Gojira "Magma" (2016)

Gojira were once France's most promising band in a lacking Metal scene the country is still devoid of. The mid naughties saw the release of "From Mars To Sirius" which catapulted them into the touring circuit, a critically acclaimed release with a handful of songs becoming a staple in their live set. They are now a well and truly established Metal outfit with their environmentally conscious edge striking a uniqueness in their sound. Ive never listened to a record of theirs properly, mostly I know the songs they will play live and a few others so with the announcement of their sixth full length It was about time I gave it my time and attention.

My initial observation has become the focal point of this records charm, Its not as heavy, something Metal bands can often get persecuted for. In the case of Gojira the atmospheric, lighter edge in their sound has become the focus with the rhythm guitars playing second fiddle to clean vocals and lead melodies. Its a shift that retains the groove and characteristic of their aggressive playing but subverted to a temperate environment, fit to satisfy fans without downplaying its significance. There are many chugging grooves churning away under the vocals which could of been more prominent in the forefront but stay as relevant in a moodier setting. Its quite a satisfying chemistry where the most crucial aspect of a groove or melody has been presented in simplicity over complexity with only one or two of their trademarked mind bending guitar noise riffs making their way into the songs in a slower form.

Even if the scales have tilted, there are plenty of breakout moments for head banging and crunchy momentum but its the atmosphere this record has that makes its mark. It often feels as if an ooze of organic synth is creeping in between instruments but actually its the clean vocals that are dressed with a long reverbing echo, having each sung line drift and disperse into the guitars with a moody charm. The atmospheric mood has a hint of gloom, a touch of mystery and a deeply organic vibe further resonating with the natural theme in the lyrics which are emotionally charged, something you feel through Duplantier's performances.

The album cover is very appropriate, the record has a chromatic and pale tone with its slower pace and calming melodies. The mixing is fantastic, even in a modern age where capturing instruments crisply is relatively easy, it is an art to balance them with the right tone, volume and coloring. Everything here compliments each other, no overpowering, over loud instruments and the vocals are simply gorgeous in the clean moments. My only complaint is that the second half drifts further into the less metallic component of their sound and does so with a fair bit of repetition. Otherwise its a solid record.

Favorite Tracks: Silvera, The Cell, Stranded, Magma

Rating: 8/10

Crass "Penis Envy" (1981)

Crass's third record is a loud, bold statement. One that transcends the ideological rebellion from their first two records into art as the groups sound shift gears. Firstly frontman Steve Ignorant is absent as Eve Libertine takes lead vocal and second the instrumentals steer to an artsy form of Post-Punk not far aesthetically from their former sound but with an expansive ear for atmosphere and mood. Its an evolution fit for purpose as the lyrics take a bold feminist stance making mockery of gender inherited values and the marital tradition. The title marks the records intention and its artwork further extends the subjects poked at in its playtime.

"Penis Envy" is a vehicle for thought, its instrumentals don't swoon with melodies or take the forefront of your attention. They mostly balance the atmosphere to contrast the moods in opposing sides of the topics being discussed. Its simply not possible to enjoy without being engaged in the subject matter and no track does it better than "Systematic Death. Its the song that encompasses everything daring about challenging conformity and does it with a spike of audacity. The repetitive "System system system" chants between commenting on the social constructs of gender based expectation. Lines like "Fuck her mind so they can fuck her silly" makes remarkable statements that might be hard to wrap your head around depending on how you perceive how individuals are formed within society.

Through the record there are many resolute statements to question your resolve, especially a mockery of dependency on men in society. Much of which dives deeper into what "Systemic Death" outlines. Musically a couple of memorable melodies extrude from the baselines and there are some great experimental tracks. "Berkertex Bribe" has a stunning break out moment where the intensity on all instruments kicks up a notch as subtle wedding bells ring out in the back drop. The album is seen out with "Our Wedding", an almost eerie track poking fun at post-marital expectations in a subversive way. Its a much artier experience than previous records but in true crass style it is the food for thought that becomes the focal point of a brilliant record and a very bold statement for an 80s society to digest.

Favorite Tracks: Systematic Death, What The Fuck

Rating: 8/10

The Church "Further Deeper" (2014)

Its been on spin these last few months, Australian outfit The Chruch's latest record is one Ive struggled to put into words. Its a moody yet colorful, uplifting yet melancholy ride with slight etchings of Ethereal, a hint of Psychedelia and a thick nostalgic vibe of the 90s spirit. The group have been at it for over thirty years yet they sound young and youthful on this, their twenty forth full length record. I knew little about them before writing this blog however its not surprising to learn there history, they do sound settled and mature in their songwriting.

So Further Deeper is reasonable record but one where the boundaries blur and the tone is tightly consistent. Often we journey through layers of reverb smothered instruments and steady percussion with tempered vocals that rarely break their stride. Its a drone, an easy, welcoming drone but its progression barely strays from the path song to song. There is rarely a break for something remarkable, moving or to create a big sense of change. The pianos chime pleasant chords under the wash of guitar reverbs and deep synths forming a haze together. Through it light leads and acoustic strumming can be heard but mostly these things add up to their total, which is often a dense tone to rock with.

Its difficult to break into words but at no moment in the record does anything progress or feel anchored. Its like a singularity and sometimes that is fantastic and other times it means each song feels like the last. Haven given it many many listens nothing remarkable has jumped out at me but overall its a dreamy sounding record you can soak into, I do however feel the vocals are rather stale. They more than anything else fail to break from a continual intensity.

Rating: 5/10

Despised Icon "Beast" (2016)

News of this bands return wasn't the most exciting story id heard this year but it was certainly unexpected for the Canadian Quebec "Technical Deathcore" outfit to announce their reunion. They were a short lived group who released two albums in the prime of the scenes popularity and split rather abruptly, ending their steady rise. Id barely touched their records since seeing them live a few times and to be fair I hadn't really missed them, Despised Icon were a fair shade better than most of the generic sounding bands at the time, however their "Technical" edge doesn't separate them from a tired sound and their reunion is as if a day hadn't passed by. At first it sounded like one element had been dropped but by track five, "Bad Vibes", it drops in almost instinctively. The track sets itself up perfectly with a low djenty timed chug from the guitars and in true Despised Icon fashion drops the ridiculous bree squee vocals that sound more comical than anything else. Fortunately they are not frequent on the record, certainly not awful but a vocal style I care less for with time.

The record as a whole doesn't leap out with any remarkable tracks and tends to scurry its way through a blur of tight timely riffing that shuffles back and forth, switching and changing up with all sorts of mini guitar riffs between large groovy or heavy moments, chaperoned by mechanical, dizzying drumming. It blasts and chops away with little fluidity or transition, hammering on and in the instant the guitars adjust they follow with another volley of earth shaking rattling. The bass guitar is a mere extension of the rhythm and the vocal are harsh, blunt and monotone screams with enough texture for reason but often dispelling screeching over the dense, slightly fuzzy guitar tone.

The record rarely brakes from brutality and is spliced in two with the interlude track "Dedicated To Extinction". A short, dark and foreboding symphonic peace that sticks out like a sore thumb. It had me scrambling to my playlist, trying to find why it had skipped ahead from the "Beast" record. The only merit I can give is the records production, aside from the vocals its a very well rounded record with a lot of warm and well mixed tones for each of the instruments that can withstand the blitz of the drumming. That's what made a rather hollow record enjoyable for me, its listen-ability. Sure there are good riffs, breakdowns but no sense of theme or something grander than a collection of riffs emerges. "I am my biggest threat" a lyric that jumped out as a poor rewording of "I am my own worst enemy".

Rating: 3/10

C418 "2 Years Of Failure" (2016)

An initial wave of excitement hit as the release of a new C418 record hit my inbox, upon seeing the records name that quickly faded as "2 Years Of Failure" is obviously a packaging of b-sides, leftovers, tidbits and so called "failures". At an hour run time its a fractured record of experiments, unfinished tracks and alternate takes with a hidden gem at the end. "Stranger Think" is a wonderful remix of the Stranger Things theme song. It adds some density with extra layers of sweeping synth and a deep house percussion to absorb. Id almost prefer it too the original as it only enriches the atmosphere without altering or drifting from the original mood.

The record kicks of with six "90s" tracks dabbling in vibes and styles you might not associate with C418. If it wasn't for some of his distinct techniques and manipulations they could be anyone's songs. A touch jovial and with a touch of VGM chiptune these songs breeze past without purpose or direction despite being colorful, bright and enjoyable little numbers they don't particularly amount to more than the sum of their parts. Then follows "Pizza" a more experimental and unusual track, mixing break beats with Italian folk music that had little chemistry for me. It actually reminded me quite a lot of IGORRR, without the demonic, hellish intensity.

Its followed by a couple of halfway there tracks that lay down a pretty solid foundation for memorable songs but they seemed to have been left incomplete. Then rolls in the alternate takes which are a treat if you know the originals well. Its interesting to hear how changes in the composition don't obscure the bulk of the vibe and mood but let you really appreciate the level of perfectionism that went into the final output.

And that's it really. Unsurprisingly there is little cohesion, not much to get excited about in terms of the songs, however there was at least one thing to take away, the Stranger Things cover. I also very much liked the "185 pre", a favorite C418 song of mine. Not much of a tie over, I will always be very keen to hear whats next from this brilliant musician.

Favorite Tracks: Choice Broken, 185 Pre, Stranger Think

Rating: 4/10

Metallica "Death Magnetic" (2008)

With a new album on the horizon and a couple of fantastic singles, the legendary Metallica sound like their heading back to form comparable to their glory days over twenty years ago. With the new single "Moth To Flame" it sounds as if the bands inspiration is without reflection to previous standards, allowing them to move forward in a new genuine direction. And that's what we thought of Death Magnetic eight years ago. I binged this record and caught Metallica playing live several times in the year but then eight years strolled by and I realized Ive never listened to it again. The reason why? Well having dug this one out again its become quiet apparent where its short comings are.

Two big factors stand in the way of this albums potential, one is production and the other is song structure. I remember at the time there was a lot of emphasis on long songs during the promo and each song is six or seven minutes with one ten minute song amounting to well over an hour long record. The problem is a lot of this length is needless repetition. Not all riffs are fantastic but there are definitely belters in here but they come between the drawn out song structures that make a meal out of appetizers. There is simply not as much core material for the length and so the record feels tiresome despite being genuinely energetic and interesting in the beginning stages.

Its second short coming highlights a problem that's cursed a couple of other records, ...And Justice For All's toy drum kit and baseless production has haunted what was a brilliant record and in someway comparable to this one with some needlessly lengthy songs and complex song structures. The other is St.Anger and its clanger snare and dense thudding base kicks. They went for a garage sound and certainly got that. So Death Magnetic joins them with its horribly over loud and over compressed production. Anyone could see this by taking a glance at the EQ with constant peaking across wide ranges. It sucks the craft and texture into a blunt aggression as the guitar texture competes with the crashing snare and drum kit in general. The fast guitar picking sounds fluttery and most instruments suffer from this poor production choice, tiring the listener with a constantly difficult distortions from peaking.

Underneath it there's some great music and memorable riffs in the albums opening songs, however as it stretches on either the music isn't as good or the tolerance for its aesthetic starts to hamper the listening experience. "Cyanide" its a rather weak song and that's where Death Magnetic never picks up steam again. "Unforgiven III" is a pretty lousy third part that bares little resemblance to the original. Its got its strengths but overall id say the record was a disappointment however it has its moments which were pretty exciting back when it was released.

Favorite Songs: That Was Just Your Life, The End Of The Line, The Day That Never Comes, All Nightmare Long

Rating: 5/10

Plini "Handmade Cities" (2016)

For some fans its been a long wait but luckily for me Australian guitarist Plini's debut full length drops just after Ive finished catching up on his three previous EPs. Timing couldn't of been better but since it dropped Ive spent much more time than usual with this record, for it has the potential to be one held dear. Even after a month I still find various melodies, grooves and moments in the record hitting me on different levels and I'm far from finished with it. What Ive heard is Plini really taking advantage of the record format with seven solid and cohesive tracks that play together like a singular experience.

Its an easy ride of gorgeous instrumentals emanating positivity, exploring creativity and toying with inspiration in a setting for lasting melodies and sublime grooves. Labeled as Progressive Metal and "Djent", this record further removes itself from the origin sound of its inception. As if in a loop, it sounds most like Progressive Rock but not in a traditional sense, more a technical similarity. Plini's sense for bright, colorful melodies in a temperate setting are dazzling and come through delicious instruments delicately captured for ripe and powerful sounds to arise from gentle playing. In its heaviest moments the crunchy low guitar djents of "Pastures" feel more like a cushion for tantalizing grooves to persuade so graciously. With a gleaming electric guitar solo cruising in from above and soothing acoustics ringing out it feels like a flood of inspiration came crashing out of nowhere, powerful.

This song is brilliant and its an example of something this record does, take its time. Its four minutes before the song engages with its sublime guitar solo and after the climax the chunky djents and acoustics gently unwind with expansive drums that feel so gracious in their awaiting of the lead guitar to see the song off. The record picks up its intensity as it goes along and the closing track "Cascades" maybe the most metallic in terms of its vibrant energy and it starts with these rhythmically supreme odd time signatures to lap up with the lead guitars 4/4 so brilliantly. It feels like a true inspiration of genius and in a brief mid track climactic moment a more cliched riff emerges with an exuberant performance that will have you yearning for more.

In "Handmade Cities" nothing is rushed, every moment feels leisurely and fluid, instruments can drop in and out of the mix noticeably in a strangely satisfying way. After trying to nail what was so clever about it I though back to the Prog Rock epics that could span up to twenty minutes. There's a lack of repetition at play, Plini keeps things moving and evolving at a dynamic pace that never gives up and so we get that epic and brilliant feel from short songs as everything its condensed down to its point. His continual presence with the lead guitar really masks the sections that could effectively loop to aid this marvelous sense of moving forward without urgency.

The records production also has a lot to say for what makes it so great. The instruments sound crisp, slick and smooth but as if they are alive, right in the room with you. At times there are a lot of layers of instruments, never clashing of feeling restricted together. Even in the moments where double pedals kick in or the songs break into metallic styling does anything feel overbearing. The synths that subtly creep in also have a powerful effect as their tones meld into the other instruments. In conclusion all aspects of these record are on the same wavelength. Inspired, gleaming with color and sounding spectacular. This is all the brilliance Plini showed in his previous records arriving at a new level.

Favorite Tracks: Handmade Cities, Every Piece Matters, Pastures, Cascade

Rating: 9/10

Sorath "Devil Daggers OST" (2016)

Devil Daggers is a hellish, brutal and difficult game that hails back to the glory days of fps and Doom clones, where the themes were menacingly dark and demonic beasts assaulted the player, putting them under an intense physiologic challenge. The game was too much for me to handle, in terms of staying alive. The free soundtrack that came with it caught my attention. There is nothing quite like the sinister soundscapes these dark ambient tracks can conjure up and so the four tracks that barely make thirteen minutes have been playing over and over. I could find next to know information about who made the music, Sorath is simply the name of the developers studio attached to the MP3 files that came with the game.

"I" starts with the sound of a dead orchestra, dense layers of deep synths and organs unite with a tonal presence that commands attention as in the distance shimmering voices and bells can be heard. Its bright, luminous yet shrouded in mystery as no comfort can be drawn from its presences. "II" Plunges us into the darkness with whispering noises lurking in the shadows. A prominent voice calls out like a cry from the abyss, a warning to an intruder. With disjointed, alien synths a few notes feel devoid of musical meaning but speak like words of the danger approaching. The pitch shifting and distortion of this instrument is fascinatingly detailed and dense in its short bursts of life between the darkness.

"III" sets in the waves of fear and terror as wretched noises observe from the black culminating to a section of heart racing paranoia as pounding industrial strikes pound rhythmically alongside shrill screams and a growing arsenal of hellish sounds as the walls close in to a narrow escape that provides some respite despite a sense of dread not over. "IV" has a sense of conclusion as a melody creeps into lead synth. The shadowy noises are in retreat and its as if a bright light is shining deep into the abyss, revealing its corruption through the oddities of electronic distortion. It ends with the darkness still breathing, awaiting its next move.

Sorath has created a very memorable set of short dark ambient pieces that are both cinematic and nontheatrical in nature. There is a plethora of textures and intrigue to the sounds at play, they don't conclude and so the music hangs in a dreading sense of ambiguity. A lack of melody or convention leaves each listen feeling fresh new, and not so memorable as the record does not stale with each returning listen. Each time the harrowing adventure starts over again.

Rating: 7/10

Travis Scott "Birds In The Trap Sing McKnight" (2016)

American Hip Hop producer Travis Scott's latest endeavor has been somewhat of a puzzle in my mind. Initially I disliked it, then it grew on me and a couple of gems in the track listing revealed themselves but now after plenty of spins I feel mostly disappointed. Last years "Rodeo" was a new and interesting listen for me but some of the tracks really grew on me over time and so I found myself rather excited for this release. Unfortunately my understanding of this record is that several forces are at work, a variety of ideas which on occasions add up to something fantastic but mostly fall flat. One of its biggest flaws is song structure, a lot of tracks meander and stagnate in instrumental passageways that use a lot vocal distortion and sampling between layers of synth. Without a direction the atmosphere and vibes conjured often fade into obscurity.

Lets start with the negatives. Travis likes to backup and affirm rhymes with echoing, pitch shifted "Yea" and "Straight Up" shouts. It gets tiresome quickly, they sound identical and there frequency quickly had me irritated. Secondly the rapping is rather questionable, Travis stroking his cactus? This record is loaded with bizarre lines and meaningless dribble which only for a couple of moments makes sense. The album kicks of with a feature from Andre 3000 of Outkast who really kills it. At first It was heartbreaking to hear such a talented and inspiring rapper drop into this new auto tuned sound but with each listen and familiarity with the lyrics I released he was killing it, showing how lyricism done.

With a lack of lyrical substance and cohesive direction there are moments of brilliance that spark from the experiment. Guest artist Nav kills it on "Beibs In The Trap" and makes sense of these lackadaisical rhymes styles. His overly simplistic rhymes and effortless style paint the careless attitude for the unsympathetic interactions hes expressing, its a moment where the style matches the intention. Then Travis jumps on the track and plays out these slow synthetic vocal moments, unstructured and drawn out they stretch aimlessly through this and many other songs. Oddly enough this same nuisance sounds genius on "Through The Late Night", my latest addiction. The songs chorus plays over and over and over while Kid Cudi hums a complimenting melody. Auto tuned and distorted it synthetically blends into the track like an instrument and is simply infectious. There are many other moments where these vocalized instruments jump into the tracks but rarely does it work like this.

The album experiments greatly with vocals as instruments, something Kanye pioneered in Hip Hop. Most of the time it doesn't amount to much and the core of these instrumentals seem to be washed with dense reverbs, auto tune and wavy synthetic sounds where only a few moments display genuine chemistry. In its moments of tolerance there's a barrage of shallow materialism, unemphatic attitudes and questionable morality in the lyricism that creates a rather disappointing feeling through its playtime. I'll probably tune back in from time to time but I don't think this one will grow on me.

Favorite Tracks: Through The Late Night, Beibs In The Trap, Sweet Sweet

Rating: 4/10

Navie D "Post EP" (2016)

Hailing from Toronto Canada, Navie D is a producer with a distinct, and to my ears, fresh take on Hip Hop instrumentals. "Post EP" is his second release and one with a consistent feel through the five tracks. It rolls at a slower pace with an emphasis on atmosphere and a less bombastic, more industrial take on percussion. The drum loops are programmed with a modern touch, shuffling hi hats show a subtle Trap influence but mostly the beats accommodate the surrounding music made of ambiguous sounds in a state of organic transformation. Its layered and stacked with minute details that blur the distinction between melody and rhythm as these songs progress to let singular moments of melody shine from within the dissonant shell.

Its an excellent execution of composition that has all sorts of creepy and eerie sounds drifting into the fold. You'll hear dogs barking, human voices malformed and chopped into the songs soundscape and on "NYC" a barrage of ghostly vocals pitch shifted, shuffled and thrown at the listener in a dizzying state. Some instruments and percussive noises have such an add tone I wouldn't be surprised to learn there were more voices at work in the mix. Its what gives this otherwise meaty and industrial construct an eerily organic and human vibe.

On paper it would seem like a dark and twisted experience but all that's at work is held on the lighter side of ambiguity. One feels like the observer of a strange curiosity unfolding without threat or worry. In between these peculiar unravelings moments of life occur as each track has its moment where an instrument can burst into life and illuminate the atmosphere with synthetic toned instruments playing bold melodies where the songs are normally devoid of something as distinct. On "Junkyard King" it takes the form of a ghetto whistle that manages to be as charming without playing a G-Funk vibe.

This short record really impressed me but it does make me wonder if a rapper could bring something more to it. Because the instrumentals are so distinct they are exciting and fresh but at the same time these instrumentals feel like they set the tone and leave a lot of room for something else to take the forefront. Either way this was a great listening experience.

Favorite Track: Junkyard King

Rating: 6/10

Fugazi "Repeater + 3 Songs" (1990)

One, two, three, four, Ribena! No, not the fruit drink, repeater is the word! A misheard lyric I just corrected myself on as I looked up the track listing preparing to write. "Repeater + 3 Songs" is the bundling of Fugazi's critically acclaimed debut record and a 3 track EP released months earlier in 1989. I've been meaning to get around to Ian MacKaye's music for sometime and was delighted to find something quite attuned to the Post-Punk and Hardcore sounds Ive been listening to recently. "Repeater" is fantastic for reasons I can't put my finger on. Its easy on the ears, full of life and energy with a raw authenticity that tackles the harder subject matter.

Formerly just the brainchild of guitarist, singer, MacKaye, "Repeater" is the turning point where the group decided to write music together. Its apparent they have a golden chemistry in this moment as an organic and free sound emerges that loosens the conventional song structures to allow all sorts of magic to happen between the guitars and drums with plenty of rhythm breaking and noisy atmospheric guitars to break up the repetitive riffs with expansive sounds often playing with feedback and reverbs. Much of whats hard about Hardcore remains in the moments of aggressive guitar playing as hints of Post-Punk, Rock and Grunge play into their sound but mostly its one of those records that's carved its own niche.

The records best tracks feature vibrant bass lines with a warm, bold, golden tone that the guitars play expansive riffs over, bursting Post-Rock like atmospheres into pockets of the songs. The drums join in too between conventional beats and syncopate with the instruments. MacKaye and Picciotto take turns on vocals and both of them bring a passion with light screams and emotional singing to further illuminate the energy exuding from the instrumentals. The whole chemistry is a fine thing and there is something rather momentary about this record that has been captured in a gorgeous recording that has stood the test of time, sounding fantastic to this day. Between its best songs a couple don't reach the same mark but that's simply a compliment to how excellent some of these tracks are. A deep, artful rock record with a slightly aggressive overtone addressing heavy subjects.

Favorite Tracks: Turnover, Repeater, Blueprint, Sieve-Fisted Find, Shut The Door

Rating: 8/10

The Veldt "The Shocking Fuzz Of Your Electric Fur - The Drake Equation" (2016)

I picked up this short record after reading a rave review on this records "innovation" praising its inclusion of trap influenced drumming and dreamy ethereal overtones. I didn't really feel it and learning about the bands backstory added a lot of clarity as to why I didn't see eye to eye on this record. The Veldt have been inactive for almost two decades, they formed in the late 80s and their debut was released in the mid 90s at the tail end of the Shoegazing Dream Pop era. Their reunion and this record has an old sound brought back to life with modern percussive influences and a richer sound given the fidelity of present recording techniques.

The Shocking Fuzz is quite an inviting record, calm, serine and soulful, oozing synthesizers and bleeding guitars wash together in a haze of reverb for lead singer Daniel to drift into with soft, harmonious singing that's sleepy and calming in its authenticity. The walls of ethereal sound created in a typically shoe gazing fashion are distant, dense, mysterious and layered with details that swirl around, expanding and contracting with the music. The percussion varies in style from track to track and accommodates the wall of sound that blossoms in the track, as opposed to playing a key role in its direction.

Each track is a little inconsequential with no big arks of progression but singular moments that suspend the enigmatic sound of the dissonant guitars while they create expansive soundscapes with their rich and deep tone, best heard on "An It's You" where the guitars cut in and out of the track, rapidly transforming its depth and composition. With each listen the familiarity soaks away some of the charm and the singular nature of the tracks has them stagnating with a lack of events to spice up the setting. The talk of ethereal music mixed with Trap beats drew me too this record but their union here sparks nothing special, nor does it sound out of place. Its a short and solid record but nothing to get worked up about, just a chilled record for a certain mood.

Favorite Track: Token

Rating: 6/10

Shape Of Despair "Monotony Fields" (2015)

With my recent curiosity into Doom Metal, through albums like Desire's "Infinity... A Timeless Journey Through An Emotional Dream" and Candlemass's "Nightfall" I was recommended Shape Of Despair, a Finnish Funeral Doom band who's debut has quite the reputation. After an eleven year gap between records "Monotony Fields" is another heavily praised record but unfortunately one I couldn't really enjoy or get into.

Its slow, punishing act of doom and gloom drawn out through lush textural instruments that didn't add up to more than its parts. I can however, very much appreciate what this record could do for someone else. It is aesthetically gorgeous in its own morose way but the life is sucked right out of the atmosphere by the crawling pace and stagnent progression. The guitars, synths and drums mostly feel the same from track to track, in their lethargic drifting presence the differences and subtleties fall mercy to the postponing nature of these songs.

The synths set the sombre tone for dense guitar distortions to bleed out with monstrous guttural vocals being stretched over lengthy riffs with a remarkable consistency. In its moments the lead melody can conveys some epic, or emotional context but it too falls mercy to the stagnation of slow repetition. The pallet is quite memorable but it feels uneventful beyond setting a mood. For me this record dives to far into slow gloomy atmospheres for me to stay with it. Although it has an interesting texture, their is no progression or events to keep my attention.

Rating: 3/10

Shura "Nothing's Real" (2016)

The BBC isn't my usual source of music journalism but their article raving on this Synthpop revival artists debut record caught my attention. From words to music you will loose a lot in translation and as because Shura isn't quite what I expected. This is revivalism in a rather pure form which benefits from three decades of aesthetic progression but stands firmly in the simplistic, formulaic pop roots of the genres era. Its almost a nostalgia trip and offers little new or unexpected ideas but the instrumentals and Shura's comfy, soft, easy on the ears voices caries the record over through its hour playtime.

Shura's range is quite contained, as is her delivery often staying within the safety zone of the colorful instrumentals with softly sung lines snugly fitting into the pleasant mold. Lyrically its rather cliched and atypical with a string of songs on love, what could of been and all the shades between. There's little external perspective or reflection in the lyrics so none of it really had any impact. The hooks are reasonable, nicely delivered but again lacking the depth to land a punch.

The instrumentals are fantastic. To my annoyance they reside within the verse chorus structures but otherwise there is a fantastic chemistry of layered instruments culminating a warm, vibrant and inviting atmosphere of simple pleasures. Lots of little melodic loops come from lively, colorful instruments with lavish synths adding to a continual density. Its a few steps away from being quite thick and far from being minimalist. Its a healthy helping of bright and sunny music with that classic Synthpop charm and musically is where it doesn't steer of that track but aesthetically its a little more expansive and revives the sound to much merit.

With a lack of twists or new ideas the record can be a little disappointing within the atypical pop format. At the same time its instrumentals provide such a vibrant sound that its time is welcome. The same thing apply to Shura's voice, easy and inviting but lacking any spark of uniqueness lyrically. The two add up to a record that's got looks but no brains. Its company is most welcome but doesn't leave much of a mark beyond its moment.

Favorite Tracks: What Happened To Us, Tongue Tied, The Space Tapes

Rating: 6/10

Atheist "Piece Of Time" (1989)

After reconnecting with this band of old I picked out their debut record to listen to next. Released in 89 it stands firmly with an "ahead of its time" label, although the album itself was recorded almost a year earlier in late 88. Fascinating stuff however this record doesn't translate to enjoyment at quite the same ferocity as its follow up "Unquestionable Presence" does. Putting a finger on why has been tough, it makes me ponder the impressions that other works can leave on records that are new to you. These records in one sense are two of the same breed however perhaps a seasoned maturity and flirtation with non metallic styles gives its predecessor an edge. Even then we are splitting hairs, "Piece Of Time" is a brilliant Death/Thrash Metal record, one well ahead of the crowd and worthy of praise.

Many of the remarks I could make about this one are similar to the article I wrote before so I will focus on the difference between the two and I believe it comes down to the production and tone of this record. Its still an impressive recording for the time but it feels a little less inviting, somewhere in the low to mid range is somewhat hollow and the guitars find themselves squeezed into a narrower range, leaving them rather visceral and sharp. It changes the albums complexion and the tone is rawer, a bit unchained and as a result I find it a little less comforting to sink into. The ears adjust but its always got a bit of unsettling venom about it.

With that sharper edge the music sticks to a much firmer aggressive state between the Death and Thrash with no musical breaks or odd time signatures, apart from the short album opener mixing light synths with the sounds of crashing waves and a symphonic piece for the final track. The riffs steer to a darker, aggressive posture and the groove element is toned down, many riffs feel like they are just a step away from some much needed bounce but given the overall theme that's not what the records looking for. Its another onslaught of short songs rapidly going through the motions with inspired musical ideas that culminate many fun and memorable riffs. The bass guitar holds back in comparison however the drums are as equally involved and wild through the albums course. A classic, however I find the follow up ticks more boxes for me personally.

Favorite Tracks: Room With A View, I Deny,

Rating: 8/10

Crass "Stations Of The Crass" (1979)

After being brought back to a classic record, "The Feeding Of The 5000", I thought id follow up with their second full length album released the following year. Id only heard it a handful of times before and listening to the album again it pretty much takes off where the last one left. However the albums mood is slightly more depressive, pessimistic and angry. As if the monochromatic abrashion wasn't gritty enough the tone now has a little less statement and more response to the events that unraveled between the two records. Calling out The Clash again and making defeatist statements like "Were not going to change the system". Its not just in the lyrics, its in the delivery too, their is more anger, bite and despair in the voices of Crass's various singers.

But for the most part its very similar. Instrumentally its constructed from the same ideas, lots of snare lead militant percussion, dissonant noisy distortion guitars and a bouncy baseline always in the thick of it. The vocals are again apologetically blunt and stubborn, marked by the thick Essex accent. Eve Libertine makes a return on a couple of tracks, singing on "Upright Citizen" which gives it a wave of color in a sea of grey. Aesthetically its mostly the same too, sounding as if they could of come from the same recording session, maybe with a touch more clarity.

The record plays through with less striking statements and little hooks where its predecessor had many. The last three tracks unwind slowly with moments of anger fulled Punk between more atmospheric noise led movements. Its a decent record but doesn't have quite the same orchestration is the bands first, however with it being so similar its quite possibly an example with what retreading your footprints can mean musically, less memorable and not as impacting. Still a great listen though, again with a large track listing of many short songs.

Favorite Tracks: Darling, System, Upright Citizen, Demoncrats

Rating: 7/10

Cryptic Slaughter "Speak Your Peace" (1990)

Cryptic Slaughter are an American Crossover Thrash band from the 80s who had a very young line up, in terms of age, during in their short six year life span. They released four full length records, this being their last released in the same year that they split up. Their debut was released in 86 when some of the members were only 16 years old! Young bands are more common in today's freedom of access internet driven music scenes, back then it was rather a rarity. As a crossover band Cryptic Slaughter had more of a Thrash leaning on the guitars and drums, mixing up common techniques with Hardcore sounds too, the music themes and open mindedness of the record leans more so in the other direction. As a fan of both Hardcore Punk and Thrash Metal I was keen to give this one a listen, as I have heard the bands name mentioned by many reputable artists.

"Speak Their Peace" made its mark on me through its political, social and philosophical statements. There's a lot of observation and reflection apparent in the lyrics which make thoughtful points about the environment, society, ethics and a cynical criticism of the often overlooked issues in society. On the title track the line "I'm sick of hearing there is nothing we can do, I'm sick of hearing that nothing ever changes, well change changes, what we do gets done" really truck me. Brilliant denial of pessimistic attitudes. Its a rebellious soundtrack of alternative ideas that are rooted in logic and reason with a warm dose of compassion.

The instrumentals accompanying the angry shouting voice of injustice are also rather dense with substance and ideas. The tone is heavy in mood rather than texture with many riffs walking from one to the next, interlacing discords between moments of heaviness. The baselines don't shy away from the stage playing a big warm role jumping out between the silence of the distortion guitar and climbing the fret-board for higher notes too. In general it plays rather organically with each moment unraveling into the next, never settling still and continually moving into the next orchestrated riff section, occasionally throwing in half measures and often varying on repetitions.

It adds up to thirty three minutes of energetic, to the point Crossover that makes its point firmly. Its got attitude and a guitar style that sets it apart from other bands. Although its Thrash can be thrashy, and its Hardcore commonplace too its the continual meshing of the two ideas that roots it in a unique place. The recordings production is solid for the time, nothing is especially clear or sublime but each instrument fits into the mix so well, its a very balanced construct that lets the music do all the talking.

Favorite Tracks: Insanity By The Numbers, Speak Your Peace, Killing Time

Rating: 8/10

Snoop Dogg "Coolaid" (2016)

As he states it in the opening track, Snoop Dogg's a living legend and "Coolaid" is the fourteenth record from the American superstar who solidified his name in the history of music with his iconic debut "Doggystyle" back in 93. He has never manage to reach that peak again but has remained in the limelight ever since, appearing at all sorts of cultural events and consistently releasing records every couple of years. Personally I haven't been particularly impressed with his output since 93 but every record has a few decent songs and "Coolaid" is a slick, smooth record with easy going, polished beats and steady, lush instrumentals. Snoops flow is as smooth and stylish as ever, however a lack of lyrical substance weighs down the mood as Snoop flips the same themes over. At seventy seven minutes the slick hooks and catchy versus get lost between a lot of fluff and mediocrity from Snoop. He focuses much of his words on status, image and general braggadocios themes which get tiring. Snoop has often been about his unique style and persona on the mic but when the rhymes are half baked it can fall flat.

Snoop's production choices are a little varied across the record with modernized beats intermingling with G-Funk and synthesizer instruments. It flows well, hits a high point with the summery oldskool "Oh Na Na" and a low with "My Carz" where Snoop raps over Gary Numan's classic track "Cars". It lacks charm or chemistry, the two styles feel opposed to one another. Then "Two Or More" comes in, another highlight culminating with some breezy jives and Disco like funk. The synths on this track are gorgeous and chorus really sells the track. Its a moment where Snoop and the beats are their best and for the most part you don't quite get both together. That's just how it sounded to my ears, a well produced record that's easy to enjoy but it lacks the trim to put the best moments together in a shorter run time.

Favorite Tracks: Oh Na Na, Two Or More, Kush Ups

Rating: 4/10

Forest Silence "The Eternal Winter" (2002)

This short, twenty minute, three track demo is Hungarian Black Metal duo Forest Silence's third before landing a full length record in 2006. Its part of a patchy discography where the tone, aesthetics and style shifts from each release. The previous demo is a collection of dark, weary ambient soundscapes and their one album is very clean and riff driven. This demo however carves itself a niche of sleepy, hellish, atmospheric Black Metal that I could only compare to a few bands, I Shalt Become's "The Pendle Witch Trials" comes to mind, however this release has a lot more aggression, fire and menace about it than the witch trials.

The first two tracks follow a similar structure where the same riffs and patterns play over and over, back and forth while the noisier, less coherent instruments grow the atmosphere that surrounds them. Deep nefarious, windy synths lead the tone as they resonate from behind the other instruments that stand in front. They play singular notes at a distance from one another, letting the attack of the instrument slowly expand out. The drums are rather thin and pasty, lost in the mix however a deep thudding tribal drum makes a distinctive mark on the songs like the heart of darkness pounding away. The guitars alternate between strung out chords and snaky tremolo riffs, they too are thin and buried in the muddy mix. To much effect they compliment and add a density to the synths despite being smoothed by them at times.

Its a low fidelity affair where the messy mix lets the gloomy, unsettling synths create an engrossing atmosphere. The vocals initially feel laughable, cliched weak raspy screams groan out over the instrumental with echoing reverbs. Their balance however works amazing for the music, another snarling malicious voice to strengthen the harrowing atmosphere. The two songs are equally brilliant in their longer run times and to wrap it up a somber and lonesome ambient track leads the demo out.

Its an instrumental track with sweeping synths like winds, a soft murmuring bass and lonely melody calling out over the desolate, baron landscape. It evolves with some acoustic guitar accents and bongo drums playing a soft rhythm. It doesn't aim for a climax but fades away and serves as a calm and solemn unwinding. Another memorable song and merit for a fantastic demo from this obscure Hungarian duo.

Rating: 6/10

Stellardrone "Light Years" (2013)

Ascending from the Baltics, Lithuanian musician Edgaras aka Stelladrone may have one of the best self describing names Ive come across. Stella for interstellar, space and all things beyond the cosmos. Drone for the nature of the music, lush ambient drones of textural synths that lure in the listener to deep cosmic wonder. All of Stelladrones music is available for free, an ethical approach I very much like and "Light Years" is the last release from the artist in three quiet years.

The tone of this record lands right within my expectations of the name. Its on the lighter side of ambience and Its astral drones create rich atmospheres fit for deep thought and reflection. It captures the mystery of our universe in wondrous frame of infinite beauty, we listen in awe of our experience of it. Across the 10 tracks different flavors of equally positive vibes emanate from lush, dimensional synths that sweep and a wash gently by as they move through lengthy phase shifts. They are often accompanied by a chirpy shuffling synth tune that loops itself through the infinite. Half the time some percussive elements join the fold, more often berried into the synths and a few tracks get dense in comparison to others with multiple synth tones stacking up alongside the drums.

Each track is its own but in the grander scheme the record doesn't surpass its own moment. There is nothing to fault but the soothing, slow and droning nature of the music has it molding your mood but not your memory. As enjoyable as each listen is, not to much about it sticks around. The drones are singular and uneventful, fantastic for focusing on another task. It succeeds as background music but in the foreground is simply pleasant but doesn't make itself remembered. Solid record with fantastic production, great sounding synths for calming compositions.

Favorite Tracks: Red Giant, Light Years

Rating: 6/10

Killing Joke "Brighter Than A Thousand Suns" (1986)

Ive been chipping away at the Killing Joke discography for some time, their first two records "Killing Joke" and "Whats THIS for...!" were really something but the rest of what Ive heard hasn't been quite as unique or interesting. I last listened to "Outside The Gate", their most poorly received record but one I thought wasn't all to terrible, it had a couple of memorable, catchy songs on it. I actually skipped a beat there, missing this record which ironically feels more like a solo effort from front man Jaz Coleman who's face dominates the albums cover. The negativity surrounding the band at the time seems to revolve around the shifts in style but listening thirty years later its seemingly irrelevant.

Guitar distortions and aggression are almost non existent, the guitars, mostly overdriven, are jamming away in the distance, drifting through melancholy riffs in a wash of hazy reverb that vibes with the synths. Jaz's electronics are eerie keys with an astral quality about them, they take much of the melodic lead and usually the guitars are following them, adding texture and density to the simple synth lines. The drums are rather punchy and active with solid tones however in the mix the are rightly quiet and keep pace rather than make a big impact on the songs. The bass lines are a key component of groove, big and bold the rest in the forefront jamming to their own tune that ties the drums to the guitars and keys. Rising above it all is Jaz's voice who flexes the soft yet powerful side of his range. The instrumental sets the tone, building the atmosphere for Jaz to take the stage. With some soft reverb he shows his talent however as always the lyrics generally pass me by. Its an agreeable chemistry but as it stretches on through its hour run time a limitation arises without a flexibility to his approach on each song. The songs two are rather simple and their is no grandiose ideas at work, just variations on the same aesthetic.

Its still got that distinct Killing Joke vibe, but far more New Wave, and with a tinge of Gothic residing in its moody, slightly gloomy exterior. Two tracks in the middle stick out, breaking the established formula and stripping back the guitars for the synths to take lead. "A Southern Sky" has a memorable hook "Death on the hills, into the forest" and "Victory" has a much perkier, upbeat feel with a jovial base making itself known. They feel different and slightly more pop than the rest of the record, at one hour it probably could of dropped these songs off but that's just my opinion since they feel so out of place to me. Overall its a reasonable record, enjoyable in its moment but not much sticks in the mind about it. Its something for a particular mood, just a mood I'm rarely in.

Rating: 5/10

Vinterriket "Der Letzte Winter - Der Ewigkeit Entgegen" (2005)

Multi-instrumentalist Christoph Ziegler is the man behind the German Black Metal project known as Vinterriket, Swedish for "winter realm". Recommended to me by a friend it was something I already had in my collection from the days where Black Metal was all I would listen too. I didn't remember it particularly well and it hasn't suited my mood of late but I can appreciate the bleak workings of this lengthy record. At one hour its a pale, grim and gloomy affair that drones on with a calming, slightly dreading persuasion, as if being sucked into the grasp of ill fate. With short Dungeon Synth like intro and outros their is little respite from the dreary atmosphere, bar one interlude track and moments where the synth escapes the grisly guitar.

Its dimension is narrow and insular, fuzzy brittle guitars hiss away into the wall of sound engulfed by the deep and encompassing synths that conjure the shadowy atmosphere. The drums peter away smothered by the instrumentation, the vocals cut through the setting like a knife, Christoph's approach is much to my dissatisfaction. Dense, sharp screams are muzzled in distortion from peaking the microphone, they sound loud but are lowered greatly in the mix however their harsh abrasive nature and lack of any reverb has them sticking out like a sore thumb and dispelling the mood for me.

The songs are led through their moments by the synths, with the guitars descending into a drone much of what they do is compliment the synths through tone rather than composition. As a result these songs are very singular, linear, they follow the chord or note the synth lead. Occasionally a second line drops in or distant bells but its mostly constructed from one instance. The tone and pallet of the synths are ancient, nostalgic and mysterious, ripe for inspiring your imagination of what dark secrets lurk beyond its keep.

My enjoyment of this record was mixed, couldn't stand the vocals and the compositions were rather mediocre, the aesthetic wasn't especially fantastic either although it did feel unique and inspired. It isn't until the "Winternacht" tracks that my ears perked up and a couple of eerie melodies creep through on the organ like keys. I've not much else today, this one simply didn't click with me.

Rating: 4/10

Crass "The Feeding Of The 5000" (1978)

Here's another record that the miracle of shuffle brought me back to. Reading and exploring the world of Punk music many years back Crass stood out as one of the most interesting bands, pioneers of the Anarcho Punk sound, Crass were artists who met their words with actual activism and action, true anarchists who expressed their anti establishment and authoritarian views through their DIY music. Feminists, animal rights activists and anti-war they stood for a lot of things I agree with while pointing out the hypocritical nature of punk ideology in the mainstream, calling out The Clash directly on one particular song. The bands story is fascinating, their influence on political culture and activism during their short tenure is unique and quite unheard of in the world of music today... or at any time really.

Punk can be unapologetically raw and crass, pun intended, but not quite like Crass are, with spoken word and dissonant guitar distortions, scratchy and dingy in tone, the band border on Art Punk with a continual exploration of feedback noise through their songs where you might of expected simple power chord riffs. When they do resemble more traditional styles they are buried, distant, quiet and second fiddle to the chemistry between bass guitar and drums. The core "melody" comes from the bouncy bass guitar, lining the direction of each track with a chromatic charm. The drums sound narrow but rattle away with a militant industrial vibe, keeping rhythm with snare rolls and marching rhythms between kick and snare. The symbols are quiet and often hit at the same time as a drum, rarely heard in the moments between.

They create quite the gloomy, nihilistic atmosphere, taking on the weight of the urgency they feel for their world views. Vocalist Steve Ignorant as the lead voice has quite the stark and blunt approach to his performance, almost spoken word, or shouted word as his thick London accent dominates the listeners attention. Its again unapologetic and straight to the point, a brilliant union of art and intention, you can feel the passion and fire for their beleifs. The album is also littered with creativity in the form of sampling, artsy spoken word interludes from Eve Libertine and interesting song ideas. The anti nuclear "They've Got A Bomb" sets a grim tone with crackling guitar noise and as Steve says "twenty odd years now waiting for a flash" it goes silent, as if the bomb has gone of. Fantastic. After its opening track the music starts and ends with two renditions of "Do They Owe Us A living", solidifying one of its main themes.

At thirty two minutes its fast, direct and loaded with short tracks, eighteen in total but they play like a singular experience in moments, often rolling from one into the next, sometimes with the shifts in tempo being transitioned through the drums which steadily increase or decrease in speed. The records DIY production doesn't hold it back, its a low fidelity affair and the reality and genuine nature of its construction makes complete sense given the circumstances, its part of its charm. I love this record for its character, conviction and substance, the music is grounded in reality. The people, ideas are real and meaningful, a much more intelligent form of Punk with a strong, harsh, unforgiving aesthetic.

Favorite Tracks: Do They Owe Us A Living, They've Got A Bomb, Punk Is Dead, Banned From The Roxy, Fight Wars Not War, Securior, You Pay, What A Shame

Rating: 8/10

Atheist "Unquestionable Presence" (1991)

Revisiting records of old, Florida Death Metal outfit Atheist's sophomore record "Unquestionable Presence", a subtle oxymoron, is a gem of a record I seemed to notice of in my youth. Exploring the Death Metal scene many years ago they were another band I liked in a wash of many. It didn't stand out at the time but hearing "Enthralled In Essence" again after many years had me blowing the dust off and tuning in for another spin. With such a more experienced ear for Metal and extreme music it became quickly apparent that in 1991 Atheist were ahead of the pack. Introducing Progressive elements in a more diversified sound, they could well be the first labeled as "Technical Death Metal", marking their music with complexity, intricate workings and musical theory.

The record opens up with a vivacious bass guitar at the forefront, dancing away individually between the shuffling drums and the tenacious guitars. Something that would become a staple of Technical Death Metal. It rumbles in the unforgiving, building a weighted atmosphere spliced with temperate grooves and two minutes in a vigorous solo bursts light into the atmosphere before it shuffles its way back into its heavier tone with uncommon time signatures looping under a 4/4. To juxtapose the dense sound some soft, sombre clean guitars and the sounds of birds chirping set the calm before they deliver a mighty, stomping thrash groove. The chirping leads through to the next track and its a thoughtful arrangement of riffs and assembly of ideas that culminate into another great track.

Other bands at the time were largely pushing the boundaries of Death Metals aesthetic, intensifying its tone and extremifying its ideology. Atheist set their sights on an expansive sound that could transcend the genres traits while retaining its brutal aesthetic. It did so with a streak of Thrash Metal that you can still hear a fusion of today with bands like Revocation. They don't bludgeon but take that weight to groove and the infectious bursts of adventurous guitar solos really root themselves in scene that was giving way to new sounds at that time. "An Incarnations Dream" starts of with a sombre, moody and atmospheric acoustic that builds up a suspense in its opposition to samples of riots and police sirens. The lead guitar really transforms and elevates the instrumental before its cut away and we are lured into the records reality again. It drops into a fantastic spacious grove reminiscent of Pantera and another riff sounding like Metallica on "Kill Em All" plays briefly between an onslaught pounding riffage.

The band have an arsenal of ideas and bring them together in a chop, change and evolve approach. Every song is turning over at every moment, never resting on their laurels which adds up to rather short songs that get through their ideas in a sprint. They could easily be drawn out into epics like many progressive songs do but this band get straight to the point and condense everything. Its just the aforementioned "An Incarnations Dream" that I would of loved to hear more of the illuminating intro but alas it goes against the core principle of continual evolution and across the short thirty two minutes this record runs for it makes for an ever exciting listen that never lulls.

With "binge listening" my ears are well attune to what is an old, 90s recording. Even so I think this album sounds gorgeous with what they were working with. The guitars have texture in their heavy, lower reaches and stretch into the highs with a sharp illuminated tone. The bass guitar is everything you could ask for, upfront in the mix with a thick bold tone. It gets plenty of time to shine through the songs, rarely mirroring the guitars directly. The drums are fantastic too, sounds like your in a room with the kit, lots of natural reverb on the toms and a crisp snare. The kicks have both a notable clicking and deep thud, not great for blasting but the drumming hear is spirited, lively and going all over the kit, it compliments it well. My only "negative" point are the vocals, not bad but not particularly impressive, vocalist Kelly Sheafer has a screechy style, very Thrash with a lot of strain and force in his voice, it doesn't carry a lot of weight but its presence doesn't lesser the music. Terrific rediscovery, I'm compelled to go through their other records now.

Favorite Tracks: Mother Man, Enthralled In Essence, An Incarnations Dream

Rating: 9/10

Pilotredsun "Achievement" (2016)

The mysterious Pilotredsun, or pilot red sun, is an anonymous American musician who's aesthetic for cheaply drawn cartoons with twisted, disturbing undertones is united with quirky electronic music. In my mind the two don't pair up, I see the charming side of the tunes, which maybe due to drawing comparisons with the more conventional Izioq. This collection of songs have a whiff of Chiptune, a touch of VGM but reside as melodies played on synthesizers with tones to compliment its vision which is down to interpretation. It may come across as mysterious, creepy and eccentric but for me I feel the warmth that exudes from the music passes the slightly quirky choices in vst's as a sort of childlike innocence. Its nostalgic, I see images of running across train tracks chasing a balloon, trying to jam a fork into the strange hole in the wall, or attempting to unscrew the lid of a strange bottle of blue liquid from under the sink. For me that quirky, eerie quality is danger, the sort young children aren't aware of as they explore their curiosity in a world of beautiful shapes and colors.

"Achievement" is fun, playful and flows with a free spirit. Simple melodies and there accommodating instruments create an ease for the listener to slide into. Nothing over complicates and there is just enough going on to enrich what is inherently simple, often two to three lines and light percussion. The drums are rather subdued but in "Warsaw" they burst to life with a bolder kit sounding more genuine than an 8-bit kit as some other tracks do. The genius comes from the selection of instruments to play these melodies. The slightly quirky, off kilt and "derpy" wave forms compliment the spirit of the music and add to that eccentric vibe which might come off as eerie or creepy, to me it is full of innocence.

The records production has a relatively simple job of balancing just a few, noninvasive instruments and so not much can be said other than it serves its purpose. The record has a great flow, nothing feels over played, or stretched out and between the twelve there is a comfortable balance of melodies and aesthetics. In the records run time a soothing atmosphere free of burden or worry is formed like a bubble drifting into the skies. Its engrossing and uplifting. Absolutely loving this record and Ive only gotten around to it a handful of times, just one of those you can connect with quickly.

Favorite Tracks: Warsaw, Sadpad, 8-Train, Funny Animals

Rating: 8/10

Revocation "Great Is Our Sin" (2016)

They were once my shining beacon of hope for Metal music and as my taste expanded their impact on me faded. Disappointed by "Deathless" I wasn't going to get to excited over the Boston based outfits sixth full length record but from the first listen I knew this was something to get my teeth into. With the departure original drummer Dubois-Coyne the band were set to loose a key component of their sound, however replacement Ash Pearson from Canadian Metal band 3 Inches Of Blood does his service, providing the band with a technical backbone, armed to the teeth with tight rattling drums that bludgeon away between shuffles, rolls and blast beats. He does have a tenancy to dive into lengthy pedal rolls but the general intensity is spot on, if not toned down slightly from previous records, accommodating the guitars more so than firing aside them. With David showing no signs of losing inspiration "Great Is Our Sin" is ten tracks of dense, crafted Metal loosely themed around the woes of humanity repeating the failings of history.

With tinges of Black, Death and Thrash a thick and sprawling beast unravels from within the violence of aggressive music. With darkness, aggression and groove these songs take steadily progressing journeys through David's arsenal of lively riffs, never settling on a repetitive moment, as the band so traditionally do. On this record though the tint is darker and the moods of the songs jump around a little more with some of the more pummeling riffs against those with a less menacing demeanor. And then there's David's guitar solos bursting into life with purpose and intent, able to illuminate a song and as he so typically does, use a guitar solo to swiftly transform. The range of riffs are remarkable, never a dull moment and so distinctly Revocation it is a comforting listen to an old fan.

Moments like the instrumental "The Exaltation" are like flashbacks to the days I first discovered their "Empire Of The Obscene" debut. A song that bursts into classic Thrash between moody atmospheric riffs and a guitar solo reminiscent of Megadeth in their hay day. That excitement isn't as available on every track, some of which are more rooted in the dooming atmosphere of mankind's perils. Its in these slower, crushing moments that Revocations grip isn't as tight. As their sound progresses it has yet to stale but for me David's guitar work and style doesn't catch me out as often as it used to and with a more expansive interest the purist Metal intent is sometimes the less interesting choice to listen to.

"Great Is Our Sin" is a loaded gun of sharp guitar shredding, the trios chemistry sounding great on a sturdy production that I hear no faults in. Every moment is crisp, sharp and audible between each of the instruments. The bass is a little less adventurous than I remember with only a couple of memorable moments where it made an impact in the forefront of the song. David's vocals are biting, thick with anger and animosity, his range a little more defined and his scream packing more meat than I remember previously. He also flexes some cleaner vocals, deep bellows and sung lines fit perfectly into the albums theme. I think its a cracking album that's probably a fair few shades better than my enjoyment of it.

Favorite Tracks: Arbiters Of The Apocalypse, Crumbling Imperium, The Exaltation, Only The Spineless Survive, Cleaving Giants Of Ice

Rating: 7/10

Birocratic "Julien Solomita" (2016)

Back with another small release, American producer Biro is at it again crafting a few more beats in his particular flavor of easy going Jazz Hop. Lively sampled drum loops and soothing instrumentals come together for this short three track which has no surprises in store. The mid track continues the development of vocal eccentric sampling, chopping and pitch shifting a singers words into indecipherable snippets that make up warming melodies. The first and last songs are fairly straight forward beats with sampling of what sounds like a 40s singer, although I'm really unsure how to describe the source. The first tack "Burner" feels far more fleshed out with a gorgeous Spanish guitar lead shimmering as the focus of a beat with atmosphere and depth, the vocal sampling plays second fiddle in the background, coming of more like an instrument on a track that hits the mark.

The opening track has a bit of flair, otherwise its fairly mediocre. With his style established I'm hoping for a full length from Biro with flair and substance. For now its another micro record clocking in at six and a half minutes that doesn't satisfy the itch. The best track also seems a little unfinished with no break of progression and simply fading out before the two minute mark its all over a bit too quick.

Favorite Track: Burner

Rating: 2/10

Flying Lotus "You're Dead!" (2014)

American musician Steven Ellison, aka Flying Lotus is an acclaimed Experimental Hip Hop producer. This album, his fifth, is a primarily an instrumental and fleshed out collection of organic and exploratory beats. I caught wind of it back in 2014 when it was being heavily promoted via billboards and mainstream advertising, it received a lot of positive press but unfortunately I don't share in its praise, this album is great on paper but the listening experience is rather unfocused, lucid and wandering. Its a journey without a destination, unaware of itself. Perhaps that's its genius but as much as I enjoy wondering along through the experience it doesn't amount to anything emotional or memorable. Its just simply there one moment and the next its not.

Two records come to mind, DJ Shadow's "Endtroducing...", a record of care and craft that first explored Instrumental Hip Hop and The Future Sounds Of London's "Lifeforms", for its journey through sound that often steered clear of conventional song formats. "You're Dead!" starts of with a moment of structure and form with Jazz Hop beats and a feature from "Kendrick Lamar" but beyond that the album quickly strolls into psychedelic exploration as layered beats loosely guide the narrative provided by an eclectic array of samples often with something genuinely interesting at its focal point. The craft and attention to detail is ruthless. These beats don't loop, break or rarely create that sense of perpetual motion. They expand, contract and often organically flow through an ever changing landscape of sound. Its mellow, chilled and easily enjoyed but what it amounts to alludes me.

I feel no sense of brooding emotion or vision and without that it is an underwhelming listen. Everything worthy of notice is fleeting, momentary and directionless. Aesthetically gorgeous, musically empty, I couldn't find something to hold onto. I felt it could of done with more structure but as a listener If i can't hear the vision it doesn't really matter. I will certainly give Lotus some more of my time, maybe one of his other records will suit me more than this one.

Favorite Tracks: Never Catch Me, Decent Into Madness

Rating: 5/10