Love Is Colder Than Death "Teignmouth" (1991)

 

A recent emotional plunge had me engrossed within the historical worldly sounds of Dead Can Dance again. Now armed with Spotify's magical recommendation algorithm, I'm turned onto more Neoclassic Darkwave music. Capturing the feeling of pre technological civilizations, Susann Heinrich's renaissance inspired singing musters a familiar burden, the crushing weight of biblical shame and life's hardships our ancestors once endured. Its wrapped in unease and tension, as suffering and gloom penetrates these songs mysterious beauties. Questo Mostrarsi embodies this religiosity as its funeral organs resonate with the sins of humanity, a world view that once enraptured humans across Europe just a handful of centuries ago.

When incorporating percussion and keyboards, its performances are stiff and jagged, often breaking its own spell to some extent. Jolting hysterical sounds jostle in on occasion, as if to create a haunting vessel emerging from the shadows. Its bold edges are enjoyable when embracing its vision but much of this amateurish tonality seems so close to something stellar, had its production been more organically cultivated. These bold, punchy sounds further their presence in the records second half when Ralf Donis steps up, his stoic singing lingers in the shadow of his peer. More electronic sounds bustle in, Ralf deploying snarly sneers and groaned vocals which have the music bordering Skinny Puppy's Electro-Industrial with Chorn. The following Wild World has its moment as the two styles find a gripping chemistry together.

A common finality of curation comes to mind. Teignmouth engrosses one in a cultured, religious, historical worldly spell but consistency pulls us out as its stark execution breaks the magic. Caught between two ideas and lacking the finesse to pull it off, this sits with me as a flawed record that can be loved for Heinrich's voice who pulls us into its vision. With that, I am certain more spins would grow fonder, however I am keen and curious to go down this rabbit hole with new tools of discovery! Had to blurt out my thoughts and move on swiftly.

Rating: 6/10

Turnstile "New Heart Designs" (2023)

 

Today I've stumbled upon a pleasant surprise, a trio of Turnstile songs re-imagined on this latest single. Teaming up with Badbadnotgood, the bands songs get reworked into dreamy mellow alternates. Turns out Yates' clean singing is a supple match for these Psychedelia tinged instrumentals composed of soft pianos and woodwinds drowning in reverberating ambiences. His original takes having an inspired, ample chemistry.

It feels like a happy accident, a curious collision that's led to reworking three tracks from Glow On in a complete u-turn. Mystery gets an airy treatment, a relaxing stroll through an ethereal garden that some how mellows out the stained shouts. Bringing in soft percussion, Alien Love Call turns Lounge in demeanor, squeezing in some free flowing Jazz improv jams between the main vocal sections. Underwater Boi looses me a little as things turn tripy and exotic. Still decent but dang the first two cuts are magic!

Rating: 3/10

Këkht Aräkh "Night & Love" (2019)

 

Another early 90s Black Metal love letter! Unlike its predecessor Pale Swordsman, Këkht Aräkh's first full length seems a fraction too generic among the many who try to capture that era. Its gritty aesthetics are harsh, a crisp coldness splattered with clattering percussion over blurry rumbling baselines. Shriek howls, throaty cries and noisy distortion guitars paint a familiar sight of unrelenting Norwegian darkness.

On this debut outing, an arsenal of all to typical arrangements fail to muster excitement in the wake of all that came before. Despite its competency and mastery of the grim aesthetic, the aggressive stints of loose blast beats, shrill tremolo guitar and beastly shouts from the shadows fail to add to the conversation. It left the project feeling like a typical cast iron clone from an era that many have tried to recreate.

Night & Love, however, is littered with lonely interludes, sullen moments of reclusive beauty. Hints of nature intruding on soft folkish lullabies and ethereal acoustic guitars. They play as a treat of their own between the hard shadowy onslaughts. On occasion accompanied by a tender clean male voice, these sometimes eerie and often melancholic tunes swiftly became the most intriguing aspects of the record.

Its no place for me to say what an artist should do with their music but hearing this tandem of a unique voice, wedged between a clear and shared obsession with early Norwegian Black Metal, has me feeling as if their talents are misguided. Këkht Aräkh has caught my attention with an impressionable nostalgic venture yet they clearly have something else to offer. The two are yet to merge in a fruitful way as I hear it.

Kyros "Esoterica" (2023)

 

Although just a three track single, Esoterica's lengthier twenty minutes make it feel worthy of comment. The music however, certainly perks the ears! Bright, luminous, bold and daring, Kyros take the glory of Progressive instrumentation head on. The wall of sound production and glossy finish celebrates their musical artistry with unrivaled vibrancy on all fronts. Punchy expression and warming hooks feel stacked, complimenting layers of sound, yielding a sonic aesthetic housing ripe song writing.

 Its opening title track infuses and grossing percussive dance floor energy. As one is pulled in by its cruising pace, classic House pianos hit to affirm its inspirations before embarking on a jiving instrumental foray. The cohesion is superb, gears shift as we propel down a musical highway. The following Illusions Inside takes a steadied yet punchy approach with its drums. Slow yet big grooves carefully guiding us into its magnetic climax. The vocal arrive in a crooning swell, masculine and effeminate voices exchange lyrical expressions, harmonizing in a captivating spell.

its ten minute closer, The End In Mind, had less sway over me. In comparison, it didn't quite connect with a focal feature yet the song meanders all over the place like a jam session recurring to a theme on occasion. Its impressive, lots of remarkable dexterous performances yet not quite ticking the memorable box. Good to see this band are in a wonderfully creative place! I wonder if these songs will appear on a record soon.

Rating: 5/10

Code Orange "The Above" (2023)

My own unrivaled excitement for this release has manifested into a glum disappointment tainting The Above. Their previous outing, Underneath, set high expectations. The glitched out dystopian mania shook up a violent foundation, breathing new life into a genre where fresh territory is hard to find. Partially recoiling from such brutal intensities, the band intermingle a reinvention of 90s nostalgia.

Most prominent, their typical approach to Hardcore brutality seem skewed towards Nu Metal. The most aggressive riffs deploy the dissonance and syncopation flavors of that era with a subtlety that blunts its edge. Trademark manic spurts of chaos groan with the downtrodden vibes of a once ridiculed genre. Their tight technical execution absent in favor of this loose, dirty, moody aesthetic inspired by past trends.

Subtly woven in, the texture of Grunge and Alternative Metal has its moments too. On The Above, the band weave through a fair set of intensities and ideals but little about the record feels like a cohesive vision. More so, an exploration of loosely connected ideas drawing from the decades various styles. Some songs step into radio rock friendly verse chorus exchanges, others meander through an arsenal of riffs.

Reba Meyers gets to offer more of her voice, sometimes accompanied by string sections, yet the step into new territory feels off. Mirror is a redeeming experiment. Its unusual Trip-Hop beat seems to aid the songs swell of emotion. Other than that, the record offers little I wanted to come back too. Its angsty downtrodden inspirational origins did manifest with uniqueness. It was just not too my taste sadly.

 Rating: 5/10

Këkht Aräkh "Pale Swordsman" (2021)

 

Perhaps not a love letter but an embodiment of Black Metal before 94, one man band Këkht Aräkh's retrograde approach is a vivid artistic capture. With both its low-fi aesthetics and raw musical ideals, this project could convince seasoned listeners of imagined early origins. Many of its compositions rehash Burzum and Darkthrone, slipping itself into that era. The later seeming the dominant of two obvious inspirations.

Of course this is a product of our current era. Widespread accessibility and distribution lets musicians peer into the past and examine what might of been. Pale Swordsman adds little to the conversation, the core of its music drawing stiffly from the riffing techniques, drum patterns and arrangements that made the pioneers so unique. Disguising melodies within distortion dissonance, ambushing subtle grooves on top of stark breaks, all housed under a loose incessant rattle of amateur blast beats.

Originality can be found, almost exclusively within its interludes. Sad, lonely, melancholic melodies, these instrumentals conjure a soft dreary romanticism. The tender clean singing of Swordsman steers this into a charming folkish lullaby. Its a character that could have been leaned into, potentially forging a fresh take on old ideals but the two play separated, swaying between one another. An essential listen for fans of the aforementioned but nothing ground breaking, good nostalgic revival.

Rating: 7/10

City Morgue "My Bloody America" (2023)

 

Still one to check in with, City Morgue return recycling a familiar flavor of feisty aggression. Fusing Trap with Horrorcore and touches of Metal, the duo deploy harsh percussion aesthetics again. Rattling hi-hats and distorted base kicks thump no longer a novelty. Meeting spooky samples and lean distortion guitars, beat production paints ghoulish, nightmare scenarios for their unapologetic lyrics to reign a boisterous noise. Priding its content on death, hate, gunplay and machismo, a lack of depth is hardly a surprise. Most verses simply load in vile obscenities on aggravated flows spat hard.

Among its various leanings, a sense of something curious lingers but never arrives. Despite being a rather dull thirty minutes, the record has a certain foul charisma fit for horror but lacks substance. Its instrumentals fail to lean into its intriguing elements. Only Wicked elevated this unsettled energy to a catchy level. A banger among mediocrity. Its short looping melody illuminates when all instruments fire together. I still think this duo have something great to offer but currently I'm just not feeling it.

Rating: 4/10

S1gns Of L1fe "The Age Of Cymatics" (2021)

 

This entry serves has a marker of discovery, a favored familiar frontier, voyaged by an artist exploring that magical space between distant stars and our imaginations. Cosmic Ambience, as I've come to call it, the space inspired synth style mastered by Dreamstate Logic, which became an obsession last year. Spotify's algorithms has finally steered me on to neighboring territory. Signs Of Life, presumably using the 1s to distinguish the name, provides a welcome hour of lengthy tracks stiring temporal focus, through dense stellar atmospheres that calm and sooth in their droning.

To deter from my usual astral analogies, I'll get direct. Signs has an approach of intention. Its strengths emanate from visible synths arranged with character and purpose. Bustling on looping melodies, alongside sparse glitched percussion, little feels hidden. The craft doesn't linger in reverberations but strides inline with its projections. Although there is an apt amount of spacious echos for its aesthetic, the spacey mood is thrust forth by bold instruments resonating with one another. Airy pads and lofty synths are present throughout but serve more so as a glue.

I also suspect the VSTs behind this sound are similar, with some bass lines and other tones having an uncanny resemblance. Signs also loves the swells of reverb that shift the music into new phases. One can feelsa greater sense of progression and direction changing on these tranquil cosmic voyages. I'm pleased to have discovered more of this niche to add to my collection, its fantastic music for getting in the zone. This too joins the Temporal Focus playlist. Still searching for more!

Rating: 7/10

Old Tower "Draconic Synthesis" (2023)

Esoteric, arcane and obscure, Draconic Synthesis engulfs us on a mystic venture the marvels of sound design. Tinkering and experimentation has led to fruitful explorations of ambiguous wonder, found in gaps between occult voicings, astral synths and ghostly reverberations. This new terrain still stems from foundations of old castly Dungeon Synth, Old Tower continues an intriguing evolution into dark ambience and soundscapes, while fluctuating to familiar footings on this entrancing forty minutes.

Heard through a candles flickering flame, wildlife sounds of night accompany a subtle tropical flavor on its lingering melody. A dusky opener signaling new sounds, Draconis Arcanum has beautiful balance. One could imagine it as the backdrop to a Diablo theme alike game. Ruins and Horned Glossolia ressurects this direction with its lonely steel acoustic guitar, followed then by Sacred Carvings. This song leans fully into this cultural resonance superbly, akin to Dead Can Dance's transformative magic.

Spirit Vessel has a similar incarnation, evoking forbidden spirits from the graves with classic dungeon dweller magics. Its a more "traditional" piece for this artists however the closing Crafting The Symmetry Of Aeons feels like their most ambitious work to date. With many distant clanks, rattles, drips and drops, ghostly voices breeze by forgotten corridors as the music strides into foreboding chambers of sequestered darkness. The emerging synths and percussion give one a sense of tainted triumph over what lingered before its arrival. The strike of a gong bringing it to a sudden close.

Rating: 8/10

Gunship "Unicorn" (2023)

 

Five years proved a worthy wait, Unicorn returns riding into a surreal synthetic sunset of its own design. Fully focused on fundamentals, the British duo Gunship fine tune their classy Synthwave sound, pulling no new strings and sticking to proven ideals. To achieve this, songwriting must reign supreme. That challenge is met with an impressive cast of musical genius. Returning unions with Tim Cappello and Carpenter Brut prevail again, alongside giants like John Carpenter and Dave Lombardo, once of Slayer. An impressive roster, who admittedly appear on the records stronger tracks.

Its catchiest hooks, the lyrically infectious cadences and tantalizing neon synth melodies, a fruitful yield of collaborative chemistry. A delight early on within its loaded roll out. Vocal variety proves a strength, former Fightstar band mate Charlie Simpson, one of the best fits among a talented cast. The band Health bring keen Prodigy flare to the fold and Power Glove seems the most subdued arrangement given there reputation for lively retro VGM inspirations. Ghost plays a sleepy lull between the energetic dance-floor thrusts of Weaponised Love and Darkness For Dreams.

 In this final stretch the record steadies into a soft groove, arriving with less flash in the pan. Focused on its lyrical manifestations of nostalgic imaginations, the lengthy hour traverses its final temperaments with moody indulgences and subdued flavors. The love of craft and care in handling these inspirations percolates its glossy aesthetic, bowing out with strides for anthemic heights that landed off a little to my ears. Unicorn is a brilliant return. Not a perfect record but seemingly the best of their three chapters.

Rating: 7/10

3TEETH "EndEx" (2023)

 

Competently entertaining yet lacking a defining feature, 3TEETH returns, armed with a force of subdued aggression that gets wrapped up in its own mechanical dystopian aesthetics. Their fourth effort, EndEx, plays out a string of songs, ambling through intensities, wandering aimless along a disgruntled landscape of urban decay.

 Collaborating with Mick Gordon of Doom soundtrack notoriety, their combined chemistry yields little obvious beyond the siren likes synths that blare distress behind chunky guitar riffs. It feels like a missed opportunity to elevate the musical blueprint. Perhaps his influence goes beyond its credits as the whole record feels cohesive.

On first listen, EndEx felt like a flop, passing without grabbing my attention. Repetitious listens unveiled a lack of hooks and "bangers". This record has mood, aesthetics and atmosphere. It lacks songs, memorable moments and biting lyrics. Riffs are found within its arsenal, often disconnected from the music it emerges from.

Its most memorable moment goes to Ho99o9, the duos energy injecting much needed novelty to latch onto, their shout raps fitting the distress of the guitars. I'm left with little to say, a fun listen but lacks a command of ones attention to force its artistic intent.

Rating: 5/10

Marconi Union "Weightless" (2012)

 

Discovered through a scientific podcast about the effects of music on our psychology and physiology, Weightless has been studied to learn of its calming effect on listeners. This was no mystery to me, as someone who suffers with anxiety at times, I learned long ago the powerful magic of ease Ambient music can bestow upon its recipient. Unlike my typical plunges into random areas of this genre, British duo Marconi Union's approach fits snugly into a relaxing yet artful region of Ambient I adore.

Lengthy stints drift drearily through ambiguous atmospheres, the jaws of danger remaining inanimate. A soothing stillness passes its balmy brood, sheltered from rainy weathers subdued. Melodies linger in limbo, sluggish slumps of tempo mask meaning and purpose. Tensions are tranquil, suspense soothing and apprehensions amiss.

 Weightless' tonality and textures holds many unknown mysteries that could easily be manipulated into darkly stressful taunts. Unease and suspense sit central to its blueprint yet the ambiguous design is played perfectly. Disconnected, un-anchored melodies strip out all identity and meaning. The remaining impressions have no tilt, you will find nothing happy, upbeat or joyous at play among its six parts.

Its lack of emotion is perhaps why Weightless is so soothing, a removal of drama and noise from ones mind as we indulge at restful tempos. Cuts two and five elevate slightly with soft percussion, the later including soft Downtempo like bass, reminiscent of Yagya. Its all wonderfully orchestrated, the endless dawning of its airy synths grasping one in its moment. Instant classic, one for the Temporal Focus playlist.

Rating: 9/10

Paris "Guerilla Funk" (1994)

 

Discovering the likes of Paris years back, left me wondering why this talented rappers career never took off. Guerilla Funk highlights what I didn't hear back then. The similarities to Rakim and Public Enemy where of the time, as is this records parallels to the currently emerging G-Funk sound. Gurerilla Funk can be distilled to aesthetic and musical blueprint of Doggystyle, paired with the lyrical aggression of Ice Cube. Bordering plagiarism, Paris picks up all defining characteristics of the style. Cadence and flow runs in step with topicality and phrases, emulating the sound so well it emphasis its tropes and cliches. He is clearly all to keen to step into others sound.

I don't take issue with that but it highlights an issue. Whenever Paris tries to step off this trendy sound's topics, his politically charged rhymes stand in disparity. In retrospection, I see how he didn't exactly define himself among the crowd first time of asking. Two records later, this dramatic shift in tone leaves his own expressions weak, without a definitive style to embrace. Almost every track and flow emulates others.

Critiques aside, Paris is a competent performer, a pleasure to listen too and a talent. Perhaps one lacking his own flavor. Despite its lack of originality, if your into this era the production team put together cuts to compete with the classics. Outta My Life catches an ear for its instrumental, akin to Life's A Bitch on Illmatic but given that dropped months earlier, can't help but feel its a lift. Anyways, point made, a good spin if your into 90s Hip Hop and the G-Funk sound Dr. Dre and Snoop pioneered.

Rating: 5/10

Nas "Magic 3" (2023)

 

This swift trilogy concludes on time to celebrate the rappers 50th birthday. A startling reminder that Nas is yet to show is age, vocally speaking. Perhaps we hear it lyrically, in shared wisdoms, aged cultural nods and reflections on his past. Magic 3 retreads familiar territory, affirming the fruits of this collaboration. Hit Boy's contribution seems to lean on vocal snippets. Clips and samples of classic soul singers brood, tilted and slowed for an aged, slightly low-fi aesthetic. The percussive grooves aren't as bombastic, giving its forty five minutes a mellow, low key presence... for the most part.

When Nas gets into a story, the chemistry shines. His best tracks, like Based On True Events, run focused and cohesive, much like some of his classics from the past, he has a timeless knack for keeping one engaged as he can keep the flow within the narrative for all a tracks verses. He pretty much handles the record alone. The one feature, Lil Wayne, comes with a sudden shift given his strained nasal tone. The rhyme scheme doesn't compliment the track, the verse sticks out like a sore thumb.

Overall, the conclusion arrives hastily on the heels of "franchise fatigue". This era has been stellar but the depth is overwhelming now. Considering the preferred structure of beat and rhymes remains unchallenged, one is left with a lack of distinction between projects. Whatever comes next for the rapper, I hope he challenges himself on both fronts to find new ground as this territory has been thoroughly explored.

Rating: 6/10

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10