Eminem "Music To Be Murdered By Side B" (2020)

 

Another Eminem record already? Technically this is just the "deluxe edition" of Music To Be Murdered By released earlier this year. Labeled as "Side B" we are treated to sixteen cuts, the majority of which are a grade better than the original lineup. With references to Coronavirus and the global pandemic, Its obvious a portion of this was recorded after the original release. Its had me curious as to why these songs where packaged and released this way. One thing I'm sure is, I've officially brought it twice now, the second time to get my hands on these new tracks which I am happy to say a far swab of are pretty fantastic and just fun.

It doesn't need to be iterated that much of Ems topicality revolves around his stature and split from the universal adoration his fans once gave him and the peak of his popularity. Its become a dull hindrance over the years but not so much this time around. It does comes up, as well as media beef but something seems keener in these raps. Book Of Rhymes perhaps embodies this spirit, a track about getting all the words his written off the page an into the music. I remember his struggles on Revival, clearly battling with his output and listeners perception of it.

On Side B he sounds releaved and free of that stress. Much of his material breezes on with a clear concept in mind, manifesting into structure, flow and puns in a variety of ways. He goes off on many narratives with plenty of word play and crafty raps that have you checking the connections as he rattles them off. Not all of its great, one rhyme about "Channeling like the panama canal" is a stretch but this lack of filter balances out Ems talent shines in many spots with strings of fantastic links. At plenty of times he gets into it with swift raps, loading and weaving rhymes and puns together. His talent is still very much there.

The record brings with it a DJ Premier feature and Dr. Dre out from the shadows. He lays a classic piano laden beat on album closer Discombobulated but his rap is mediocre. His name will always spark excitement but the best is in the past. Its mostly Em that makes the record fun. Side B's instrumental production brings a variety of modern beats with hints of auto-tune and Trap influences on a couple song but its mostly unremarkable, run of the mill stuff. Its been a fun handful of spins, no doubt a couple songs will bring me back on occasion but the thing of note is that this material seems better than the first half. It is also fresh in the mind and hasn't have the majority of a year to fade from aswell.

Rating: 6/10

Ocean Grove "Dream" (2020)

 

Reporting on this three track release of b-sides is more so an excuse to remind you all this amazing band exists. Flip Phone Fantasy has to be my album of the year and Dream brings a little extra from that session for us to enjoy. Its title track is another 90s vibes extravagance, fulled with rich octane guitars strumming out power chords in a stride and bursting with lively drums, its cruises sweetly to the sun with mid tempo late summer vibes. Led by Dale Tanners soaring voice, it very much reminds me of Liam Gallagher in spots. The song however is rather one dimensional, with little variety and a routine crescendo to see it out with a simple melodic overtone, its easy to see why it didn't make the cut.

That's not to say its a bad song, it just doesn't reach the heights on the album. The accompanying acoustic version of Shimmer is a nice touch that holds up on the songwriting front. The glossy production with layers of airy reverberation gives it a similar wall of sound feeling even without the brimming distortion guitars. Sunny is notably labeled as a remix, its distortion guitars stripped out, a Trap drum groove thrown in too. It exposes the other layers of sound from the mix with more clarity. A nice way to enjoy the song on a new level. Again, the songwriting holds up, just affirming my love of this record I have binged hard and its magic still persists! Go check it out If you have not already.

Rating: 3/10

Bathory "Nordland II" (2003)

Nordland is a mighty double album, two hours of spirited nostalgic lore and viking aggression without a weak spot. All from the same recording session and with little distinction between its two halves, it is simply an epic musical output by an inspired musician finding new ground. That's an important point to linger on, it would be all to easy to describe this as a return to roots. Although it has the spirit of a Hammerheart, or Twilight Of The Gods, this is a rather forward thinking pair of albums, refining and rebuilding the chemistry that defines it, introducing new elements along the way too.

With keyboard synths and cultural instruments, stringed and woodwind, the symphonic aspect feels fleshed out and spirited acting as the sail for many melodies to carry the music forth alongside the swells of male heathen choirs and metallic force. Its never a glum affair, much of the atmospheres conjured have might and pride, an uplift sailing against winds and rain. The harsher realities of ancient rural life trumped by the glory of natures unforgiving beauty and human life among it.

Each song feels poignant in its narrative, gleaming melodies swell, riding into shifts of tone. Guitars, synths and choral voices interchange to hold over lengthy songs with excitement. Quorthon sings with one of his fairest performances given his authentic singing, which is challenged. He utilizes his strengths, not straining and often refraining with a spoken word temperament that electrifies the many choral arrangements that proceed him. Where songs of old were driven by fresh ideas, this collection really explores whats possible with more musical involvement on all fronts.

The metallic element is a keen one too. His rhythm guitars are initially more of a backing element but with Dragons Breath and a couple numbers or Nordland II, he delivers some bouts of cunning aggression that triumph over anything from the Trash Metal era and meld so well with otherwise melody oriented music. The lead guitars are a blessing too, not only peaking with rampant shredding solos but hitting bold with striking metallic melodies into the songs at regular intervals.

To summarize, this is undoubtedly revisiting his Viking Metal glory days but with such a refreshing attitude. These songs are given so much love and care that they come to life on a new level with deeply involved song writing. Better sound design and use of instruments outside the norm flesh out its theme well. Strides are made on all fronts however thumbing over the tracks again one by one, Ive got to say it does feel as if the more rhythm guitar driven songs end up on the second album. It has the darker charm with a more aggressive temperament. Its been a fun journey and this is one heck of a note to end on, even if it was sadly not planed as so. It will always be a curiosity to think what might of followed but great to know he found his way again after a patchy series of albums.

Rating: 7/10

Bathory "Nordland I" (2002)

Another epic journey concludes as we embark on Quorthon's final works, essentially a double album that rekindles the flames of old, having lost his footing through the nineties. Sadly we may never know where he would venture on from this high point, his untimely demise coming just over a year on from the release of Nordland II. Supposedly linked to heart conditions it is often speculated that Bathory never toured for this reason. At this stage of his career though, he was truly a one man band, not only writing but performing all the music that makes up these records. Both are of the same studio session with little distinction between its two halves. It made sense to write about them together in one single post, so that will come next and for now we will focus the journey this infamous artist has taken us on to get here.

Starting out in the mid 80s, the early records are gritty, edgy and ambitious, pushing boundaries which seem tame and cheesy by today's standards. That is precisely the legacy though! With The Return, many ideas emerge that would become staples of the Norwegian scene in the 90s. Its not until Under The Sign Of The Black Mark that something special sparks. Still hammering out the extremes, his songwriting elevates, outlasting the gimmicks and giving us a glimpse of whats to come in the next few years. The introduction of synth on Enter The Eternal Fire also a remarkable idea, a clear traceable linage to the many Symphonic Black Metal bands yet to come.

Blood Fire Death marks a true stride of genius. Clearly growing as an artist, the Nordic inspiration of his heritage and Viking roots brings fresh, original ideas to Metal. It all flourishes with a pivot to focus on this spirit alone with the mighty Hammerheat, putting Quorthon at the heart of two big musical movements set to evolve over the next decades with him practically checking out and pivoting to Thrash Metal during its decline. It is this era that highlights something forgivable in the early days, sound production. Whatever the reasons, the harsh abominable aesthetics hinder much of the output moving through the 90s. Its been a stain on much of the music, with Blood On Ice providing just a little relief along the way.

 Fortunately the Nordland saga is finely produced. Still a little harshness lingers but the two have a fair aesthetic for music we will talk about in the next post. One thing is for sure, early Bathory is essential listening for fans of Black Metal and Viking Metal, those first five records plant the seeds of so much music to come. On a personal level, it was really fun to get back to these records, rediscovering some fascinations from my youth and getting a much fuller picture of a patchy career with ups and downs, ultimately ending on a high note!

Rating: 8/10

Old Sorcery "Sorrowcrown" (2020)

 

Concluding our journey for the time being we arrive at Old Sorcery's third album Sorrowcrown, a lengthy epic wading into Black Metal territory. Its unsurprising given the natural link between it and Dungeon Synth, however in my mind it comes a bold and unexpected move given how such a distinct style had been harnessed. This is no flirting affair but a full on plunge into bleak darkness, adopting many tropes of the genre and its modern flavors. Phantasm is the lone synth song, the shortest at thirteen minutes among three other gargantuan songs. Its opening half consists of brooding strings yearning for warmth, spelling a shadowy caution of unease felt under its majestic gleam. Its suddenly pivots with a minimal delayed synths echoing off the tense atmosphere over a quiet percussive pattern. Giving way to a rich, gleaming flood of suspended pan flutes, the ice thaws in a moment of beauty. True magic before descending into the esoteric unease of monk-like Gregorian chants, distant to the lurching whispers and lonely winds. That later part feeling somewhat stitched on.

Its other three songs are of the Metal persuasion, with only a couple of notable breaks into Dungeon Synth interludes. Leaning to the pale and narrow, its mostly of the Darkspace production style with a lack of high frequencies and clarity in scarcity as its bass, drums and shrill guitars become a muddy momentous force. Over its three songs the unending roar of blast beats and shrill howls finds a few notes of intrigue while mostly being reminiscent of artists who have walked thees paths before. Closer track Blades Of A Reflection manages to conjure a guitar and synth aesthetic almost mistakable for the classic Det Som En Gang Var, something I have strangely not encountered an emulation of before. Voidborn is a track toiling with maddening synths and mischievous melodies to encapsulate a devilish environment. After a meandering interlude it concludes with a beautifully slow and lunging riff playing out under glistening astral synths that swell brighter as the tempo drifts apart.

Fortress Of Molten Silver has perhaps the most interesting opening. A cryptic voice makes shadowy utterances as the guitar fuzz melds with synths. It feels short lived as the arrival of hazy lead guitars pluck sad, lonely melodies through the mud of sound, much like I Shalt Become, which tends to be the nitpick of this record. I don't think Sorrowcrown would have lured me in alone. Much of what it offers are ideas I've heard fleshed out well by other artists before. The chemistry Old Sorcery has didn't seem to apply to this project. Its a lengthy behemoth that slugs through tones of fantastic musical extremities toying with the black and beauty of night. In length it feels more like a meandering journey, fantastical but also a collection of ideas lumped together. With a lack of originality in the mix, its sudden pivots to new shades of intensity feel reminiscent of others. The mixing is also questionable, although low fidelity in nature, its blurry guitars and quiet drums always seem tough to get used to.

Rating: 6/10

Plini "Impulse Voices" (2020)

 

 

As one to keep an eye on, news of another Plini record could only bring joy. Over the years this Australian guitarist has steadily brewed an exceptional sound of serine, beautified Progressive Metal. Embellished by dazzlingly colorful instruments its both aesthetically indulgent as it is musically deep. Impulse Voices, his sophomore record, follows up on the highly praised Handmade Cities of four years ago. I've relished in the anticipation of this one as Plini's philosophy is about taking time to cultivate the best of his creativity for our pleasure. With eight tracks just shy of forty minutes, its a rich experience that I've steadily grown to know and love. Each spin yields a new insights as one picks apart its many elements, while growing to love these songs. Its easy to enjoy from the offset but providing a lasting magic.

 

Not to dissimilar from what we have become accustom too, the fruits from a labor of love blossom again with every moment feeling cared over. Dazzling melodic guitars swoon, cruising on soft winds with sweetly elasticated grooves rustling up from below to add a moments energy to this warm and inviting music. The instruments are colorful and bright, an unending expression gushing forth from the lead guitar that sings its glory over much of the music. Subtle synths chime too, swaying with the breezy motion, swelling with the tides of change, adding unusual aesthetic persuasions in places, see the rave synth rise and fall on Perfume towards its conclusion.

In its opening half everything feels just right. Papelillo delivers a wonderful swell of heaviness at its ending. The current of djenty groove lurks and prowls throughout the song but its climax lunges into a remarkably dark yet approachable conclusion that glosses up the gritty metallic techniques of old. Its in the second half that something notable emerges. Unsurprisingly yet possibly a link I've overlooked on previous records, a strong Jazz Fusion vibe opens in a handful of moments, the guitars get stripped away, the keys take lead, expressing dexterous melodies with a bolder tone giving it a notable contrast to the usual array of subtlety playing with volume and intensity.

A saxophone solo on Pan further embellishes this Jazz link, a lovely, fitting climatic moment exchanged against one of the record best guitar solos. However in those less seamless keyboard switches it seems the cohesion is dialed down a touch. Experiments toying with space and syncopated silences towards the end of Ona / 1154 carries a little friction too. These are hardly blemishes though, Impulse Voices is an indulgence from an artist in their stride. Stunning music, beautifully produced with drummer Chris Allison seeming like a perfect fit to bring as much magically intrigue to the percussion as Plini does to these scenic songs of melodic fondness. Simply wonderful.

 Rating: 9/10

Cult Of The Damned "Part Deux" (2018)

 

Following up on a dazzling debut EP, three years later on, the Cult Of The Damned collective take their straight running of verses to the album format. Eleven tracks at fifty three minutes, Part Deux takes a moment to find its stride but ultimately delivers on deviously creative raps delving into the underworld of drug abuse and poverty among other adult subjects. Kicking off with its title track, nine British voices bring some of their finest rhymes to set slick vibes, rapping over a Noir Jazz bass line sample shimmied along by a soft but steady drum loop. Its a dynamic opening.

Unfortunately the pace fumbles on the next two songs as beat production explores similar vibes with estranged sampling presenting some challenging tones that don't quite gel with the energy of these hungry rappers. Track four, The Usual, then pivots, bringing in hook and chorus, a rarity for this group. The song tributes drug abuse and binge drinking, playing out like a mad bender, going through a wild series of events as two of the collectives best, Tony Broke and Bill Shanks, exchange verses.

From here on, temperaments change. From The Depths is a moody, rain soaked, gloomy number for self reflection, similar to the sombre vibes of Coffee later on. Never No brings a little uplift with a lively percussive loop playing up mischievous vibes reflected in its lyrics. The two again toy with hooks, it suits them well when applied sparingly. All these instrumentals have a similar subdued energy, not looking for flash and effect but timely beats with softer grooves and jazzy samples with a few layers that brood moods fit for repetition as the expansive vocabulary and creativity of these rhyme styles have this Hip Hop head playing the record on repeat.

With only a couple minor fumbles, the group have brought a little more structure with Barebase narrating subtle track concepts at start and end of some songs. The occasional use of choruses too, its all timely and with a cohesive set of beats the endless stack of verses, it runs like a stream of curiosity to pick apart. Loaded with references, skewed annunciations, witty word bending and satirical intent, the talent oozes but just like last time, some voices stand firmer. Overall though the rising tide has brought all boats with it. Records like these have legs and although new music from this ensemble is on the horizon, it seems I'll have to dig into more from these UK artists.

Rating: 7/10

Future & Lil Uzi Vert "Pluto X Baby Pluto" (2020)

 

Of the handle of spins I've given this one since its release, I'm left with little positive to say. I'd checked out Future before, a big name in Trap music, very much enjoyed his approach to the sound. Lil Uzi Vert is one of the more exciting modern artists, his Eternal Atake that dropped earlier this year was mostly disappointing but had some undeniably interesting stylistic choices in its opening third that I'm still enjoying when they pop up on shuffle. The two coming together under this florescent space themed album art was enticing but across its sixteen tracks nothing matched the curiosity invoked by its trippy record cover.

If a theme is present, these instrumentals do have a flavor detouring from the club and street vibes but holding all of those conventions. My cosmic leanings are more to the liking of an Aeons Confer, however for fans of Hip Hop I can see how this has an astral tone softly worked in there. Either way the beats handled by an entourage of accompanying producers are this projects saving grace, if it has one. Deep, slow subdued bass grooves, rattling hi-hats with shuffling inflections and timely pedal kicks prop up the framework for loose fitting samples and soft instruments to play out laid back melodies. Its a moody design for the backdrop, laying down the vibes and rarely pushing bold leads or musical hooks upfront.

This sets the stage for Future and Lil Uzi Vert to shine however both seem to be on autopilot as not a single track brings anything of worth verbally beyond the river of self affirming swagger. Perhaps the pacing of some flows and auto tune accents bring a little excitement but on the lyrical front this project is hollow. Its unfocused braggadocio at its finest. An aimless stream of consciousness rapping revolving around sexual exploits all to often. The rhyming is lacking and so many lines set off alarm bells for the lack of self filtering. There are countless lines that "work" but for what? "Bitch I'm plugged into the wall like a phone charger" after rhyming the word charger twice already seemed like a low point. However there are plenty of lines like this through the record that should of been trashed.

Its hard to hate on an album and that is too strong a word anyways. Every record I buy with love, I want to get into music, not find myself walled out. These two are both capable of so much better and there coming together seems to be without purpose or intent. Their union doesn't yield anything of artistic note. Instead it just seems like a run of the mill, autopilot creation. I'm sure they enjoyed themselves putting these tracks together and speaking their minds but as a listener this really lacked anything of merit. Even though the beats are competent its hampered by these incessant vocally manipulated voices that say little of interest and the whole thing quickly becomes a dull drone in the background.

Rating: 3/10

Old Sorcery "An Inkling Of Void" (2020)

 

As the second of two, one track EPs between the albums, An Inkling Of Void immediately identifies itself as soft, reverberated, smooth oscillating synths play out minimalist melodies of eerie calm. Its the melodies of limbo, caught between sadness and rest, glimmering in the moonlight. Although its design is gorgeous and the aesthetic timely, its all to reminiscent of Burzum's twenty five minute epic, the first to my ears to establish this niche. That shadow looms as the spell cast is not as potent, however the song grows into its own as spacious bass saw murmurings usher in yawning starlight synths to steer the opening portion of melody to a scenic route.

Its then, that richer arrays of synths arrive to create a curious atmosphere. Its faintly reminiscent of Steve Roach but with an uneasy underbelly typical of Dungeon Synth. In this stretch, the meditative mood takes over and time drifts slowly by. Past the midpoint a brief heavenly uplift is teased when new tones shift the temperament but it plateaus and we return to the normality again. Eventually the music steers back around to the opening melodies, embellished by all that came between. This plodding ending feels conclusive and satisfying as it fades. I was Initially put off by the opening construct, it took all but a few spins for any preconceived notions to be shattered. Inkling has got a soft, sweet, secluded magic of inanimate shadows and starlight glow. A fair treasure to behold if you value this ambient temperament and sequestered mood.

Rating: 5/10

Old Sorcery "Strange And Eternal" (2019)

Every once in a while a record gives me writers block. Its as if I can't pinpoint where the magic emanates. It is of course from the sum of its parts but on this outing the tranquil immersion into this enchanted realm is so indulging the whole record seems sequestered by itself. Of course sitting down to write, giving focus and attention more of its elements reveal themselves and yet its strange atmosphere still mesmerizes.

 Old Sorcery's staple-mark whirl of psychedelia synth tones is as ever present and more involved on this outing. They embed mystique into scenic passages of warm and airy beauty. Its slightly estranged, with a ghostly, ephemeral charm falling short of spooky or eerie. With a richer set of instruments and layers its ambience feels more direct and involved as playful, mischievous melodies dance frequently in focus.

At the middle track rolls around the clouds are overcast as mood and temperament shift. It brings out a cryptic voice of esoteric conjuring, lurching discernible words from the shadows. The song pivots to a magical moment of colorful madness as echoing pianos and trippy oscilating synths dance in a spiraling tandem. That crafty voice returns again here, and then on its final fifteen minute epic album closer.

After a lengthy brooding of classic Dungeon Synth styling, the voice arises with arcane reverberations, reciting in a tongue and tone fitting of an occult ritual. I believe it is simply Finnish, the title translating to "The Sleeping King On Fire". As a non-native listener, the ambiguity stokes majesty within this deeply mysterious music. Its the one new element that really stood out among the endlessly entrancing normality.

I still feel as if this record is alluding me but whats obvious is with more involved instrumentation and less of a focus on ambience and atmosphere, both these aspects are enriched by the boldness it strides with. It occupies a friendly space yet is still shrouded in mystery. One of its best aspects are the pivots, when sudden transitions arise they feel rather integral to the overall vision and momentum this time out. This is one record for me to return to often as its magic feels rather untarnished.

Rating: 7/10

Arkhtinn "Astrophobia" (2020)

 

As one of my favorite discoveries from last years music journey, Arkhtinn has returned with another colossal twenty minute ravishing of extreme Black Metal fury from the void. As the first release to have a name of sorts, Astrophobia plays perfectly into their established astral tinged sound. One halve of a split record with Starless Domain, this lone track was a little difficult to love at first, its shear, howling screams an ear-piercing blunt force attack assaulting my mood. With some repetitions and adjustment, the music beneath its tropes and aesthetic harassment are quite brilliant in moments.

The format is as to be expected. Passageways of darkly scene setting build up tension for slabs of thumping rhythmic bass to drive us to expectant plunges into despair as walls collapse with the pummeling of instruments on full throttle. Channeled through its low fidelity aesthetic, one has to adjust attention to pick out the finer crafts of sound between its perpetual blast beats, manic assaults on the fretboard and devilish howls of pure exhilarated despair that penetrate it all with a vile menace.

Maddening whirls of astral synthesizers twinkle through the gaps like stars shimmering in the night sky. Its symphonic component is most exciting as the guitars tend to thrash into a drone of fury. When deploying demonic melodies in syncopated shifts, the music takes form akin to the like of Dimmu Borgir. Another ear catching element, a recurring operatic voice, was slipped in the distant regions of this dense mix. Cropping up inline with the howls and screams, its human intensity distinguished it from the synths with an air of cryptic mystic. Not utilized often but on the rare moments it arises the song found renewed energy.

The monstrous sprawl of a twenty minute song, perpetually plunging us into dizzying depths of extremity has its limits. The broader structure didn't seem to other much more in its duration than the elasticated of easing tensions to simply strike again. Although some elements reoccurred, the lack in differing extremes tends to drone on, most of the compositions making its mark early on. The format is as such but it does feel like room to forge something a little grander. As for the other half of the split I didn't care as much for it, so this blog simply focused on the band I was most interested in. I've never really brought into split releases and the pairing of tracks here doesn't convince me.

Rating: 6/10

Cult Of Damned "Cult Of The Damned" (2015)

Have I found my new obsession? I think so! Cult Of Damned are a UK rap collective set to hypnotize with slick liquid flows flaunting twisted flamboyant flavors of gritty street rhymes. Not to be confused with Grime, these are some northern and southern Brits uniting to bring the distinct voices of the British isles without resembling Grime annunciations. One similarity came immediately to mind, Odd Future's Oldie classic. Devoid of hooks, a chorus or recurring structures, every track follows the premise of MC's taking turns to drop fragrant verses over a droning loop that barely changes from start to end of these lengthier tracks for Hip Hop music. Its made me appreciate how much I love this approach first pioneered by The Wu-Tang Clan.

The power of a beat that can last the duration is impressive but given direct focus these instrumentals aren't exactly bangers. Stripped to necessity with minimal complexity and brief variations, there low key nature simply sets a tone for the fun rhyme schemes to keep you engaged. That's where the charm is at. With quite a few voices I'm still getting accustomed with, they all share something in common, a steady pace and audible presence that lets you catch all the twists and slurs of wordings. Among those voices are a couple weak links but also some significant talent cropping up in regular intervals to keep the flow moving between less impressive rhymes.

The overall style is wordplay. Zany, wild and absurd, anything goes from acrobatic linguistics, to street wise puns and boasting. With moments of sleaze, violence and drug abuse the topicality is all over the place as narratives have loose association and freedom to jump where the rhymes lead. Its a fun ride with plenty of favorite loose lines and funky verses to pluck from these twenty two debut minutes. "Claustrophobic in open space" a fun reversal that catches my ear each time. Its a loaded listen given the record is straight back to back rhymes with barely a moment of pause.

The characters that occupy this space through the verses feel mildly wild and unhinged, a playful dance with madness that makes for many a self deploring moments. Invested in this sound, its easy to gloss over flaws. Although these rhymes are clearly worked over and crafted the quality bar is varied with some MCs continually outshining others. Some refinement would elevate this record. The beats too, although very much to my liking with slow paced, dark 90s vibes, they too drone to effect but I wonder how much I'll tolerate that repetition with time. Its clearly done by design but I do think the spark could fade. Or perhaps I am just going to binge this to death? Right now I'm loving it and ready to move on to the collectives debut album.

Rating: 6/10

Dizzee Rascal "E3 AF" (2020)

 

Finding myself mildly entertained, a flick back to Raskit and Don't Gas Me confirms a dip In my personal investment. Coming of the back of strong releases, the Rascal returns with this brief thirty three minute stint that lacks a commanding grip on the listener. Flipping back and forth between dirty Grime bangers and warm friendly tracks with brighter vibes, it feels all to routine. Last outing, sixteen tracks indicated an artist in a fruitful moment, yielding invested emotional lyrics and challenging himself, pushing his craft to the edge. It had me excited for this next one.

With E3 the edge is gone, his hooks lack a spark, relying on the puns and loose rhyme links to punch a theme into the songs. Although there is topicality and Dizzee has plenty to say, his verses often fall off into the routine of braggadocio and stance affirming that doesn't seem routed in anything deeper. Moments of technicality and swift delivery are impressive but its been heard before. He has his moments but with the mediocre production of atypical beats the record feels dull and run of the mill.

With guests on all but two tracks, Dizzee gets out shined on occasion. Although not to my liking, the hyper masculine, violent raps of his friends have so much energy and immediacy they become the most memorable parts of the record, possibly for being new and fresh voices to digest. Ocean Wisdom catches the ear with his hasty wordings. The vulgar, over the top back and forth on the mic is a blast. A highlight among a record that failed to grab me despite plenty of spins.

Rating: 4/10

Pallbearer "Forgotten Days" (2020)

 

Doom Metal is not my forte however this young and highly praised band caught my attention with their Progressive approach to one of Metal's older incarnations. They've struck me as a band that take time to love and Heartless grows on me still with each occasional return. Forgotten Days, the groups forth outing, may just suffice a similar fate. After many listens I find myself stunted by its opening stylistic halves, in awe of one, dulled by the other. Fortunately the album quickly moves beyond this fumble.

The opening title track illuminates their chemistry with its dull contrast. It kicks off, churning out burly descendings of southern swampy groove from its hazy distortion guitars. Its a sound all to akin to New Orleans based Down, a similarity heard on occasion. For this song the band focus on raw groove within a monochromatic tone. Sludgy low end riffing takes a slow, measured approach, building momentum among steady chugs and palm mutes. It of fair craft but a damp and stale, colorless delivery.

Its refrain brings relief as illuminating chorus soaked guitars light up the scene with color and emotion, singer Brett Campbell opens up his tone after sounding very much like Ozzy Osbourne beforehand. Fortunately, Forgotten Days doesn't return to this rhythm oriented stint. Of course the music is laden with interesting grooves that sway within the changing temperaments. Its main focus is the swelling saturation of melodies and harmony that emerges from this inherently gloomy aesthetic.

Where it could be all to easy to feel burdensome and sluggish, the band bring a weighty emotion that toys with beauty and struggle as a strangely uplifting melancholy permeates these scenic songs that journey through stunning musical ideas, each track building to its own crescendo of sorts. The inclusion of a zapping synthesizer on Stasis, droning in to add texture to the punch is timely. Short bursts of it appear on other songs too but its not an indulged idea on this record.

Silver Wings losses a little steam at the mid point with its gloomier setting but otherwise Forgotten Days is a fine record delivering thoughtful music that only dulls in the greyer shades of its aesthetic design. The inflections of color through melody and plucked chords are enchanting, Campbell often acts as the voice to unite it all together under is soaring, yet grounded presences. He has an endearing rawness that's quite capable of delivering delightful harmony with his fellow band mates. Having already plucked a few favorites, more may yield with time and familiarity. I am not completely swooned but I feel its always possible with this band.

Rating: 7/10

Amynedd "16-Bit Adventure" (2020)

 One to be wooed by the sway of nostalgia, Birmingham based Amynedd's sole release had pull for an era I didn't personally experience. Familiar with the Sega Mega Drive aesthetic, its lovingly crafted array of saws, sines and triangle wave synths fit the bill fronted by its contrasting album cover. Half retro game, half scenic view not entirely fitting of VGM. The musical lure were the compositions. Its limited array of tones are somewhat tiring but in paying tribute to an era gone by, some creative liberties in its glossy production, embellished percussion and soft reverbs hold it over.

Unless indoctrinated by hours of adventure, glued to the TV set as a child, a lot of this console gaming era's music can be gaudy and harsh in my experience, especially on the original hardware. 16-Bit Adventure initially avoids that folly with its firm bass pummeling opening track and subsequent mellow melodies conjuring spirit through an adjacent formula, free to greater expression on the following numbers. Its mood is scenic, intriguing and emotional yet as the record grows it seems to hail back to Synth-Pop inspired punchiness on tracks like Tractor Zone, Boulder Zone.

Popping drum beats, snappy percussive sounds and rigid executions lack subtlety, variance and measure as its instruments work on full velocity, forcing its way through the notation. Between them, Merrily Boats and Lilac Orchard swoon with mystic melodies of carefree warmth and adventure. Its this tugging back and forth the spell is often broken. When working with warm synths applied with timely decays, the music transcends as its layers of melody and rhythm pry into fuzzing warm spaces.

Between these more interesting numbers lay the songs akin to the Sonic soundtrack. They in their own right are fun compositions with great chemistry between the various layers of sound chiming together in good spirit but that shift in energy is jarring to the overall atmosphere. It leaves me with the feeling of finding enjoyment in a niche that's not mine, pretty self explanatory given my opening remarks. This is an era I missed out on but if you did enjoy it, you'd certainly get along with this. If not, you'll probably hear the inkling of something more meaningful and inspiring than just carefree fun. Its weaved its way into the more loving compositions, of which I enjoyed most.

Rating: 6/10

Erang "Imagination Never Fails" (2020)

 

Last year was the first since Erang's inception that passed without new material released. The French Dungeon Synth musician now brings us the eighteenth installment in this lengthy saga. The brief absence is perhaps explained in its eclectic opening songs and lack of manifestation to new territory. Unlike the direct pivot to another aesthetic like Songs Of Scars and Anti Future, Imagination Never Fails toys with new ideas before providing a variety of flavors from this mature, distinct sound.

With sampled narration, or presumably voice actors, its opening title track, A New Age Is Rising, Far Away and New World Slave adorn the music with promise of something carefree from the lands beyond limitations. Digitized voices reminiscent of Daft Punk and retro synthesizers whirling in astral majesty rub up against the atmosphere led by ethereal voicings. Crashing onto triumphant horns and percussive drives of ancient war, fleshed out with shouts and battle cries, Its as if anything is possible in this peculiar union of inspirations. It is unexpected but attention grabbing and fun.

 Then with Long Ago In The Hidden Kingdom we shift to the Erang of old, mystic and meager instruments play curious yet lonely melodies of eerie nostalgia and beauty with that particular craft. Its lovingly composed and as the songs roll on some excursions into percussion akin to "world music" as it might be called, help shape up its narrative, building up momentum and dropping out aptly, giving rhythm and movement to the fantasy worlds these tunes do conjure.

These songs are certainly nothing to gloss over, Shipbuilding Memory has a powerful uplifting sense of melancholy to it, reminiscent of Ascent by Brian Eno. The issue is simply familiarity, after seventeen records these additional numbers simply slip into the vastness of all that share their distinction. For a new listener however, these may be fresh and exciting sounds within the world of Fantasy and Dungeon Synth music.

I Would of liked to hear more of that opening intrigue. The narration gave a sense of direction and adventure, only recurring briefly on one other song if I recall correctly. The whaling overdriven guitar resetting the momentum on the opening track before returning with an arpeggio was a delight but a lone moment. Those initial retro synths helped shape a new path too but alas it was not walked upon for this listener. Listening to Erang is always a pleasure and always will be. I am just hoping in the future they can find new avenues to explore as that's where the excitement is! As it where in the opening four songs.

Rating: 5/10

Old Tower "Plague Harvest" (2020)

With a history of patchy release in Old Tower's beginning, a stride of good form developed into a unique craft of darkness, culminating with The Last Eidolon. It is a stellar record, the apex of the Dutch musicians scenic Dungeon Synth spell. News of fresh music excited but ultimately disappoints as its lengthy, fourteen minutes halves dabble in the black ambience that usually builds to bigger and grander things. Plague Harvest however, meanders in the moments before, its shadowy reverberated sounds of eerie mystique and foreboding despair barely enriched by the creaks and cracks of movement in the tunnels of darkness ahead. Being a creature of atmosphere, the music drags its way into denser constructs, with only a flicker of melody and brief sense of event as lightning strikes under the downpour of glum rain and howling winds.

These details of particularity return in the second stint as distant clanks echo against the crackle of a dying fire. Its light stays as light, airy synths of temporal presences sway in against the gloomy weathers, overtaking it to eventually hear the trickle of a river and sounds of life in the distance. Eventually the flickering returns and darkness prevails on a rather uneventful affair. Writing these thoughts out makes it all seem more obvious that this is an exercise in a different approach to story telling. Against the backdrop of what came before it, Plague Harvest often feels like the calm before the storm this artist had forged before. On their own, it does feel underwhelming but its temperament is its own. Expectations may of caused disappointment but I don't think so this time around.

Rating: 3/10

Fragment "Unknown" (2002)

 

In the frenzy of a musical high, scouring my archives for a sample I needed, I stumbled upon a lone MP3 obtained probably over a decade ago, the song Negative Patterns. Standing as a ten minute epic of early Djent tone insanity, I scrambled to find the full record online. Turns out this band once opened for Meshuggah and this, their only record, was produced by none other than Fredrik Thordendal, who lends his distinct lead style for a solo on that same track. In that moment It felt like I had stumbled onto a gem but having had time to sit with it the take away isn't so good.

My excitement was mainly triggered by the Chaosphere / Nothing era tone. There may be a plethora of imitation and influenced bands around today but in 2002, not so much! It's also Meshuggah's later guitar work that became their legacy so finding a project in this vein is less common. In terms of originality, Fragment offers little new to the formula. Their singer emulates the flat monotone shouts of Jens and the guitar is a slug fest of all the same low end chugging arrangements. Anything higher up the fret board comes with the expectant "alien" melodic feel. Even the drums deploy the same tricks, switching from open hi-hat to splash cymbal to give a riff renewed groove.

With three mediocre interludes of reflective, astral ambience the four songs of erratic Extreme Metal barrage with little relation to its synth counterparts. They toil endlessly in a low end choppy slog of oddly timed grooves looping up under a 4/4 percussive pattern. Its remarkable how little creativity is brewed here. This monotone pummeling literally spans the runtime with differentiating one or two note grooves over and over again, endlessly. Discordant lead guitar refrains give the relentlessness relief but never lead to anything other than another churning of complex picking rhythms.

In all my supposed criticism, one can enjoy this record if your into this style, which I am. It has it's moments, occasions where some pivot into a new riff has renewed aggression and sway. What is disappointing is lack of originality. The group are somehow unable to put forth any new idea's Meshuggah had not already. Because of all this, my initial excitement faded quickly. Unknown is essentially a one trick pony and that trick isn't theirs. Competent production by Mr Thordendal, invigorates the musics aggression and tone, salvaging the best of what would of otherwise suffered. Worth a listen if you want more of the Chaosphere era sound!

Rating: 5/10

Bring Me The Horizon "Post Human: Survival Horror" (2020)

 Last outing with Bring Me The Horizon we got to experience the first of their now preferred EP format for releasing music. Supposedly being done with albums, Music To Listen To... suggested an experimental, carefree direction for the group. At thirty two minutes, Survival Horror feels like an album but it is just the first of four releases under the Post Human banner. Formats and definitions aside, this is undoubtedly a great listening experience that explains itself regardless of how its packaged up and sold. There is also the price, can't complain about saving a few quid to pick it up!

With these nine tracks, BMTH step back to the cutting edge. Their fusion of Electronic, Metal and Pop thrives within the throttling production that gives all instruments a punchy clarity whilst retaining the wall of sound energy. Most these songs land between Amo and That's The Spirit, poppy hooks and structures with splashes of electronica just about everywhere. It Kicks off with a notable dip into exhilaration as the blast beats and lively guitar work show strong Extreme Metal influences.

A fascinating collaboration with Babymetal stands out, Kingslayer, a song that could of easily fit on the Japanese groups record as it utilizes their song style and aesthetic quirks. The rest of the record mostly toys with different temperaments of Pop Metal, the loud quiet dynamic and many creative ways of delivering catchy ear worms. Its still fondly reminiscent of the Hybrid Theory formula, the song Teardrop practically a tribute to that record with a its parallel guitar tone and ideal song structure.

The band constantly sway between tuneful swoons and doses of heavy, often punctuated with dense synthesizers droning in syncopation with the guitars. The percussion too has an entanglement with drum machines and samples that give the songs a textural weight to bolster the music with aesthetic intrigue. Its made revisiting these songs fun as the depth has one picking apart the layers that make it up.

On the lyrical front its opening songs seems poised to reflect on the internal stresses and turmoil the current pandemic is putting many people through right now. Its a middle of the road, unpolitical take that wrangles out frustrations caused by the situation. It could just be coincidence from a band that frequently deal with the negative spectrum of emotions through their words. Its all a little to uncanny though.

Survival Horror is a sharp record, concise, creative and at the edge of cunning, the group have managed again to evolve their sound in exciting directions. With a handful of guests to bring on extra voices and no shortage of ideas it ends out being a fruitful affair with something for everyone. Its been stated that each of the four parts will have their own identity. I'd love more in this vein but the idea of pushing something different with each release has me excited for their future! This band have long defied the odds against their origin and watching them continue on is simply fantastic.

Rating: 8/10

Old Sorcery "The Path Lies Hidden" (2018)

 

Another journey has begun, Realms Of Magickal Sorrow lured me in and now I've become obsessed with Old Sorcery! This fantastical fusion of Dungeon Synth and enigmatic oldskool Electronica is a fascinating one. Fortunately, there is more to be unearthed! Between albums are two twenty minute, one song gems. The Path Lies Hidden is the first and firmly straddles the line between halves, for almost its entirety.

Kicking off win the bass region with buzz saws and sine wave synths, the music resonates and rumbles as a rhythmic melody forges a path through the foggy ambience, a low distant humming. As it repeats over and over a variety of instruments play along, awaiting there turn like destinations on a cosmic journey. Crystallized synths and sparkling sounds dazzle in little eruptions of magic along the path.

As the pallet grows the music sways between its halves with cosmic synths dancing and playful Fantasy melodies chiming in. It even deploys those classic "strikes" of synthetic sound among echoing percussive hits like the pioneers did. Its a mesmerizing ride that comes to transition in the mid point, an unnerving darkness sets in as the repetitive melody is textured to a sound design less astral and cosmic.

In its final phase, the playful Fantasy melody returns to stay as we arrive upon our destination. Its a peaceful, charming place with a cold, lonely touch to it. Like a serine garden that's frozen over, Its beautiful but chilling and empty. The Path Lies Hidden is a powerful song with an indulgent persuasion that has made every spin a pleasure. It is currently my favorite song from this most interesting of artists in the genre.

Rating: 6/10

Carcass "Despicable" (2020)

I was eagerly awaiting a new Carcass album. It has been seven years of silence since the reunion record Surgical Steel. Disappointment struck upon learning this release is simply a four track tie over to the full length pushed back by the ongoing pandemic situation. Despicable's four songs apparently "didn't make the cut". Considering these are pretty darn enjoyable numbers, I'm now even more excited for Torn Arteries, now delayed and set to drop sometime next year.

Returning again with their defined textural flavor of Melodic Death Metal, seasoned musicians Jeff Walker and Bill Steer craft warm, inviting strands of extreme music. Residing mostly within the mid-tempo, even temperaments of aggression and melody play out mostly from an approachable middle ground. The drums rock steady grooves with fractional forays into challenging blast beats and dexterous sequences. Distortion guitars churn out sturdy power chord arrangements with exciting iterations on the fretboard, mostly manifesting into dazzling sparks of color as the lead and rhythm guitars work in tandem. Its only notably "extreme" in brief moments.

Its the raspy, whispering shouts and screams permeating all of the music that anchors the edge down. With a snaky serpentine flavor, they slither over these songs with severity. Not to get too hung up on the Extreme Metal angle but if you strip out the vocals, this record is basically an accessible set of adrenaline charged songs with gorgeous melodic entanglements and great song writing. Everything comes together wonderfully, even with a catchy hook or two. On Slaughtered In Soho, the slaughtered lyric is cried out, wrapped in a brief reverberation after the lovely unraveling melodic refrain from the lead guitar. Its leads are continuously sublime.

Everything about this record feels measured and in balance. Some of the more creative, tempo breaking riffs come with a keen sense of quality over going "full throttle". The breakdown riff on Manchester Morgue makes great use of deadening the power chords on path to the next. Small details and moments like this are illuminated when a guitar solo wails over top. Its great writing, over exploiting techniques. Despicable has a fine production, crisp, bright instruments get to dance in the forum of aggression underpinning the overall mood. My only annoyance is the use of cowbell. It forays into the music on occasion but something about that instrument never feels right to me.

Rating: 6/10

Bathory "Destroyer Of Worlds" (2001)

With a notable five year break between records, Bathory returns to the new millenium with Quorthon as the sole performer of all instruments. It had always been his band, his music but from here on out he is without company. Destroyer Of Worlds is a record that stagnates on former glories and failures too. Attempting to unite the Viking Metal and Thrash Metal sounds of the 90s, it ends up being a mash up with one or two songs making the crossover and the rest standing in stark contrast to one another.

It is the Thrash sound that makes up the bulk of this lengthy sixty five minute slog. Lake Of Fire opens things up with memorable anthemic glory. Reverb soaked drums, heathen choral chants and Quorthon's authentic yet tarnished singing. Ode and the closing Day Of Wrath sustains the atmospheric Viking sound. The albums title track handles the crossover well, a chugging guitar and bass rumble offering up a dirty driving march for its gloomy tone. Pestilence offers up chunky groove riffs that only pivot to the Viking identity with punched in choral chants and acoustic guitar overlays.

The rest resides strictly in the Thrash realm. In doing so, the production value takes a hit. The insistence on a stark temperament rattles the composure with many of the songs feeling like a big step back to Requiem and Octagon territory. Semi social-political themes and anti-war topics manifest into hollow lyrics again, offering little to ponder over. Most of the riffs and compositions reek of creatively challenged mediocrity, nothing in the way of a memorable impression is achieved at all.

Jumping between a couple of tracks, one can hear what seems like multiple sessions brought together, with different aesthetics at play. Overall it feels like a hashed up attempt to unite two different sets of songs, maybe leftovers from the years gone by. One thing that is for certain, Quorthon knows how to do the Viking Metal sound he pioneered best. Its pretty fantastic and up to scratch in two or three of the songs here, the rest simply drags the record down.

Rating: 4/10

Clipping "Splendor & Misery" (2016)

 

Last outing, their debut CLPNG, I found myself at odds with the swift articulation of Daveed Diggs and his Avant-Guard instrumental backing. Rapping to the sound of an alarm clock is certainly different but for all their merits and experiments, not a lot of the music clicked emotionally, despite the impressive lyricism. On the groups second, Splendor & Misery, the inventive approach to sound design seems aptly steered towards atmosphere and electronic industrial details that reinforce the emergent theme set down from the very opening.

Fuzzes, drones, deep rumbling bases and ambiguous swells of sound among the buzzing of electricity gives one the sense of interstellar travel marked by the mention of a ship in the opening verse, which hurls words rapidly from the perspective of a mothership observing a cargo ship. Its puzzling and thought provoking but following this narrative feels like a tangle of observation and emotion that becomes a blur in trying to understand the meaning of this tale from spaces cold abyss. Its like a puzzle, one I couldn't quite get my head around.

From its cold mechanical bleeps and bloops churning over like an 80s computer, radio static injects and transitions to bluesy music, a choral of burdensome vocals etched with a great pain sing their sorrows. Although these occurrences are brief, they add a further complexity to this mysterious story. Rapping over the sounds of old printer technology, True Believer brings about tension with convention, driving a regular percussive groove and uniting these contrasts for a brief moment. More convention arises again on Air em Out, a party track vibe resonates from Daveed's flow with minimal instrumental reinforcement.

Whats remarkable on this outing is how well the lack of convention works. A relatable anchor is unnecessary as the theme comes together cohesively. The opening raps are entrancing, a rapid mechanical monotone expression. As the album progresses I seem to loose sense of the narrative but there is no lack of appreciation for all remarkable that follows. Much like on their debut I find myself in great appreciation of the art but not finding a strong emotional bond with it. I will continue with this trio though, their music is deeply intriguing and this spacey outing is a big step up!

Rating: 6/10

Old Sorcery "Realms Of Magickal Sorrow" (2017)

 

Dungeon Synth can almost seem like a cliche of itself at times. With the similarly Old Tower fresh in ones memory, the haunting grayscale cover, a gloomy castle and cryptic band logo sparked my amusement, especially the name. It was as if a "starter pack" meme had been taken to heart. This is no fault of the Finnish musician but having consumed an abundance of this music, its tropes are often laid all to bare. I'm glad I didn't pass it over, Old Sorcery does indeed have a magic worthy of attention.

Opening with its decrepit lurching synth and lonely washes of airy ambience drifting from its piano chords, the slow paced drawl of decaying nostalgia unfolds without surprise. Its atmosphere holds majesty and wonder, a sense of lost grandeur, magic and might, buried by time and dust. Its at eight minutes that the artists flair comes to light and a new dimension is steadily pried open with a deepening sense of wonder.

Reminiscent of Tangerine Dream, Jean Michel Jarre and the likes of early electronic acts, the hypnotic whirl of a lopping oscillating synth seemingly rises from the ashes. Although standing at odds with its stereo panning, heightened pace and differing melodic intent, its steadily gains a foothold with the contrasting sound. At this point a psychedelic journey has begun. Realms Of Magickal Sorrow makes its distinction as a record with something different to offer the Dungeon Synth scene.

It would be quite straightforward to deploy this technique of swirling synths, wavering in pitch and volume, to induce an entrancing temperament. Old Sorcery however redeploys the power of oscillated synth tones with powerful subtlety that clings so frailly to this hallucinogenic vibration. One can envision secrets kept in keeps of cold stone as plants and herbs, guarded secrets of an esoteric cult.

The second track, Vaikerruksen Portti, uses a similar synth setup to the first track but with laser zaps and more electronic instrument design accompanying it. Both halves go strong, the Dungeon Synth side toys with mischievous melodies in the forefront, backed by dark organs and deep choral voicings. Its a loud and powerful outing to play up the unique union. A Lost Soul Amid The Listening Trees finds eruptions of gleam and glory, horns and glistening synths dazzle between the long and yearning stretches of shadowy ambience. It has a foreboding presence devoid of electronics.

In A Forest Trapped, those glistening synths return for a sleepy track of yawning pace with a dreamy persuasion. It builds to playful melodies before we arrive at the final track, possibly my favorite. Further Beyond The Melancholic Horizon opens like an Old Tower track, deep drones of devilish dreariness, lost in the distances. One can hear the deep gong strikes and an eerie fuzz of ambiguity. Suddenly it gives way to a different composition, then taking a few minutes to arrive at the final destination.

The next few minutes ponder the infinite, the synths ripple into the void, minimalism and subtlety slip into madness. Its a glorious moment in a song that goes through some vivid transitions that work masterfully. I did not expect to find such a rich experience within this genre I feel can so easily be overplayed. Old Sorcery has brought a sequence of deeply curious ideas that play into the dark, spiritual, meditative flows I just love. With another two albums, there is more to discover now.

Rating: 8/10

Havok "V" (2020)

 

Slow to the take up this fifth installment from revivalists Havok, It perhaps found me at the perfect time, an apatite Thrash Metal brewing and certainly satisfied as my recent spins of V have been nothing but fun and exciting! The faithful four piece outfit from Denver, Colorado tow a difficult line in resurrecting a style from the 80s with the glory of modern production. Originally is not their main aspiration but a consequence that could derail the vision. Subsequently they walk a tightrope in the shadow of great bands that came before, utilizing all the song writing constructs, techniques and aesthetics of the arguably most pivotal era in the history of Heavy Metal.

In its opening tracks just about every melodic refrain, chugging palm muted riff and cutting drum pattern reeks of that which came before. Distinct echos of early Metallica rhythm guitar and Megadeth's technical innovations are at the root of musical intent. Only the bass guitar strays with the occasional discordant harmonization more reminiscent of the Technical Death Metal to come. Riffs, arrangements and song structures are all potent! Each track feels fiery and intentional, written to pivot through its ideas with powerful impact, almost reminiscent of the momentum in a Slayer classic with its keenest of headbanging passages.

If it sounds like high praise then allow me to restrain myself. V tends to lack in stand out moments but instead deploys its music like a consistent revolution of familiarity. Executed with exceptional ability and flushes of dazzling, dexterous fretwork through its guitar solos, Its a dose of excellence devoid of originality or surprise. Front man David Sanchez seems to have fully embraced the politicization of his music, first appearing on Conformicide, V is also loaded with social-political commentary of a particular leaning. Like last time, his lyrics seem close to the pulse of podcast culture and the discussions of our time with Panpsychism and the coined term "Post-Truth Era" making its way into the topicality. Expressed with bold statements, it leaves little room for the same discussions that may have inspired his words.

As expressed in my opening remarks, an album like this ultimately boils down to personal preference and temperament. It's brilliantly executed revivalism with a strong political inflection that may put some off. The forging of Thrash Metal may of had similar sentiments within the scene but listeners today are of a broader variety. Personally, I don't take it all to seriously but it is very much in a similar spirit to the anti-war stance from the 80s. Fortunately for me its elements clicked into place. A stellar production and aesthetic fidelity plays well into the hands of the riveting Thrash energy these songs conjure! Its been a blast.

Rating: 8/10

Zeal And Ardor "Wake Of A Nation" (2020)

Wake Of A Nation, our state of current affairs are deeply rooted in this mini-albums reflection of the past and present, the ongoing social upheaval sparked by the death of George Floyd earlier this year. Zeal And Ardor has been a beacon of excitement in recent years, a fantastical fusion of Black Metal and historical Chain-Gang music. Conceived as an imagined union of slave struggles and satanic rebellion, its inception was magic but notably tacky in the best of ways. With a leap forward in musical maturity on Stranger Fruit, the promises began to blossom but now through the lens of a concise expression, this seventeen minute plunge commands attention as its wades between ferocious exorcisms of righteous anger and bluesy emotional vulnerabilities.

Baked into its expression are the infamous lines and words echoed into the minds of many from the horrific event transpiring in the hands of cops. Both through his lyrics and with audio samples from the event, these five songs remind us of the horror, ask the questions and repeatedly unravel into sprawls of fury and rage. One of its hardest hitting verses, "I know how you're going to die, whispers weary mother to child, we've seen this all before you were born", comes through these bluesy piano led passages of downtrodden melody, a new counterpart to the extremities that looks beyond the scope of its Chain-Gang origin. Although this remains on Trust No One, a song with a menacing wail of high pitched guitar over stomping riffs, the expansion in songwriting is an endearing one.

Its social-political message around Black Lives Matter is hard felt. Looking beyond that scope, the motive has clearly spearheaded the exception music. With snarling discernible screams leading the eruptions of dark extremities, its gravity of brevity can be felt in texture alone and when the music propels into darkness the shrill assault of blasting drums and drive of nihilistic guitars is bursting with atmosphere drenched in emotional turmoil. Each of its songs bring a spice and equally, the "clean" side comes with enticing flavors that have endured my back to back spins of this stunning record.

Of all the listens, not once did the production value cross my mind. With no obviously over polished elements or fidelity lacking focuses, it has served its purpose stealthily, a very good sign. It could simply be that the contents of music and subject matter are so strong it carries the record alone. At seventeen minutes its a streak of excellence that an album may have stretched thin, a good choice to keep it all hyper focused. Wake Of A Nation is without a weak moment, steeped in urgent inspiration that's manifested in the context of an artist still refining their sound. With new angles and elements playing in wonderfully their future looks bright. Lastly, I have to comment on the police batons forming the upside down cross, a perfect image to represent this artists moment in time.

Rating: 8/10

Bathory "Blood On Ice" (1996)

 

Relinquishing the failed detours of Requiem and Octagon, this ninth installment, supposedly compromised of mostly unreleased material from the era post Blood Fire Death, it marks a return to the much adored Viking Metal sound Quorthon pioneered. Although similar in overall length, its eleven tracks feel clunky, alternating in temperament that breaks up its flow. This falls inline with a statement that forty percent of material was was reworked for this release. The swan songs Man Of Iron and The Ravens, One Eyed Old Mans Motorhead energy, the galloping pace of Gods Of Thunder And Of Rain and the Progressive riffing of The Stallion stick out with a keen shift away from the established sound of heathen cultural inspiration.

The rest of the record however carries over much of what was heard on Twilight Of The Gods with far more gusto in its meaty distortion guitars and epic drums lavished in reverb, with exception to the tom drums which are claustrophobic on some tracks, as if recorded in a cupboard. Choirs of human voices with a rural burden return and Quorthon mostly delivers his cleaner style blemished in authenticity as he tangles with notes just beyond his grasp. Its mostly charming, at least I've heard him do worse with this unfiltered approach.

After many spins Blood On Ice still plays like a fractured record with a shared vision. The Lake takes merit as a stand out track, its dragging discordant guitar chords provide an epic drone for gloomy voice to be counteracted by frays of glossy acoustic chords plucked slowly. Its an epic with a guitar solo to match, which bring me to another point, his lead guitar work on this one isn't as sharp. The record was shelved unfinished in 1989 and its resurrection doesn't make it feel anymore complete.

Rating: 6/10

Dan Terminus "Last Call For All Passengers" (2020)

 

 Its been a few years since I last checked in with the French musician Dan Terminus. Back then the Synthwave scene was still emerging and this darker flavor caught my ear. With only a few songs making marks, much of those early records have faded from memory. This particular niche in Electronic music is one that I feel often doesn't go far enough with many of the artists clinging close to the pillars of aesthetics that define it. Much of that applies again on Last Call For All Passengers, however its opening cuts aim for something with more of a percussive drive that is present throughout but makes itself known fresh out of the gate.

Kicking off with Oubliette, big slabs of meaty synthetic buzzing slam into the fray as baselines following its opening arpeggio. A harsh slapping snare drum, hollow kicks and snappy cymbals pound away giving structure to the choppy shuffling of hard hitting virtual instruments that dance between with a subtle reminder of those old jolting Dubstep drops. There is a whiff of something in the air, track two's opening melody and sense of groove confirms beyond doubt, The Prodigy have had an obvious influencing hand, pushing the John Carpenter Synthwave sound into club territory.

Its two persuasions don't add up for me. The dazzle of glossed up melodies, spearheading a spirit of pedal to the metal night life, rubs right up against the harsh deployments of hard edged synths and an Industrial like, colorless approach to their timely union with the thumping drum arrangements. It often plays with that loud quiet dynamic, yet the two don't compliment one another. An atmosphere conjured with one hand, is often smashed by the shift in temperament to grooves that don't feel all to fresh in the face of whats come beforehand.

On the aesthetic front its production is hard and crowded, often cramming sound in for the loudness effect. The grittier sound of its drums could do with some polish too. Its a game of contrasts that doesn't pay off. Many of these songs are embellished with layers of synths, oozing in slick textures that conjure visions of cybernetic cities from a dystopian future. They work in tandem, moving in directions and illuminating the neon glow but often thwarted by this return to a club floor banger mentality. That unfortunately dispels any magic for me and leaves this one feeling like an arrangement looking better on paper than in execution.

Rating: 4/10

Kataklysm "Unconquered" (2020)

 

 The appeal of purchasing this record was mostly to "check in" with a band from the years of youth. Unconquered is Kataklysm's fourteenth in a steady flow of albums spanning over twenty five years, a competent yet routine production of modern Metal by seasoned musicians with not much in the way of something new to offer. Initially known for their "Northen Hyperblast" take on Death Metal, only a resemblance of the shocking rattle of drums on overdrive that defined them remains. The songs are of course intense in nature, however only one track stood out too perpetuate that distinction, Defiant. Its opening hailstorm of machine gun snare blasting makes for an intensity wall of sound relieved by brief glimpses of dizzying fretwork from the guitars. It tho break to the mid-tempo, a region most the record spends its time within.

Getting onboard with the times the group utilize seven, or even eight string guitars with a brutish tone set to dazzle with a textural indulgence of low and meaty distortion. Its a great sound fit for the groove, bounce of low strings and groan of pinch harmonics wrapped up in the Djent guitar style. It actually came as a shock to hear the embracing of riffs with less of that Death Metal flavor, however there is no polymeasures at play. In all fairness it does not dominate, most songs tend to come with a mix of tonal noise abuse and a shredding of chords more akin to their tradition. The balance keeps Unconquered entertaining on its thirty eight minute stretch.

Luckily for me, Iacono's throaty shouts of forceful anger have a temperament I enjoy. Many of his lyrics that I managed to decipher, however, felt all to chest pumping and shallow. Triumphant threats and statements of violence ushered in with simplistic use of language. Little too ponder on but maybe something to cling to if you can relate it to personal grievances. The lyrical dimension gave me little to enjoy but with a crisp textural production, the barrage of battering drums and brutal guitars timely laced with melodies made for enthralling extreme noise music listening experience that is hard to put down. The record lacks distinct songwriting to stand beyond the norm and given my immersion in metal music, nothing here will root itself in my memory. Perhaps with one exception, the ending to Underneath The Scars has a pretty sick breakdown. The rapid pedals firing in the silence between slams of guitar noise is wonderfully executed. Unconquered is a fun one for fans of extremity but offer little new.

 Rating: 6/10

Cypress Hill "Demo Tape" (1989)

Decades into this wonderful internet experiment, one can easily find rare tracks, b-sides, outtakes and demo tapes that used to be privy to a handful of ears. With another nostalgic plunge, I looked up Cypress Hill's demo tape. Its somewhat disputed what year its from but 1989, a year after their formation, seems to be the best guess. What a fantastic idea, this six track tape is a remarkable insight into where the group started and what evolution took place in the years leading to their debut self titled.

Its remarkable how much of Hill's trademark sound is present from the get go. The four tracks that would carry over to the album have their core samples all in place, the unique flavor is bold and obvious, the stylish identity firmly established. They all carry a little extra percussion and layering that got stripped back. Refining his beats, Muggs polished up the occasionally crowded jabs, stabs and redundant vinyl scratches in the end. These elements do have strong ties to the 80s Hip Hop sound and characteristics, with that these demos create a cultural bridge between the two eras.

 

The one track that didn't get carried on is Caliente. Its a stage for Sen Dog who raps entirely in Spanish. The beat is jive, the classic Amen Brother break loop on sharp repeat. The sparse sampling ushers in a calmer hypnotic flow for Sen's bilingual ability to sway in this listeners discern. Instrumentally it harbors much of the aforementioned 80s tropes, one can hear why it was ditched, there is however no doubt that Sen shines in the spotlight but its the only time we really get to here him go for it.

As the groups main MC, B-Real dominates the verses with much of his flows and style figured out. A large portion of the verses start with the same lines but quickly derail into less refined collections of rhymes loosely linked. Although my memorization of his lines immortalizes them, it genuinely feels like he puts the best at the front, later on fleshing the rest out with better ideas. On occasions his voice drops off the navel inflection and in a few lines he sounds much more regular.

The demo tape is a fascinating insight into a group who have mostly figured out their sound. In comparison to what else was around at the end of the eighties, the Hill must of sounded special landing on the desk of some record executive. Or possibly not? I don't know much of their origin story at this point but it would be fascinating to find out. Making records was a longer process back then, two years on paper can technically be thirteen months and with it known they recorded some of the record in 1990, they could of been snapped up after this demo! Its fun to speculate.

 

Rating: 6/10

Funkdoobiest "Which Doobie U B?" (1993)

With a recent dive into House Of Pain, I found myself poking around into the production history of DJ Lethal and DJ Muggs, leading me to this West Coast stoner trio with an uncanny resemblance to Cypress Hill, the epitome of treading in their footsteps. Obviously his hand on the instrumentals would lend itself, however lead rhymer Son Doobie, a name I've heard in rap verses before, brings a strong navel inflection and similar set of funky oriented rhymes to the likes of B-Real. Similarities and influences are fine, I was mostly excited to unearth a scene extension of the Hill's dynamic sound. Funkdoobiest have it nailed down, colorful Bomb Squad beats and lyrics constantly referencing the Mary Jane. It's been a fun nostalgia trip listening to Cypress Hill's cousin from round the way.

Although Muggs handles only a couple tracks, DJ Raplh M and T-Ray pick up the slack where Muggs laid down the foundation. Imitating his style, bombastic percussion, bold double-bass lines and stacks of samples making for a madhouse of funk and groove playing from front to back as if he did the whole project. Its complimentary, however a couple tracks are all to similar to Hill classics. Distinction wont come on the lyrical front either, Son Doobie's measured flow, stacking of quirky rhymes and delivery all have a similar cadence that fails distinction. His partner on the mic, Tomahawk Funk, is distinctly reminiscent of Main Source. Having absorbed so much Hip Hop over the years its hard for either them to stand apart.

Not to dwell on the parallels, Which Doobie U B? has a loose theme with recurring references to the doobie question. The topicality feels a shade hollow with braggadocio and stance affirming angles recycled track by track. A read of the track list alone gives you an idea of what to expect. This was never meant to be a serious record though. Its all about the fun rhyme schemes, stringing witty snaps and cultural references to much effect in its best tracks, Bow Wow Wow, Freak Mode and Wopbabalubop. At first its fun and exciting but as the verses become familiar a lot of bold boisterous rhymes fade in interest. Its of the time and somewhat dated but a really good listen as a fan of the era.

Rating: 5/10