Poppy "Negative Spaces" (2024)

 

 

Plagued by the inconsistencies of searching for an identity, exploring genres, never settling on a sound, it seems that Poppy has finally found a firm footing following a fruitful collaboration with album of the year contenders Knocked Loose. Now honing her screams into frightful territory, ranging from soft, harmonious and sweet to roars of unrelenting rage feels an apt for this endeavor. Foraying into the current trendy Pop Metal dynamics, contrasting stomps of Djent brutality exchange with sways of warm catchy melody. Its a dominant theme among other ideas, conjuring echo's of Spiritbox.

The record flows smoothly despite some turns. Crystalized makes a sudden deviation to explore driving dance-floor grooves and Synthpop melodies masked in nightly Synthwave vibes. Vital dials in subtle Emo and Pop Punk influences through its guitars before Push Go jumps back to the dance-floor. Poppy's approach conjures echos of Madonna in here prime and 90s Brit Pop in its soft siren chorus.

The next two tracks get us back on track, going hard as ever on its mammoth guitars. Big grooves stride in anger as raw throaty screams erupt with vitriol. Its a wild ride juxtaposed by the dreamy interlude Hey There, a crash to the ground as the final stretch retreads these ideas already explored. New Way Out notably deploys the Argent Metal formula with that signature Mick Gordan guitar and synth aesthetic.

All in all, Negative Spaces is a really good listen from start to end but perhaps lacks in offering something truly new to take away. Its as if these songs might fade from memory given the overt influence that fail to ascend expectations. On the other hand, its the most consistent record from an artist still seeking out a sound to call their own. It lays a promising foundation for the future after the sorely disappointing Zig.

 

Rating: 7/10

Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Willow "Lately I Feel Everything" (2021)

 

Arriving at Willow's third record, endearing blemishes of youthful nativity emerge. Heart-brake pains and relationship woes dominate its theme. Musically, a similar line is tread. Both sway between raw adolescent reactivity and insightful, matured expressions. On its latter half, collaborations with Travis Barker boldly mimic teenage Pop Punk tracks of the early 00s, devoid of originality yet persuasive with repetitions.

The middle of the record is where the bulk of its magic lays. Instrumentals deviate from the opening simplistic pop appeal. Swells of grungy guitar distortions, dreamy acoustic reverberations and creative drum machine arrangements pull these songs to the edges of Shoegaze, Indie Rock and Emo, blurring lines along the way.

Typically, Willow sings from the soul, drifting around the texture of these tracks like a free spirit, often with power over softness, she occasionally roars into life with soft screams. On the softer side, soaring cadences amplify her thoughtful, introspective words. It turns the topicality of once immature anthems into reflective journeys. Its a curiosity to me how a tracks tone shapes ones experience, two contrasting sides of essentially the same expressive coin.

Lately I Feel Everything is mostly an exploration of an alternative umbrella of distortion guitar adjacent music. Willow crashes the party, muddying up ideas with an aesthetic rawness and endearing amateurish aesthetic. A perfect fit for the genre. Not quite as persuasive as whats to follow but also tainted by these interruptions of type-cast teeny bop music I despised in my youth. Naive and XTRA where the highlights for me.

Rating: 6/10

No Cure "I Hope I Die Here" (2024)

 

 Ears perked by Spotify's shuffle of heavy freshness, No Cure's brief 8 track, twenty minute EP I Hope I Die Here has been a curious listen among a sloth of modern aggressive music. Much of it lacking sparks of originality. Hang Me From The Bible Belt, the track that drew me in, fires up this romp of sludgy brutality with a bold mix of Metallica Hardcore and Melodic Death Metal. This feels like a misnomer as the annals of a tired Deathcore swiftly reveal their ugly head on following tracks. Gruff deepened guttural shouts, gritty low-end axe grinding riffs and filthy pig squeals light up the aesthetics among obnoxious angular harmonic pinches and other genre tropes.

It plays out among a reasonably excitable mix of influences, from Hardcore gang-shouts to Metalcore grooves and Slam Death Metal breaks, the record picks up some character in brief moments. No Cure bridge minor stylistic gaps that seem obvious in hindsight. The collaborative nature of this EP may explain its inconsistency in tone as songs sway between engaging constructs and the "race to the bottom" filth of Deathcore. Each track includes another band, presumably of the local music scene.

Sadly, only its opening track won me over. The rest of its heaviness played mostly as a curious throwback to Deathcore records now approaching twenty years old. In contrast, there are signs of promise, moments of light, however it doesn't come to fruition in a flavor I'm looking for right now. To much grime, not enough substance!

Rating: 4/10

Opeth "The Last Will And Testament" (2024)

 

This fine record has brought several weeks of routine enjoyment, however the latest offering from these veterans suffers its own familiar identity. Having toyed with distancing themselves from metallic roots, the journey back to aggressive aesthetics, befitting of their early days, brings little freshness to their distinction. The Last Will And Testament attempts to layer in a richer symphonic tone, which often gets swept under its gallivant lead guitar melodies and grandiose riffs. So to does a clear concept about class and inheritance get thrown around in spoken work sections between salient singing and meaty death growls. Neither of these elements seem to break the familiar spell Opeth cast, with their usual touch of majestic spirit. Thus the record spins its wheels through grand constructs of Progressive Metal that often feel recast from the depths of their extensive back-catalog. Strident and assured, the record plays exquisitely, its lead melodies often catching the ear as expressive motifs to set the tone for its big vision. Continuously we weave through intensities but sadly, all in the shadow of comprehension. For all the magic this band have bestowed, it lacks anything new to say. Enjoyable but none of these tracks leap from the page.

Rating: 6/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10

Body Count "Merciless" (2024)

 

Now years deep into their triumphant resurgence, the legendary cop killing Body Count return with a fair helping of 90s styled Metal stints to rock, shock and entertain. Serving as a mouth piece for Ice-T's likable angered rants, these loud instrumentals play a fair game. Serving up competent ravishing's of that era's tone, fans like myself can lap it up but lets not be shy, there is little here we have not heard before.

Beyond selecting some preferred cuts from the offering of mid tempo songs driven by aggressive riffs, attention turns to Ice-T's presence. His plain language, dripped in profanities and frustrations, flow relatable and clear to understand. Behind the often grislily lyrics, an undercurrent for peace and prosperity may pass some by.

The packaging is where my critique lands. Fun and enjoyable but the albums best hooks and concepts feel borrowed. From Demo-crips and Re-bloodicans, to the movie concept of The Purge, a helping of thematic concepts have obvious origins. That and an interesting cover of Pink Floyd's Comfortably Numb with David Gilmour revealing his typical unabashed directness. Oddly intriguing but most of the time endearing. 

Pulling in legends like Corpsegrinder and Max Cavalera is a welcome delight on this fiery horror show album. They bring great performances. Its nice to see more collaberation like this which has been sorely missing in the past. Merciless wont reinvent their live show but brings hours of entertainment through some fresh songs with their classic Body Count motif.

Jukio Kallio "Minecraft: The Garden Awakens" (2024)

 

Our latest Minecraft update places emphasis on the quiet unsettled atmosphere of its eerie Pale Garden biome. Upon entering, the games music will cease to play, immersing us in the subtle sounds emanating from the biomes pale blocks. So imagine my bewilderment at learning of an accompanying soundtrack from the drop, given that no new music has been added in game, as a record disc or otherwise. The low key nature of its unannounced release seems even more fitting upon hearing this one new track. Its left me wondering what direction our new composer was given about the new content, as the vibes are completely miss the mark.

Things get off to a great start. Tense strings and disconnected tumbles of tom drums and crash cymbals lead into a dirty bass synth brooding beneath, stiring a ghoulish atmosphere. Its strongly reminiscent of the title screen music from Doom. A few keyboard notes of intriguing melody linger and just before the minute mark, the song erupts with rhythm, a hard thudding kick drum, drives the music into Synthwave territory. Melodic wave synths dance with speedy, cheery nightlife vibes before a brief allusion to the errie opening premise is dispelled again as the dancable percussion returns with more animated melodies far from the expectant Minecraft vibes.

 Its a fine song but ill fit along side the games back-catalog and even more baffling considering the tone of this update. The Trumpet version simply swaps out its VSTs for quirkier instrument tones. The sped up version sounding like nothing more than fluff. The slowed and reverbed original amps up the creepy vibes but its far from a saving grace. It seems now rather obvious why this was such a low key release. A cool song but also a total mismatch for Minecraft standards.

Rating 2/10

Marilyn Manson "One Assassination Under God - Chapter 1" (2024)

 Moving on from the catchy Post-Punk period vibes We Are Chaos reveled in, the band trade in those flickers of color for dreary tones steeped in indulgent misery. Bleak, downtrodden and typically anthemic, Assassination hails back to the spirit of Antichrist Superstar with the metallic inclinations of Holy Wood. Manson's lyrics flow potent and cutting. Renewed with a biting anger, his disenfranchised cries come wrapped in religious overtones and social commentaries. Spinning disillusionment into reverence once again, the nostalgic familiarity hailing back to their creative peak sounds fresh. A few tracks further in, words turn inwards, reflecting on addiction and escapism, a new avenue heard since fragilities expressed on The Pale Emperor.

Throughout Assassination, in some of his words linger a sense of martyrdom, spinning controversies of recent years to paint himself the victim. The tensions amass with Raise The Red Flag. Antagonistic lines make a climatic declaration to "wash the bullseye off my back". Through the lens of artistic expression, its a marvelous twist of the arm, however when reality and legal proceedings are a long muddy affair of accusations and defamation, its hardly a black and white case you can rally behind.

Lastly, the instrumentals are well crafted, a consistent aesthetic that serves this album experience well. Shifts in tones can ramp up intensities for aggression and subside into rebellious melodies. It all flows cohesively with their iconic front-mans licks. At fifty five, he can still deliver his knack for devious and catchy hooks. Now lacking the shock and awe he once commanded like a prophet, Assassination's potent expression themed on recent accusations land well but perhaps with an air of doubt.

 

Rating: 8/10

Willow "Coping Mechanism" (2022)

  

With a chronological step back from an adored Empathogen, Coping Mechanism shifts its fundamental appeal to serve my tastes immaculately. Willow's entangled expressions and gushes of emotional out-poor feel familiar, yet beneath the music nurtures antagonistic intensities, highlighting darker emotions of anger, frustration and sadness. Ever present overdrive guitars dabble in Alternative Rock, Grunge, Emo and Indie, amplifying a hurt in her lyrics. Sailing above with a playful, creative voice, she finds a beautiful resonance with the unsettled rumble of enthused guitar noise.

From a perspective, these songs could be boiled down to catchy Pop Rock songs centered on angsty teenage emotions. Fortunately the underpinning Pop sensibility blossoms with maturity. Willow's lyrics navigate emotional stresses, gracefully avoid the fallacy of simplicity. Her words dissect, introspect and reflect, mostly on the grief of a breakup, in search of a Coping Mechanism. Opposing aspects of these narratives explored often manifest into beautiful vocal inflections. Its a riveting tug and pull, back and forth, an internal mental battle channeled into infectious sing-alongs.

 Producer Chris Greatti and songwriter Asher Bank deserve high praise for their instrumentals. Creatively exploring the aforementioned genres, a Pop Punk ease and occasional touch of Metal aesthetic breeze by effortlessly. The duo weave it all into a cohesive set of both tuneful and mildly aggressive numbers without repeating themselves. One can hear many ideas pulled from across recent decades, rearranged into a new beast. Shifts in guitar tone and color, occasional synths and detailed drum grooves flesh out the experience with continuous variety that's immensely enjoyable.

Coping Mechanism flows, gushes with an infectious liveliness. Willow dances in the river, exuding expressive brilliance. Existing near to unreachable artistic perfection, devoid of weak spots, only its ending seems to dip slightly as the melancholy sways of No Control breaks down intensities for Batshit's return to animated eruptions feeling short of a final statement to wrap it all up. Other than that lack of a landing, this record has been utterly brilliant. Paying close attention to the track listing, trying to select my favorites, I realized the first nine songs are simply sublime. Just wonderful!

Rating: 9.5/10

Ocean Grove "Oddworld" (2024)

Having struck gold with Flip Phone Fantasy and Up In The Air Forever, could our Aussies from down under make it three for three? Oddworld sticks with the winning formula. Brimming with enthusiastic energy, their high octane production pushes out another bunch of upbeat banger reveling in the Rap Metal Limp Bizkit inspired lane of Nu Metal. With a little less rap in the mix, shades of Brit Pop return with an emphasis on the soaring Oasis alike, hands behind the back, singing. So to can one hear a sampling footprint from the early Rave years of fellow Brits The Prodigy on Raindrop.

At twenty five minutes, Oddworld is notably shorter. Less songs and two interludes highlight a sense of lacking potency. They've put forward their best but there's less to go around. Cell Division and Fly Away roar out the gate with pace and groove. Slamming riffs, quirky melodies and soaring singalongs set the tone. Stunner and Raindrop keep things flowing, spinning the same ideas through expectant motions. 

 Interlude No Offence Detected revives some Limp Bizkit vibes again with the quirky perusing baseline. It doesn't lead anywhere, as the band proceed to spin their wheels. Last Dance offers a shift in tone. Shimmering guitars and atmospheric reverberating noise creates a loud moody softness to mellow in a heartfelt sorrow. Album closer OTP makes its mark, pivoting to a hard hitting, darkly electronic beat. Built to house ear catching raps, their guests verses' fail to make the concept a memorable one.

Despite being lively, uplifting and infectious, the record suffers a sense of routine as only a couple of songs reach beyond the fundamentals of their sound for something great. It could also be a case of fatigue or familiarity on my behalf but sadly my enjoyment has dropped from the ecstatic highs their last two outings bestowed.

Rating: 7/10

Rina Sawayama "Rina" (2017)

 

 It turns out Sawayama was not Rina's debut. This one flew under my radar, a twenty four minute EP released a few years prior. Self funded and independently released only piles on the praise for what initially felt like a tacky take on 00s Pop. Getting past a couple of mediocre tracks, familiarity revealed the subtle powers of brief tuneful melodies and glossy aesthetics centered around her persuading voice.

Early themes paint a sense of glitz and glam, ambitions of a rising star. Cheery, upbeat production with punchy drums drawing on touches of 80s Synthpop and soft Alt Rock guitars opens the record. These nostalgic reaches into the past reoccur through classy production. It flows through a variety of song ideas, none feel original, yet an intriguing assembly of ideas pulling from the past thirty years of Pop music.

 Tunnel Vision drifts into a dreamy avenue, shifting to introspective thoughts. Deploying vulnerable expressions makes for awkward lyrics hinting at smartphone addiction among relationship woes. Its a muddled message. Much of the record has this ambiguous feeling as to which way her words lean. Presenting a bold face with a hint of distress. This lyrical fuzziness is more likely to be at fault with me.

Overall, I'm impressed. This Rina EP strikes me as a leap of faith, a talent unleashed raw and keen, simply getting started and turning up trumps. It doesn't coalescing around a specific vision yet its best songs achieves their own merits. Its been a joyful dive into ideas reminiscent of great songs without being specific.

Rating: 6/10

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Ice Cube "Man Down" (2024)

 

Some critics remark on aging rappers losing vitality and relevancy. I'm more open minded. With age comes maturity and the opportunity to grow. With many 90s icons now entering their fifties, Ice Cube, one of the most important and influential to do it, enters the club. His last outing, Everythang's Corrupt, had bite, a political venom and fiery anger that held well. I still venture back to a handful of those tracks alongside Cube's best songs. That moment has passed, his motivations to return seem routine.

 Despite bringing a studded cast of his 90s contemporaries, Man Down is a stinker. Beats sound tight yet frequently spin short loops that end up droning on. Upfront, Cube raps with his firm flow, fine tuned aggression and smooth, easy to follow, cadence. Its his lyrical content that falters, dropping auto pilot verses lacking creativity to impact. So many lines drop with predictable rhymes, lingering on them for four or more sentences. Many lines seem to fill space just to serve the rhyme. With next to no stories told, this approach is quite disappointing in the shadow of his greatness.

 Early on the moods emulate his classic Today Was A Good Day laid back G Funk vibes. Its a smooth and breezy ride, easy listening. Heading into the midsection, things pivot with 5150. The mood sours with its misogynist leaning rhymes. Then beats go harder, darker but miss the mark. After a few cuts, the variety flows, jumping between sounds emulating his styles but mostly suffer the fate of droning on.

Especially You perks the ears, an Electro-Funk throwback to early 80s Hip Hop. Cube goes for a flow fit of the era but the rhymes are just hollow. Later comes Scary Movie, trying to house a bunch of references to his cinematic career. It houses some of the worst lyrical flops. The album ends on a better note with the reasonable Ego Maniacs but cant save the project. Sadly, this record just lacked purpose.

Rating: 2/10