VNV Nation "Electric Sun" (2023)

 

A five year gap between Noire and Electric Sun has elapsed, the largest among VNV's twelve records. Evidently a veteran of ones own identity, this re-emergence offers next to nothing new. Its steady stream of melancholic warmth resonates on familiar footing. Harris' soft fatherly voice words lyrics steeped in compassion, introspection and wisdom. The message of victory not vengeance persists, navigating humanist struggles and emotive pains through grandiose metaphors. An easily digested balance of darkly Club synthesizers and thumping Dance percussion whirls up energy. Slick Neo-classical instrumentation ushers itself in, fanning emotive flames with soothing pianos, completing a glossy aesthetic housing both softness and edge.

Its a bright, thoughtfully crafted execution of a familiar blueprint. Its glittery melodies, grand stings and pulsing dance floor drums are left dulled by their lack of surprise. Having acquainted with and grown fond of an unshaken sound so many moons ago, its left this listener with little to love beyond its pleasantries. Both aesthetic and thematically resolute, even Electric Sun's structure felt archetypal. The same rotation of gleaming astral interludes and a dark banger, Artifice, rolled out with familiar feeling. Its a fine record but perhaps not something I was in the mood for. I'm sure these songs would find themselves home on rotation in a VNV Nation playlist.

Rating : 5/10

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Siebzehn "Starship Signals" (2016)

  

 Following up on The Ocean Palace, we have another spacey Pysbient record, interestingly created the same year. Once again its another expectant occurrence in terms of meditative mood and focusing ambience. Like the latter it had an allure of mediocrity that landed it square in the middle of the spectrum. Siebzehn's defining characteristics are built within its busy instrumental nature. Soft rattling synth stabs oscillate alongside aimless percussive noises, held by a steady groove as one is locked in this slice of time. Bass lines brood below with a synthetic textural intensity. With this blueprint, a fair range of astral inspired temperaments are explored.

Under The Radar strikes as a resonant assembly of the spacey tonality heard so far. Illusive melodies strike a sense of momentum frozen in time. Its pulsing bass loops its brief notation as airy occurrences of alien noise drift in and out of focus around it.

Tektoniks is another highlight. Again, lead by a bass line slowly pulsing with a touch of sub, were guided through unease and tension. Observed with a sense of detachment, percussion waivers in and out of focus alongside the sounds of deep space.

Starship Signals has its flavor and as the title suggests its sense of space is woven with mechanical, technological constructs of a future mankind. This is greatly emphasized by its slightly industrial approach to the drums which have a busy roll despite the relaxing nature of the music. I could hear this as a keen soundtrack to a video game, with the right space adventure inspired theming of course.

Rating: 5/10

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

One Arc Degree "The Ocean Palace" (2016)

 

Lately, I've been on an ambience oriented, cosmic themed, spacey vibe Pysbient kick. Whatever fancy words I throw at it, their is a niche in me for this temporal, meditative music that's been difficult to satisfy. The crossover territory of Psychedelia and Ambient in an astral setting slices like a blade, either immensely satisfying or rather dull. This is one of two recently discovered albums that fall precariously in the middle, leaving me unable to make up my mind. No doubt however, this one will make my "temporal focus" playlist for when in need of a restful yet channeled mind.

The Ocean Palace has a sense of stillness on arrival, as if the astral activity is elsewhere. One observes from a desolate planet, as the stars and skies above bustle with activity. This feeling evaporates as its tracks steadily bloom. Thumping bass percussion builds, each track running a similar trajectory with increasing intensity.

With Kraken Mare the record pivots to its textural offerings, different flavors of dense airy ambience and complimenting illusive melodies. Every songs feels tangled in a web of noise work, quirk sounds and details rumbling in and out of focus on mechanical rotations. It creates a sense of alien activity, not understood but observed. With Hydrogen Times Pi, a strong sense of influence emerges, the echos of pioneers Carbon Based Lifeforms brews as its lead melodies take on a similar character.

As I mentioned, this well fell in the middle, not quite as captivating but certainly not bad. Saturn Rising felt like its defining song and the ambience was pressured by a slamming sub bass drum and rapid clicky noises. Quite the contrast, that birthed an interesting atmosphere. I won't go deeper with this artist but the search is still on!

Rating: 5/10

Frank Klepacki "Morphscape" (2002)

 

 

Frank Klepacki, creator of the timeless Command & Conquer soundtracks that have obsessed me since playing the classic Westwood Studios games in my youth. His debut solo release Morphscape is no unknown entity. Yet despite discovering it many moons ago, it seems this musical gem never really registered. Released after Red Alert 2 and Yuri's Revenge, this is clearly a collection of leftovers from those sessions.

 

The unabashed aesthetics and niche stylistic framework remains intact. A jiving fusion of Industrial grit, futuristic Electronic, Funk bass grooves and on occasion, a slab of Metal through distortion guitars. These elements meet on bold ground, punching stiff melodies and rhythms into the fold. Controlled chaos emerges as layers of crowded sound compete for dominance, a familiar yet strange charm resonates again.

On its surface much of Frank's compositions seem tacky and unhinged. Despite its crude union of snappy instruments, immersion emerges through the various pivots that signal intention and direction. Best are the plastic sweeping synths, often arriving unexpected, manipulating a lively adventure with a soft passing emotional depth.

Quality is reasonably varied, as are the particular styles explored. Although I enjoyed all but one of these cuts, only a couple felt they could have offered the original soundtracks something extra. The other songs bore much resemblance to originals, with similar ideas, arrangements and aesthetics being spun with less magnetism.

That leaves us with one song, Gonna Rock Yo Body. Clearly his passion project, Frank pays tribute to legend Afrika Bambaataa and the Planet Rock musical blueprint. It illuminates some vague Hip Hop related influences lurking elsewhere on the record. On first listen, a comical, quirky take. With repeated listens its stark unapologetic nature becomes tiresome. An odd blemish among a fine collection of C&C songs.

 

Rating: 6/10

Aaron Cherof "Minecraft: Trails & Tales (Original Game Soundtrack)" (2023)

 

Playing it safe and getting it right, Aaron Cherof, Minecraft's latest soundtrack composer, steps gracefully upon familiar foundations. With the last three installments, Lena Raine managed the burdensome task of moving forward from C418's iconic musical blueprint. She did so with a touch of magic, encroaching on a new wonder. Inspired atmospheres emerged, darkly yet gratifying tensions fit for nether dimension adventures. Gentle and dreamy surges of melody blooming from humble origins one Caves & Cliffs. And then The Wild Update, fusing hints of location and culture into the music for the discovery of new destinations, both ancient, dark and swampy.

Along with game ambiences, the inclusion of Pigstep and Otherside persevered with praise. Players now had new music discs at their mercy. Alongside the original twelve, they stood in equal brilliance. Relic is now the sixteenth record to join the collection. A reddish brown hue, light blue inlay an alluring look but does it live up to expectations?

Following firmly in Lena's footsteps, Relic works with the vinyl crackle, hinting a soft organic fidelity as buzzing synths resonate with shimmers of wobble and warping. It humanizes the key melody, which conjures Minecrafty spirits. Initially reasonable, it grows with percussion and variations on theme. The bass busies and drums increase complexity on path for a gratifying conclusion as underlying synths glow warmly.

A safe success and the same could be said for the other four overworld ambiences that make up this five song soundtrack. They follow a familiar format built by Lena. Pianos lead with lavish reverbers, building gentle, soothing ambiences that blossom with surges of lucid, ambiguous atmospheres bustling from beneath its main motif.

Bromeliad breaks ground a fraction, intriguing, as its main melody initially alludes. Sweeps of a piano chord get lost among the emergence of soft rhythmic percussive sway. Quite the build up, that leads itself astray as the musical direction pivots into a cloudy conclusion as airy synths and glimmering piano drips steal the focus again.

 Crescent Dunes could of been my favorite! A grand yet distance cram of shimmering instruments sparks a bold stance at the onset. Yet swiftly does the composition sway into familiar territory as pianos breeze in the winds of softly atmospheric synths again. It does find a charming passageway as rhythmic stabs of strings guide its ascending key melody. Not quite the typical characteristic for this game but it does work.

As I said in the opening, these new compositions play it safe, sticking to a proven formula and yielding competent results. There were a few glimmers of something fresh and distinctive on offer but always brief. If Aaron gets the chance to work again on the next updates soundtrack, I hope they get a little adventurous and explore their own musical flair could offer the games atmosphere and its passionate players.

Rating: 6/10

$uicideboy$ "Shameless $uicide" (2023)

 

Recently Ive brought myself up to speed with this duo's trio of full length efforts. Its been a mixed bag of tricks, reeking with potential yet lacking a firm stride. Unsure of where to navigate next, its seems Ive lucked out! This latest EP, dropped two months back, struck indulgent vibes. Their difficult subject matter lures suffering into mellow relief through dreamy instruments drifting over the steady slam of crunking drums.

 Ruby & Scrim bring their best, strong vocal tunes with sway, elevating their unapologetic raps into breezy melodies. Its a wild wrestle, a mastery of struggle yielded to a cathartic escape through expression. Something retro and summery also lurks among this gritty percussion. Flirting with cheesy, stark synths and cloudy electronic melodies, they conjure a laid back allure among the dark topical chaos.

At the mid point things turn nasty, leaning into violence with gun sounds and grizzly beats, peering into the bleak. The bass bangs with deep sub resonating underneath bussing drum patterns, an apt chemistry to house such grimness. The pair, along with guest for the record Shakewell, lean into nasty gangster braggadocio to great effect!

Some of their sharpest raps arrive among these two shorter cuts, before the moods mellow out again. For me, the melodic sung raps shone brightest. The change in pace works but that's where the magic sparks. I really enjoyed this. When each song clicks, it suits my preference for a cohesive collection of songs over randomized playlists.

Rating: 6/10

Janelle Monáe "Dirty Computer" (2018)

 

As the last of Janelle Monáe's offerings, Dirty Computer signifies a departure from its established android protagonist narrative. Where that theme evaporates, so does its 70s Psychedelic, Soul and R&B elements. In essence, an entirely different sound with Janelle operating on the level of an 80s Pop powerhouse front-woman affirming her stature. Intermingled with trendy tones of the times, its instrumental offerings ran a little weak for my taste. Many musical elements are striped to a mild resonance, energies muted, with a hyper focus on catchy hooks and empowered braggadocio.

It does however kick off with three decent numbers. Brian Wilson of The Beach Boys lends his iconic swooning vocal sways to the background of a tender, harmonious introduction. Gears then shift as a dazzling mix of modern production collides with echos 80s Synthpop. This luminosity fades as the lyrics become bold, overt and obvious. Substance is inherent but its musical chemistry rubs me the wrong way. From here the record leans hard into the Pop trends of the time. To my ears, all to dull.

In its final third, the gears shift once again. Brushing shoulders with great songs from nostalgic eras, the influences come obvious and stiff, failing to ignite. This stripped compositional approach sours here, leaving its songs instrumentally underwhelming. Janelle seems unable to spark the magic either. Little of the conjured greatness beforehand is present. Clearly a different vision, one I'm sore I didn't connect with.

Rating: 4/10

Narrow Head "Satisfaction" (2016)

 When invited to indulge with music so apt to ones taste, it can be a tricky task to pull on the threads of its magic. After being spoiled with a refined and mature, White Pony inspired Moments Of Clarity, what I thought might be a blemished origin story, seems settled with an endearing rawness. On arrival, the dense, muffled guitar tone and crunchy baselines take a moment to adjust too. This seems like an amateurish first outing yet when Duarte's voice drifts into focus, dreamy, like a mirage coming to pass in a moment, It all clicks into place. What then unravels is simply a string of treasures.

Aching with shoegazing aesthetic wonder, punching in sharp percussive grooves and often aligning on the power of the riff, strong Grunge and Nu Metal persuasions are woven in between an energized ethereal haze of crooning distortion and swooned sleepy singing. Unafraid of hard grooves or dreary acoustics washed in reverbs, their degrees of intensity are always met with inspiration. These songs play with purpose, direction and immediacy, through direct song structures that get straight to the meat.

Its all killer, no filler, with eleven songs to pick favorites as the many takes on groove, guitar noise, melody and aesthetics explores classic 90s ideals. Despite coming reasonably close on occasion, it avoids any plagiarism with a lot of its influences manifesting in enthusiasm, energy and awe. Personally, I found its ability to grip for thirty six minutes fascinating. A sense of coming persists and no idea outstays its welcome. Best of all, firing up the record for a spin and adjusting to that thick, rumbling, dense wall of sound on Necrosis gets me every time. 

Rating: 8/10

Metallica "72 Seasons" (2023)

 

Seven years on from the lively Hardwired, a surprising return to form, these aging veterans rebound on a thematic feast revolved around struggles of the first eighteen years in ones life. As a lengthy seventy seven minute chunk of straightforward Metal, 72 Seasons has many subtle shades of Metallica as we have gotten to known over the decades. Leaning on its appealing metallic aesthetic, the group push distilled ideas in there simplest form, running through an arsenal of mid tempo riffs with occasional the sprints of frantic tempo and flashes of crafty low end groove.

Hetfield's tandem voice and guitar assault is the principal appeal, his talent, flair and expectant demeanor still a delight as he ages gracefully. Although somewhat a predictable style, repeated listens will have his chemistry getting wedged in your mind with many infectious hooks sinking in. With sticks in hand, Ulrich splatters his flat, bland and dull drumming down with that familiar sense of asking is it understated genius or the power of Hetfield carrying him by? I think the latter. Hammett and Trujillo have muted rolls. Robs baselines a powerful compliment when deviating from mirroring the riffs. Kirk shows up for thrashes of his distinct fret shredding yet barely a fresh idea is heard. It really feels like James is the driving force on this outting.

On first impressions, the album seemed reliably competent. Nothing daring, a safe bet. Yet with repeated listens I must admit many of its understated, mid-tempo Load era songs became favorites. Faster hitting songs nail the feel of Hardwired and Moth Into Flame but without a special sparkle. That ended up becoming my main takeaway. For all the indulgence in a love of Metallica, it lacked something to break the mold.

Throughout 72 Seasons the group retread old ground, leaning into classic Thrash riffs perhaps better shredded by other acts from the genres heyday in the eighties. Another subtle gripe, its song structures lean fondly into lengthy arrangements that seemingly cycle riffs in masterful arrangements. Yet they all lack that climatic surge into the unexpected. Thinking back over their classics, many early songs broke ground with daring, unforgettable ideas that justified such lengthy assembles. This record feels more like an easily digested Black Album approach, just stretched out.

With a dash of daring and heavy curation, the offerings here could have rattled off at a dazzling pace, making for an exciting whirl of new riffs from the arsenal. The repetitious guitar led drive gets a little too comfortable with itself, landing the record on a fair mediocrity instead. Its competent, hard hitting and fun but falls short of anything special. I am still enjoying this one though! After a healthy binge it does feel as if many of these new cuts will tire before long. Only time will tell, but I'd keenly bet on it.

Rating: 6/10

$uicideboy$ "I Want To Die In New Orleans" (2018)

 

$uicideboy$ rock a rapid release schedule that signifies a different approach to distribution. Since 2014 over forty or so EPs and mixtapes have emerged. It creates a daunting task in search of there best material, yet its where their most popular songs reside. I'm unsure of the significance the album format offers but this debut arrives with a clear concept to tie in their notoriety with home state Louisiana. Interlaced with locational references, tales and affirmations, the radio and news snippet interludes grounds a grizzly reality, illuminating the harshness of growing up in the south.

Sadly, my experience has been a dull one. On this debut record, both the gritty horrorcore beats and harrowing rhymes lack a sharp potency they land with on later projects. The sullen moody aesthetics and unabashed honesty with difficult subject matter remain in tack. Their vision is evident, a distinct individuality reaching out yet those infectious sung hooks and energized flows are yet to be honed and harnessed.

The record feels tied closer to its cultural roots with many southern tropes lining the instrumental design. Vocally, the pair drift into lazily spoken registers. Dull, softly delivered monotone raps distract from the subject matter itself, unenthused in nature but sometimes seeming conceptually relevant in a defeatist sense of overwhelming struggles. Despite analysis, the stars did not align for this listener. Clearly the foundations have been laid. In this manifestation, their expressions failed illumination.

Rating: 4/10

Janelle Monáe "The Electric Lady" (2013)

 

 Unabashed, bold and brazen, this sophomore follow up confidently struts its thematic concept directly into the spotlight. Where The Archandroid maneuvered its robotic humanoid inspirations with intrigue, The Electric Lady hits these beats on the nose with no subtleties. Key protagonist and android messiah, Cindi Mayweather is thrust against fear and ignorance. Crudely deployed with overt interludes between songs, a radio show host reigns in calls of colorful bigoted callers, reputing their hateful views revealed. An obvious metaphor for various phobias that grip people in current times.

Contrasting this illumination of social ills, most these songs are positive, uplifting, striding with themes of empowerment and strength. Its title track plays like an homage to the powerhouse anthems of Soul and Disco crossovers from the 70s and 80s. Unsurprisingly, this era is where much the records stylistic draw comes. On this track however, its self assured execution and expressions of female empowerment fall flat against a perfected checklist of tropes, notes and beats to hit in emulating this style.

Originality and inspiration is in question. The albums second phase hits an thematic echo with Ghetto Woman. I prefer this one, however its instrumental is clearly lifted from Stevie Wonder's blueprint of vibrant expressions. Although only palpable on occasion, much of the record drifts by without that keen infectious spark of its predecessor. Its historic sentimentality left exposed in the shadow, an awkward underwhelming stretch of luscious, warm, soft to touch music that rarely peaks.

One track hit a groove. Dance Apocalyptic swiftly picks up pace, deploying a chirpy percussive jive to wiggle with. Instrumentally soft all over, a youthful love of live emanates through its lively assemble of carefully performance instruments. Even turntable scratches can be heard in the mix. Janelle's jovial chorus and cheeky hooks are a delight, "shellang-alang-alang". One to get stuck in the ear, among a lengthy stretch of songs lacking the depth and charm seemingly lost from that last triumph.

Rating: 6/10

$uicideboy$ "Long Term Effects Of Suffering" (2021)

 

Following up on Sing Me A Lullaby, My Sweet Temptation, this prior sophomore record has solidified my warmth for this duo. Where the last album swayed in quality, Long Term Effects Of Suffering hits focused! A dreary, creepy crawly mood permeates as slick aesthetics provide the groove and enjoyment. Glued together by themes of personal pains, the sullen, bleak, rain soaked atmosphere sits front and center.

A few tracks offer a slight respite. 5 Grand At 8 To 1, New Profile Pic & Forget It drift into warmer tones with tonal echos of Jazz Hop emerging under its trendy Trap percussion. Then there is Bleach, leaning face first into the flames, embracing the burn, a gritty banger to say the least. Whats left explores a broody melancholy, reminiscent of Emo Rap when wearisome acoustic guitars and glum pianos emerge.

Consistently across its lean thirty minute duration do the percussive arrangements delight. Noticeably apparent on this outing, its snare kick grooves are elongated. Occasionally lethargic and sparse as shuffling hi-hats offer erratic pitch shifting patterns in the space between. Done right here, it challenges the usual 4/4 loop of Hip Hop beats. The cohesion with instrumentals is fantastic despite a strong contrast.

Stars of the show, Ruby Da Cherry and Scrim, offer brutal honesty with their personal struggles laid bare. Its a topicality expected, however consistency really elevated the message. Shared experiences offer relief, forge connection and its hard for their openness not to endear. Last time the stints of braggadocio broke up the flow. This time they forged a fine album that you want to play from front to back each time.

Rating: 7/10

Periphery "Periphery V Djent Is Not A Genre" (2023)

  

 As a band past the peak of their creative edge, the use of this albums title to make a statement was a curious one. I have no idea where in this string of songs it was supposed to manifest. Only the Pop ballad Silhouette and ending Ethereal ambiences of Thanks Nobuo made a distinct departure from their atypical sound. This remark on Djent feels hollow, the music offers up little to counteract the notion as Periphery spin their prominent style again. After all, genre names are an attempt to objectify subjective experiences of difference across a spectrum of auditory distinctions. Djent may have initially been in reference to Meshuggah's extreme guitar tone, yet it has clearly become a catchall for a scene that has since blossomed around them.

So what does this fifth chapter offer? A healthy helping Periphery melting the steel again! With harsh rhythmic assaults, extreme guitar abuse and a duality personified by Spencer Sotelo scowling screams and ascending clean vocals, the band do what they do. This alone explains why I took so much time with this record. After weeks of repetitions, I couldn't unearth what was new and fresh. Many of these songs could slip into previous records. My favorite moment of intrigue was Wildfire's dissonant guitar solo, simple for being a clone of Fredrik Thordendal's rapid alien tapping style.

Its a rarity to hear done right but suffers its unoriginality within the bigger picture. In many intervals do the band detour from metallic thrashings into softer temperaments. With lavish helpings of sweet and subtle orchestral elements woven into their dense wall of sound, they offer up an aesthetic wonder but the songs seem to fall short on new and interesting directions. One could feel that waning on IV, with Blood Eagle being the lone rumble traversing new grounds. Here on V the lack of ascent felt real. Left unsure of favorite songs, despite enjoying the offerings with each spin, Its as if the band has run out of fresh ideas.

Rating: 6/10