock and Metal of the 90s with a splash of 00s pop too, its appeal ran deep. Little advanced beyond its original concept plotted last record. Perhaps this time a little less aggression and metallic tone but in that absence the catchyness and energy goes a distance. Another cracking record of back to back great tunes.

(2) Arcanist "Hyperborea" (2022) link

I'd consider these Dungeon Synth adjacent spaces a spot for both genius and low-effort clones to emerge. Discovering the better is always a delight for a genre I feel still as much to offer if done like this pair of records has been. My top two this year both take the biscuit in going the distance. With touches of Berlin School and vivid imaginations for fantastical journeys, each offers a vastly different experience yet steeped in powerful musical exploration, they both bare freeing structures and a musical ethos for exploring unchained dynamics between instruments.

(1) Old Sorcery "Dragon Citadel Elegies" (2022) link

As part of my streaming music arsenal, Old Sorcery edges out through its familiarity and repeated listens. If felt obvious early on yet as the months roll by its fantastical character and sense of adventure persisted. Old Sorcery has always felt like an artist with a unique voice but in this conclusion of the Castle trilogy, it's matured greatly. Perhaps The Hand Of Merlin soundtrack helped with that development as Dragon Citadel Elegies instrumental composition feels expanded. Either way, this is one artist to keep an eye on!

Skinny Puppy "Vivisectvi" (1988)

 

Stylized as VIVIsectVI, this fourth machination of darkly Industrial and sporadic electro tones is one I vaguely remember from over twenty years ago. Revisiting it has not rekindled any youthful memories or sparked any further intrigue in Skinny Puppy. Once again the approach of Ogre and Key alludes me. Their dystopian soundscapes running detached from a convention I'd connect with, like groove or atmosphere.

Harsh drum machine percussion pounds its persistent drone, a shuffling assault of stabs and jerking motions as jolty synth basslines busy themselves with energetic resolve. A persistent theme arises once again, the emerging instrumental pallet heard better used by others later on. Vivisectvi has its moments of chemistry, often brief and wedged between Ogre's bare screams, grisly spoken shouts and plenty of sampled snippets that attend to emphasizing a darker side of society and human behavior.

For me, this one barely amounts to more than the sum of its parts, however for the year I can see how fresh and different this experience might of been. Vivisectvi bridges its fidelity into a more digestible format, the music sounding visible. Crisper instruments and synthetic instruments play boldly. Where it looses me is after Testure, another notably Synthpop adjacent song with melodic convention and gleaming bells juxtaposing the dystopian madness with a touch of hopefully, if not naive, light.

With a touch of Dejavu, the record descends into a sprawl of chaotic ideas after this song. State Aid and beyond leans hard into distortion and battering percussion, never quite recovering the atmosphere once flirted with. I've heard these ideas re-imagined by others further down the line and packaged so much better. I can give it merit for exploring these grounds but the end result isn't satisfying, simply of curious nature.

Rating: 4/10