Lycia "Casa Luna" (2021)

 

In my initial exploration of Darkwave and Etheral music I discovered Cold, a striking record luring me into a world of music I now adore. Thirty three years strong as a band, there recent outings A Line That Connects and In Flickers had been fun listens with a couple of memorable songs but this new EP has a powerful breath of fresh air. Some how, these tracks leap out at me, with each one presenting some sort of angle, perhaps adjacent to an influence or idea. It makes sense that they come in this packaging with such variety and a stiff sense of flow. It feels experimental but the more I listened, the more I loved how it moves, held together by aesthetic and voice as its bold pallet of moods tilt from one direction to the next.

On The Messanine, Salt & Blood are these slow and dreary journeys through haunted dreams, beautiful yet wrapped in a sorrow. It fondly reminded me of Autumns Grey Solace but even more so the opening A Quiet Way To Go. Tara Vanflower's wordless voicings sound so much like Erin, with the bleak guitars behind her luring in that familiar Ethereal feeling. Its Mike Vanportfleet who ushers in the pivot as he softly whispers the songs name and it blossoms with color and resonance. The guitar chord that turns the corner is luscious and stellar. Its acoustic tone is sublime. The tracks structure alternates back and forth a couple of times and that is all it needs.

Do You Bleed is one meaty grinder of a track, its percussion hammers out strikess of distortion in its industrious menace as rumblings of dirty bass pound away below. Its ugly guitars birth a wicked sense of atmosphere and Vanflower watches over it all with a touch of venom in her voice as she commands suffering. Reminded me of Punisher & Author's take on Industrial. Where this one reached low the following Except glides on a high with a graceful atmosphere and warm strings a poppy melody propelled by its mechanical drum machine. Its opening synth jive strongly reminded me of something but as the song grows that tends to fade. I think its initial influence would be something to the likes of Gary Numan or the Tubeway Army.

Lastly Galatea is quite the upbeat, pop track with a more modern feel too. It weaves its chirpy melody into the Ethereal unraveling of its airy synths and Vanportfleet's gothic and pained voice as he sings soft words into the reverb with a ghostly incarnation. I'm not sure if these songs were particularly special or if this just scratched an itch but I found myself captivated by the albums better numbers. These songs just felt so vivid and full of identity. A great little record!

Rating: 6/10

Wampyric Solitude "Darkness, Beloved And Eternal" (2020)

 

This shall be my last Wampyric Solitude record for now. Wedged between Carpathian Melancholy and Spectral Kingdom Of Nocturnal Sorcery, this one seems to be apart from a perceived downwards slump from its lonely yet enchanting origins. Working with shorter compositions again, its escapades resemble that of its inception, brief and strange encounters with a darkness of solitude, lacking any antagonism or fear of another entity. Its opening track deploys gorgeous stoic strings, yearning across the horizon. Scenic in scope and brooding with loneliness, its presence is rather grabbing. This might be the most Vampiric discovery so far.

The following track drifts back with the same strings into the background. Dense drums strike softly in reverberation giving a sense of sequestering. They rise in volume towards the end but ultimately this song feels like an intentional shadow of what came before. Any trajectory this might of entailed feels entirely swept away as the plucked strings of an over-driven guitar ushers in. Its cold and desolate melody repeats over and over, then reinforced by lively drumming and an eventual climax with psychedelic synths. Fantastic, but feels at odds with whats around it.

The next two tracks lean back into the soft rumblings of esoteric conjuring and perpetual solitude. Now bringing in the quiet percussive grooves again, the Noir Jazz vibes take hold and bestow an indulging mood for drizzle and sunless skies. Its use of dreary guitars and warm lumbering bass lines on the last song highlights some fantastic creativity. Its a mix of ideas achieving the same ends but the transition feels somewhat odd. The inclusion of two bonus instrumentals from the previous records was nice too. Those harsh and bleak howls seemed intrusive but hearing the songs without made it seem as if they belonged there all along.

Rating: 6/10

Wampyric Solitude "Spectral Kingdom Of Nocturnal Sorcery" (2021)

 

It did not take but a couple of spins to get to know this ones design. Where Lost Age Of Darkness offered an intriguing shade of despairing mystique and Carpathian Melancholy elongated it to lengthy passages, Spectral Kingdom of Nocturnal Sorcery hinges on a minimalist design that doesn't evoke the same magic. Its baron buzz-saw synths are all too bold, upfront and dull. At first glance, perhaps it offers a passing, ancient dazzle but housed by its slow droning percussive loop of hi-hat and deep bellowing tom drum with the occasional gong strike... the whole project is to repetitious and obvious in construct to indulge with as it slugs through slow, drawn out notations that can't rely on the texture for its atmosphere or identity.

After its six minutes of cold ambiguous engine noise that album shifts to its four lengthy cuts that all hinge around a single synth tone. They circle around the same idea, methodically slow, minimal progression in notation and providing some variation on the theme with additional instruments but the magic is just missing entirely. With so little of the pallet being changed track to track, you can practically suss the record out through the first song along. Essentially it feels like a simple execution of a concept with very little to flesh it out. The slow pacing and bold synth tones don't conjure much for me at all, even as background music it grates away in a static state.

Rating: 3/10

Wampyric Solitude "Carpathian Melancholy" (2020)

 

Intrigued by the despairing loneliness found among the deeper carvings on Lost Ages of Darkness, I set my sights on finding another record. Operating under a variety of other monikers, this anonymous musician's other incarnations where all to brash and obvious for my taste. The hazardous machinations of militant percussion and Dungeon Synth failing to evoke the magic its intentions clearly strode for under an awkward and bumbling aesthetic. So I returned to the aptly named Wampyric Solitude to find a different approach to a familiar feeling with a melancholic title all to fitting.

Pivoting from the contained variety of shorter tracks, Carpathian Melancholy lurches into the lengthy as its five tracks, averaging ten minutes each, births its inspiration through long, yearning passageways of brooding unease and distant tension. Minimal in nature, its groaning synths steadily build atmospheres that are ripe in the background, meditative as they sink into the subconscious of a distracted mind. Its opening number, The Night And The Sorrow, can't help but carry a subtle uplift in cloudy gloom that fondly reminds me Brian Eno's An Ending (Ascent). Its starlit astral synth tone, cutting through the reclusive lingering doom.

Each track pivots and this This Sanguine Affliction steers us to the smoky Noir Jazz vibes again as its haunting hi hat plucks at ones sanity with its grounded tempo. The song musters a rise in its conclusion as the eeriness gathers gusto but mostly it is a slow, drawn out affair of mood setting. The title track is the one song to offset this template of slow, methodical brooding. Its sorrowful opening strings suddenly pivot past the mid point, erupting with a startling piano, passive drum beat and grave vocals. They wretch in pain, smothered in a predictable reverb, howling despairing lyrics. Eventually some hazy distortion guitar is ushered in. Its tone intriguing but the song is locked into its depressive state, paralyzed in repetition.

I don't feel too strongly about it. Maybe it comes shy of something grander but overall this stretching out of duration made the music serve mood and atmosphere more so than its own spectacle. The softness and subtlety I once praised feels lost in its lengthy nature but still this record has offered another flavor of background music, for focus on other tasks, that I may return to on occasion if inclined.

Rating: 5/10

Wampyric Solitude "Lost Ages Of Darkness" (2020)

 

As the third of three attempts, this may be the best of "Vampire Synth" so far. In title alone it defines itself. Solitude... not a word that often comes to mind with music, even though it can be so inherent in the quieter arts of Ambient and Meditative music. As is the activity of listening, if not at a party or concert of course. The Curse Act I sounding so reclusive and illusory with devilish piano notes conjuring a cinematic presence of murder or death, now confined to the loneliness of lifelessness. At times this record strays from the mystique of its esoteric minimalism straight into the arms of a despairing solitude. As for its Vampiric half, I definitely get chills that suite a serious entertainment of the nostalgic, blood drinking folk lore myths.

The castle of its cover alone seems perfect. A decrepit Transylvanian castle in ruins... the grainy black and gray image casting the gloomy mood. Being so akin to the Black Metal scene its no surprise to hear snarling groans of grave sadness cry out across a lonely void on its closing track which musters a the most of its instruments as the gentle percussive beat and its rainy synths conjure a feeling quite similar to Noir Jazz. The rest of the record, however, makes its way to this darkly conclusion through the bleak, pale and terribly lonely minimalism its housed in.

The Lost Ages of Darkness aesthetics are so soft and subtle that even in its culminations of brooding synths, the quiet sounds feel as desolate in tandem as in there lonesome, which many singular melodies explore. With The Curse Act II the music pivots to a new kind of terror. Two minutes of dense reverberated bass kicks leads us too spacey, zany synths that wobble with an almost extra terrestrial threat. Is so carefully crafted as to not over emphasize its unnaturalness. Waltz steers us to the Jazz Noir again and the title track experiments with foggy ambiguities before The Last Wampyr charms with a little childlike melody... with a chilling undertone of course.

This record has revealed itself to be deceptively simple, chilling to inhabit and leaves me with a curiosity has to how long its spell will hang over me. So often can Dungeon Synth hinge on its tropes but this record feels deeper than any of that, yet its bare starkness say perhaps not? I think it takes real talent to make music like this strike a deeper nerve and so with this artist I shall persevere through a few more albums. It will be interesting to hear what lies ahead!

Rating: 7/10

Howling Giant "Alteration" (2021)

This four track EP has been somewhat of an obsession lately. Alteration is a sprawling instrumental epic of guitar led melodic grooviness! Its twenty minute duration graces us on a journey of progressive creativity, warm and welcoming as its mammoth guitar sound explores the rumbling depths of Sludge, Stoner and Groove Metal. Passing by psychedelic realms with a touch of Post-Rock scale, its elastication propels us from the crawls of swaying low end power up to the heavens of expansive lead guitar that swells with spacey melodies and colorful gleams of light.

Its twenty minutes breezes by with each of the songs working a deceptive linear direction as its recurring sections get re-imagined on revisiting. Its quite the feast as deep meaty bass lines, subtle chiming synths and dexterous drumming work around the guitars focal energy, livening up the stage and fleshing out this organic musical force. Its solo illuminate like a voice as its notations gush forth with a cadence reminiscent of lyrics being sung. Its not always in this vein but with surges it feels so.

Enemy Of My Anemone, to me, sounds like the telling track. Its opening lead riff and clever weaving of tune and rhythm feel strongly influenced by CKY... possibly? I am speculating and this is why I wrote about Foreign Objects two days back, spinning this one kept me thinking of Miler & Ginsburg's guitar styling. A Howling Giant is no imitation though, their identity feels rather distinct with its organic, warm and sun soaked temperament. Its a very welcoming style of Metal.

One odd criticism I've taken away is the lack of vocals. Often I am fine with instrumental music but something about these arrangements felt as if there was room for another, human, voice to chime in on the gorgeous weaving of colorful melody and swaying groove these numbers sail through. Other than that its a fine little record that sounds wonderful! Especially that deep bass rumble that comes to life when the rhythm riffs transcend up the fret board into lead licks. Its aesthetic is just right.

Rating: 6/10

An Old Sad Ghost "Coffin (A Letter For Carmilla)" (2018)

 

After the disappointing Wampyr we move onto the second of three picks from a list of so called "Vampire Synth". I'm please to say An Old Sad Ghost offers much more in its darkly theme and churchy mood but still falls short of the Nosferatu chills I was hoping for. Its a brief nineteen minutes, split into seven roman numeric chapters. They are all choral organ pieces conjuring a slight macabre Gothic charm. It mostly gives a sense of per-enlightenment times, its big foggy organs filling the firelight halls of some weathered cathedral.

Its small selection of organ and airy synth tones are most likely virtual instruments. Its programming shows itself as the "paying" comes with a consistent attack and sustain that offers little in the way of expression through nuance and subtlety. Given some of its arrangements generate simple rhythms with its harsh deadening of repetitive notes, it can be a distraction that an analog performance would of elevated. Its mixing is also a little crass with the instruments routinely rubbing into one another with the mechanical resilience its virtualized reality amplifies.

Flaws aside, Coffin evokes a warm and glowing sense of being sheltered from the grave and despaired. Its aesthetic gloomy, menacing and foreboding yet the majority of melodies performed feel confident, sheltered and warm. Often with this type of music I comment on the "distance from danger" yet here it feels as if all danger is removed entirely from this rather glum and grim temperament. Occasionally its notations peer into something more sinister but its only ever brief.

There is no doubt the music has some bold ideas, resonating with the imagination for ancient realms and cultural mystique. This polishes its apparent flaws. As a lone piece with no vocals, bass or percussion its strengths seem held back. With more love and care these compositions could be truly captivating. Currently they are not, for reasons aforementioned. This record will most likely drift from consciousness however It will hold its spell whenever I return to it. My final thought is the key question, does it inspire the "Vampire Synth" genre name? I think not, but given whats out there, this feels more Vampiric than other Dungeon Synth records that come to mind.

Rating: 4/10

Foreign Objects "Universal Culture Shock" (2004)

 

A current record on rotation has been giving me some serious CKY vibes. More so two thirds of the line-up, Jess Margera and Deron Miller, on this adjacent project Foreign Objects! Its a gem of a record, taking that unique and dynamic sound of Camp Kill Yourself into a Extreme Metal direction with guttural vocals and an aptitude towards the more progressive and technical aspects of instrumentation. Don't be fooled, for all its flash the foundations are built with fantastic song writing and a flair for melody that has its crunchiest of riffs flowing with colors. Its parallel to a handful of metallic genres yet stands triumphantly apart with its warm embrace.

Foreign Objects was actually formed before CKY and with the viral success of the VHS videos and Jackass, it seems the pair decided to revive their ambitions with this sophomore album after Infiltrate Destroy Rebuild. That sound is apparent throughout but more so in its earlier songs. As the album progresses, more Death Metal influences to the likes of Cynic and Atheist end up showing themselves a touch nakedly with sections that lean on some of the tropes like dis-harmonized melodies and meatier guitar riffs. Its all fantastic but the album does start like a rocket.

 The self titled track and Genesis 12A leap from the speakers, the music more colorful, interwoven and going on a fantastic journey of colorful aggression melding its tuneful nature between groove and gusto with Jess wilding out on his drums with an animated performance set to strike all cymbals and toms frequently between the foundations of his patterns. Its wonderfully engaging and Deron's harsh throaty growl shouts have charm but less in the aesthetic and more so the timing and delivery. He sounds impassioned and it makes the songs come to life with his better lines.

I could heap on the praise but not everything is perfect. The albums production is a touch harsh and lacking budget but the music attitude fortunately punches right through its rough edges. As mentioned the album tends to drift to its less creative songs, passing an amazing Disengage The Simulator cover on the way out which fizzles out with the toned down Victory Over Neptune transitioning into a sombre acoustic but underwhelming ending. Then lastly there is Big Boy, its tone and temperament doesn't really fit the bill or carry the same energy as anything before.

At its peak, this albums songs are of a dazzling craft but its a flawed treasure for sure with the front loading. Looking up some details on its release Ive learned it was packaged with a five track demo from 1995. That is making its way to playlist immediately! I'm glad I got around to writing about this one, for any CKY fans reading, you need to hear this! Especially if your fond of more abrasive music.

Rating: 8/10

Wampyr "Wampyr" (2017)

 

This will be the first of three records I will cover on the topic my newest unearthing, Vampire Synth! Whats that? Apparently a subset of the micro-genre Dungeon Synth. Can you imagine my reaction upon stumbling onto a massive list of this so called "vampyric" music. Excitement alright, Ive often yearned for artists to look for new avenues in this easily accessible genre flooded with amateurish attempts like my own Forgotten Conquest. So far we are not off to a good start with this brief EP of three originals and a cover by James McKeown, the man behind the Wampyr moniker.

These lonely, sombre songs lean heavily on their Casio synth keys and low fidelity aesthetics, sounding fumbled and off the mark. Meandering and directionless whatever solemn piano, gaudy choir synth or cheesy tone takes focus the music can't escape its design. The brash and awkward percussive strikes on the opening track seem like a failed rouse to arouse mystique. As it passes the yearning atmospheric synths that arise usher in a new phase seemingly unconnected. With barely more than two instruments chiming in at any one time, its possible minimalist ideas fall flat in forging anything meaningful out of the subdued setting it occupies.

I'm being harsh here, individually some moments do conjure that ancient dungeon feeling but its all to brief and interspersed by the swiftly transitioning music. It doesn't create a sense of theme bigger than any one moment that's passing by. To pile on the critique a little more, where is the vampirism? I picked these records at random, unsure of what to expect, hoping for a new nostalgia, gothic and cruel, drenched in blood, exciting the imagination for mythic legends of Counts and Countesses, dwelling in darkness and conspiring nefarious plans for their victims. This had none of that and thus my disappointment. Even removing my colored expectations I hear little distinction.

Rating: 2/10

Greta Van Fleet "The Battle At Garden’s Gate" (2021)

The young Zeppelin starlets return with a sophomore effort I initially found underwhelming. Was this a repeat of the fumbled Anthem Of The Peaceful Army debut? Trying to find my way into the music I decided to put it on shuffle with along with the dynamite EPs Black Smoke Rising & From The Fires. They showed so much promise at that early stage of their career. Switching back and forth with this new set of twelve songs, it starts to make much more sense. Those original songs were wild, full of youthful energy and big riffs. Now, the group seem to look beyond the obvious.

The Battle At Garden’s Gate seems like an attempt to mature beyond the flash and dazzle. Thus it can seem somewhat dull at times. Greta Van Fleet's Problem is still the footsteps of acts gone before that they tread. Much of the music lacks originality, creating an undercurrent of uncertainty. Ive tried to let go of that tho. What I've found are the subtler crafts, cohesive song writing to focus on theme and topicality with out being steered to strongly by guitar and stage antics. Its best songs creep up on you, brooding, steadily building but not always seeking a "big moment" to conclude.

Though with a handful of songs that climax does arrive through ambitious guitar solos. Aiming for that classic timeless lead magic but awkwardly residing in the confines of ideas that were once the cutting edge. They do find their space to soar tho. To let go of the more critical ear, it can really feel quite special. The variety of cuts keeps the record flowing, moving between different intensities and focuses, everyone gets a moment to make a song memorable, mostly the Kiszka brothers with singer Joshua having a field day on some of these songs, going above and beyond to flex his mighty voice. Its an absolute pleasure on a song like Stardust Chords.

The record sounds fantastic, very lived in and warm, so much so I've barely considered the fidelity until now. Drummer Daniel Wagner carries the songs competently with groove for the backbone and occasionally flairs up with unleashed freedom as he goes ham on his kit. Its wonderful, like a progressive drum solo as he goes the rounds on the drums. Would certainly like to hear a little more from him.

I'm lukewarm on this record but mostly for the lack of originality but letting go of critique I've had nothing short of a blast with The Battle At Garden’s Gate. Now the initial shock of a band so stunningly reviving an old sound has worn off, its up to them to write memorable songs and I think they've genuinely done that here with a handful of them. As whole, its a case of time will tell but I can't complain as so far Its been great fun.

Rating: 7/10

Chevelle "Niratias" (2021)

 

I'm glad I'd taken the time to discover Tool before encountering a record like this. Chevelle have won me over with their thoughtfully tempered and artistically angered take on Rock and Alternative Metal. It was on the second listen that the resemblance to Tool suddenly clicked and its been unshakable since then. Singer Pete Loeffler emulates Maynard at every turn, both in style, pitch and delivery. I feel that I can only refer to his obvious influence as the distinction. His multi-instrumentalist brother Sam does much of the same with the song writing, arrangements and riff ideas with an occasional big riff more akin to perhaps Nu Metal in delivery. Even deviations from the norm on instrumental interludes with ghostly pianos have an echo of similarity. Either I'm right on the nose with this or infantile to the web of influence Tool have undoubtedly cast on bands like Chevelle.

Similarities aside, this album has been a blast. Niratias runs an expressive line of crafted writing, steering clear of leaning to hard on tropes and arrives at its conclusions with the grace of lavish instrumentation that gets everything involved in intervals with space for individuals to shine in the gaps between. So often do the guitars drop back for the bass guitar to rumble. Lead guitars get to sweetly slide into focus with elongated stretches of atmospheric melody and around it all the drums weave together a narrative. Its theme is supposedly rooted in the talks of the times when it comes to a commercial era of space flight and the now popular philosophical discussion of simulation theory. Its most potent lyrics to me tho, where the impassioned cries towards misinformation and science skepticism which too have risen to prominence during the pandemic.

At a meaty fifty minutes, Niratias offers up some fantastic vibes, balancing aggression and artistry with something I can only describe as the "festival feel". Many of these songs feel set for the summer stage to be shared with thousands of fans, delivering those big riffs and crunches after grueling through the gradual build ups and hold over sections that keeps the music in lane. In the past I think its the sort of music I'd gloss over but I am happy to say that ignorance is gone! For all the familiarity this has been an exciting listening experience that feels best as a whole, having found it hard to pick favorites from the track listing. Peach however... is a peach of a song! Oh too easy but yes this one has an exception bite to it as so quietly builds to its blunt force guitar throwing down thumping slabs of low end noise. Pete absolutely makes this song pop with his fiery singing, crying out woes of foreboding limb removal!

Rating: 7/10

Public Enemy "What You Gonna Do When The Grid Goes Down" (2020)

 

Maybe I should of passed on this one... but I couldn't help myself right? The legendary Public Enemy collaborating with Ice-T, Cypress Hill, Run-DMC, The Beastie Boys, Nas and George Clinton? Well it is to good to be true, as one might suspect there heyday is long behind them! What You Gonna Do When The Grid Goes Down is loosely themed to the pandemic and global issues, asking questions of the audience and our reliance on modern infrastructure but It does little to elevate the music. Where this record falters isn't so much its topicality but the execution of outdated musical ideas.

 These instrumentals, handled by C-Doc not DJ Lord, fire up the old formula but lack the sharpness or urgency. Sadly it comes off as exactly what it is, a bunch of older guys who haven't update their ideas, spinning the same tricks with less excitement than ever. Many of the beats house a mediocrity of samples that layer up noisily without the bite and grit of classic Public Enemy attitude. To give it some credit, there is a lot of creativity shaping up the songs to be varied and fleshed out with shake ups between the main loops. This goes out the window on a handful of tracks as out of tune Rock guitars, both rhythm and lead, frequent the record with this tone deaf presence of half baked 80s aethetics rattling off under the raps and drums. Its not flattering.

Chuck D and most his guest are as sharp as ever, his voice sounding aged but the energy is there. Sadly he falls into the trappings of artists from his era, getting hung up on the past with many passing remarks and even a whole song rattling of a list of Hip Hop traditions lost to time. There is little wrong with this expression but it adds to the lack of fresh ideas on offer. Its merits are ironically the resurrection of old songs with varying success. Fight The Power Remix 2020 has some bite as Nas steps on the mic with rhymes sharp as ever. Its home to some of the records best verses but also the worst as YG's flow just doesn't match the energy here. All in all its a tolerable listen but mostly disappointing for failing precisely where you'd guess they might.

Rating: 4/10

Arcturus "Constellation" (1993)

Writing has been a lot of fun recently but more so has the listening! Discovering the foggy gloom and doom of My Angel and reliving the unique astral wonders of Aspera Hiems Symfonia again, my recent dive into Symphonic Black Metal has potentially led me onto an Arcturus journey but alas we will stop here for now.

Writing on the bands aforementioned debut, I remarked how dingy and overly symphonic this short four track EP was. It certainly is riddled with fidelity issues, inaudible bass and overpowering keys. My curiosity couldn't help itself tho. Giving this one some time and with swiftly adjusted ears I am astonished again by a band who seem to always lavish astonishment upon me. These songs are essentially identical. Where its keys once had a creaky yet powerful subtly, they are now front and center with dank and humid tones that relish in their own oddities. On some level it plays down the extremity of Black Metal, amplifying the symphonic magic at the heart of Arcturus, illuminating the majesty of their night sky inspired theatrics.

And check the date! The music is a mighty force of cosmic wonder, wedging itself in a scene yet to explode or even blossom. How delightfully strange these defined ideas are. Cosmic, majestic, curiously carnival and a little jovial. Its beautiful eccentricity emanating from keyboardist Sverd's fingers. I knew this element was the spark but it seems all to powerful and obvious here, the compositions are so inspired, creative and otherworldly with its astral icy gleam illuminating the darkly music. Each of these numbers are mighty journeys, adventures of the night full of twists and turns.

The intolerance of my youth had me gloss over and dismiss these lower fidelity releases... such a shame... but now I see an opportunity, to re-visit these demo tapes and early releases of my most favored bands that I once ignored. I hope to unearth more gems like this one.

Rating: 8/10

Carpe Tenebrum "Mirrored Hate Painting" (1999)

 

My most treasured record in existence is Spiritual Black Dimensions by Dimmu Borgir and perhaps It would of fared better not have written on it as my first blog post here. My aged words seems quite inadequate given how years of writing has evolved my articulation and expression. One day, when inspired, I will write of it again. The reason I mention this, is because I could use much of that language here, you see Mirrored Hate Painting is essentially a counterpart to SBD. Carpe Tenebrum is the side project of lead guitarist Astennu who illuminated SBD with a darkly rapturous presence heard here once again.

He is joined by Nagash, also of Dimmu Borgir who emulates Shagrath's vocal style wonderfully. A little loose and fragrant at times, he captures the throaty guttural growl in uncanny resemblance. The music too emulates much of the compositional principals too, mixing dark, aggressive guitars with throttling drums, classical dizzying pianos and a lavish helping of bold synth tones, going through all the stark theatrical dynamics. Released the same year, it gives an impression of left over material from their work with Dimmu. The lead guitar solos being the one carbon copy element that rouses equal emotions as they plunder into the night with a soaring sense of epic.

It leaves a question to ponder, does this highlight the influence of Astennu on his band mates? Or did he bring the ideas and leftovers to this effort. I'm sure its a question that will remain unanswered as the records either side of this sophomore project have quite the contrasts in identity. Its own, however, is tarnished somewhat but a less refined production style that could of done with a little more care. The synths are dulled by quietness more often than not. As are the sprawling piano melodies jump in with flashes of jovial color. They find themselves smothered, however if you know what to expect, you'll hear it somewhere in the mix as the sections of music roll out with mirrored ideas from SBD.

 And mirrored they are, the tropes play out with all the same techniques, half time beats often giving rise to atmospheric synths and the guitar pinch squeal whammy bar howling plunging us into blast beats and momentous darkness. Mirrored Hate Painting does come with one distinctive tarnish, the inclusion of bizarre audio clippings, down pitched and reverberated in the tackiest of manors, something akin to b-rate 70s horror movies. An English woman talks of satanic coercion, sacrifices and the murder of infants... My only thought are perhaps that the audio is not fictional and that is supposed to hold some merit to the records theme? Because if not, it sounds pretty trashy and runs in contrast to the music the few times it crops up.

I've enjoyed this one immensely, however it cannot compare to my most treasured record. Only in flashes does it show the same level of brilliance. Dimmu forged some fantastic music that felt more purposeful in composition as its lyrics and lead guitars would channel a song to meaningful climaxes. So far I hear the same ideas but not the glue to give the songs a sense of start and end. Perhaps I need more time with it, which It shall get a lot of in the coming months and maybe I will learn more of its magics but for now I am just stoked on finding such an adjacent record.

 Rating: 8/10

Gojira "Fortitude" (2021)

 

Although delayed by the Pandemic, French Metal outfit Gojria's seventh record, Fortitude, marks an increasing gap between records with a five year wait from the toned down, atmosphere driven Magma. As these musicians mature, so does the music and the time waited feels worthwhile as the Duplantier brothers and their band-mates hone in on a wholesome, naturalist and cultured tone. Embellishing the heavy sway of their rhythmic guitars, the space between instruments groans with earthly pains as the common themes of environmental and indigenous concerns manifest it the texture, painting its modern Metal cliches with a humanitarian identity.

Gojira's craft for groovy, swaying chugga riffs remains firmly intact with plenty of timely moments to deliver the momentous, head banging riffs with pinch harmonics, slides and all manor of guitar noise between. New Found is a keen example, housing a couple of the albums most infectious rhythmic grooves. The difference is the space between, often the guitars work in tandem, high and low, delivering meaty chords and melodic lines that weave the earthly texture between them. The bass guitar too plays a wonderful roll in this too. Its thick warm presence being rather dramatic and creative at times with fret dives, slides and high notes that resonate wonderfully.

Up front on vocals, Joe Duplantier gives a complimenting measured performance, having the reach for gritty growls, demonic shots and a range the crosses over to the spirited and effeminate. He draws out this indigenous native spirit with frays into wordless cries of melody that weep with the spirit of the land. Equally the anger of destruction and human pains burgeons in its sway to the dark and gruesome screams Metal music adorns. Most these songs sway between to the two as so do the instruments, intensifying grooves and opening up to emotional atmospheres between.

There is little I can flaw but I can't say there were many grabbing moments of awe. This felt like balancing act to pull us along its dreary and bleak hurt without becoming too engulfed by attention capturing grooves and heavy metal distractions. Its an album that gently cruises by, holding presence and brooding in its own shadow. Despite being rather downtrodden in mood its a joyous listen as that earthly spirit permeates so well. The production helped achieve this but I must say some of tracks feel a little dulled and muddy with the music carrying weight through reasonable fidelity. Perhaps it is part of the charm given those earthly tones I have commented on, for some reason it just strikes me as missing a sharpness. Either way its a solid record.

 Rating: 7/10

Arcturus "Aspera Hiems Symfonia" (1996)

 

 The unhinged rattle of a rapturous drumming, A lone distortion guitar with a dark breeze of melody, the aura of nightly synths glistening. Its a muddy mess we are initially thrown into, which then swiftly plunges into blast beats and throaty howling screams before opening up its triumphant gleam as astral organ synths and warm patrolling baselines bear its melodic majesty with might. As the music sways, the darkness is doubled down on, driving rapid chugs on the low end of the guitar and nose diving with the snare led blast. As it rears towards the darkness, so does it expand the crevasses of starlit light. They are birthed into progressive passageways of rhythmic creativity and instrumental craft imbued by subtle violin strokes and blossomed with a stunning guitar solo before the wretched howls of Garm and a bleak melodic lead reels in the song to a festive, carnival conclusion of mischief.

This is To Thou Who Dwellest In The Night, the opening track too one of my most deified Symphonic Black Metal records. Its the niche of a genre that really spoke to me in my youth. This being that one weird and sloppily produced record that I couldn't resist. It lured me in with its spellbound tone over and over again before I gave into its persuasion. Its flaws are beauty and the musical craft is a wondrous moment of genius somewhat confined to the initial cliches of this emerging sound. Arcturus would go on to fully explore their unique identity unchained but at this moments, its true birth, the grasp of Black Metal is simply a blessing to steer it to a fantastical darkness of unending imagination inspired by the mysterious night sky above.

The brilliance of drummer and living legend Hellhammer is all over this record. Although a toned down performance by his technical prowess, the rattle and roar of his thunderous drumming houses the strong expression through melody in aggression mainly backed up by the reverberated cries into the night by Garm. He also has a stunning clean voice which enters the fray timely to bring enchantment to its sways into the more expansive side of their music with deep belows and high notes alike. Its the guitar leads and synths that embellish the identity, offering up matured arrangements with melodic sways and subtle grooves more so than its occasional power chord thrashings. This is thoughtful music, reaching at the harder to express ideas with a range of fantastical synth aesthetics to back it up.

Aspera Hiems Symfonia's texture is often cold, harsh and bleak with the keys injecting this linage of majesty through its often clanky involvement. The production is a mess! Instruments bleed and clash but through this, the keyboard's classic Casio and Korg tones are blemished, shining through cracks in the seams to make themselves known. It has just enough presence to be known in subtlety and with each listen one can revere in the clarity that comes of repetition. To this day I feel like I always learn a little more of its nature with each listen. As the album art intends, they often remind me of the Northen Lights illuminating the vast endless forests of Norwegian darkness the genre's counterparts are so inspired by. These musicians noticed the stars above.

Interestingly, this record is preceded by Constellation, an EP with four of these eight songs. It gets unbalanced by its overuse of synth however with this outing they nailed a concept you could of completely missed given its initial execution. Its the newer songs that tend to be the finer affairs with a more dynamic sense of where the songs should travel. The older songs have some stiffly stitched together sections with dramatic shifts in tone and dynamics, often repetitious in structure. The attempted sound design with thunder strikes and other rumblings at the end of Wintry Grey is a fumble but the music is too glorious for it to tarnish the spell.

Arcturus have been a deeply wondrous band I've adored for so long and have been blessed to see them live. Its hard to pick a favorite, each of their albums so different and interesting. They would go on to be better known for their Avant-Guard styling but even here at the cast mold of new ideas they were a force of their own, standing alongside the cold bitter darkness of their counterparts, yet being an entirely different beast fueled by the wonder of the cosmos, both in name and spirit. My recent brush with My Angel was a keen reminder as to how special this debut album of theirs really is. Twenty five years on and it still holds up.

Rating: 10/10

Cane Hill "Krewe De La Mort, Vol. 1" (2021)

 

With news of this three track EP, I was hoping these Nu Metal revivalists would remain astray from their primary sound. The alternate styling of their Alice In Chain's inspired Americano Kill The Sun was an absolute delight. Sadly for this listener, Krewe De La Mort is a full pelt pummeling of modern Nu Metal and Djent aggression, fashioned with a loose grip that goes full throttle on a high octane production style. Maddening, paranoid and viscous, the music roars like a lashing out, firing back at inflicted pains and misery. The mood is consistently frustrated, angry and inert on the topic. Shouting full tilt, delivering meaty growls and lines like "God is the enemy" over and over, these songs never let the foot of the gas. Its like a run away train.

 The whole affair is lavished with the sprinklings of Industrial whirls and hisses, soft textural synths to busy up the massive slabs of dense guitars chugging away, moving with might. On occasion a break for more musicality opens up with glimmers of melody. Otherwise its present ambition is wholly heavy aggression and mania. Its choppy riffs and bursts of pace liven things up but I mostly found myself not vibeing with the bleak and downtrodden spiral of anger these fiery songs spew forth. Its somewhat adjacent to Slipknot and others of that era, with its modern twist but the whole dance felt a little to sterile for me. Loved the solo on God Is The Enemy though, a lively moment of color in an otherwise chromatic listening experience.

Rating: 3/10

Kauan "Ice Fleet" (2021)

 Underwhelmed by the soft and withdrawn, forever wandering Kaiho, the Estonian outfit Kauan return again. Having forever earned my interested with Somi Nai, I had to check this out. Its an album that, reflectively, has some charm attributed to the excitement of a fresh sound on these ears. I'm pleased to say Ice Fleet steers in a feistier direction again with its balance of cold, sombre beauty and lengthy swells of aggressive gusto finding an equilibrium to coheres us gently through the ebb and flow as a path is forged. Onward we trek, through the vast scenic wonder of deeply atmospheric, emotional and engrossing music to captivate. They have found their stride again here.

Part Post-Rock or Post-Metal, fostered by airy synths to brood a smooth and welcoming denseness, Kauan lunge into the epic with a touch of Doom Metal pacing with slow and crushing beats. They give momentum to scale on these linear journeys across the vast bewildering wilderness, or possibly oceans as its title and album art suggests a naval inspiration. Tremolo guitars cry out in reverb as the gravitas pulls in a single direction. Slow and simple melodies, often singular, break through the walls of sound as its direction converges on beautiful notations to bring gleams of light to its otherwise un-intuitively baron landscapes.

The record plays as one, growing into its more ambitious metallic beast early on with dramatic symphonic lulls between its eruptions of rugged guitar riffage that misses on Maanpako and does a devilish dance on Raivo when accompanied by howling, lurching screams as it dips into the Black Metal realm. The pull between dark and light is stunning and with its final numbers the music drifts to a calming, Etheral piece with airy, wordless vocals wandering in like a lost spirit. Its quite the contrast from the sailing frenzy in moments past but that is much of the magic of this record, how it holds opposing forces in a special place. The pacing is just right, everything broods and crawls to conclusion, holding us in its cold temporal majesty.

Rating: 8/10

Plini "Impulse Voices Remix" (2021)

Uncommon but more so unexpected, Australian musician Plini has collaborated with three producers to bring us an intriguing remix EP of crossovers with the Electronic music scene sound. Often a recipe for disaster, on this outing it seems the two styles pull in the same direction, with guitars and synths of the original music being lifted into the bass and percussive designs of Downtempo, chilled out, laid back Electronic music. I must remark, my memories of these Metal adjacent remixes are somewhat scared by the early naughties attempts of Limp Bizkit and Linkin Park with full remix albums. Over the years many other collaborations have come by with varying success but are yet to make footing as a common feature.

In this scenario the vibes match and make for a fine indulgence with the breezy moods and easy nature of the intersection. These are easy, summery songs, hard not to like. Despite that, I find it difficult to give this project merit beyond chemistry as its energy rides almost exclusively of the melodies of Plini. Dayce brings a powerful thumping, steady Dance beat with 90s hi-hats and airy reverberations. The bold bass and rhythmic glitchy grooves add a contribution but not one of remark. The following tracks play it even safer, limited to drums as the main creative contribution. Production techniques with fade ins, outs and frequency cut fades make transitional designs sparkle but again, the musics charm is all with the original material. Ultimately, these songs end up feeling purposeless in the shadow their source and fail to bring anything beyond a shift in tone.

Rating: 3/10

Hexenkraft "Deep Space Invocations: Volume II" (2021)

 

Being rather fond of this Doom adjacent darkly Synthwave ride into the depths of hell, I thought I'd give some time to this new two track EP, having now built up an itch for the ever delayed full length debut Permadeth set to arrive some time in the future. Unlike Volume I its cuts are half the length but twice as intense, taking a massive influence from the Doom Eternal soundtrack. Gone are the acoustic guitars, soft strings and general meandering to the unsettling quiet of space and nature. These songs ride percussive strikes and dense wave synths to the edge of oblivion as danger lurks nearby. Its breaks for respites always pull one back into the action like a force of gravity. Its synthetic edge bleeds the lines between tone and force as it ebbs and flows in rhythm and shimmers of melody as notation whirls in its dark frenzy. Its always intense, like a spree of action with moments to catch your breath, knowing you've got to do it all over again.

Its reminiscence of Doom Eternal is uncanny. Although devoid of big chunky Djent guitars, its follows many of the same tropes and tricks to create a hellish synth atmosphere for action and carnage in other worldly environments. Track two, Devastated, feels like a guilty partner for its blaring siren like buzz saw cutting in and out of focus like a heart attack. Going purely off of memory, this is either a lifted idea from the Doom soundtrack or a brilliantly crafted inspiration that would also fit sweetly into the games audio, which in turn complimented the gaming experience massively. These are two of Hexenkraft's best executed songs, yet closely ride the curtails of another beast. Most important though, they are fun, engrossing and immersive even if short lived in the eight minute runtime. Its craft is focused and doesn't need to go beyond its means, unlike its predecessor which felt as if it had room for something more.

Rating: 4/10

Brockhampton "Roadrunner: New Light, New Machine" (2021)

 

Ive found this record difficult to put in words. A strong diversity of instrumental moods and heavy lyrical narratives that I struggled to connect with left me enjoying but not entirely resonating. Two years on from Ginger the group feel artistically evolved with maturity of word and a better execution of ideas. My lack of connection mostly stems from the endless stream of lyrics that Hip Hop offers, a form of personal exhaustion perhaps. Either way there is no doubt these songs hold up for there foundations. The group of producers who put hands on this one pulled together a colorful set of sounds to house within tight percussive grooves, a strong presence whenever put on spin.

The first five tracks feel like the strictly Hip Hop cuts. An emphasis on rhyme, reason and rugged beats brings Danny Brown onto the bass driven, wild Buzzcut. Its a massive salute that makes for a memorable number, followed by a strong appraisal for JPEGMafia and another collab with A$AP Ferg & Rocky. The attraction of big names says a lot for their ascendancy in the scene. Kicking of with deep bass kicks and some strong rap flows, Windows's inclusion of a poppy, over the top, auto-tune hook hints at where all this goes as the other aspect of this collective starts to emerge.

The rest of the record explores its Pop, R&B and Soul influences, often channeled into a modern context with high pitched and auto-tuned vocals weaving a lot of swooning singing into its songs while retaining darker themes in its lyrics. Its remarkably catching and In many a song, represents the groups unique sound at its best. When I Ball is a personal favorite for its old timely string section and warm, riveting baseline strutting beneath. The pivot to pitched up vocals so smooth. Its often been a point of contention but this time I think they pull these of the time trends so well.

It should be mentioned they swing back with a home run into the strictly Rap world with a ghetto whistle led banger Don't Shoot Up The Party. It comes with a strong message and bouncy energy that juxtaposes party vibes with a grim proposition. It held as a stiff moment in the albums flow as we move to a Gospell track before the vulnerable, emotion gushing The Light Pt. II that feels like a sweet send off as members of the group step to the mic to deliver some heart felt, emotional words.

A common experience of mine is holding off from writing as I don't feel I have a complete picture of the music. Sitting down to actually force out the words somehow brings it into perspective and with this analytical breakdown of what stood out to me, I feel as if I got closer to the record but again the short coming is always lyrics. These songs are loaded with substance that I could feel in passing but didn't stick around for long. Its a personal problem. The music of my youth as taken all of my lyrical capacity. I wish I could pick up and bond with it more these days, I feel like I am missing out on so much. Especially here on Roadrunner which is a fine record and a strong maturing of Brockhampton's sound.

Rating: 7/10

Clipping "Visions Of Bodies Being Burned" (2020)

 

Its album number four by Clipping, an experimental Hip Hop trio doing remarkable things with their mashing up of Industrial and Noise with Horrorcore Rap and spoken rhymed monologues. So far I've developed a great appreciation for the artistry and craft but lacked an emotional connection. The same is true again with another fifty two minutes that seem to emphasize the same response from me. There is a difference this outing though, more of what I connect with. That's mostly a banging beat to elevate the obscurity of these minimalist noisescapes that house the rhymes.

Clipping's unsettling and grim take on urban life and crime has its apt tone again. Either expressed through rhyme or Industrial dissonance, Say The Name brings it to current events with a gripping power to address the death of George Floyd. The most notable track however is found in the lurching paranoia of Check The Lock. The John Carpenter-esque melodies and haunting bells are an illuminating compliment to the click, clack and rattling of sparse and distant industrious world building noises.

Alongside the lyrical talent of Daveed Diggs, who's sharp as a blade with his despairing narratives, a host of features fall short of adding something memorable to the mix. I was delighted to see the inclusion of Ho99o9 but even their shout raps felt at odds with the abrasive instrumental below the pair. Beyond these points of remark, much of what I've written about Clipping before remains true, its mostly a jarring experience of conflicting instrumentation that paints physical discomfort.

 Its best exemplified by slabs of white noise between tracks and the maddening Eaten Alive, its loose percussive performance seems perfectly dialed up to maximum confusion as its dislocated pace grows with the clattering of kitchen utensils. When Diggs drops out we are treated to a couple minutes of completely unhinged sound. Its a novelty, one this band are capable of channeling into convention with thumping base and a sensible kick snare groove but it too is sparing on this outing, with much of the record being chalked into that particular confrontational space again.

Rating: 6/10

The Kovenant "In Times Before The Light" (2002)

 

Its interesting how a legal battle incurred not only a name change but also a shift in sound and identity for this Norwegian duo. Nexus Polaris would suggest this transformation was possible but it was Animatronic that solidified it, the first album released under The Kovenant name. A few years on from that record the pair decided to re-record their debut full length In Time Before The Light. Under their new moniker, the approach was to re-write the songs in their new Industrial infused aesthetic and the results are mixed.

Staying faithful to the original song structures, it is mainly the instrumentation that gets an update to match the fantastical dystopian sound. Without the measured pace of Industrial Metal guitars churning out choppy palm muted chords the original riffs rub up against its now lavish synth sounds. So to do the blast beats, when the atypical plunges into Black Metal darkness come, its a point the music is at its weakest.

Much of the original lone and linear synth lines feel stripped out, replaced with Industrial noises and re-worked textural tones for the new electronic enhanced aesthetic. Over top of them reigns a lavish dance of illustrious pianos, blazing through rapturous melodies, outpacing the music with its hasty notation. Along for the ride come the retro spooky and carnival keys too, they often sound a little suspect in presence.

 The better songs beforehand tend to hold up here but overall, its hard to enjoy this one being able to hear how these songs were converted. Sticking so rigidly to the original track design creates an odd contrast, where the musicality excels individually against outdated songs structures. In other words this wondrous sound the duo fell into moved with their songwriting too. Ultimately it leaves a stale taste but has me curious what I would think had I gotten to know these re-recordings first?

Rating: 5/10

Covenant "In Times Before The Light" (1997)

 

Following up on From The Storm Of Shadows, we arrive three years later with a debut record cast from the mold of an emerging Symphonic Black Metal scene. Unlike the stylistic evolution an of Enthrone Darkness Triumph, the duo stuck with a primordial Norwegian sound paired against its bold and cheesy Casio synth tones. Effective in execution but cornering the music to its niche, one which I happen to enjoy greatly.

Firstly, all three demo songs make it across to the album. The production is a clear step up too, everything audible but also a charming mess of gritty distant guitar tones and bold, punchy drums and keys entering a somewhat forced relation that carves its atmosphere with varying effect. Over it all shriek cries and howling raspy screams offer less immersion and more concept born of genre conventions.

Ultimately its aesthetic works and achieves an entertaining darkness fostered by antiquated medieval and fantasy themes articulated through its simple, often singular synth lines. A few tremolo guitar riffs perk the ears beyond the usual rigmarole of darkly power chord arrangements and plunges into blast beats that comes with the territory. Its with a varied outcome that the bands songwriting fumbles for a few tracks.

The stiff nature of its keys, punching through the mix with a lot of power, often accentuates a different character, one to become evolve greatly on the galactic leap forward that is Nexus Polaris. It gives many of the songs passageways that dispel magic purely on tone and nature of the melody. At the same time it also houses some fantastic chemistry, although a little limited give the lack of layering tones or melodies.

Monarch Of The Mighty Darkness a keen example, its opening doomly gloom a memorable one. Late in the song its medieval leaning arrangements forge an uneasy awkwardness alongside the shrill throaty howls of Nagash. The Dark Conquest has a similar problem, slow and menacing in its brooding opening yet meanders from the path has the keys differ with vibrant flute tones. All in all its a flawed record that has enough charm to carry it along. Will be fascinating to explore it again through the lens of its re-recording.

Rating: 6/10

The Alan Parsons Project "I Robot" (1977)

 

British rock duo The Alan Parsons Project have admittedly been on my radar since before I started this music blog. Of the three records I own, any song cropping up on shuffle would grab my attention. How its taken me this long is criminal but for the past month or so Ive gotten deep into I Robot, their sophomore effort. Hailed as Progressive Rock, what is remarkable about the music is how much it reaches into the adjacent sounds of the 70s. With a luscious string section, these compositions often get a graceful lift into the cinematic realm. Its rumbustious baselines hit Funk and Disco grooves with class. The short experimental interlude Nucleus enters the Ambient Soundscape realms akin to Dreamtime Return released eleven years later.

What they touch, turns to gold, but not without echos of others who walked before them. The breezy lullaby of Day After Day reminiscent of Genesis in a vulnerable song and I Wouldn't Want To Be Like You is practically a Stevie Wonder track hands down. As said, its golden. The duo forge timely songs ripe with vivid instrumentation and holding song structures to make it work wonderfully. The variety is plentiful, dipping into emotional ballads, flushes of early Electronica synths, plenty of Progressive Rock cliches and the audacity to experiment boldly. The song Total Eclipse uses a choir of haunted soul voices to cascade with unease through nail biting tensions as it plunges into fiery depths.

Perhaps suggested by its variety, the structure is loose, moving through drastic shifts in tone that seem effortless with the aid of seamless transitions, pivoting the instruments between songs with organic handover passageways. It ends with Boules, a bonus track of sorts rocking a "phat" baseline with a tight reflexive drum loop and accompaniment of strange noise oddities. It always struck me as a Hip Hop beat in ways, further suggesting the duo had a finger on the pulse with the splash of current sounds the record embodies, although Hip Hop might be a bit of a stretch with the New York scene at its absolute infancy in this point in time.

One thing that stains the stunning music is its theme. I Robot attempts to engage with the concept of artificial intelligence from a heavily dated perspective. Compared to the current discussions around AI and its partial implementation through algorithms and machine learning, everything pertaining to the concept just seems out of step, however the vocal efforts of the band it comes through are wonderful. Barely a crease to be found beyond its timely blemish. Lastly, I'll end on a musing note. These two never found commercial success in their home town, shipping most their records in Germany, USA and Canada. Its something I find rather curious given how British acts tend to be well known here but the Alan Parsons Project has sadly faded from focus since their retirement over two decades ago.

Rating: 9/10

Earth "Earth 2: Special Low Frequency Version" (1993)

 

A recent revival of Hibernaculum and The Bees Made Honey had me curious about their pre-reformation works that had been heaped with praise. As a curious teenage enthusiast, this record had left me dumbfounded to what the fuss was about. Now, with open mind and ears I find myself with a similar sentiment, although context may play a roll given what this anomaly may have meant to listeners back in the nineties.

With three gargantuan songs totally seventy three minutes, Earth 2 strikes me as more of a singular experiment in tone than anything structured, planned or even designed. This is Drone Metal resembling very little of Metal and much of the drone one might associate with engine noises and electronic buzzing. The entire musical piece is a wash with the dense, drowning, fuzzy flood of guitar distortion cycled with amp feedback to muzzle anything that happens to wander across its bleak path.

Admittedly I can comment there is a strange charm and allure to the droning noise but is it a work of genius? I suspect not. As background or foreground music it is mostly grating and is best enjoyed when entirely distracted from its presence. Perhaps its just not my cup of tea. I understand the appeal but the particular aesthetic at play here is mostly a discomfort that feels pointless to endure its unsettling presence.

With Seven Angels, a lone guitar deploys burly riffs reminiscent of Black Sabbath on loop. Slowly chugging palm mutes and rising to chord slabs with slices of short melody, it stands aside for offering something to focus on yet feels unremarkable to me. The second track shifts aesthetics slightly, the guitar work goes in a moody direction but ultimately its emotions are smothered by the droning, dirty sludge.

 Its not until Like Gold And Faceted that we hear drums, slow, temporal and disappearing for tempo shattering duration's, they barely crash through the wall of brown sound. At the hour mark, a scream can be heard and before it, a little lead guitar but as mentioned, these events do little to conjure purpose or intent. I must say, it does sound like cryptic rumblings are woven beneath the drone at times where its consistency breaks and cracks of something else is heard, undecipherable.

The whole thing seems like an unplanned session hinged around the concept of smothering the listener in blistering feedback for an unreasonable amount of time. Its spontaneous blurts of additional sound seems disconnect and purposeless. If there is magic to be found here, it has certainly alluded me, although I suspect the aid of hallucinogenics might yield different results for those who use them.

Rating: 2/10

Brelstaff "In Human Terms" (2021)

 

Brelstaff, formerly known as Daryl Donald, throws a fresh "beat tape" our way. At twenty tracks, it runs deeper than usual with similar duration tracks ranging from one too three minutes. Anticipating demo quality, or unfinished ideas, I was pleasantly surprised to find an excellent array of beats loosely framed by the snippets of past time American gangsters talking while running their criminal errands. Its a niche charm for timely compositions that rides the dynamics of Jazz Hop and dreamy instruments sampled against the loose yet snappy boom bap nineties drum grooves.

Through its many temperaments, shades of experimentation lean mostly towards a Noir Jazz flavor with relaxed, indulgent tones that get a little summery here and somewhat darkly there. Often with a slight psychedelic, dream like tone, the music memorizes with its laid back approach rubbing of the punching groove of snare and base kick. Its all atypical yet has this character I can't quite put the finger on.

My thoughts are rather similar on each outing with this artist who has figured out there form. These beats need a voice to elevate them too the next level. A progressive or fluid motif is missing to have them work solely as instrumentals. Although very enjoyable they feel as if the right rapper could work wonders over them. Not Enough Crime, a favorite track of mine, the perfect framework for some verses and a hook to further the already animated instrumental. Overall, its a great little gem to enjoy.

Rating: 7/10

Anna Von Hausswolff "Ceremony" (2013)

 

Stepping backwards in time, we arrive upon Swedish songwriter and Organist, Anna Von Hausswolff's sophomore record. As The Miraculous hinted, the engulfing esoteric gloom and might of her burdensome terror had yet to emerge. Ceremony feels rather undefined in its direction, closer to musical traditions stemming back to the 70s with songwriting, moods and templates that are yet to diverge from common and folksy sounds. Darkness is the flavor she brings but in this outing its just a shadow of the witchery yet to be discovered, more of a still and sombre grayness gently cast.

Interchanging her operatic voice with pipe organs and an array of string instruments, these calmed song temperaments gracefully cruise by. The second song Deathbed is the one track indicating her future direction. Its bludgeoning Doom Metal drone and grating guitar chords spell horror between her voice and colorful organs giving pause for light. The record then meanders into a string of bare and minimal musings, before traditional elements emerge towards the end, tethered to her subtle gloom.

I could get deeper into the particulars, her voice and instrumentation echoing strong feelings from many a musical style and artist heard before but that alone was the key take away. Rather than striding into new territory with something to shock and awe, at this stage Anna was still finding her feet, writing wonderful songs that have been enjoyable and even moving on its better tracks like Ocean. Ultimately though, its all a bit infantile in the shadow that her future self will cast.

Rating: 5/10

Devin Townsend "Ghost" (2011)

Is it possible to completely forget a record? Of course, butt one you have great adoration for... Well that was me a while back as the lengthy, wandering Texada song comes on shuffle and an eerie feeling washes over. Prompted to give Ghost a proper spin again, it occurred to me its been a criminal amount of time since it last cross my mind. How many years had it been? I felt as if I was looking in a mirror and slowly recognizing my own reflection. The experience was a revelation of locked away memories, the key turn clicking as each track brings a flood of familiarity and feelings. This album was once my therapy, a force of calm to visit in times of need and yet somehow it had drifted away from me, despite all of its beauty and charm.

To me, Ghost feels like a further exploration of the magic Ki offered two years back. Stripping out the metallic grooves and sailing into the lofty indulgence of his deeply reverberated guitar tones, the inclusion of soft airy synths, dreamy electronic ambiences and the dynamic woodwinds of Kat Epple, illuminates a wholesome spirit most these songs embody. The opening is strong, Devin unloads his passionate pleas, gushing emotion forth in the wake of serine atmospheres and rapturous melodies plucked from his bright acoustic guitar. Its fine song writing, wandering in and out of soothing ambiences with himself and Katrina Natale swelling in the rises of voice and melody that form structures within the flowing river of sound.

The web of instrumentation is stunning, dense yet inviting, one can get lost of the layers of soft sound that breeze by. Dave Young's key work with the synths add an endless sparkle of cosmic curiosity with the psychedelic electronic tones he interweaves. The percussion from Mike St-Jean is timely and measured, complimenting the wondrous direction the music steers in. Retreating in its lulls and subtly rising in the surges of song writing, its a performance that understands exactly what the record needs, a textural performance of craft and softness.

Sadly, I feel as if the record falters in its length. At seventy minutes its initial pattern meandering between swooning atmospheres and bursts of life gets weight down at the mid point. Its with monsoon that the tone pivots to the exploratory. With a brief pull back to the spirited rise of traditional song on Texada, and again with a bit of a miss on Seams, the latter half falls victim to its calm as much of the genius in the first half leaves its lengthy final cuts with less to offer, hiding in the shadow of greatness.

Healing is the word I'm left with to describe this record mood. Its a therapeutic experience and a curious one to rediscover again. Its as if it never left but now with the tentative ears of an enthused listener, keen to analyze my own experience, I realize that genius is rare and can be exhausted. I have immense adoration for Devin and his unique sense of inspired identity that comes with his music but he is human after all. It feels like this record was left to fizzle out after hitting the mark aptly with its string of opening songs. Either way I am glad to of found this treasure again.

Rating: 8/10

Emerald Web "Dragon Wings And Wizard Tales" (1979)

 

In recent years my Dungeon Synth curiosity has led me down interesting avenues. Fantasy music, Folksy Ambient works and the Psychedelic inspired early Electronic sound of the 70s. They all seem to have an intersection with this curious record that has outdated much of what Ive discovered, unraveling more of the unending map of musical influences. Id never heard of the Husband and Wife duo Emerald Web before, until hearing them appraised by Devin Townsend on a recent podcast. Described as New Age music, I wasn't quite sure what to expect. The promise of flute led songs had old prejudices suspecting I wouldn't enjoy this but for many of my recent discoveries, the likes of a Jim Kirkwood, this dimension has been opened up for me to explore!

What I have discovered here shares much of the mystique for natural beauty and nature I have come to adore in music. It emanates from an inner warmth and inspiration, carried on a care free breeze one can relax deeply to as its Flute is played with a force of personality by Kat Epple, who lends her soft voice too. The woodwind instrument is graceful and timely, drifting in like a leaf caught in the breeze, she swirls and swings through lively iterations between swooning on the soft cloudy texture of its notes, gracefully cruising by with a captivating gleam that I just adore!

Dragon Wings And Wizard Tales moves through many compositions, focusing on melodies from gentle acoustic guitars to creating scenic visions with innovative synths and a little soundscape work between with the blowing of dusty winds. It meanders beautifully, straying subtly into moments of wondrous experimentation that feels ripe of the heels of Progressive Rock. One of its best songs, Chasing The Shadowbeast, a nine minute epic, captures much of what the record offers through its expansive tale that swells with energy and Post-Punk baselines in the end. It gets there through a warm and steady build up resonating on some strong King Crimson vibes.

Leading up to that climactic moment, each of its songs feel like little flowers of inspiration, blossoming in their exposure. Flight Of The Raven captures a little esoteric melody and animated electronics in its conclusion to give a sense of seismic event. Twilight gets scenic with the chirping of birds with its dusky, spooky synths whirling like winds. It all comes together on Firenight as the driving force of its Psychedelic electronic bass line carries the aforementioned ideas on a journey to a full formed entity. The darker side of there sound reminding me of Erang in moments.

Lifeforce Celebration is another standout track as its choppy percussion fading in and out of focus echos of ideas all to common now in music but here a true force of originality. Its so intriguing to put these ideas in the context of the year they were released. Best of all, the music is endearing and has been a constant delight. At only thirty six minutes, its been on repeat a lot these last few weeks!

Rating: 8/10

Burzum "Thulêan Mysteries" (2020)

 A year late to the party, this supposed final album from a musician of genius, wrapped in controversy, encompasses ninety minutes of estranged, spiritual and Nordic inspired ambient music. Labelled as a compilation, I initially passed it up. In fact its a compiled collection of original works from the six years since The Ways Of Yore. In the post-prison era of his career, Varg's ambient leaning creations had not sparkled with the magic of a Tomhet or Hliðskjálf. I wasn't expecting much but found myself pleasantly surprised to hear the peculiar sound that captivated much of my youth emerging again. Alongside a couple of reworked melodies from classic songs, much of this loosely arranged music dives into that special, lonely and timeless place.

With some solemnly spoken word and slightly sung sections, Varg brings a little Norse culture to a handful of songs that break up the flow with a tone rooted in heritage and mythology more so than the mystic. All his songs share the minimalist approach, a handful of simple melodies, steady in pace and calming in their presence. Repetitive and droning, many of these songs need little complexity to hold ones attention. Textural experiments with raveling distortions and whirling psychedelic synths droning on a handful of the longer tracks show he still has the knack for that deeply mysterious and nature inspired sound of a lonely darkness. Both chilling and soothing in its unforgiving starkness and archaic presence.

A Forgotten Realm stands out as a unifying track to bring all thees concepts together. Lumped in the midpoint its arrival is like all the others, without intention. The albums flow is unstructured yet enhanced through repetition as familiarity sets in. The lack of direction tends to aid the already lonesome and wandering mood these songs conjure. With many short one to two minute cuts in the first half there is an impression of ideas left unfinished. In the second stint where longer pieces reside, a notable shift to the denser tone fleshed with experimental reverbs and droning instruments takes place. In this stretch the music enters an entrancing meditative magic I simply adore.

I barely knew what to expect going into this record. His previous ambient works had been a disappointment. Given the nature of its release it strikes me as music inspired and composed without future thoughts to release it, despite that eventually happening. Given its lack of structure or focus the sound feels more lending to a mood than experience. It will be one to put on from time to time in search of that curiously esoteric yet relaxing sound linked to a Norse Mythology that only this guy can capture.

Rating: 7/10