Kanye West "Donda" (2021)

 

Currently on a downswing of poorly received records, one of musics biggest names suffers the discomfort of bloat with a tenth record that could have been gold. Twenty seven new songs make for over one hundred minutes of music. Its a daunting bulk of tracks that's slow to get going and concludes with four alternate versions. Some of this may have been out of Kanye's hands, the release of the record a typical mess of delays that also make for a lot of free press. Its hard to know where the truth lies as he has stated since that the project wasn't released as he planned, creating yet another news cycle talking on the album again. I'm being somewhat cynical here.

To mirror its length, Donda feels like a whirl of converging stories taking place in the artists life. The passing of his mother and divorce with his wife being two recurring themes among many other stories, including his plea to grant clemency to Larry Hover. Its more of the endearing vulnerability first heard on Ye. His heart felt lyrics and words, where they occur, reflect internal and external realities and on occasional drifts between disillusion and heartbreak, given my perception of how the media interprets and presents his personal life. At his best Kanye is raw, expressive, impassioned and authentic but the lack of focus means its found mostly in the mid to latter half.

The opening string of eight tracks, from Donda Chant to Ok Ok, lack pace and urgency. Most these beats are subdued with sparse percussion hinged on a couple of lively bass stabs. Slow tempos and moody atmospheres in themselves make up a concept and style but the record will pivot. These songs also feel outweighed by guests who take up much of the airwaves. Jay-Z pops up on Jail to usher in an underwhelming echo of their Watch The Throne collaboration. Cushioned by extended instrumental sections and drawn out loops, its sluggish pace drags on.

Then with Junya things pivot. Its an ugly track, with Playboy Carti and Kanye making a variety of strange noises over the uncomfortable, gritty basslines. There is a friction with the church organ behind it, however that signifies the arrival of his Gospel influences from Jesus Is Born. Sampling Lauren Hill's classic Do Wop That Thing, suddenly the gears shift on Believe What I Say. From here Kanye sings on track after track, bringing in more harmonious and tender musical themes housed by his sparse yet timely percussive grooves and lifted by light choral alike synths. Kid Cudi fits in perfectly with a lovely presence on the drumless track Moon. Its a string of songs ending with Come To Life that I'd consider to be what Donda should of been.

This chunk of the music represent the best of Kanye, with the aforementioned vulnerabilities coming to light and him taking up more of the focus on a record that seems to have multiple collaborative hands on every track. Things hit a peak on Jesus Lord, a perfectly composed instrumental loop that pulls on the heart strings as Kanye bleeds his feelings for Donda. Its the albums gem, a wonderful moment preceded by songs that reside in its shadow with Come To Life concluding the theme with a beautiful piano performance to exit on. It feels like a final note but then No Child Left Behind brings another wave of closure with a heavenly arrangement of choral synths and organ tones to bow out again before the bloat returns with the additional part two collection of tracks, to which hearing The Lox again was a highlight.

Having now dissected my thoughts and feelings on this one, it feels like two projects mashed together. An evolved take on Jesus Is King in the middle, surrounded by another theme that brings out Kanye the rapper who frequently drop the rhymes that make me chuckle. Chanting "I know god breathed on this" a keen example of when his sharp remarks don't land, not quite as genius as he thinks he is. "I got this holy water that's my beverages", "They playing soccer in my backyard I think I see Messi", there are a few of these lines sprinkled in that feel unnatural and contrived. There are plenty of counters to these examples, moments where he gets the rhymes and hooks just right but I prefer him vulnerable, straight and not trying to be to clever with the rhymes. Ultimately, Donda is a bloated record, one I'll condense to my own selection of songs to enjoy from here on out.

Rating: 6/10

The Alan Parsons Project "Eve" (1979)

As the third of three Alan Parsons records labeled his best, I've had a familial experience again. Diving deep and finding the same fond web of timely influences, I still can't escape these songs! In the months between I Robot, Pyr△mid & Eve, I have been on a binge, one that can't end here. These numbers are the soundtrack of a childhood I never had, the missing sleeves of Progressive Rock vinyls I was raised on! Eve is no exception, Its feminine empowerment theme a strong and bold overtone that leads to timely singing with strength and gusto on one track, flipping to tender expressions on the next. Its broadness is a perfect compliment for the range of temperaments and meandering journey that Eve goes on. It may have even been an edgy, progressive statement for the times, however with age any sharpness has been dulled by current norms of western societies progressive direction.

Looking past the lyrical landscape to the instrumentals we have the usual suspects. 70s electronic tones weave through opening track Lucifer with exotic bells, haunting chorals and rigid percussive grooves, Its quite the mash up that works wonderfully. From the intro we pivot into the regular songs, kicking off with echos of Pink Floyd underpinned by a strong Funk influenced groove to cruise off. On I'd Rather Be A Man the mood turns dark with its rapturous nightly bass synth line pounding through the song. Then comes the big pivot as the vibes soften with tenderness and calm ushered in before the rest of the record becomes an amalgamation of all above!

Don't Hold Back has quite the charm as it hook sings, "Touch the sky with your minds eye, Don't be afraid to reach out!" lovely stuff. The guest singer reminds me of Dusty Springfield on this one. The following Secret Garden embellishes us with a glorious and fantastical composition, a signatures track style. Cinematic and symphonic, Alan lets the music lead itself without word and a web of charming sounds, something each record seems to have a song or two for. From here the record bows out on a sombre note as tempos slow and pianos usher in a final ballad to close on. Overall, its pretty fantastic, oddly feeling short yet being the lengthiest of the three! From here I will venture to the debut record.

Rating: 8/10

KSI "All Over The Place" (2021)

 

Taking action on ambition and following his dreams, I've got nothing but respect for KSI choosing to step out of one lane and maneuver into another. Little of what I'd heard before lured me in but the Holiday song was the soundtrack to my own summer vacation and since then I've mulled over this one a fair few times, waiting for something to click. Sadly, I haven't escaped what's most obvious, Olajide is currently more budget than talent. Although he brings expression, thoughts and passion to the fold, he is constantly outpaced by production that is as its titled, all over the place!

The records sixteen songs fracture into a lot of interesting vibes. Strongly inspired by the British music scene, one can hear the classic stylings of the 90s electronic, 00s Garage and R&B with a sprinkling of Grime. The project is mostly packaged with modern aesthetics, taking a predictable yet occasional path into Trap beats wedged between mostly warm, uplifting instrumentals with some colorful Caribbean flavor too.

With KSI revealing how his features are paid for, it adds a sad note as his guests pretty much outshine him at every corner. I'd always figured features were a friendly affair, artists working with friends for the art but it seems in the Rap scene this can be purely business too... or somewhere in between as things are never black and white!

Holiday is still the albums best track. In fact its the one song where KSI shines, getting everything just right. For the most part he does sound like someone attempting to find their voice on the rest of the cuts. Ironically its the more candid and plainly spoken Sleeping With The Enemy that is most endearing. Although his flow is plain jane, the words really hit home, an authentic expression. My conclusion here? I'm really not sure, this record essentially sounds like what it is on paper, someone with a big budget giving a shot at the music game.

Rating: 5/10

Turnstile "Glow On" (2021)

 

Released just six weeks back, the Turnstile Love Connection EP had me hyped for something special... but when your four best tracks are those already shipped, well it had me initially disappointed. Turnstile, the Hardcore outfit from Baltimore USA, were put on my radar with Space & Time. Their lean and timely infusion of musical sounds normally spun far beyond the Hardcore scene was both a breath of fresh air and a riveting injection of adrenaline to a sound dulled by a lack of progression with time. Working on the same formula as that record, Glow On cushions the musical creativity with subtle use of electronic percussive toms and claps and the irritating cowbell. In the more obvious avenues, dazzling pianos weave between the sharp guitars in moments of melody beyond the rhythmic two-step onslaught.

In its predictable Hardcore persuasion, the band pull the usual tricks with tight and lean power chord shredding, building up to the big groove riffs as the drums cut to the half time and the mosh moments land the songs trajectory. Between its slabs of foot stomping riffage, sprinkles of color and melody intersperse. It often takes the form of Surf Rock, with washy, hazy guitar tones giving off the easy breezy summer vibes. On occasion a heartfelt emotional angle is reached as sung voices get warm and candid, not your usual cut for this aggressive music but they do it so well. Songs like Underwater Boi, Alien Love Call & New Heart mostly cut out the Hardcore, better defining this particular flavor that emerges in fractions on the rest of the album.

A favorite moment for me is not one of brilliance but confusion with Wild Wrld and its uncanny rhythm guitar riff. The bars are distinctly different, sounding like a Metallica outtake from the years of creative struggle around Death Magnetic. Its a mild blemish for a record that spins its formula so well. As I touched on earlier, that initial disappointment wore off. This record is fiery and driven, a band in their moment. For me it looses its edge in the shadow of what came before it, the design a carbon copy yet the feeling is still riveting. After quite a few spins, the best songs still feel like those from the EP. I'm left wondering if I wasn't aware of it, how different would my words on this record would be? I still get crazy excited every time Holiday comes on! What a banging song.

Rating: 7/10

Secret Stairways "Enchantment Of The Ring" (1997)

 

Following on from the now unearthed demo Drifting..., we have another eight track cassette. Released two years on, Enchantment Of The Ring does little in terms of evolution but gives us another insight into the imagination of this lone musician operating outside of any scene. Conjuring the music of moonlit slumbers and fantastical daydreams, Mathew Davis delivers a string of gentle journeys that peer into the crevasses of alternate realms. Led by mystery evoking tones, his keyboard arrangements tend to linger on steadily looped, calming melodies, slowly brooding into big symphonic swells of lush, cloud swept atmosphere.

Within this context notable tracks emerge, Amongst The Waterlillies fondly reminds me of Adrian Von Ziegler with the music being accompanied by the persistent sound of bird and cricket chirps in the background. Not as lush but an interesting idea to hear earlier on. Before it, Finvarra's Chessboard musters up a militant percussive drive led by bright pianos and gleaming strings. Its thematic resonance reminding me of Lord Lovidicus on the Daulu Bûrz-Ishi record.

With a begrudged, crawling bass and snare kick alternation, its opening track rips right into Ethereal and Doom Metal territory with gloomy funeral synths and a hazy distortion guitar weeping its sorrows in the backdrop. Its deeply captivating, with an engulfing sense of impending melancholy. Quite the different vibe from the rest of the songs but shows a remarkable talent perusing their inspiration in multiple directions.

Its final closing song, Onward, To Hy Breasail, peaks my interest as a link between the records opening and songs in the middle. Returning with livened percussion and another gloomy atmosphere, that fantasy magic spirit is woven into the mix as its lead melody glistens a little fairy dust over the despaired mood lingering below it. The bass synth wobbles on with a mesmerizing quality and the whole thing is captivating.

As a record, or demo, its blemishes are in its dilution. Its most fantastical musical moments sway from the path laid out and thus makes shadows for its main theme to reside in, however with these divergent being start end, it does feel like an adventure but its clear the whole thing didn't land consistently with the best musical ideas. Either way, its a wonderful demo to check out from a musician who would of struggled to find an audience for this at the time. RIP Mathew!

Rating: 6/10

Kataxu "Ancestral Mysteries" (2021)

 

For a long time Ive wanted to get around to writing on Hunger Of Elements by Kataxu, the one man band from Poland. That record is one of a rare few that walks gracefully in the shadow of Emperor's symphonic majesty, conjuring epics to hold a candle to classic In The Nightside Eclipse. So imagine my excitement and surprise, suddenly after sixteen years of silence, Kataxu returns! Structured with another six tracks, three lengthy metallic tracks either side of three astral symphonic interludes, it seemingly had all the markings of that album I've adored since my youth. Sadly, Ancestral Mysteries doesn't hold up to expectations. With that in mind, maybe I lost the ability to enjoy this for what it is? On closer inspection however, It does seem like the showering of magic its predecessor offered is nowhere to be heard.

With an unrelenting, galloping pace, a constant propelling force has us cruising through ferocious blast beats rattling of the gleam of synths penetrating the pummeling wall of sound. Its a formula I adore, caught somewhere between the cosmic extremes of Darkspace and luminous polish of Dimmu Borgir, the promise of adventure and epic all too good. With each listen, it felt as if the destination was never arrived at, or even conceived. These songs meander with its thick and dense guitars plucking darkly chords that fail to steer the ship with any rhythmic might or adrenaline. Ultimately, they just get washed up in the wall of sound without the power to punch.

With further spins I found myself increasingly dissatisfied with the vocals. High in the mix with strained throaty shouts, the texture wasn't inviting and a lot of the musics direction seemed inline with the monologues mutely roared over sparse instrument interludes. This gripe had me thinking about the production and aesthetics. Turning back to Hunger Of Elements, I can see where this went wrong.

That record has a looser production, almost sloppy and haphazard. What it does do however, is let the symphonic aspect leap out at the listener, Its contributions no longer evened out by equality. Not only this but the writing is so much more adventurous. Dark, nightly pianos rapture around the listener and sudden shifts for bright melodies to blossom give the music so much more excitement and adventure.

With those original songs in mind Ancestral Mysteries now sounds narrow and dull. The production softens its instruments into a cushioned wall of sound that sucks the vibrancy out of its guitars and keys. The ideas are there but in lacking a punch to bring the music through, its really hard to feel how it all adds up. Listening closely one can hear the arrangements and potential magic but even that effort doesn't make the music click. I'm left disappointed and undecided, did the writing not hit the mark here or was it the production?

Rating: 4/10

Body Count "Carnivore" (2020)

 

Somehow this one snuck under my radar in 2020. As an avid Body Count fan, I remember looking forward to its release after the charged, anthemic Bum-Rush single. So glad to have been reminded of its existence! Continuing on with a wonderful resurgence after drifting into obscurity, the group bring another tight, concise set of straight forward songs led by Ice-T's politically charged presence up front. One to follow their own rhythm and influences in the past, the opening title track showcases the band picking up on current trends with a barrage of dense, sludgy Djent riffs crushing in alongside a beastly howl that imminently grabs your attention.

Its not a recurring theme bar No Remorse. Variety, shifts in temperament and tempo have these eleven songs mixing much of the Body Count persona with fresh ideas and excellent collaborations. Another Level has Ice-T finding a keen singing voice for the hook, backed by the rough shouts of Jamey Jasta from Hatebreed. The legend Dave Lombardo pops up to drum on a track too and perhaps most unexpected, Amy Lee lends her voice in a wonderful chemistry with Ice, the two overlap so well.

That track, When I'm Gone, and a few others have very similar lyrical themes to those on Bloodlust. Sadly the recurrences tend to be reflections on societies problems still perpetuating. Reflecting on the loss of Nipsey Hussle is a saddening echo of losses expressed last album. It ties the records together as Ice keeps his anger laser focused on the problems of street life, American inequality and the persistence of racism.

Its a pretty typical affair but very well executed. Lots of heated modern metal with a street spin from Ice's wise words, often throttled with anger! With the excitement still fresh in the air, these songs sound like they may have more legs to last. The production is tight, the guitar solos lively as ever and its wrapped up with one hell of a bonus track! The classic 6 In The Mornin rerecorded with his band. Given how dated and sparse the original is thees days, its quite preferable in metallic form. A mean, solid record, if Body Count keep rolling these out, ill turn up to listen every time!

Rating: 6/10

Secret Stairways "Drifting..." (1995)

 

If you've followed this blog for Dungeon Synth and Fantasy music, then today you are in for a treat. The micro-genre's resurgence over the last decade seems to routinely unearth forgotten artists, demo tapes and prototypical material from time gone by. Secret Stairways, a name so fitting for this genre, is one mans symphonic vision. Sadly now diseased, Mathew Davis's work has been shared with the world again, finding a new audience over twenty five years since its creation.

Mathew certainly leans more in the Fantasy direction with a dreamy direction and melodic gleam. His keyboard work here is stunning yet amateurishly produced to suck the cheese out of Korg and Yamaha tones, embellishing them in soft reverbs to create a classy, magical yet fidelity lacking sound that is utterly charming. With no percussion or base in sight, the music is mostly a stream of string arrangements, yearning with beauty and natural wonder, fit for the scenic beauty of secluded forest covered mountains, blossoming with life fed from gushing rivers on a summers eve.

 Each song brings a different temperament with an icy chill breezing in on its closing track to see these scenic moments off into the night. Before it, Dream Of Lorien is a standout, deploying an illusive, mysterious melody on repeat. Shimmering instruments pass by in the dreamy haze of its backdrop. The atmosphere is wonderful, a brief peering into a wonderful imagination with a soft touch of darkness.

As a five track demo it leave one with an appetite for whats next and curiosity for what inspired these musicians at a time of great disconnect, in comparison to the Internet age. Although not strictly Dungeon Synth as it leans in a different direction, this piece of music predates even Depressive Silence. The roots of this music seem to deepen and enrich as time passes and more discoveries are made!

Rating: 6/10

Tetrarch "Unstable" (2021)

Is the Nu Metal revival on? There is certainly no shortage of acts doing something with the sound twenty years on from the genres hey day. As the music of my youth and formative years, records like this scratch the nostalgic itch along with a frilly rush of adrenaline. That being said, its not creativity or originality but the cliches and tropes being re-spun that's exciting. Tetrarch bring little beyond competency and execution. Practically everything on this sophomore record echos the big names in the genre.

Firstly singer Diamond Rowe has a remarkable closeness to the sadly diseased Chester Beninnington. His inflections, accent, temperament and cadence all hailing back to Hybrid Theory. It is a big component, fronting the songs with poppy hooks and catchy deliveries. Secondly, backing his vocals, the bulk of instrumentation here resembles Korn. However it is not their classic era but specifically The Serenity Of Suffering. The general beefiness of aggression is akin but the electronic creepy melodies that ring out in the backdrop of every song are uncannily alike.

Thirdly in brief stints, and notably on the opening track, the percussive element shifts gear with rhythmic riffs that sound practically lifted out of the Slipknot discography. Take A Look Inside's opening riffs also stink of Gojira. Pointing out the supposed "plagiarism" is too look past the competency though. This is a well written set of lean Pop Metal song structures with a seriously beefy and hard hitting exterior. Track after track pummels with pain and anger, occasionally frothing with rage. To its credit, some excellent electric lead solos get weaved in the mix. High octane, fast and vibrant they sound of the back of whats been done in this region over the last ten years.

 Lyrically blunt, its plain lyrics dive into the deep end of that self loathing, endlessly frustrated and emotionally tormented teenage angst. Everything is self indulged pain with a lack of resolution, words that would of consumed me in my youth but these days feel meaningless with a lack of resolution offered. Its quite remarkable to me just how naked and to the point it captures that approach from twenty years back. My quarrel with them is that besides offering respite and catharsis through connection, it can also be somewhat of a self fulfilling prophecy to circle the problem.

If you love Nu Metal then this is a wonderful bit of fun. My enjoyment here is an extension of what I already adore considering there is little new on offer. It should be said, some of these un-original themes and lyrics are delivered with a wonderful shot of adrenaline, no thanks to Rowe's singing. It does however makes me wonder as to where this band could go from here? These songs are well written, it works as is. There is no hiding from the shadow they live in though. I have no idea where this revival is going but if it blows up, I could see Tetrarch riding the wave!

Rating: 6/10

Howling Giant "The Space Between Worlds" (2019)

Following up on a dazzling four track instrumental EP Alteration, it became swiftly apparent the band are side stepping from their core sound. As part of a growing trend in Metal that is already tiring me, the excitement wore off quickly. Initially spurred on by Ghost, this revivalist sound heard here reminds me of other fond discoveries, Green Lung, Beastmaker and a touch of Baroness vocally. Rather than riding the cusp of whats extreme or current, these songs look back to decades past by to pull together solid fundamentals of songwriting and classic riffage yet for all its excellence, the spark doesn't light a fire for most of the nine tracks found here.

 Ghosts In The Well peaks my interest, stalling the albums starting momentum and general temperament. Its acoustic strum sing along a cold and cautious tone of subtle sombreness. Its a rooted, cultural vibe standing in contrast to the swaths of loose and rumbling groove overdriven riffs that roar through every track. Its brief but welcome as the records aesthetic gets stretched on repeated listens. The soft chime of organs beneath every riff dulls the power of rhythmic guitar ideas, cushioning them into a common corner where one song to the next gets a little bland.

Cybermancer And The Doomsday Express may spice things up with hurried tempos and saw-wave synths but it feels like another idea entirely strung into the mix as its lyrics stand in direct contrast to the rest of the record. They in contrast, continually conjures images of mystic implied rural life from decades gone by and re-imagined, a romanticism of woods, wizards and witches. The vocals do deliver the theme so well, soaring with clarity and conjuring a creativity to resonate of the instrumentals below. Its a keen performance at the front to sell this nostalgic metal ride.

The groove riff that concludes Everlight, its fantastic guitar solos and the creaking Post-Rock build up makes for one wonderful song where the stars align but for much of the record that doesn't happen for me. I don't want to knock the record, My own exposure to this movement has this one feeling a little underwhelming despite clearly being a well written and performed album. To any Metalhead who yet to catch this sound though, it would be a great introduction worthy of checking out.

Rating: 6/10

Nas "King's Disease II" (2021)

 With less than a year elapsed, legendary New York rapper Nas returns with a second installment of King's Disease. These fifteen new tracks are clearly less married to the original theme, much to its merit. Initially I feared this might be left overs and b-sides from the original sessions but rejoice, this second chapter has a fine artist re-invigorated, finding stride and inspiration with whatever topics he approaches.

Reflecting on what didn't work with King's Disease, it becomes apparent that the production aids Nas greatly here. Too often do nineties rappers try to abridge current aesthetics with clunky beats, awkward hooks and impersonating flows. Still working with Hit-Boy on the beats, this time the relationship births a selection of instrumentals that could slide sweetly back into that glorious era, practically unchecked.

Its not a set path, tracks like 40 Side, EPMD 2 & YKTV throw a modern spice in the mix with aggressive trap percussion to break up the soulful 90s vibes. Sadly Eminem and other features on these cuts feel underwhelming in the shadow of the albums superior tracks. It lends Lauryn Hill a spotlight to shine again with an aged voice, rapping with a laser focused verse from one legend to another. A beautiful moment.

Lastly, there is Nas himself, sounding free, loose, in flow and speaking his mind with a candid honesty underwritten by good intentions and propelled by an unshakable talent. He brings the instrumentals to life with words and story's, turning the beats into songs that last. Coupling his verses with hooks and words between, the frameworks for themes are set wonderfully, leaving a lasting sense of wholeness.

There is much wisdom and warmth to be heard in his lyrics. Always gushing from that timeless flow and crafty wordings. On occasions his descriptive and associative raps conjure a little spirit from the Mafioso Rap era once again. These two notable aspects overlap heavily on the dynamite track Death Row East, an insightful song illuminating details around the East Coast West Coat beef. An era that ended so tragically.

This second chapter has offered up far more than a fresh crop of tracks to enjoy. Its lyrics impact and land with intent to carry. Much of this album feels classic, something to enjoy over and over for years to come. No record is perfect though, there are definitely favorites to pick over others. A little trim would have served it nicely but the majority has a wonderful artist finding their stride again as if it never went away.

Rating: 8/10

Hiatus Kaiyote "Mood Valiant" (2021)

 

Six years out from Choose Your Weapon, the Australian outfit Hiatus Kaiyote return with twelve classy cuts of modern, creative Jazz Rock to move, sooth and groove the soul! In my mind their tone, composure and aesthetics have barely budged yet something seems seductively easy and relaxing on Mood Valiant. With an emphasis on soulful vibes and vivacious singing from Nai Palm, the music often swoons and croons into eruptions of energy guided by lively percussion rhythmic power. As such the music comes with moments, gentle rivers of warm persuasion suddenly surging with its meaning as a bend in the stream swerves, relinquishing itself to the current. Not all of the record fits this stride, towards its conclusion a couple of songs linger in moody places, drifting through dreary moods, flailing a brush of color on route.

The chemistry is wonderful as one might expect from this group. Its Nai's words that frequently arises as a poetic peak to the crafty instrumentals. With lyrics being a weak point for me, her repeated hooks dig their claws in chiming of the music with thought provoking sentiments and questions to give context to the musical direction. My favorite moments often came with the mustering surges mentioned before. Another niche observation that came with my preferences were keen druming grooves finding a sweet snare kick groove to bring some passages near to a Jazz Hop equivalent. Ultimately Mood Valiant is a very stylish record, modernizing some older values with courage and passion and forging a warm environment to slip into in the process.

Rating: 7/10

Arcanist "Poseidonis" (2021)

 

Fortune or chance, whatever your fancy, had me stumble onto this record that speaks to a particular niche I've been into as of late. Perhaps it is more likely this luck was bestowed by internet algorithms figuring out our inner workings from the mass of data our listening habits feed it. Akin to Old Sorcery and Jim Kirkwood, this French artist Arcanist steps right into a sweet spot, close to the middle of a cross section between the gloomy Dungeon Synth but more so psychedelic 70s Electronica. The latter here being described as "Berlin School" is something I will have to research into further.

For me, this record feels shrouded by its own mystique. Slow, brooding and atmospheric, the excitement of its animated crescendos feel sparse and rare. Their magnificence often eclipsing the magic of its soothing build ups which conjure a majestic calmness through luscious interweaving electronic instruments offering both texture and melody to engross with. Distilled in unsettled atmospheres of creeping mischief, its synth tones and keyboard notes echo a little in the vein of Progressive Rock, most notably a similarity to Contact and the nightly chill of Oscillotron.

Its two part, seventeen minute epic, The Death Of Malygris, bursts this welcoming temperament apart as we plunge into the horrors of nightly creatures. Woven percussion and dense buzzing baselines usher in nightlife Synthwave vibes, vaguely reminiscent of Dead With The Dead but vastly more artistic. Its a wonderful execution of elements that play out an eventful journey leading into to big thematic theatrics with its densely orchestrated introduction to the second half. Here, a brief crossover between the records opening vibes. It then dismantles itself into an eerie Black Ambient horrorshow.

Its final track leaves me unsatisfied, a curious experiment in tonality and melody, shifting from one distinct arrangement style to another, neither of which ever feel comfortable. It fizzles out to the fading embers of an airplane engine drone that ends quietly. As a whole, its a stunning adventure but one that ends with the adventurer lured deceptively, lost forever in endless caverns of ruin. On paper an intriguing way to journey a record yet for me it never quite works? A small quarrel, Poseidonis is remarkably wonderful album, a nightly, mysterious and esoteric journey forged through the fantastic tonal ideas of an era long gone by.

Rating: 7/10

Wampyric Solitude "The Splendor Of Loneliness" (2021)

 

So distant now from its curious origins and sparks of individual majesty, The Splendor Of Loneliness has me checking out from this artist as a clear downward trajectory continues. It is never fun to be critical but this record has been bloated with lengthy and repetitious loops of grating low-fi. Its ideas are obvious but the execution misses the mark too often. Its opening track holds its own, the sparse percussion and esoteric gong strikes from the deep push along a slow whirl of shadowy synths. Devoid of uplift, it stares into the cold, lonely abandon that lays before it.

The music has a chemistry between instruments that overcomes its deliberate distortion and wavering fidelity. The issue is, this approach to tonality swiftly falls apart with tracks like Crypt Of Vampyric Darkness, Eternally I Hate, Enthroned Amongst The Eldritch Shadows and A Putrid Stench From The Grave Of Hope. They all push minimalism on repetition with uncomfortable synth tones that miss the sinister, imposing or demonic presence they likely aim for, sadly faltering to become an irritant for the ears. Singular notes, or small groupings of, lethargically drone sluggishly, cycling incessantly with little sense of building up tension or atmosphere.

For me, it doesn't even work as mood setting background music. Ironically its two shortest songs have flashes of magic. Grave Syndrome ushers in a creepy yet charming sinister energy as its brooding acoustic guitar gets mustered into action as a devious baseline propels it along. Ultimately, I had very little to take away from this experience given I didn't vibe with the aesthetic. I do think a lot of this musicianship rests on a blades edge. Tricky to pull of the chemistry but step wrong and its game over.

Rating: 2/10

Vince Staples "Vince Staples" (2021)

 

What is the significance of a self title record? It tends to signal something of importance, often a debut naming or musical statement of intent. For Vince on his forth outing, its a reflection of self, affirming his artistic stride with a concise record. Its a lyrical ride reflecting his intellect, making mockery of braggadocio and show boating, while shining a light on the influences, pressures and hypocrisies of his upbringing and environment. Of course this is all wrapped up in controversy as he shifts the perspective from himself and packages the outlook in the crooked lines of ugly lines and verses. At twenty two minutes its another very concise album, same length as FM!. There is little room for anything that's not sharp and pointed. Its song titles often hint at an intersection between his characters and the reflection he shines on them.

These ten numbers run fast, no song surpassing the three minute mark. This flow gives power to its subdued instrumentals, led by sparse percussive beats. They rattle pacy, tight hi-hats and groove of the deep 808 kicks with sharp swift snare strikes between. Its all packaged with fast attack and minimal decay for quite the flat tonality, a bland aesthetic that masterfully resonates of its backing instruments and samples that bring in the flavor. It is as mentioned a subdued experience, a tricky chemistry to get right. Its cousin would be those classic G-Funk vibes yet a sleepy alternative, arriving with the bombast stripped out. The loops can linger on a couple of ambiguous elements, shy of potent melody and forging atmosphere through the obscurity of its dreamy arrangements. A lot of the record feels like a hazy memory, much to its charm.

Initially I found the record a little dull but that is the misleading nature of the beast. Its livelier beats get going from Taking Trips onwards, which would peak my attention. As Vince's lyrics set in, I found the keenest of his musings in the opening with some his critiques and perspectives coming back around again later on, always sharp though. On another level these songs play like flipped bangers with the essence of that ripped out. His steady and soft spoken word delivery a breeze to follow on these sleepy tracks. Giving attention to the craftiness of his lyrics, these lines could play like killer hooks yet its all played down into this style that suits him to well. Being a sucker for a little bombast and bravado its what this album does right that perhaps makes it a little harder to get stuck in my mind, however it does play like the kind of record to experience as one thing, because it lacks any weak points, a very clear vision well executed.

Rating: 7/10

Billie Eilish "Happier Than Ever" (2021)

Just a reminder, Billie is still a teenager. This is remarkable within the context of a wonderfully mature and wise record that sees the young star navigate fame and fortune with a rarefied grace. Her lyrics here are a treasure to embrace. I hope she can continue in this well handled direction, were too many that have come before end up ravished by the spotlight, media and unfair pressures of fame. For two siblings making quirky music together from their bedroom, to then be catapulted to the peak of stardom, this is quite the force to reckon with. The music too moves with this mature navigation of choppy waters. Stripping back youthful experiments with noise and ASMR, the ship is now steered in a direction reminiscent of many classic singer songwriters that glowed in the spotlight of decades forgotten to this generation.

Billie's voice has flourished from intimate wordings and quirky whispers to classy undressings of emotion through power and strength. Vulnerable, yet in control and laying all bare to be heard by those who listen. Having frequently been at the attention of a news cycle set on critiquing her presentation of self, the topics of the record get wrapped up in a critical awareness of this pressure which she replies to with unshakeable truth through reason. For young people growing up, these messages are so on point. The mesmerizing transient drone of Not My Responsibility sets an intense focus for Billie to talk truth of all the commentary on her clothes, appearance and sexuality, illuminating that the problem lies with those who choose to speculate and judge themselves.

Getting Older and My Future deliver such a charming maturity and positivity from a young person navigating the waves. "Cause I'm in love with my future, can't wait to meet her", wonderful lyrics, its so nice to hear warm outlook on ones life and aging. The classic taste of airy reverberated synths, soft inviting pianos, gentle guitar strumming and crafty grooving baselines somehow nestle sweetly between their "traditional" sound with tracks like Oxytocin, I Didn't Change My Number and Overheated, these songs being more rooted in the style that defined her breakout.

Billie may take the spotlight but Finneas deserves much praise for masterfully expanded the albums pallet to sound as if a group of top session musicians had been brought in to gloss up the electronic aesthetic of his When We Fall Asleep Where We Go instrumentation. The record navigates both ends of the spectrum and all in between as its run time offers up a fair helping of variety. Billie too overlaps her playful whisperings and glowing traditional singing to keep things healthily interesting. Their chemistry is sublime, offering up an engrossing engagement from subdued instrumentals that embrace sparsity and slow tempos to give keen power to the minimal melodies and aesthetics left to be heard. Most the instruments arrive soft, ambient and incidentally with flourishes of energy coming from snappy percussion forging interesting grooves.

With every listen I've felt a fizzle in the end starting at NDA, a quite remarkable lyrical tale and musing that doesn't seem to hit the stride instrumentally, the bite of the words just don't resonate for some unknown reason. It tempo shifts up at the end, transitioning into Therefore I Am, which quite honestly felt all too much like a rehash the debut records vibe. Then the title track, gets off to a wonderful start but suffers growing pains agressing up into a sing along grunge blowout that lacked the right melody or lyric to give it the vibe it clearly strides for. No album is perfect and not every track resonates quite like some of Billie's words which are as stated, quite remarkable for the pitfalls she is successfully navigating.

Your Power makes a personal favorite for me. With a soft gush of Ethereal wind, the two usher in a heartwarming guitar and voice song reminiscent of Mazzy Star. Its lyrical content feels intentionally offset from the melancholy vibes the song ushers forth. I doubt Happier Than Ever will have quite the impact its predecessor had however between the two we simply have more fantastic songs to enjoy and plenty more to look forward too it seems. The one thing I hope people take away from this one is the lyrics. So much to be learned from someone else's experience here.

Rating: 8/10

Jim Kirkwood "Master Of Dragons" (1991)

Its round two with Jim Kirkwood and sticking to these early releases has unsurprisingly yielded a similar experience to that of Middle-Earth before it. Likely to be Tolkein inspired, or at least adjacent given its title and cover. Master Of Dragons steps into a more obscure realm as the 70s inspired electronica dominates its bolder phases. Unpinning the music with its whirl of psychedelic oscillations, a curious feeling of wandering is born. Less scenic and more personal, the music paints lonely journeys through mind and soul with moments of beauty woven between when its keyboard synths and soft reverbs forge yearning atmospheres of nature in a colorful bloom.

With its two halves both comprised of shifts, twists and phases in their twenty minute stays, its the second half that darkness a little. Percussion is heard for the first time as a steady, simplistic beat hold pace for the brooding of eerie, spacey synths. It breaks through with lively dramatic strings punching and jolting in with a threat, the tension growing yet without crescendo. The song plays itself out on a string of melodies, intertwining, steadily winding down only for deep tom drums to pound and stir up a racy finish that doesn't quite find a crown or peak and thus fades out into obscurity.

Its immensely enjoyable for this listener. At the time I imagine there would of been little interest given the dated electronic tones behind the curb of the 80s and 90s. Yet with nostalgic interest and the awakening of Dungeon Synth to the Likes of Fantasy and Tolkein inspired music, this plays wonderfully like a video game soundtrack, the backing to wild adventures of imagination and thus feels oddly fresh and exciting. Then again many discoveries of old can be like that. Music discovery is always fun but with the added dimension of being able to share them through streaming, I've found this music to be a wonderful addition to the livestream experience.

Rating: 7/10

Tyler The Creator "Call Me If You Get Lost" (2021)

Keeping on track with a constant flow of records over the years, this sixth installment in Tyler's evolution feels like a step back from the striking charm of IGOR. Its personal preference but I'd argue the presence of DJ Drama drags this project down a notch or two. With his frequent commentaries, a steady flow of interrupting remarks bark over the musics atmosphere, seemingly disconnected in tone and temperament. At apt times he does indeed reinforces Tyler's words and points but mostly he seems like an obnoxious observer interrupting.

Blemishes aside, Tyler's production is on fire again, bringing cutting edge beats and grooves to his pallet of colorful quirky synths. Drawing from classic Soul and R&B vibes it ends up a flavorful show, rich in variety and some avenues into the dark and grizzly aggressive side of Hip Hop music. It would be hard to argue a favorite niche. Its perhaps the swings from the breezy love struck summer vibes of Sweet, into the funk and crunk of the bass driven groovier Rise that gives its flavors more spice as the record weaves past monotony much to the delight of this listener.

Getting both halves on point its the topicality that goes over my head at times but there is plenty of keen lyrical tales. Reflective themes of past triumphs and contemplating personal change illuminates alongside some of his most baited lyrics with the "Rolls Royce pull up" line on Lumberjack. It and other dives into social political topics come with clever rhymes and food for thought. He seems particularly on point in this regard, especially when in a more casual tone, opening up.

Call Me If You Get Lost also hosts a few guests of notoriety who bring some interesting verses. This paired with its fluid changing of instrumental ideas and DJ Drama's commentaries has the records quality feeling oddly fractured. Its a smooth, fun ride, visiting place to place like a road passing through villages, towns and cities. There is plenty to see and touch but as a whole... it doesn't have that defining piece or magnetism like IGOR did. Ultimately a very cool album brimming with talent and creativity but lacking a little glue? I can't quite land my finger on it.

Rating : 7/10

Malcom Horne "Infinity Volume II" (2021)

 

 Smooth, sweet and soulful, this secondary installment of Infinity pairs the modern Low-Fi influenced Jazz Hop aesthetic with a classy voice through exuberant musicianship. Malcolm litters these dreamy beats with gushes of emotional expression, always emerging through subtly and captivating fondly as a voice. Each of its twenty seven cuts are rooted in the timely pairing of percussive grooves and jazzy persuasion, foundational to its flushes of warm sunny color that ooze from guitars, synths and the like, giving many of the loops a real sense of unique identity.

Its other edge comes from its backbone of looped beats. Born less of sampling and more of instrumental arrangement, its texture and aesthetic is a consistent dazzle of breezy easiness and soothing reverbs, taking us to an easy space to escape all worries and leave ones mind at ease. With this, more love and care can be heard as little accents and notations arise from multiple instruments to compliment its main direction. M.A.D. is a keen example, its fluster of melody jumps between instruments with the tang of a guitar lick nestled between, the resonance is simply lush.

At a whopping ninety one minutes, Volume II excels at finding its target audience. Where Volume I fumbled in its inconsistencies, II focuses very much on the chilled out and lounge alike styling of its sound, channeling the music into a very streamer friendly lane. As a lone record it one could yearn for a little more progression or evolution to take off for new heights, especially when a swooning guitar solo drops in. Of course restraint is placed with these songs being fitted for smiley backgrounds.

Despite that, Volume II is actually rather engrossing as a lone experience. When paired with an activity, focus arises as the meditative quality of its easy flow and steady pace locks one into a mental groove. My only negative take aways are some of the sudden cut offs, Lemonade a criminal culprit of sapping away the buzz just as that charming lead guitar was wooing away. I'm also left missing a little of the punchier Synth tones heard on the first record. Otherwise its a fine collection of lush songs with a strong human expression some of these other Jazz Hop beats miss out on.

Rating 7/10

Jay-Z & Linkin Park "Collision Course" (2004)

 

Delighted by the recent Rap Metal adjacent works of Hackivist, I found myself thinking back to this record, which I had barely paid attention too upon its release. Back then I probably had my mind deep in the world of Extreme Metal and nose turned up... But with age, a renewed fondness for the music of my teens now has me wide eyed getting into this collaboration by two of the industries biggest names of the era.

Born of MTV's Mash Ups show and masterminded by Mike Shinoda, the brief six track Collision Course sounds born of that spirit, the interchanging of instrumentals and accappelas between opposing musicians. As a collaboration its sounds just like that, however the enthusiasm shared between the two camps had Linkin Park and Jaz-Z meeting in the studio to re-record parts of Shinoda's arrangements to ensure quality.

It speaks volumes to the seamless nature, everything aligns sweetly. Crunky percussive kicks and snappy snares give the metallic aggression of the guitars a ground to the Hip Hop persona. Both Chester's moving cleans and raw screams match the Rap instrumentals, Mike's roll as a rapper obviously fits but its mostly Linkin Park who dominate the vibes with their songs taking up most the runtime.

Big Pimping and Izzo stand out as the cuts which hold onto their original beats but the other songs get overridden by the metallic energy when the guitars arrive. Its all fantastic but perhaps my emotional attachments have me reveling in nostalgia from these re-worked bangers. Points Of Authority and One Step Close overload 99 Problems for goosebumps inducing mania as Jay-Z drives the crossover with his raps.

I am ultimately left fascinated by this EP, a commercial peak at the end of an era when my two favorite genres rubbed shoulders. For all the Rap Metal I've adored, missing out on this was a major fumble. I can't get past how wonderful the chemistry is. It feels like an obvious mash up yet that doesn't hold it back where you might expect. Its like bottled lightning, perhaps amplified by my own personal excitement. Given the two toured this together, the accompanying DVD is now mandatory viewing for me.

Rating: 7/10

Turnstile "Turnstile Love Connection" (2021)

 After the release of Time & Space Ive been keenly awaiting another album from this keen Hardcore outfit. This blitz of an EP has got me buzzing now! Baltimore outfit Turnstile give an aged sound renewed youthful excitement, frothing with energy and kicking in subtle influences to character their sound and start apart in the crowd.

Holiday kicks things of with its soft murmuring baseline bursting into a riot of sharp power chord strumming. Its somewhat predictable for this group yet lands like a riot, the hooks of Brendan Yates reeling it in, "Now its a holiday", "I can never feel the cold", "I can sail with no direction". There is so much exuberance being exhorted, exactly what he does best. In the opening and throughout the use of an electronic 808 akin drum kit adds a little bark to the rhythm section. Subtle, yet a texture that gives the music a little of that extra character they bring to many of their Hardcore songs.

No Surprise serves as a dreamy soulful interlude to abridge its Grunge number Mystery, fitted out with a brief noisy solo and curious spacey synths in its intro and outro, that later sounding like a space ship taking off. Title track TLC takes the tone back to the bands roots with a strictly fast, hard Hardcore sound with fiery vocals and gang shouts too. Its mid section brings in electronic toms as the music pivots, an odd choice that once again musters a little oddity. It gets explored again as the track devolves swiftly with an experimental vocal cut to end the brief eight minutes of music.

Turnstile is in a groove, writing keen songs that have the power and charisma of what came before. The use of alternate percussive aesthetics and moments of electronic and vocal experimentation are peculiar on analysis yet to just enjoy the music, it works and flows effortlessly. Something in the temperament of this group just lets it all work. If these are the "weaker" tracks left out from an up and coming album then we are in for a treat! We are probably in for a treat either way...

Rating: 3/10

Old Sorcery "War Of The Old Kingdom" (2021)

 

It is my guess that the recent Hand Of Merlin soundtrack left the Finnish musician with inspiration and ideas that have spilled over to this wondrous three track EP. They are somewhat disconnected from one another yet equally fantastical, the thematic moods and drama of the OST had Old Sorcery reaching into new territory. Now clawing it back into the Old Sorcery cannon, a familiar esoteric, foreign and cryptic voice narrates these three adventures, giving them a loosely unifying through line.

Council Of The Battle Sorcerers is an eight minute epic of distant tensions, epics yet to be told in a fantasy realm of gleaming beauty and natural magics. It steadily journeys through majestic scenery, the discernible words of a shadowy, ancient voice ushers in moments of creeping darkness that never outpaces the warm embrace of this lush soundscape. Its adventurous melodies, through many phases, continuously usher in a magical warmness fit for a world of fantastical beings devoid of technology.

Triumphant Eyes ramps up the intensity in a sudden change of direction. The drums of war beckon, tense strings heed the call of battle and a sense of coming destruction broods. Its an animated number of moving parts and scenic magnitude fit for a big screen epic. The drama is flushed aside as our cryptic narrator returns over the sounds of sword and shield clattering on the battlefield. From there though, things steadily unwind and fizzle out for echos of the voice to call again from the ashes.

Echoes In The Stillness is perhaps a crossroads between the two. War drums drive the track forward as its melodies linger between the fantastical and illusive mysterious of this fantasy realm. As the drums pull out it meanders its direction to that recurring voice again, this time a little less potent in direction and theme. Overall this is an impressive release bringing new ideas into the fold but aside its one unifying element, seems a bit disjointed track to track. It is all immensely enjoyable though.

Rating: 5/10

Hocico "Broken Empires" (2021)

 

Ever since Memorias Atrás, Ive always been in the mood for some Hocico. I've found there output to be somewhat stale despite loving their Aggro-Tech sound. Its in smaller doses I tend appreciate their work more. This two track EP with accompanying remixes has been fun! Both offer up hard banging beats and harsh synths to revel in a little cyber goth dystopia. Both songs run through the expectant arrangements, typical build ups and flows but its the aesthetic detail that catches the ear on this outing.

Title track Broken Empires hints at its killer bite early on as dense chunky bass synths ride up against a stiff hi hat on swift repetition. The cymbal is interchanged with that classic 90s House hi hat tone and when the song peaks the two resonate off one another with a relenting energy that's hard to resist. The dark spooky melodies that accompany are decent but its really the labored texture of that bass synth that drives the song along, drifting in and out of intensities with a helping of atmospheric design.

The other song, Lost World, is a production powerhouse of driving density, all the sounds are crammed into gaps between its thick rhythm section of pounding kicks and engulfing bass synth. Its a rather linear push of dance energy fit for the club floor, mostly ebbing and flowing around its main catch while also throwing in a little niche audio gimmick as the shouted words get cut and shuffled into the crowded mix.

The additional cuts of Broken Empires offer some alternate version but with little deviation from the original they add little to whats already been offered. These two songs are tight and well written. I wonder if in the duration of an album they would be lost on me given the mediocrity of Artificial Extinction. Having to focus on just two songs really let me digest and enjoy them! These will be songs to return to.

Rating: 3/10

Backxwash "I Lie Here Buried With My Rings And My Dresses" (2021)

 

As a personally highly anticipated record, this one did not disappoint. God Has Nothing To Do With This grabbed my attention with its metallic crossover appeal, uniting the darkness available to Metal with the grittiness of Rap, uniting them with renewed artistry. I was swooned by the grabbing expressions and impressed by Backxwash's frothing flow. Returning a year later with this brief twenty two minute album, she's bottled the evil of the Sabbath inspired predecessor and unleashed it again in a darkly Rap context that flirts with the danger of channeled noise and anger.

As the record plays, it descends. The overall tone gradually lurches into the bowls of hell as drum grooves groan with the pains of its horrorscapes. Driven by deep, gritty and slow baselines, uncomfortable atmospheres are bred from noises that align conventions in an unsettling fashion. Distant screams, distorted voices and gritty Industrial sounds overcast the soft and subtle melodies that have an intentional lack of impact. Its design gives wake to the power of texture and aesthetic which powers the music forth on slabs of filthy, intriguing noise, guided by timely percussive patterns.

The lyrical content is harrowing. Is it the wrenching delivery gushing forth raw pain and hurt? The dark journeys the words walk us through, or the alarming concerns some of these tales turn up? At times its all three as Backxwash walks us through some troubling struggles. The tales of vulnerability, abuse and lack of support around transitioning and drug abuse are all to vivid. There is no cheese to be found, the malevolent tone of the record mirrors the underlying pain and suffering endured. 

The opening sample, purpose of pain is a rather underwhelming start but with reflection of the emotional narrative undertaken, it seems all to fitting that ones emotional pain extended to the wrongs of our environments. Clipping turns up an instrumental production for Blood In The Water on what feels like the "true" intro track. 666 In Luxaxa is an utterly fantastic repurposing of the jovial and spirited singing style one would associate with African music. Its misplacement in this darkness is fascinating. After a string of solo tracks, a slew of guests line for the last six tracks.

So many Hip Hop records feel routine with the roll of features but these collaborations feel so integral, defining the music with their presence. Ada Rock's scream rap hooks on the title track are simply unforgettable, sounding like a demonic entity raging with malice and spite. Wail Of The Banshee takes the win on my favorite Instrumental. Its a bleak and harrowing soundscape of human pain and torture, driven by monotone bass and slow drums that put all the emphasis on its evil, terrorizing aesthetic.

Like last time, I'm left floored, feeling like this album offers so much in its short duration that will continue revealing secrets from its dense textures for time come. Last time there was some uplift and reprise to be found in conclusion but this time we burn to ashes and ride out on a drive of speed and momentum as the music refuses to relent from its plunge into the abandon. Whats both beautiful yet glum is the dark attachment to reality. Much of the lyrics here are truly troubling.

Rating: 8/10

Foreign Objects "Galactic Prey" (2015)

 

Nostalgic adventures to bands of years gone past often yield surprises! Not only did I learn of The Undiscovered Numbers & Colors nine years prior to Universal Culture Shock but also this one, Galactic Prey, released eleven years on after reuniting as a band. Its been rather quiet since then and perhaps we can expect the next installment to come a half decade on, given their timely track record! With this in mind, they could easily be forgiven for any transformation in identity time has brought with it.

And that shift in tone is obvious from the get go. Initially finding myself stiff to the change, familiarity showed it is the character and spirit that excels here. The Technical Death Metal aspect of old feels steered more to an Arena Metal energy akin to Avenged Sevenfold. The color once heard bleeding from the guitars gets a dazzling new direction fit for a big stage and summer festivals. There is much passion in Deron Miller and newly on-boarded Kenneth Hunter's presence. The duo's vocals soar as a focal point, alongside blazing guitar solos that routinely step into the limelight. It is a trying chemistry, honest and sincere yet always slightly off note.

As one to not digest lyrics well, it really felt like the words were being thrust forth with a grand sense of theme. Wrapped around it lively instrumentation built a vivid landscape of color and aggression woven with a captivating spirit. From here many ambitious experiments blossomed and charmed with vocal effects and other manipulations creating some wonderful moments beyond the normal pallet of sounds. Saman Ali plays a wonderful roll with the keyboards, often subtle with aesthetics and timely with inflections of melody, his performance feels possibly under utilized as the electronic and symphonic aspects were class when in focus

When there record fumbles is in production. With a budget of thirteen grand, the fidelity is demo like, competent and punchy but unbalanced and frequenting audio clashes the snappy music pushes through. It does blemish a lot of the music and does not do it justice. The album's title track is also written by a different musician, Jonathan Masi. Its main riff feels like a rehash of an old Foreign Objects song, which is rather akin to the CKY sound, which this record has quite a few flushes with. Its definitely a good thing. Ultimately I'm left feeling like this would of been an utterly engrossing album under better guidance and direction because the music itself always sounds paces better than its muddied, crowded aesthetic.

Rating: 7/10

Hacktivist "Hyperdialect" (2021)

 

 Brash, boisterous and bold, front men Jermaine Hurley and Jot Maxi define this record with a stiff, biting presence as two angered individuals pushing through modern madness. A sharp gritty street dialect and vicious, snarky raps have them foaming at the mouth, deflecting hate, affirming their status and tunneling into anti-establishment sentiments on rotation. As a hybrid of Djent Metal and Grime you could call Rap Metal, nothing like Limp Bizkit of course, its ultimately this duo that give Hacktivist a distinction in the modern Metal scene. Five years on from Outside The Box the group sound sharpened up alongside a lineup change with Ben Marvin being replaced.

Stripped down and reconstructed, the metallic elements of the guitars often delve into the simpler forms as big slabs of chunky low end noise slug out poly grooves with an Industrial menace. Reinforced by slick drums popping punchy snappy patterns, its modern clarity creates quite the sterile and lifeless fest of filthy noise that taps into the simplicity of rhythm as it pounds away its chugging noises. Weaving in some synth elements and Industrial sound design, the alienated sound feels like a unique match for the dystopian anger of the duo sharing the limelight with the mic.

Despite some quite obvious ideas in aesthetics, the band pull together these elements to make some fantastic songs, avoiding some pitfalls of breakdown riffs and the atypical with more fleshed out sounds and well written songs. Lyrically things can be a little patchy on the thematic front as some of the political lyrics feel somewhat buzz wordy and over simplified. When on the same wavelength with the instrumentals the energy is fiery as these sharp teethed rhymes hit with anger and occasionally spark a note with a couple of great hooks across its eleven tracks.

Its opening song Anti-Emcees leans a little heavy on the one word rhyme scheme. Its an odd opening choice, sets a different tone for whats to come. As the album plays the distance between Grime and Metal disappears, the two melding into a chemistry that will ultimately appeal more to Metalheads who are partial to Grime than the other way around. Given this crossover genre has offered little since the meteoric craze around the millennium, Hacktivist show there is still room to be explored however with the knack to write a killer song like the bands before them, it could be something special but for now they are putting out some well housed tunes within their limits!

Rating: 7/10

The Alan Parsons Project "Pyr△mid" (1978)

Following a thematic and dated take on artificial intelligence with I Robot, The Alan Parsons Project return with this concept record based on the pyramids of Giza. Its title may lack subtlety but the lyrics seem mostly disconnected now learning of its conception. It could be some ignorance on my behalf but this record feels more like a continuation of what came before it, Progressive Rock with a charming reach into the adjacent sounds and styles of the time. It too seamlessly weaves between sweet moods and measured temperaments as it sways from a sporadic rump of British patriotic royal trumpets to a heart broken ballad in the flow of just a couple songs.

Classy and keen they triumph a lot of percussive groove and simple melodic pleasures as songs jive with an energetic drive rhythmically. The bass is often driving and it comes to a heard on In The Lap Of The Gods as mighty voices chime in over its dramatic climax, excited by a exuberant string section. I love how the punchy Rock grooves, jiving Funk and R&B influences rub shoulders with these swells of symphonic excellence. Its not until Hyper-Gamma-Spaces that some of the Tangerine Dream inspired sounds of 70s synthesizers return on a whirling psychedelic tangent.

Overall the album feels somewhat brief in its nine tracks with each song tending to stick to its one dimension. Its ending is another stunning track, dazzling with cinematic might in its opening and tailing off into a teary song of regret and loneliness. Its a true ending of a tale, just one I'm not sure where it started. Pyr△mid flows wonderfully but lyrically I didn't feel the connection. As much as I enjoy this project, my retroactive ears pick up on a lot of adjacent style when its comes to originality. Can't Take It With You is the biggest culprit, its wonderful guitar solo sadly to obvious in its imitation of Pink Floyd. Other than that blush, its quite a wonderful album to partake in.

Rating: 8/10

Fear Factory "Aggression Continuum" (2021)

 

Having been on somewhat of a Fear Factory binge recently, It would of been nice to have first written about some of their classic albums as the Los Angeles band have stuck rigidly to their formula over the years. So unsurprisingly, this new collection of ten songs offers little more than a rehashing of ideas that were once a breath of fresh air. That being said, Aggression Continuum is hard not to enjoy. Fear Factory tighten up the mechanical pummeling machinery with crisp and clicky drums, tightly chugged low end grooves and punchy synths to amp up a spacey component to their sound.

With an anger fueled theme of anti establishment dystopia, the tracks move through predictable motions. Swaying from the tight, cold mechanical channeled aggression of their syncopated rhythmic assault, to the warm uplifts led by Burton Bell's enigmatic clean vocals. They swoop in with a swooning power that pulls the metallic beast towards the heavens above. Between them, there is always room for a Groove or Thrash riff to bust out and please the crowd with the mosh riff but on this album those break out moments didn't carry the impact like they've had in the past.

A couple good songs in the opening get things off to a good start but as the music stretches on the song structures dissipates into mediocrity as to much hinges on the singular ideas. Its symphonic component could of been an interesting avenue to be explored as its underwhelming yet gleaming strings offer a little more humanity that the Industrial leaning synth tones one might expect. This "cleaner" tone sounds nice but the chemistry rarely feels more than the sum of its parts.

With Fear Factory being a band of intentness pummeling of tightly syncopated grooves, much of the record becomes a drone as track after track does little to splay aesthetics or formula. Its more interesting riffs and moments gets spaced out to far between this monotony and thus with each listen the excitement wore of quickly. Ive been trying to make an effort to avoid predictable records like this. Given its been six years I was really hoping the absence would yield something special on return.

Rating: 5/10

DMX "Exodus" (2021)

 

As a controversial artist who pushed record breaking numbers in my youth, it was only a few years back that I properly gave DMX's first few records a full spin. It was enjoyable and introduced me to a bunch of classic tracks. Ultimately tho it left me with mixed feelings between his wild barking raw talent and the heavily contradicted lyrical content. Exodos is the first posthumous record since his passing in April of this year and as I understand it was a work in progress, planning a return after nine years without a release. To the extent his passing changed this quality of this release may remain unknown but It does feel somewhat rushed.

 Exodus suffers the recurring fate of 90s instrumentals trying to chase trends while remaining anchored to the bombast of eras classic percussive style. As a result these beats mostly feel contrived and stiff, trying to overlap modern aesthetics with old grooves and falling flat in the process. Paired with this, DMX sounds aged, his wild barks, growls and aggressive presence lacking a bite it once had. His lyrics feel lacking in growth or maturity, recycling his topics without renewed perspective. When he does rhyme in that direction, it is often awkward and uncomfortable, like his raps to his son. The meaning and intent is there but wordings are so un-poetic and plain, essentially the same turn offs from twenty three years ago.

On the flip side, does he get into a memorable flow or drop a catchy hook? This was one of DMX's big strengths and its completely lacking. The record is heavily bolstered with features that shift its identity all over the place. Snoop turns up, along with The LOX, Jay-Z and Nas, who unsurprisingly drops the albums best verses. Bringing on Alicia Keys, Bono and Usher for sung sections also feels out of turn with how things were once done. They seem like posthumous decisions by producers. The record ends with the tradition of prayers in direct contradiction with his lifestyle and choices. A tired theme to wrap up a weak record of mostly mediocrity.

Rating: 4/10

Foreign Objects "The Undiscovered Numbers & Colors" (1995)

 

Excited to dive into an extra helping of recently revived magics enjoyed years back, this five track EP was sadly not at the level of the lively Universal Culture Shock released nine years later. In that time between the duo had formed and toured with CKY, undoubtedly becoming better musicians in the process. Whats remarkable is how keen the music by these two young high school teenagers actually is.

The Undiscovered Numbers & Colors is again a Progressive Death Metal project, inspired by the evolving scene of the decade and smothered with melody. They have forged quite the upbeat, vibrant sound, jostling with technical feats and discordant creativity, the music flows through a web of intricacies weighted by the rough throaty shouts of Deron Miller and Jess Margera's dexterous percussive might.

The core of the music resides in the guitars and drums. Its fun, lively, chained by aggression and lifted by its color. Along for the ride an ambiguous synth section aligns the music with a thin string backing, odd noises and the occasional drones of noise that sounds like audio feedback. Strangely I like its presence in this form, slightly alien and unsightly. Delve opens up another strand with a gorgeous keyboard intro on a bright luscious piano. Its darkly majesty quite the shift in tone but its enjoyable.

Ultimately I'm left with a familiar feeling that comes from exploring old records I missed out on at the time. It will be cliche but I would of bonded with this one much more in my youth. As I final remark I'd say for a supposed demo the production quality is impressive. The instruments are punchy, vibrant and distinct, something other extreme bands where just figuring out around this era in time. Impressive.

Rating: 5/10

Carpe Tenebrum "Majestic Nothingness" (1997)

 

Following up on Mirrored Hate Painting I decided to checkout Astennu's debut under the same moniker. On Majestic Nothingness he is the lone musician handling all aspects of the music. Sadly the magic of his enigmatic lead guitar voice that lured me to this project is yet to blossom. It can be briefly heard in an infantile stage but what the record offers in tone is rather different given the lack of influence that his future band mates Dimmu Borgir would endow him with.

As a Symphonic Black Metal project from the other side of the globe, Carpe Tenebrum is a very competent record for the times. It sets out to achieve its vision of a darkly realm through song writing and the atypical shifts in momentum that draw charm from the emergence of complimenting synths. The aesthetic is a little dim and stiff with dainty distortion guitars and its reasonably disguised drum machine that pounds out blast beats without too much mechanical intrusion.

 The most detracting element is Astennu's vocals. His scowling shouts and groans are laid bare leaving him thin, naked and without oomph or power. Essentially its an underwhelming presence, brittle and raspy. His texture doesn't packing enough punch for power or darkness. When stepping into the "clean" territory of burly singing its a little off note to be charming but nothing truly terrible. With more bass and some reverb this could of easily been a few shades better.

When its on, one adjusts to its aesthetics, capable yet lacking in vibrancy. The album goes through the motions, with all the tropes, shifts in pace, alternations of blast beats and half placings that I love. Its a typical record of the genre but doesn't leave an impression with any of its moments sticking. I don't think the record ever plays itself up with much bombast as the framework is generic and the guitars all to muzzled to dazzle. If I had found this in my youth however... I could of possible devoured it alive! Its just like that, I have heard everything on offer here before already.

Rating: 5/10