Rina Sawayama "Hold The Girl" (2022)

 

Following up on a smashing debut, Hold The Girl's antidote lays in repetition as first impressions come stiffly poisoned by uncanny familiarity. This is Pop music after all, its broad appeal conjures the best radio has to offer. Admittedly, it took time to flourish into the ear worm monster it has become. Trading in the eclectic ensemble of debut Sawayama, Rina commits to an intoxicated romp of glossy bangers pulling from across the spectrum of popular music's finer offerings. Showing her hand, an obviously play is made for high octane Dance-Pop that also ushers in mild echo's of 80s Synthpop and driving percussive energy of the 90s UK Electronic scene. Along the way were treated to crooning ballads, a touch of Country Pop, R&B and Soft Rock.

Uncanny in nature, lacking originality, yet sparkling with a touch of magic, its Rina who makes the record whole. Track after track delivers stunning performances, soaring vocals, emotions flowing in infectious cadences. An emotional weight grips her lyrics of struggle and expression, entangle in the moment. Your Age hits hard, an anthemic reflection on predatory abuse. A dark undercurrent manifests into a shudder of glitched vocals. It plays beautifully against ascending cries on the tracks chorus hook.

She is simply on fire, as are the instrumentals. Most songs play fleshed out with charisma and craft, leaning hard into the concept at hand. Occasionally flaring up with a Glam Rock guitar solo. Dense and powerful, subtly is not the intended direction. These tunes know themselves well. Some tracks however boarder "plagiarism". Americana inspired Send My Love To John feels all too familiar. Perhaps a victim of is stripped down acoustic simplicity, if I had a broader recall, I feel as if I'd put my finger on it. Quite a few songs do this, however Catch Me In The Air's guitars are blatantly derivative of The Smashing Pumpkins' 1979. Holy is another ghost of the 90s Electronic scene. That Ethereal piano melody over the thumping bass is uncanny.

Despite all this, the record is utterly brilliant. More the half the songs hit like classics and the trailing tracks ain't far behind. Hold The Girl plays with fire. Does it get burnt? Yes but I couldn't care. Perhaps had they been a little less overt with influences, such thoughts could have been avoided. Lastly, I'd like to end on the album's closer, To Be Alive. Such beautiful lyrics, blossoming out of the darkness of youth, warmth emanating from within, a platonic love song of life. Its emotional build, shoegazing blurs, dance pianos along with the lofty choral voices is simply blissful.

Rating: 9/10

$uicideboy$ "New World Depression" (2024)

 

Slick Southern Rap duo $uicideboy$ return afresh. Having built a cult fan base from the ground up, New World Depression marks another benchmark, their highest billboard charting to date! Impressive, but not reflective of the albums substance. Spending weeks with these cuts, Ive felt the sparkle fade gradually. Now accustom with their dreary tuneful sing-raps, slanted Southern cadences and difficult topicality, their routine of snappy beats and weighty rhymes fizzles into just that, a routine.

The closing stretch catches my ear. Covering U.N.L.V's classic Drag Em N Tha River makes for a memorable shift in tone. Stabbing string jabs and a jarring piano riff mixes up the mood. Its proceeded by the records darkest and best track. Us Vs Them ushers in criminal melodies mustering a tone for stealthy mischief as the pair rap devious carefree threats. The Thin Grey Line indulges in a similar mysteria, the beat conjuring conspiratorial vibes for the duo to exchange their sharpest flows.

Mostly dabbling with moody, glum instrumentals, brief moments of insightful lyricism fall between the cracks of boisterous showboating wordplay. Relatable messaging of struggles and drug abuse dull as a result. Previously their words soared. Its either familiarity or the routine I alluded too but New World Depression simply entertains before fading from consciousness. Competent record, but lacking a fresh spark.

Rating: 6/10

Ankor "Embers" (2024)

 

I take no pleasure in negativity. After a good go at this one, due to personal recommendation, I've found little positive to say. Hailing from Spain, Ankor have been at it for over twenty years! This latest iteration finds them splicing bouncy Djent leaning Metal with garish Trance synths with an unsurprising Pop tilt. Singer Jessie Williams occasionally offers up an indulgent softness but mostly soars with power that lacks soul, clean but all too reminiscent of others in the female fronted European Metal scene. Things get uncomfortable when dropping into cheesy spoken half raps. The lyrics are weak and mostly juvenile takes on mental struggle. The harsh screams from Julio Lopez mostly rub me the wrong way too. Not my cup of tea.

Behind the pairs front presence,instrumentals come varied. Not locking in on a distinct style, they flummox between brutal guitar chugs and symphonic surges. Shifts in tone rarely gratify and momentum is often dispelled by the vocal cadences put in front. It makes much of the music forgettable and generic in its stride. Trance Synths bluster loud and bold, crashing in around guitars with a lack of spiritual cohesion. The vibes clash, I imagine enjoyment of such chemistry would be rather niche.

If I can bestow any positivity, a few arrangements catch the ear. The soft vocals on Embers and fair portion of Stereo has engaging passages but they are always squashed between the unremarkable. The arrival of a dance-floor stomp upon its conclusion is a gratifying climax, this record however, was clearly not for me.

Rating: 2/10

Soley "HEX" (2024)

 

Its been a minute since we've heard from Soley. This short movie soundtrack lures us back into her creepy side. The opening theme conspires a soft whirl of 60s sci-fi horror synth with haunting layers eerie voices. It has just enough strangled percussion to muster a Victorian freak show theatrical charm. Powerful but brief. After a stint of tense dark ambience, Entering Of The Witches reignites this flame, a spaghetti western guitar spangle soured by mischievous choral voices floating through limbo. It to is halted by short duration not looking to flesh out the experience into a full song.

Desert is different, starting out a quirky oddity of childlike innocence, colliding with thee obscure. Soley's voice enters tame and gentle, getting lost as atmospheric ambiguities melt into the forefront with cursed shapeless intensities. As crescendo approaches, never arriving, she disappears, only for the cackle of crows to cry through the eerie ether. Her return brings harmony to this restlessness, a powerful resolve.

Nostalgia briefly dabbles in spooky de-tuned piano melodies but ambles back into the shadows swiftly. The nature of this format forces Soley into brief compositions, complimenting the cinema setting. Even with those limitations, flashes of brilliance still arise, a reminder she has much to offer. A craft still strong from chilling inspirations.

Rating: 4/10

Thrown "Extended Pain" (2022)

With Spotify turning me onto the modern Hardcore scene, these German slammers have caught my ear. A no nonsense, straight to the point, meat and bones approach has snappy songs swiftly erupting into frenzies of groovy anger. Roaring riffs, sporadic dissonance and infuriated shouts. These eleven minutes charge head first through spiraling manic intensities. Often, they lead into gratifying beatdowns.

Nothing new but where they excel is aesthetic production. Down tuned guitars froth and revel with a Djent tilted intensity. Dirty obnoxious bass rumbles beneath, adding a gritty texture. Syncopated drums with tight and snappy kicks reinforce the rhythmic drive, pushing much of the music forward on its fist throwing march.

A few cuts of brief atmosphere and layers of dystopian melody spice things up on occasion but their main charm is delivering on that enthralled rage that spews forth unrelenting. A promising debut, it will be interesting to see where they go from this solid introduction. With a string of singles out, looks like another record nearby.

Rating: 5/10

Knocked Loose "Pop Culture" (2014)

 

You Won't Go Before You're Supposed To has become a recent obsession of mine. Its been years since a band has pushed the envelope on the extremes of "heavy" music. Logically its time to do the deep dive, starting with bands first release, a five track EP.

 Entertaining but far from memorable, Pop Culture only has retroactive flickers of a genius yet to unravel. Playing like typical beat-down Hardcore, the group barrel through angered stampedes of syncopated rhythmic assault. All roads lead to Rome, each song finds climax through slam grooves fit for hardcore dancers swinging limbs.

With knowledge of whats to come, one can hear their subtle rejections of typical song structure flow. Taking apt opportunities, linear strings of dissonant riffs often divert from anticipated grooves. Lacking the gravitas to rip up the rule book, they sound off-kilter but yet to evolve into the unhinged beast frothing anger at the mouth.

Aesthetics and production suffer too, dulling their intensity, a amateurish affair typical of debut low budget records. The ending of All My Friends offers a whiff of textured atmospheric chaos to come but its brief. Most of the time, power chord guitars fall into cushioned palm muted distortions that lack teeth for a sharper bite.

Its lyrical themes mostly hinge on conflict with religion, unanswered questions stiring deep unrest. Garris' high pitched shriekish bark is still jarring but yet to encapsulate that livid frustration put forth later. Its clear he and his band mates have much maturing to do but their is no denying the foundations of whats to come were laid here. I'm seeking a tipping point in their evolution! However this didn't win me over.

Rating: 4/10

96 Bitter Beings "Return To Hellview" (2024)

This entry in the journal is less "review" and more of a footnote for myself and any of you reading who are fans of CKY. Former band-mate Deron Miller, also of Foreign Objects, split with the group in 2011, leading him to form 96 Bitter Beings. The project fels like a branch of the same tree, this release enforces that notion with authority.

 

Selecting some of the best tracks from An Ånswer Can Be Found, Infiltrate Destroy Rebuild and one off Volume 2, Deron stamps his mark on these classics, re-recording them in modern glory. The performances are tight, production bold and chunky, instruments don't shy from being heard. He and his band mates really do them justice.

Carrying the energy and charisma of its originals in stride, extra layers of synths can be heard on a few tracks. Occasionally sprucing up some passages with additional harmony, the added creatively is mainly reserved for the end of songs, fills or transitions that get a redesign. Its fun to spot the differences, they don't spoil a thing.

I can't help but feel I might gravitate to these re-recordings when in need of some CKY nostalgia. They are simply really well done and Deron's voice is key to that. His performance glues it all together and gives this project a seal of authenticity.

 

Rating: 7/10

Pallbearer "Mind Burns Alive" (2024)

 

Dreary, tender and burdensome, grisly groans of weighty emotion toy with sullen, melancholic strides of vulnerable melody. They flicker like flashes of sunlight through autumnal leaves, clinging for life on old trees. Pallbearer's rural guitar distortions and laggard, lunging rhythmic groves paint an effigy stripped of all but natures pains. Front man Campbell drifts an honest voice into sombre innocences. Bare, naked and hurt, they humble, swelling into cathartic shouts and memorable tunes to land his words.

Mind Burns Alive's music sways intensities gently, brewing gusto with subtly, gradual aches blossom as a roaring beautiful gravitas emerges in conclusion. Its earthly tone persists, almost Heathen in nature. Song after song displays wounds to be wound up into heavy-hearted reflections that escape true relief. Depression lingers, hung in a curious balance, gloomy yet a dim flicker of hope survives, only to be snuffed out.

The sunny shimmer of its naturalistic opening acoustic guitars swiftly retreat into a glum foray led by saddening lyrics. It sets one up for a riveting ride through bi-polar extremes, yet past the opening pair, balance starts drifting in mercy to a darker persuasion. As the album blooms early on, its lengthy ending circles on itself, persisting further into its oppressive sorrows. This sadly soured an otherwise deep piece of music that defines itself clearly, to take one along on a spellbinding journey.

Rating: 7/10

Spiritbox "Rotoscope" (2022)

 

Succeeding their stunning debut Eternal Blue, this lively three track EP stands apart with a unique embrace of dance groove rhythms and EDM. Stepping aside from Ethereal atmospheres, two step grooves and subtle modern synths intertwine to bolster pummeling Djent guitars. Title track Rotoscope embodies this best, concluding with a burly monstrous break down to contrast its persuasive dance floor energy. 

Sew Me Up hints at heavy, guitars start with a stomp but swiftly pivot into the magic of LaPlante's voice, sailing into heavens. It too finds an outbreak of aggression, led by a rhythm section that syncopates to thuds with aesthetic satisfaction. Hysteria withdraws from these ideas somewhat, feeling like the typical track of the bunch yet ends with an utterly filthy and devastating, disgruntled song deconstructing break down.

From the outside listening in, Spiritbox achieve clear creative distinction here, a succinct snapshot of musical vision yet seemingly unfit to develop further into a full album. Its a curious approach for a Metal band, to focus on singles and individual songs. I'd originally glanced over a lengthy list of singles, assuming they were on an album so now I'm going through it all and this one turned up a couple of gems!

Rating: 5/10

Spiritbox "Spiritbox" (2017)

 

Four years prior to the brilliant Eternal Blue, then duo Spiritbox arrive fresh on this self titled debut EP showing glimmers of whats to come. Yet to figure out the nuances of their engrossing Ethereal aesthetics, singer Courtney LaPlante spearheads all melodic magic. Melding over a tempered Djent framework, she steers the dense, chunky guitars to tuneful inclinations, an elevating croon in its atmospheric strides.

These remarks speak mostly to The Mara Effect split into three parts. The other four cuts slip into genre norms. Aggressive outbursts led by frustrated shouts conjure atypical riffs. Powered forth by programmed drums, this writing sounds creatively constrained in counterpart to the shimmering sways of ghostly melody heard early on.

The Beauty Of Suffering embodies this as the sways between their two sides of expression feel detached from one another. As the rhythm section descends into a blatant borrow of Meshuggah's iconic Bleed riffs, it becomes all to obvious they are yet to mature their own identity. I'm not sure I would of heard the Spiritbox spark listening to this record first. Cast out of an evolving Djent scene, its not entirely clear what here would separate them from their peers, despite being a decent listen.

Rating: 5/10

Currents "The Death We Seek" (2023)

  

Seeking another record under the emerging Argent Metal label, I've landed with Currents' latest effort. The American outfit play Progressive melodic Metalcore tinged with Deathcore growls in their heavy outbursts. With a Djent adjacent sound, the dense wall of sound production occasionally strike hard, as Industrial synths and electronic oscillators chime in for that violent dystopian Mick Gordan inspired menace.

Ultimately however, The Death We Seek has a far more artistic vision in wait. Swinging between creative curated atmospheres of expressive epic and blunt force strikes of shunting aggression, the band forge a steady listen plunging into darkly places and offering respite to this desolate place the band conjure visions of.

The usual foray of chugging riffs and low end guitars are met with guttural growls and throaty screams. Decent by design, the spark emerges when these sudden shifts into the light arise. Aided by vocalist Brian Wille's soaring cleans, plucky melodies shift its unending intensity into uplifting strides, still chained to an overriding sense of doom.

On one level, the musical foundations seem rather atypical for this particulate niche of modern Metalcore. On another, the thick aesthetic craft and engaging songwriting amounts to a memorable experience. Distinct and consistent across its ten track, I found myself unable to pick favorite tracks, enjoying the record as a single entity. The Death We Seek isn't quite an Argent Metal record but in moments they do incorporate the hardened rhythmic ideals and synthetic aesthetics to great effect. 

Rating: 7/10

Gothminister "Pandemonium II: The Battle Of The Underworlds" (2024)

 

Excitement swiftly squashed, another cast iron installment diminishes my faith once again. In retrospect, my expectations were unreasonable, considering this is a direct follow up to Pandemonium. Unable to grow past this Gothic symphonic Trance fusion with Rammstein style Industrial Metal, Gothminister recycles their blueprint with even less pizzazz than usual. Scenic interludes play underwhelming, attempting to raise theatrical stake yet any deviation from the tested formula sadly felt stale.

 The word of the record is "we". More so than ever, this perspective illuminates itself, a Gothic horror inspired realm of witches, demons, ghouls, zombies and monsters of the underworld. These flag waving war cries paint a protagonist's voice for these unsavory beings, rallying them together in the shadows. Its fun but at this point driven into the ground. Repeated lyrical cadences and thematic stagnation churn the whole anthemic angle into rigmoral, as track after tracks repeats itself with little new to offer.

When bands fail to evolve, they run the risk of writing themselves into a corner. It's a shame, a few albums back they hit a nerve. That spark is lost. Every song here lingers in its shadow, saying nothing new and often making you feel a sense of Deja-Vu.

Rating: 4/10

Vince Staples "Dark Times" (2024)

 

Dark Times had me reflect upon Vince's past. The bassy House and percussive Latino influences felt on Big Fish Theory and FM!, in retrospect, were exciting, fresh and distinct. Hard edged and gangster, yet fun and catchy too, a keenly crafted sound time has served well. In 2024, Staples arrives soft and subdued, his casual wordy raps sullen, ruminate on the pains of balancing fame friends and family among other hurts.

With glum spirit and dreary tone, he flows over slow burdensome beats. Downtrodden tunes drift by dreamy and haunting, utilizing soft hazy synths, shadowy pianos and ambiguous plucked melodies. Its musical themes and flavor lingers in the past. Echos of 90s Gangster Rap Funk influences linger among the jazzy soulful East Coast counterpart. Snappy percussion mostly shapes it to the current era of Hip Hop.

Vince offers a very honest expression, vulnerable, direct and tender, unambiguously sharing his troubled state of mind to be reflected through its moody instrumental direction. These songs feel individually crafted with intention and meaning in mind. Engulfing, yet when flirting with darkness, if the music doesn't offer reprisal and catharsis from that difficult mindset it can be encumbering upon the listener.

Sadly, that was my big takeaway from Dark Times, feeling Vince's troubles dragging down the mood. That's not to dunk on the record, its a fair piece of art but without moments for sunlight to peak through the clouds, it plays a downer. Impressive in its honesty, however I find myself unable to vibe with its brooding intensity right now.

Rating: 6/10

Feldspar "Feldspar" (2024)

 

Executing a curious exercise in inventing nostalgia, Feldspar enters a fantasy driven time machine to re-imagine the origins of "evil" Metal. Sounding fitting of the early 70s, a Psychedelic Rock motif hardens in form. Stiffening groove and hard edges converge on colored esoteric melody. Prancing guitar leads gallop in simplistic loops, notation conjuring an eerie mystique for its tuneful nature. These three songs and short outro piece are a delight, catchy and impactful, succeeding in its inventive intentions.

Despite instrumental excellence, shortcomings lay in the vocals. Lacking charm or charisma, this attempt to aptly tone down some of the manic stylings first heard on the like of Venom or Bathory, sadly land flat. The echoing splats of throaty howls miss the mark of memorability but can be given a nod for picking a suitable candidate for that "evil" direction. I'm not sure what else could be suggested to fit its overall aesthetic.

Feldspar's production is gorgeous and roomy, a cosy listen yet a touch to crisp and clear to truly slip us into the past. On some moments its melodies conjures familiarity to early Ghost, especially when a soft, subtle organ glow can be heard chiming in on opener Glyph Schematic, a reminder of another band to tread similar waters.

Rating: 5/10

Rina Sawayama "Sawayama" (2020)

 Arriving at the cutting edge of contemporary Pop music, singer-songwriter Rina casts an excitable web of diverse musical influences. With dexterity fondly reminiscent of Queen, her execution plays effortless, a graceful genre gallop between Pop Rock, Disco, J-Pop, R&B, Synthpop and even Nu Metal? An obvious favorite of mine, the latter broods its menace on STFU! Unleashing the era's groove through a mammoth, lunging riff, the growling guitars get across their point without need for excessive distortion. Creepy Korn alike melodies linger in the backdrop as the song sways between this aggressive energy and a twinkling dazzle of glossy melodic relief.

Its a keen example as to how Rina hones in on the essence of appeal, each song could merit such discussion as particular eras and genre distinctions meld into an engrossing listen. Other highlights include Comme Des Garvons, a stylish strut of attitude and glamor. Love Me 4 Me revels in the cheese of 80s attempts at bold punchy instrumentation, steering its bright melodies and chirpy nature to an endearing infectiousness. The "fake live" fanfare of Who's Gonna Save U Now? plays a genius touch, elevating this Arena Rock anthem as Rina sails her voice to new heights.

Tokyo Love Hotel woos with soft touches of Synthwave and Vapourwave. A breezy cruiser fit for the cities night lights. I could continue with my praises. Only mid track Bad Friend landed sour. Its spacey, Ethereal Electropop aesthetics feel lost on its own topicality, a "woe is me" self pity anthem. Conjuring the hurt of relationship wounds, its confessions of wrong doing seem a strange fit for its mood. An odd one but aptly fitting of the overall theme, a self oriented set of expressions felt direct with plain, connecting language that rarely feels deeper than its straight forward nature.

A stunning debut, Sawayama plays front to back like a seasoned musician reveling in creative strides. The music is effortless, exploring all curiosities seamlessly, avoiding an "eclectic" label despite clearly fitting that frame. All ideas explored simply click into place. Many of these ideas hail back to the early 00s, the years of my youth. Frank references to MSN messenger amused me greatly, I remember those Windows XP days with distain but the music has always been a consistent source of meaning. Its no surprise this record resonated with me. I haven't put it down for months!

Rating: 9/10