Carpenter Brut "Leather Teeth" (2018)

After a lengthy deep dive through the dark powerhouse known as Trilogy, Carpenter Brut returns with an upbeat, energized vision of Synthwave. Its packaged into a lean eight tracks and Leather Teeth plays like a movie. Its pacing has one song racing to the next, always on the run, changing up location and drenching the listener in a glorious synth overload! Dripping with nostalgia, Brut nails the best of 80s ideas, bringing them to life again through this high octane drive of dance-able songs. Continuously pounding the bass lines, the keys over top rattle off with a consistent buzz, as fast, animated melodies overlap to create a powerful wall of sound.

Along the way a few breaks in tone are discovered. Ironically mentioned in my musings on Trilogy, the man from Ulver himself, Kristoffer Rygg, lends his voice for a track. The combination is perfect! Cheerleader Effect gets treated to his soft power over a thinner instrumental. It gives room for his words to breathe and sets up a couple of mellower tracks to follow. They have 80s jam session vibes with some vibrant lead solos. In these moments a touch of Genesis of that era can be heard. The vocals return again later on, this time with Mat McNerny. His opening Ian Curtis impression stands a little stark and broody but as he gets into it, the music gels well.

Leather Teeth is one of the best Synthwave records I've heard. It surpasses any tropes with the stunning musicianship. It seems that song writing is the core and everything aesthetic just falls into place around it. My favorite moments stem from the lead instruments. Synths solos and Metal guitars really open up the musics dynamics as the arsenal of keys have to lay of the repetition. Its sways from dance to Progressive are well managed and both sides are performed so well. There is little I can fault here but it sounds is if there is many directions this could all be taken in. After all, this has progressed from quite a dark place to something still in rapture but upbeat, casual and groovy with fun vibes emanating. I'm excited for whats next!

Rating: 8/10

Kyros "Four Of Fear" (2020)

 

Home to a new "song of obsession" of mine, this four track EP has night not been quite as enigmatic as ResetRewind, a six minute epic that immediately caught my attention when cycling through Spotify's automated playlists. Kyros are a Progressive Rock/Metal/Synth outfit from London who's sound is a bit "all over the place" and wild, if not unified by its Progressive inspired framework delving mostly in synth tones.

ResetRewind itself is a flawed track, seemingly hinged on its one main music hook, a stellar synth melody dancing in its own gallop. Shelby Warne ascended the mood with a post-apocalyptic uplift, lyrics soaring on natures reclaiming of animal lives, as everyone dies. The song is an odd ball, wedging in a couple Skrillex era Dubstep breakdowns that just about work. It has a few other exercises between its chorus, a sinister vampyric melody in its closing frame is a niche touch. Nothing quite links directly with the main theme and despite its stitched together nature, the song rocks.

The other three songs don't find the same stride. Kyros's temperament is highly involved and dramatic. All ideas and melodies get played up, over performed and aesthetically over emphasized. Quite often this is fun as its backed by terrific, well written melodies. Ace's Middle not so much, its quirky personality shuffles and jitters all over the place with big theatrics that has no foundation. When slowing down for a broody atmosphere epic with Stop Motion. The concept holds back the over animated nature they usually express. Its class is one to revel in as guitar solos make waves.

 My overall impression is one of a band oozing in talent that;s lacking focus and direction. Their sound is a little overdone in multiple dimensions. The music always has a lot going on. What makes it tick is often the simple chemistry between its lead melodies and vocals. I could hear a record producer like Rick Ruben stepping in and stripping out the all the progressive fuss around the core of their songs. That's where the best of this short record is to be heard in my humble opinion.

Rating: 5/10

Blut Aus Nord "Disharmonium - Undreamable Abysses" (2022)

Not every band has to bring something new to the table, especially when in a stride most appetizing to the listener. Blut Aus Nord's latest rapture of nefarious psychedelic hallucinations was initially intoxicating but in the shadows of unflinching familiarity, tit turned into a moody slog of unruly madness, churning away in the background. That's not to be dismissive of Disharmonium, its charm simply wore off rather swiftly.

If not familiar with this sound however, it would be a welcome invitation to the maniacal delirium these French veterans conjure. Far evolved from the fundamentals of Black Metal, the duo compose unraveling sways of reality shattering sounds. Their unsettled atmospheres brood through melodies that slip through the fingers, melting away through pitch shifts as if physical reality is falling apart. Its a few keen ideas that foster this rich, dense tapestry of mental mood, always on an unpredictable move.

Slow and meandering, ever shifting direction, the percussion rarely holds down a groove or pattern for long. It too sways in stuttering intensity, following the cues signaled by its bleeding, oozing wash of melody. The duality is wondrous as the dark unrevealing of damaged consciousness is explored within bleak walls. Despite the record having a rather consistent aesthetic and tempo, the ideas explored are so well executed that its seven songs serve one continual plunge into the abyss of the mind.

I'd struggle to pick out a favored song, or even moment. It feels as if everything has been crafted to offer no anchor or reference points. You are always in the perpetual motion as demonic voices call from the depths of its lofty tone. So to do swells of high guitar notation sometimes puncture through, however its no bright guitar solo but often a breakout expression that is swiftly engulfed. I love the maniacal madness this pair have created, this one was fun but as described quickly lulled in its familiarity.

Rating: 6/10

Kendrick Lamar "Mr.Morale & The Big Steppers" (2022)

 

 Spoiled by the swift succession of Damn from To Pimp a Butterfly, A patient five year wait returns this generations goat on yet another artistic stride, an expressive streak manifesting into a lengthy double LP. With no doubts to his genius, Kendrick navigates his life through introspective expression whilst drawing a broader through-line with societal issues. That seems to be the key structure with Mr.Morale, many difficult issues are tackled. From racism to transphobia, child abuse and molestation, Kendrick takes on hard topics, often putting himself front and center. Relating from his own life experiences to society at large, he candidly displays both the good and bad of himself in a morale challenging framework. Hence the name, Mr.Morale, examines it all.

With a meaty seventy five minute sequence through eighteen tracks, reoccurring themes and melodic jingles tie together a broad depth of topics. As described, they seem to resurface flipping between the two perspectives, personal and external. With his lyricism refined for substance, it rarely passes by without food for thought. Each listener will find their own moments of both tension and insight across its spectrum.

Production wise, this is a tight craft of snappy beats that lean on a talented array of musicians. It keeps the music organic and expressive while still retaining a percussive Rap energy for Kendrick and his guests to lay down fiery verses where apt. Woven between, the music ebbs and flows into cinematic calms and dramatic tensions ushered in by classic instrumentation. Scenic emotive strings and pianos brake out with their own voice. It sways from the repetition of beats with expansive interludes.

Some personal highlights include the excessive cursing of We Cry Together. A blunt exploration of relationship and communication skills that life's struggles wear thin between couples. The piano loop brilliantly expounds its brittle, hostile energy as it releases tension in the songs pivoting conclusion. Auntie Diaries is an honest exploration of gender identity within his own family. The warmth Kendrick emanates is endearing, getting across his simple, compassionate acceptance for others.

On the flip side, the "reverse racism" of Worldwide Steppers is a contentious eyebrow raiser deserving of deeper examination. That alongside his addressing of an incident shared with a white female fan on stage seem less clear and vague. I haven't studied the lyrics but they are certainly packaged for shock value in their striking delivery. Again he grapples with his actions and the backlash from media and fans alike.

In comparison to his previous albums, the length of Mr.Morale does feed into a broad range of experiences that become a little less distinct, more like a lengthy mood. Each listen has been enjoyable but with that less punchy, pointed tracks you can point to as the peaks. My ultimate takeaway? Kendrick is still sharp and keen, reveling in his expressive capability. We should be ready for more as his talent seems in-exhausted in this, his fifth full length. Not quite as high as he sailed before but certainly class.

Rating: 8/10

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Carpenter Brut "Trilogy" (2015)

 

Stead and with patience, Ive been enjoying this lengthy eight minute juggernaut known as Trilogy for some months now. When first recommended the debut album by Carpenter Brut, surely a nod to John Carpenter? I was taken aback by the sheer volume of listeners visible on Spotify. To my limited knowledge, this might just be the biggest artist in the retroactive world of Synthwave? That was excuse alone to invite me in. My caution however, came as a result of fatigue. The genre had established its identity swiftly and now an army of adoring clones has been ushered in, emulating the sound and its tropes to a point where the music can feel stale. At least to this listener.

It took time, but with repetition, then familiarity, the class of these compositions emerged with gleam. Frankly, there is a thematic horror on offer that goes beyond the typical synth tones and nostalgic electricity of Synthwave. Energized baselines prop up steady dance floor grooves for a body moveable warmth to be found in every track, as excursions into the nightly mystique unravel. Often spearheaded by its more extravagant and experiment worbling synths, Brut cracks open whats possible with these dense oscillations on more than one occasion. These moments expand on the mood, with theatrics and noise manipulation turning tunes with twisted expressions.

After a handful of tracks, starting specifically with Roller Mobster, intensity amplifies and the execution tightens up. Although the following music explores temperaments and scenic passages more chilled and cautious, its synthetic instruments arrive with gloss and glaze, a slick polish for its liveliness. The density and weight is stunning as rapid pulses of jittering melodies dance macabre atop its dark thumping percussion. Many instruments interchange, taking center stage , giving voice to the cyber dystopian atmospheres conjured. Trilogy is truly is a wild ride through the neon lit night life of cities but Brut's music takes us much further than the established tropes.

A sense of horror and spectacle permeates as each song finds its avenue. To be fair, they are not to distant from one another but they find a character. At its end, Anarchy Road introduces a one of vocal performance to lukewarm reception. I'm uncertain of Brut's singing. Neither good or bad, the voice is simply present with little in the way of power or persuasion. He sounds like a softer Ulver, waging in meekly. The music so works so well its hard to imagine a voice bringing much more to the table but that wasn't it. Anyways, my conclusion? One of the classiest Synthwave records I've heard. Trilogy is solid front to back and surpasses any tiring that clones brought along.

Rating: 8/10

Ovlov "Buds" (2021)

Accepting an algorithmically generation suggestion from Spotify, I was pleasantly surprised. American Indie Rock outfit Ovlov's third album is a brief one, only clocking in at twenty four minutes. Its eight cuts all inhabit a shared culture. Humble tones, a rural breeze, simplicity and humility scales into roars of lively dissonance. The group compose human, Folk like songs, driven by warm acoustic shimmering and earnest voices. It all gets whisked into dense frenzies. With a sense of routine, over-driven guitars explode, expanding dynamics and shelling the warmth with swells of fuzz and grit. The frothy distortions challenge the listener with harsh, muddy textures that somehow ooze into the gentle foundations with a thick hazy glow.

Its got charm, a sound that sucks one in! On closer examination, its clearly simplicity in writing that is the winning approach. Much of the esoteric and unusual chemistry is derived from the jagged shoe-gazing textures. They cast a magical spell but underneath, the simplistic short riffs and chord plucking loops are what the songs hinge on with just a few simple constructs at there core. The human, raw, personal feelings emanate from superb vocal harmonizations, conveying emotion with a blunt tunefulness that is never overstated or over engineered. Just the tones alone.

One pointed component that mostly lands are the scratchy, harsh guitar solos. Brief and to the point they rattle off like a flair, grabbing your attention and swiftly fizzling out. With an ear for the noisy and unusual, speedy wild fretboard manipulations rattle off at apt times. Its the lens of texture that they push the limits, peaking the audio and inviting the harshest of sounds. Sometimes they inhabit melody and offer times its an exploration of noise. I mostly enjoyed it but the dissonance wasn't always potent.

Not one considering myself to be "into" Indie Rock, this has certainly challenged my notions. The parts of that genre most recognizable are enjoyable alongside its explorations of Shoegazing and Noise Rock. I'd certainly enjoy more on this track. Not entirely original of groundbreaking, its the execution and earnest, humbling inspiration that makes this music glow. An interesting find! I may explore further.

Rating: 7/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Judas Priest "Painkiller" (1990)

Lets set the scene, the Heavy Metal landscape is changing drastically, Thrash and Death Metal are on the rise with Grunge and Alternative set to grip the mainstream in the coming years. Metallica are the genres new juggernaut and Pantera have brought forth a new identity for Metal. Surely a band like Judas Priest are on the way out? Well no, the intensity of Painkiller arrives as the apex of their "heavier than heavy" sound priest always embodied. It goes toe to toe with any contestant and holds it own. Quite a remarkable bow out after twenty one years as it would be Rob Halford's last for now.

The album will always be overcast by its lead and title track, Painkiller, a thrilling frenzy of adrenaline inducing metallic might thats hellbent on thrusting the listener through a seemingly never ending amping up of intensity. Molten hot guitar solos ooze, Rob's screams pull down the heavens and its string of riveting riffs and battering drums seem to keep turning up the heat. And then there is the end of the song... just as you think things are starting to wind down, somehow they go at it again with another eruption, a raging inferno of guitar blazing madness. Tipton and Downing have somehow outdone themselves yet again, as does everyone in all reality.

Its an exceptional song, an unforgettable track, but the shadow it casts can't deter the rest of the record. Although that devilish intensity isn't reached again, you couldn't expect every song to pursue the same goals. What follows is Priest exploring wonderfully brutish themes as the Heavy Metal universe takes a turn down a dark nightly alleyway. In a ways It feels like everything has been leading to this point, Priest at their hardest, leanest, fastest and on A Touch Of Evil, they go epic and anthemic when the tempo shifts. Every track is a celebration of their attitude, style and personal, all embellished through this stunning mastery of intensity as they push on.

Much credit is owed to Producer Chris Tsangarides who finds a powerful aesthetic for the band to plow through. Most notable is the drumming of Scott Travis, his bass kick is given a lot of deep tone and shape, the snare has a thunderous snap. It takes up a lot of attention but never drowns out the guitars. The two tandem wonderfully when double pedal rhythms pound alongside razor sharp riffs. In general, its all immaculate, a crowded mix of intense instruments somehow not overpowering one another. Rob's chords are fiery as ever, the lead guitars blazing wild and cutting like a knife.

As good records do, the shifting song writing approaches Priest inhabit are wonderfully performed. A keen detail that grabs me is the subtle use of cheesy synths or drab organs. Bold and brash, whenever they drop in, its always enhances the spectacle of the song itself. It should also be emphasized that Downing and Tipton's lead guitar work is not just exceptional on the title track but throughout the record. That exhilarating rise of dexterous notation, luminous and unhinged returns often. They sail so many extremes of fret-board manipulation, its a gift that keeps giving.

Having reacquainted myself with this classic, It should not be understated, the "heaviness" in aesthetic is not its sole trick. This really is Priest at their best when it comes to song writing too. The themes ditch the fun and cheese of Ram It Down and the result is a serious flag wave for Rob's fantasy Heavy Metal lifestyle. There isn't a dud here and you'll be hard pressed to figure out your favorite tracks bar the title track itself, a never ending sequences of adrenaline shots. For the decades I've experienced it, still blows my mind till this day! He... Is... The... PAINKILLER!

Rating: 9.5/10

The Gathering "Almost A Dance" (1993)

 Released between two of my personal tens, the musky symphonic gloom of Always... and the warm, youthful ascension of Mandylion, you'd think I'd know Almost A Dance well right? Sadly, what turned me off back in the day, still revolts me now. Niels Duffhues voice has a piercing nasal shrill so off beat and indifferent from the music, it deafens its beauty. So to does his cadence and shaping of words feel totally out of step. He would be more suited to some played out Arena Rock, Glam Rock local act. Truly not to my taste or The Gathering at all, thank goodness they found Anneke!

The difference now is I've learned to listen past the elements of music that turn you off, and oh boy can that be a task. In no measure has Niels grown on me, tolerance is not the word, quite the opposite. He masks wonderful instrumentals that bridge the bands transition from dingy Doom Metal to the Symphonic driven Alternative Metal that dawned with the eternally stunning voice of Anneke van Giersbergen.

The chemistry bonded between distorted power chords and cheesy Casio Korg synths, perusing basslines and plucked acoustic chords, is here as found on both the other records. Its arrangements often abridges the two, brightening the gloomy temperament and finding emotive chord progressions. It moves to the light alongside a blossoming lead guitar that sails into the sun of glorious gleams of melancholy.

Mostly it holds that middle ground, showcasing the journey the band where on, steadily progressing their ideas, but so to do reworkings of techniques and tropes from Always... arise, as well as some arrangements that would be preformed again on Mandylion. If my words don't make it obvious, I'm astonished I didn't find my way in decades in. The sad reality is though, for all the instrumental wonder, Niels is a blight! That being said, Marike Groot lends her voice again on a few songs and in those moments a blessing is bestowed to know what could of been!

I'd love to hear Almost A Dance without Niels, however now more accustom with the album, I get a sense of a band in a rush. The production is a little loose and sloppy which can be forgiven but the difference in song quality has its dips with the nine minute Her Last Flight and the god awful Nobody Dares. The chemistry can simply drop off on some songs, losing that magical nightly ethereal melancholy. Given that Niels was recruited right around its recording and release, I'd guess some external pressures stained what could of been quite the rendition of one bands moment in time I simply adore.

Rating: 4/10

Rammstein "Zeit" (2022)

 

Have Rammstein found their footing again? Three years on from the untitled record with a pandemic wedged in-between, they would have had any excuse for another long absence, as bands quite often do with age. Zeit is a potent return, musicians in stride, armed with new inspirations. Their classic fist pumping Industrial Metal might comes with a measure of maturity and atmosphere. The expectant stomps of chunky mechanical groove take more of a backseat alongside brooding emotive tracks. Slow, scenic strides of soft textures, pianos and synths, bubbling up into swells of expansive guitar distortion seems a common format this time out. It feels refreshing.

The eleven songs play so wonderfully for the album experience as the pacing ebbs and flows between its soft and hard edges with plenty of moody melodies and righteous riffs along the journey. The powerful, deep and clearly enunciated voice of Till Lindemann commands the ship on its voyage. I adore his presence, having not looked up any translations, his animated delivery is mysterious and draws one in like a magnet. On occasion I find my own meanings in the drama of his delivery. Then there's the blemish of Lugen, where Till experiments with auto-tune and the results seem.... out of tune? The manipulations are dreadful, untimely, distorting what seemed like moments of personal emotional magnitude. Perhaps that is the point?

Dickie Titten, a title I don't think I'll translate, has another experimental curiosity that I'm not entirely sure works. On the third repetition of its design, these anthemic horns drop in with playful circus vibes. It gives me the impression of having more significance, as is lifted from some historical German song. Anyways, all in all Zeit is a fine construct, a much more "accessible" record with a production that frequently drops the distortion guitars out, putting less emphasis on the heavy, more so on the craft and subtler synth melodies. The good news is the songwriting is fine and its sways from Industrial groove to broody atmospheres keeps one engaged from front to back.

Rating: 7/10

Sum 41 "Half Hour Of Power" (2000)

  

Released a year prior to All Killer, No Filler, the Canadian Pop Punkers debuted with this mini album, Half Hour Of Power. Its another suitable title to represent what awaits as the blaze though eleven fast and furious chops of bright, melodic, teenage Punk. Interspersed with brief stints from other genres, the group gather some distinction. Opening with Grab The Devil By The Horns, the original working of Pain For Pleasure, they may mislead with classic Heavy Metal leads, screams and riffs deployed as weapons of choice for the opening act. Its this metallic inclination that crops up again with spouts of aggression heard on T.H.T and Ride The Chariot To The Devil.

With a fun and goofy pivot, each of the lads showcase their Beastie Boys imitation raps on What We're All About. Its upbeat, tongue in cheek and a great laugh however Second Chance For Max Headroom's doesn't yield the same. Pivoting away from its dexterous, metallic, melodic leads that blaze away with pace, the switch into Ska as trumpets arrive on a new groove, was certainly less desirable. Its probably the one blemish were thees guys excel at having tremendous fun with their influence, which they put front and center.

Otherwise its mostly straight Pop Punk with great upbeat vibes. The lyrics release youthful grievances and teenage troubles against the backdrop of fast tempered drum grooves and power chord strumming. Most these songs could be interchanged onto All Killer, No Filler. Summer being the one song that made it over and I wouldn't say its the best on the record. Makes No Difference feels like single material, capturing that energy of Fat Lip and In Too Deep. The difference is the recording fidelity. This was obviously recorded on a lower budget yet the music overpowers as its thirty minutes are a blast!

Rating: 6/10

The Gathering "Beautiful Distortion" (2022)

 

Presently decades beyond the youthful beauty of their magnum opus Mandylion, my excitement for the group has vanished in the wake of Beautiful Distortion. Now eight years on from their last release, Its occurred to me how little of The Gathering I know beyond Always... and their aforementioned classic. No longer with the vibrant charm of Anneke van Giersbergen leading way, her replacement, the Norwegian Silje Wergeland, has quite a similar temperament, softness and power. Until research before writing, I thought of Anneke's performance as underwhelming and dragged down by the drab and dull character of the accompanying instrumentals.

Sadly, nothing about the record sticks. Mostly unfolding in six minute stints, the eight songs are all mid-tempo strolls across tame, paled atmospheres. Its as if the group are seeking the epic, a beautiful destination manifested through the gentle brooding of its inoffensive instruments. It rarely manifests as such, perhaps We Rise comes close with its gristly guitar pushing some shadowy weight against the light. The rest of the material meanders within itself as softer guitar distortions seek a resonance with the otherwise smooth setting. The dynamic rarely pushes into any interesting territory.

As a form of toned down Post-Rock, these songs simply pool together some passable ideas that dabble and drone in lengthy repetitions where the atmosphere just doesn't amount to much. It gets quite shaky on the last two songs as the worst ideas manifest a rather inoffensive temperament into something quite amateur, reminiscent of a local band who cant hear themselves. My words may be harsh but the music was deafeningly dull, lacking any gusto, spirit or ambition. Its been disappointing but also a reminder to get to know their older records some more. That I can be thankful for!

Rating: 2/10

Old Man's Child "Slaves Of The World" (2009)

 

Its end of the line for this nostalgic Old Man's Child dive. Slaves Of The World is one I barely paid attention to upon release, so its re-visitation plays like new material. Galder essentially plays his game again in a more metallic package of dark and groovy Symphonic Black Metal. He pulls all the expectant chops and tropes out of the hat. Mostly led by the guitars, the music pivots in and out of dark perilous plunges through blast beast beats and finds bounce and symphonic melodies as counterpart.

Its nine tracks tend to differ little from one another in the ability to impress. The tone is set swiftly and the tracks meander through the motions where certain riffs and sprinkles of melody might tickle your fancy. One key distinction is Galder's vocals. Much meatier and more guttural driven, his shriller howls and raspy shouts give way to a deeper range deployed with overlaps and reverbs to much theatrical effect.

With new material potentially on the way after over a decade of silence I will be excited to see where Old Man's Child ventures from this chapter. Unfortunately Slaves Of The World resides as a run of the mill record for the naughties sound. I can't speak ill but the record just drifts by. Great if in the mood but otherwise a swirl of dark symphonic background noise churning through its own cliched motions. What the band needs is a stylistic evolution as this territory has been thoroughly explored and conquered!

Rating: 5/10

Meshuggah "Immutable" (2022)

 

The Swedish extremity is back! This ninth installment Immutable has been out for over a month now. In that time Ive spun it plenty, trying to let this record settle in a little deeper before sharing my thoughts. Why you ask? Because this band have in all likelihood had the biggest influence on the shape of modern Metal. Pioneering the use of virtual drum rigs, reshaping guitar tones with amp modeling, the popularization of seven and eight string guitars, most of all, the so called poly-rhythms. Meshuggah have carved an undeniable legacy among musicians and fans in the know. That reputation perhaps soured my expectancy of more fresh ground to be conquered that The Violent Sleep of Reason, released six years back, sadly did not offer.

As a lengthy one hour bludgeoning of deafening groove, incessant percussive pounding and hypnotic rhythmic sways, Immutable surfaces now as a more encompassing record that reflects back over the bands trajectory. Little is new is offered. The tweaking of tone and subtle realignment of their now formulated brutal aesthetic goes to battle with new mathematical ideas. Chopped and twisted riffs hide their numeric patterns in a vortex of overlapping measures, techniques and chugs that tend to loose that simplistic primal charm in a pursuit of new complexities.

Wedged between the new ideas, or lack of, the record shines when the group fall back onto previously explored tones and ideas. Reaching as far back as Nothing, the last two decades of ideas reemerge with riffs, grooves and textures that could easily slip back into those eras. Its not the soul focus but seemingly a regular intervals the dulled bludgeoning gives way to familiarity. This manifests best with lead guitarist Fredrik Thordendal's fantastical, zaney, mesmerizing alien melodies. On a couple of occasions the vibes reach back even further into the 90s stretch of their back catalog.

 Stripped of its bloat and stretches of monotony, this could of been quite the satisfying experience yet sadly a lot of the runtime feels stale. Many grindy section pound away lengthily with the best arriving from the overlapping with those alien lead guitars. Ironically the lengthiest They Move Below instrumental is one of the best tracks. Its scaling nature meanders and adventures through tricksy grooves and timings that go far beyond the droning low end groove. The albums shortest, Black Cathedral, plays like a guitar tone demo that got left in by mistake. The closer Past Tense is a nice throw back to previous acoustic works but not terribly interesting.

Haven given it a fair time to sink in, its clear these musicians can still churn out what they do so well. Keeping it fun and exciting but as expected seeking to expand on this with complexity just doesn't work. The best riffs and moments seemingly always come from the easier to digest time signatures and primal groove that made records like obZen pound so hard. I am definitely glad I gave this one adequate time but my conclusion is id much prefer a trimmed down version.

Rating: 6/10

Vince Staples "Ramona Park Broke My Heart" (2022)

 

With a talkative tone and casual cadence, Vince returns on this forth outing spinning his introspective thoughts on a breezy laid back vibe. To say business as usual would understate the emotional weight and expressions from this insightful artists. Again, stories and perspectives are told through the personas he inhabits. Lacking the spark a new dimension can bring, the familiarity of his attitude and lyrics lets one swiftly fall into the easy groove the record presents. Its a slow riding, G-Funk inspired chill out where 808s and percussive beats pop low key and the instrumentals croon gently on the subdued, sleepy leaning vibes that drift by with an eerie lack of tension.

I'm not sure if its in contrast to the gravity of topics discussed in his lyrics as there is a lot of pride and warmth expressed where Vince often uses his words to peers into social ills and societal issues. His words make this record feel more personal than the tales of prior projects. His cadence, which at its sturdiest still seems casual, can slip into a breathy effortless slew of words that almost seems intentionally lazy. The vibe is spot on however! These dreamy toned down beats play right into his hand.

The result is a soothing lofty warmth that drifts by yet any attention given to his words reveals a deeper meaning. I love how he can wrap the most potent words into simple lines and expressions to emphasis a narrative. Its almost in rebellion to overworked rhymes and clever wordplay. Vince uses just a drop of poetry and the apt moments so effortlessly. Seemingly much of it plays of as train of thought, ringing of the thoughts directly but a little study often reveals something a little deeper. I do think some of the Ramona Park Broke My Heart's depth does hinge on its authenticity. Are these more personal tales? Either way, its a very easy to enjoy record.

Rating: 7/10

Sum 41 "All Killer, No Filler" (2001)

Talk about a blast from the past, my teenage days of lounging on the couch after school, watching MTV for hours on end have returned so vividly! As one of Pop Punk's best offerings, the four friends of Sum 41 rose to prominence off the back of two massive singles, In Too Deep and Fat Lip. Both songs still sound fantastic to this day. Banging out the warm bouncy riffs, fun light hearted raps and instantaneously catchy hooks, these songs are so hard not to like, which brings me to musical elitism.

I remember loving these songs, as well as Pain For Pleasure, immensely. I'm also positive I had this record and one other of theirs in my collection. I am guessing as my tastes turned darker and harder, my naive youthful elitist Metalhead mind purged this "pop music" from the archives. Now a couple decades on from those years, I'm quite fond of hearing Pop Punk of that 00s era whenever it happens to pass me by.

Either Green Day, The Offspring or Blink 182, which I supposedly hated at the time, I can't deny my love of their songs I'd heard on the Tony Hawks Pro Skater soundtracks over and over again. Spending time with All Killer No Filler hasn't exactly increased my appetite for the genre, in fact its the same as I remember but at least now I can enjoy the warm fuzzy feelings these guys extract for suburban teenage problems.

As the title suggests, the band blitz through their ideas on a string of briefer three minute songs. Its fast, lean and sharp, with mouthy attitudes shouting off. Its not aimed at anyone, or with any malice. The tone is bright, sunny and upbeat. Its vibes get interspersed with fast tempos, choppy riffs and fun aggression, a typical chemistry for the genre. Most these songs lyrics have the finger keenly on the pulse of ones own emotions, relationships and mental health. A term not in the vocabulary of the times.

Despite being keenly introspective, it all tends to be ankle deep and light hearted, straight forward expressions, often airing out grievances and frustrations over suburban teenage issues, all with a decent spirit. Strangely I didn't find much of the lyrics cringe or typically angsty, the sort you'd find in embarrassing reflections on youthful ignorance. Even the anti conformity lyrical chants of Fat Lip hold up.

Lastly, Sum 41 have a slightly metallic edge. It doesn't manifest often, one or two "heavy riffs" and blazing guitar solos nod to their other influence. They give a wonderful tribute to Judas Priest with the albums closer Pain For Pleasure. Its quite possibly one of the best executed imitations of Priest you'll ever hear. It gives credit to the musicianship of these individuals who step into a genre easy to emulate yet hard to rise to the top of, which they did if you count music sales and chart success as a measurement. I've always been curious about doing a dive into Pop Punk but my time with this record didn't connect deeply. Had I gravitated to it in my youth, I'm sure I'd consider this a classic!

Rating: 7/10

Ocean Grove "Up In The Air Forever" (2022)

 

Highly anticipated and warmly received, Up In The Air Forever is a spirited return to the modernized 90s mania of Flip Phone Fantasy. As my favorite record of recent years, a new batch of catchy ear worms are more than welcome. With this new chapter comprised of ten songs, the Australian group rework the formula through the wall of sound aesthetic for a true part two. I couldn't of asked for more, clearly there was more fuel in the tank as this sound simply does not tire on this adoring listener.

With glimmers of Nu Metal in groove and vibes akin to Grunge and the late 90s Pop scene, Ocean Grove get laser focused on catchy hooks and simple song structures. With grabbing guitar riffs and a dense, slamming production that channels all the instruments into a wonderful aesthetic stream, their three minute songs burn through inspiration thick and fast. Every track has its own flavor, most often a keen nostalgic throwback too. Its either Dale Tanner's breezy singing or some distinct guitar riff but everything has its roots in the past yet feels completely fresh and fun.

The one moment where the band reveal their hand all too abashedly is on the brief two minute HMU. Its dreamy intro cuts into a 90s/00s Pop / Hip Hop crossover track. Jiving percussion and punchy guitar grooves set stage for flirtatious lyrics. For me, its practically a flashback to days on the couch after school watching MTV. I couldn't finger the exact song but perhaps something by No Doubt would be a close call?

Fortunately its a great track. The band understand that period well. To drop some more names, Nirvana and Oasis are two other bands I frequently pick up vibes on. Especially the vocals, I frequently hear that arms behind back Gallagher singing. Even more so, I get a keen sense that the best of 90s Pop Music had a stronger influence on these musicians as the hooks, lyrics and cadence just seem to fit snugly with my memory of that era. Nostalgia aside, the group bring a strong sense of identity, wrapped in the spirit and moment of being a youthful band in their prime.

Musically its the production, handled by drummer Sam Bassal, that has their stamp of authority. The most simple elements hit hardest. The bass kicks like a dance floor thud. The snare snaps through the intensity, the pair power every track a strong groove. The shape of riffs and catchy melodies reach to the forefront with a bold emphasis. Its simple to digest at first yet giving more attention, a web of details, textures and electronics feel wedged into the engulfing sound too.

Having binged the record for a week, I can barely decipher my favorites. One great moment flows into the next and the vibrant energy rarely ceases, cooling off with the title track drifting off into a dreamy Etheral Rave of sorts. A lot of my adoration resists the analysis I try to bring to the experience. This band genuinely remind me of first falling in love with music where bands could do no wrong and anything you could get into was wonderful. I just want to soak in their vibes and enjoy every moment.

Rating: 9/10

Lena Raine "Minecraft: Nether Update (Original Game Soundtrack)" (2020)

 

With a recent dive into the Wild Update's new music, it occurred to me that the accompanying soundtrack format extended back to the Nether Update! Despite covering the new musical inclusion in game, this separated release alluded me. Now that the talent of Lena Raine is no secret to me, I wanted to return to her first inclusion in the games soundtrack through these three ambient pieces and the classic in-game Pigstep record disc that introduced her music to the Minecraft community.

Pigstep is a bop, no doubt! A boldfaced groove of mischievous synth-bass jive, curious yet cautious flutes adventuring nearby and a cheeky lead melody throwing caution to the wind. The music builds up to a gratifying swirl of sounds that can swiftly drop back to its starting stomp, all while a busy percussive drive builds up a textural density around it. Quite the departure from C418's stance, an attention grabbing introduction that fits the vibe of the nether's new Piglin inhabitants.

The three pieces of ambience built for Minecraft's most perilous dimension steer clear of the darkness and abandon one could so easily grasp for. With slight unease and tension in its airy ambiguous synths, all three anchor into moods that signifies danger and caution yet linger on what beauty is to be offered. Chrysopoeia rolls in with a thick fog for gracious piano notes to cut through. One can see the magnificent yet truly deadly landscapes, appreciating its magnitude within a humble presence.

Rubedo is my favorite. Mainly for starting with its main looping melody which arises as a lonely spirit, drifting in perpetuity. When the more commonly ambient backing synth groans into existence, it brings such a powerful and daunting sway that swells in a riveting moment of tension. Its a beautiful moment, stunningly crafted through a reverse of format where often the backing would linger as the melodies direct.

So Below takes a glassy, crystalized set of sounds on a cold and breezy voyage, somewhat unfitting to the scorching heat of the lava riddled nether. The ominous bass murmuring below broods and awaits its turn. When the shiver passes it expands its creep, ending the trio of tracks with the darkest of moments which fades aptly.

Lena has me excited for the future of this games music. Her craft is brilliant and brings true inspiration and vision to a format of music, Ambient, that can easily be jostled of its merits. Best of all the visions conjured suit the nauseating scale of the basalt deltas, unruly dangers of crimson forests and the eerie safety of a warped forest.

Rating: 7/10

Kae Tempest "The Line Is A Curve" (2022)

 

Formerly known as Kate Tempest, Kae returns after the disappointing The Book Of Traps And Lessons, renewed and revitalized with that magic sparkle heard on earlier records. Always one to cut to the heart of social observations, The Line Is A Curve turns in a personal direction as a love story arcs from origins of pain and separation. Although Kae is often tied up in the observations of the characters manifesting from story telling, this time much of the lyrical feels deeply personal with vulnerability often heard in there voice. The record blossoms from a typically dystopian, dissatisfied, unsettled origin into a warm, endearing resolve found in the love of another soul.

Shadowy, softly glum with a nightly luminosity, the opening instrumentals navigate difficult terrain with terrain as Kae's lyrical journey starts from a depressive state. The mood begins to turn with Salt Coast, its opening gives me an eerie deja vu to Marvin Gaye's Inner City Blues. It must be the same piano chord! With this song both Kae and the instrumental start turning to positive expressions and melodies as the relationship between ones self and the other starts to tangle. Slowly the threads are pulled one by one.

Along the way, These Are The Days land some Pink Floyd vibes with fantastic instrumentation. Mixing a live band with the synthetic melodies has a beautiful resonance. Its something the production achieves over and over, melding different musical elements at the greatest compliment to Kae's words. Things get a little manic with the last couple of songs but landing on the heart pouring Grace, the arc finds its conclusion. One that surely can't be fictions, its such a beautiful expression.

The Line Is A Curve plays with a true album experience, not a collection of songs but a journey cohesive in voice and instrumentation that one can chew on from some time as Kae's lyrics stir the deeper rumblings of thought and the accompanying music setting an apt complimentary tone. The whole thing feels like a hugely personal endeavor to shape the motions of ones life into a piece of art.

Rating: 7/10

Lena Raine & Samuel Åberg "Minecraft: Wild Update (Original Game Soundtrack)" (2022)

 

With the latest Minecraft update closing in, this timely four song soundtrack has been released in what is becoming a welcome tradition for the game. Its new music disc composed by Samuel Åberg will have the community whisked into a world of discussion. The audible sound of flint and steel in its inception will fuel the fires of theory regarding a new type of portal in the ancient city. The cinematic track is a sound design experience to further enrich the lore of the Warden and deep dark.

Initially dark and creepy, a momentary melody so suited to Minecraft's in game records slows down into a dark journey of foot steps and grisly sounds as our adventurer plays hide and seek with the warden. The sound of a sculk shrieker unintentionally activated unleashes a beastly jump scare, to which we heard a brief instance of it in the beginning. It perhaps suggests a non-linear song structure. With this song alone, Mojang have let loose community exceptions for a new dimension ventured from the Ancient City's portal structure. Maybe we will see it next update?

The other three songs composed by Lena Raine speak wonders to her talent. The gentle pacing and warm dreamy ambiences are so apt for this game. Once again she navigates away from the shadow of previous composed C418 and compliments the game wonderfully well. Firebugs builds its innocent, soothing melodies and soft tropical percussion to a surge of cultured strings. Boldly, it gives a brief but necessary human touch to the song. One can imagine themselves laid down in a canoe, breezily drifting down the rivers through a mangrove swamp on a cool summers day.

Following it up, Aerie drifts into a sunny melancholy. With humble origins, a lonely melody meanders lost over the beautiful resonance set by cautious pianos beneath. Like a sudden realization, the music finds its moment to pivot and slowly build through its bright sorrows as the main melody matures and the deep bass piano notes beneath lead to a place of satisfaction. Its the sort of unassuming song that passes you by quietly yet whips you up gracefully into the arms of its emotional direction.

Labyrinthine is the most noticeable of the three from an ambience perspective. Its pan pipe instrument rises above the pallet of sounds heard in the previous two. Their timbre and presence creates a soft tension to give way before the music steers away. Blossoming into a rather bold and present swelling of sounds, its punctuated by distant, yet sharp and sparse reverberated snare. It demands ones attentionas then a conclusive feeling sets in with the subtle re-birthing of the original pan pipe melody.

Ambient music is an art, a craft which can sometimes hinge on the simpler aspects of aesthetic engrossment and temporal suspension, yet here Lena strides forth with apt melody so suited for the game and weaves in that subtle presentation. The pleasure is that her music can both be enjoyed in the foreground of attention or mood setting background. As for Samuel, his sound design track is quite the different entrance. I wonder if we will hear more of his works again? And what else he is possible of.

Rating: 6/10

Old Man's Child "Vermin" (2005)

 

On the first few spins, much of this record felt fresh to a long forgotten cast. As a reminiscent familiarity set in, fond yet faded memories of its existence began to re-emerge. This was then the newest of Galder's records to be released in the prime of my time enjoying his music. Somehow, it ended up over shadowed by the rest of his records. Revisiting it has been a pleasure, a lost joy I've re-acquainted myself with.

Strangely though, I feel I have the least to say about this record. Following his peak, In Defiance Of Existence, Galder's next move was a symphonic embellishment that has Vermin feel more like a bridge between the aforementioned album and Revelation 666 - The Curse Of Damnation that came before it. Despite my adoration of Revelation 666, it does admittedly drown in the rich symphony and over production.

Vermin is measured in approach, taking the refined song writing of In Definance and bringing a visibly more involved orchestration of darkly synths to its atmosphere. It does however frequently turn to the bombastic throws of evil Metal. Its big riffs are pitted against a careful arrangement of sinister melodies and devious guitar work. The momentum is splurged on simple breakdowns, often drenched in keyboard symphony.

With a lack of stand out moment, the shorter record plays through the defined Old Man's Child sound without anything experimental or unexpected. Perfect for a mood but lacking in anything to grab your attention otherwise. It does dabble with a brief cinematic sound design track to end off with. Its descending tone, hinted at in its titling, is a brief stint but hardly makes a lasting impression in new territory.

Rating: 7/10

Marvin Gaye "What's Going On - The Deroit Mix" (1971)

 

Stepping outside the Motown framework and operating as an individual artist, Marvin's personal expression reflecting the struggles of African-American life during the Vietnam War birthed a beautiful moment in musical history. Often considered one of the greatest records of all time by critics, What's Going On left me enamored by its grace, humanity and sorrows. Since then, its always been an enduring warmth to return too. Marvin's timeless voice a charm tragically lost from this world all too soon.

Hearing of an alternative mix to the record intrigued me greatly. Turns out this "Detroit Mix" is the original mixing before his associate Barry Gordy stepped in, who was against the album's theme long before it materialized. The subsequent changes elevated the symphony elements, the first change I noticed upon listening. It will be forever impossible to truly assess which mix better suits the music. On paper this more roomy, closer mix has an intimate quality, further authenticating Marvin's views.

Its string components are pushed back, the baseline feels neighborly, the saxophone more prominent, pushing forth the Jazz component. With a rawer voice, not overstated by layering and reverbs, this mix is admittedly less grabbing in tone. All nine songs are still beautiful and moving, reaching still through its intimate aesthetic.

With a deeply ingrained memory of the original as I knew it, this mix will always feel inferior despite offering up a cleaner take on the music. The spaciousness unlocked by its later design gives a crooning energy to the string sections. Marvin's overlapping vocal lines are magical, softer and soothing in presence. Although accompanying singers feel distant and a little less personal, pretty much all of the changes were for the best to my ears. Rawness and authenticity are not always the key principle in production. Embellishment and studio magic can bring so much if done right. For me, the original record is still the way to hear it.

Rating: 8/10

Judas Priest "Point Of Entry" (1981)

 

From the hardening rock of British Steel, to a throttling attitude Screaming For Vengeance unleashed, Point Of Entry seems to be a misstep along the way, rather than a missing link. Resting on their laurels, Judas Priest soften their current blueprint for an accessible cut of Heavy Metal. Settling on summery vibes and breezy warm temperaments, the trends of 70s arena rock and radio friendly topicality dominates the ten songs, which in turn recycles its "Rock N Roll on the road" persona one to many times. Never does Halford unleash a wild piercing falsetto. Tipton and Downing tone down the solos, keeping them brief, concise and caged. The rhythm section too plods along with the steely foundations that aided its predecessor greatly.

Although it may seem a smear to highlight the detour from a trajectory they will soon excel in. This light hearted, measured approach is spun rather well. The bands experience in song writing works through simple structures with its components all neatly aligned for a pleasurable listen. With nothing to ambitious concurring, its collection of riffs carries the theme well. Where the record fails is when its road cruising, carefree venture runs tired. Halford's lyrics are knee deep. Simple verses and expectant catch lines wear out quickly on this listener and thus once the point is made, its lack of diversity and variety has all the songs seeming the same.

If Point Of Entry has the right highway cruising vibes for you, then it may just be one to adore. For me it pulls me along for four or so songs and then becomes a repetitive blur. Perhaps its best cuts are upfront? It seems so but the reality is those songs make their point known and then the record has little more to offer. Not being particularly into its character, Point Of Entry is one to skip over when picking my favorite Priest songs, despite it not being terrible in anyway.

Rating: 5/10

Ozzy Osbourne "Diary Of A Madman" (1981)

Rolling back the years on this Heavy Metal journey, we arrive near the decades start with a noticeably shabby rawness gracing the production tone. The music feels a little unhinged with this rugged aesthetic and its stark irruptions of jarring synth. The bold instruments collide occasionally and the baseline rides high in the mix. Yet it all serves the attitude and Metal spirit, what was back then possibly considered extreme music. I'd love to learn more of its historical context when it comes to advancement.

Rough around the edges, Diary Of A Madman is mostly a spirited venture into the Rock n Roll rebellion. Its opening track Over The Mountain is quite the hard hitter, kicking things off with its fast chugging guitar riffs and dangerous melodies, it sets a strong tone where the following songs open up to warmer moods. Randy Rhoads quickly marvels alongside Ozzy's singing as his roaring guitar solos and lead licks illuminate parts of the songs over and over. They unpack that hard hitting start and delve into more musicality with many anthemic vibes fit for the big stage.

The duo are well suited but to be frank they compete with one another on a handful of songs, pulling with different intensities. As the album grows its songs wavier, the ballad Tonight sounding decent but so out of place. Ozzy has a remarkable charm that suits the song style but the change of pace from roaring guitars to emotive piano surges seems to stiffen the flow. The symphonic closer and title track is a great example of experimentation that comes together. Randy and Ozzy elevate the climatic journey with their contributions as the song blossoms with choral voices that turn to gripping chants. Its a powerful ending to a mixed record with many ideas circulating.

 

Rating: 7/10

Animals As Leaders "Parrhesia" (2022)

 

Following up on the three tracks of Gordian Naught, Parrhesia's six other songs follow in a typical vein for this band. Complexing instrumentals of rhythmic uncertainty resolving and instrumental aesthetic exploration yielding both unwieldy chunks of reactionary groove and beautifully scenic melodics. My exposure to the original three has perhaps tainted my experience, in the best way possible. To thees ears, the six new cuts have more gratifying shades of color when they blossom and more often too. This makes the churning of the cold polyrythmic density more bearable. The hard drives through the aggressive terrain of tightly jolting deep end guitar noise often leads to lavish explosions of emotion. The guitar tones and texture open up, brightening the mood and self illuminating in tandem with its melodies and chords.

 

A little infusion of synth key arpeggios along the way is a niche touch. Its blooms and respites between are often the most appealing aspect, as the band foray into Post Rock and Metal territory with textural landscapes breaking out of regular riffing structures. The immense talent of these musicians makes it a marvel to unfold in its best passages. The trio can be heard firing on all cylinders, giving all their instrumentation a density that needs unpacking. Drum patterns woven yet groovy and charming, Even some "lighter", acoustic led refrains have a dexterous depth.

The problem for me is the low end guitar work. Initially a draw, something I'm fond of, Animals As Leaders get a little to into themselves on this outing. With the extremes of technicality, polymeasures and oddities as they present them, the pursuit often feels soulless. Thoughts And Prayers a keen example of the choppy chugging getting lost within itself and going on a meaningless tangent. The band is all about swaying between its two temperaments, finding interesting middle ground along the way. For me, the self serving aggression has sadly lost its attraction.

Rating: 6/10

Judas Priest "Screaming For Vengeance" (1982)

 

I've always adored Priest ever since discovering British Steel in my youth. Going on vacation gave me the perfect moment to pause on this record. Racing down the slopes with the hooks of Bloodstone, Devil's Child & Freewheel Burning stuck in my head, it all clicked. I'd never given their other records much of a chance to stick. Songs like Painkiller, Rapid Fire and Come And Get It grab you by the throat and scream in your face. In fairness, it seems that much of their catalog does to. Now with a maturer mind to really give any music a proper go, I've realized what Ive loved about Judas Priest has been lying in wait, abundant among their extensive discography, were I had not ventured far enough before in my ignorance.

 You've Got Another Thing Coming is the one song I knew well from this record. As a mid tempo track with a tempered chugging grove on the rhythm guitar and Halford's attitude drenched lyrics, it plays like a British Steel cut. Lying in wait however are fiery tracks. Cranking up the gears, throttling the pace and amping up the Priest persona, you can hear the group excelling on themselves. Heavy Metal's eternal pursuit of pushing extremes has led it to ridiculous places but before the birth of Thrash Metal you can hear Priest raising the stakes step by step, writing amazing songs along the way, never detouring to the trend, keeping the flame lit.

And thus Screaming For Vengeance is another spirited, fist pumping romp of blazing Metal! Priest churn out the riffs, rife with steely rattles of melody wedged between shiny grooves. Halford's falsetto wails youthfully with that leather cladded attitude, worming his hooks into you as his soaring voice sails off the back of electrified guitars. When they burst into solos the atmosphere is magnetic, their instruments at the mercy of Downing and Tipton's impressive roar off howling pinch harmonics, dizzying sweep picking and relentless hammering on. All happening in the blink of an eye.

Where the album excels is in its pacing. Tracks like Pain And Pleasure, Take These Chains & Fever brake up the motorway blazing pace with a touch of moody reflective blues wrapped into anthems. Every spin brings joy after joy as the high spirited onslaught takes a few turns and twists along the way. Some of these songs also sound rather foundational to shifts of temperament found on the later records. This certainly feels like a high point for the band. I'm not sure where In the discography I want to jump to next, maybe go right to the very start and hear the evolution? Eighties Priest is certainly something to marvel but just how did they get here?

Rating: 9/10

Erang "A Season Of Leaves" (2022)

 

The final of five, A Season Of Leaves was the least enjoyable for me. With a misdirection of soft bells at its opening, the music crashes in hard with the Summoning's blueprint. Distant hazy distortion guitars bleed over thunderous drum strikes and shrill wretches of screams chime over a counterpart melody played via the bright key tones. With breaks from extremity led by a deep, epic narrative voice, the Tolkein vibes emanate. Admittedly, its a competent piece of music but the lack of originality leaves me with a sour taste.

From here the format is stretched, pushing the ugly Black Metal in sideways directions and fusing with more Erang-like folkish instrumentation. Its a true mishmash that reaches a low on Le Loup, La Chouette Et Le Vent. The sloppy extremity has no candor. The final track actually finds some fascinating chemistry in stints. The racing drums batter along with thees ascending chorals in the backdrop. Its momentous and rallies to an esoteric realm as zany synths wage in. Without cohesion though, it falters.

Ultimately, this was a brave release to put out there as an artist. Making bold decisions and striving for something different, its five seasons offer up a lot of intriguing musical ideas. In places in sparks, in others it falls flat and that might be down to preference, or simply artist fatigue as the traditional tropes lay all to bare for me. Either way I am glad Erang keeps pushing on! This was quite unlike any other listening experience I have had in some time.

Rating: 2/10

Erang "A Season Of Frost" (2022)

 

Home to a song that really turned me off, this quintuple of mini albums hints a rough patch with A Season Of Frost. Les Sentiments Puissants has Erang delve into Black Metal aesthetics with a style I simply can't enjoy. The influence and direction becomes more obvious on the Leaves chapter but here the lone track shows its blemishes boldly. Tape stretched synths and other garish tactics are deployed to descend its decrepit direction into the unruly strangeness of uncomfortable listening. The song is miserable in nature but rather than offering immersion the production slaps one in the face with its stark ugliness.

The other three tacks happen to be the least interesting non Black Metal types. They stand firm to the gloomy early chapters, ones very enjoyable when fresh over ten years ago. All this time later it feels over explored and stagnant. Opening with At The Gates Of Lobrok, its steely build of atmosphere has a little momentum groaning for whats ahead but its dungeon spirit drops off at the arrival of brash howls and a stiff distortion guitar. Sadly, this and the next chapter did not work for me.

Rating: 3/10

Erang "A Season Of Bloom" (2022)

 

Third of Five, A Season Of Bloom was the first of this ninety minute saga to grace my ears. Initially I was unassuming of what was to come. Led by a gorgeous cultural acoustic guitar, I was swiftly reminded of Erang's previous use of this instrument. Where much of the music to follow has an oddball character, led by experimentation and unusual ideas, this felt far more conventional and thus unalike for other reasons. The following three songs continue in this vein for the most cohesive of all five.

Accompanied by curious instruments of luscious dreary timbre, the guitar blooms brightly with a spirit distant from both the Fantasy genre and cultural sounds, yet seemingly they would be its closest companions. Its as if Erang birthed an identity for his realms, expressed through folkish tales that drift between the real and imaginary. Its beautiful and warmth with a subtle sadness, heard deeply on The Day I've Lost My Dog. I do think the shorter, four track focus serves a moment like this one well. A whole hour in this lane may end up loosing some potency along the way.

Rating: 6/10

Erang "A Season Of Magic" (2022)

 

The second of five new Erang release. The french musicians five part collection of seasons finds its most curious moments here. Possibly the most subdued of all flavors, on paper it would seem closest to tradition. Somehow the foggy atmosphere keys, gleaming strings and waveform synths converge on a new mood. Its mysterious, drenched in a lonely nostalgia, an oddity of execution that is somehow without that distinct Erang footprint.

The Absolute End Of Everything Human hints of an abysmal tone. Its opening symphonic brooding and despairing voices create a "fallen from heaven" epic that gives way to limbo. Two of the remaining three tracks very much reside in a curious space, where the dark and light feel deceptive. The Calm Tower balances out with a Fantasy akin stride through the warmth of sunlight with an eerie underbelly always lurking yet when focused on its disjointed percussion dissipates all tension. Its ever so curious, as much of what unfolds on thees five are.

Rating: 5/10

Erang "A Season Of Sand" (2022)

 

As the first of five new Erang releases I will be covering, this quintuple format of themed four trackers amounts to ninety minutes of new music. Each "season" has its flavor and sand is my favorite. The opening Guardian Of The Names emerges from is eerie low fidelity Dungeon Synth intro with breaks of Persian percussion and exotic instruments that conjure visions of sand swept cultures and societies bustling with life to a backdrop of endless dunes. The music that follows has a unique fusion of quirky, disjointed fidelity distortions and a slow soothing melody drifting at dreamy tempos, alluring one into its vast nightly journey.

Oasis Mysterio lumbers into a peculiar Jazz Fusion jam, as a lead jiving colorful keyboard sporadically splurges its notations with a jazzy free form over the dulled minimalist synth backing behind it. Unique, as quite a few things in this project were. Sands Of Innocence peaks my interest however, its unusual chemistry of temporal tones, cloaked in mysterious voice suddenly bursts apart, teeming with life as a 90s dance beat jolts the second half of the song into life. Very memorable.

Rating: 6/10

Sequestered Keep "Sorcerous Steel" (2022)

 

 

Its been five years since The Vale Of Ruined Towers, a Dungeon Synth adjacent release that I remember fondly for its its lush medieval fantasy direction, one similar to Fief. Sorcerous Steel has little in the way of surprise, having now unearthed these fruits from the niche scenes of bandcamp. Without a lick of darkness, the record peruses through the pleasantries of natures charms. Its got melodies to fill the meadows of a warm summers day, set a few hundred years back of course. Splendor gushes forth as each song gently drifts along rivers of cleansed historical imagination.

The five years of its creation don't amount to anything remarkable. Its arsenal of virtual instruments, pan flutes, trumpets, plucked harps and tambourine led percussion are brought forth crisp and clear. They harness the sweetest, most welcoming of melodies. The record is a constant wash of jovial notation and serine warmth forged from a fictional nostalgia of Medieval days that sweeps hardships out of sight.

These songs consistently dance in their own moment. Gradual progressions and structures emerge but the very nature of these joyous, spirited melodies keeps one locked in the present moment. Conjuring similar tones of bright monarchistic wonder, the riches of the day, the albums own progression too is just a series of moments. Each song fades out in a similar state to where it started and thus the whole project feels like background music for a setting, perhaps in a video game. This might sound negative but sometimes its exactly what you want. This is music for the background, something too sooth you with its purposely romanticized nostalgia.

Rating: 5/10