Clipping "CLBBNG" (2022)

Still one to keep an eye on, even remixes of Clipping classics set for the club scene were a curiosity. The 90s sounds of Dance, House, Acid and even a soft sniff Big Beat make sturdy foundations for modern aesthetics. Producer Jonathan Snipes has made great of the source material. I would not of guessed the finessed story raps of Daveed Diggs could suit this mold. Kicking off with Nothing Is Safe, the soft synth tunes and shuffling percussion vibes well with his raps. Its second of four, Drop Low, follows along as an instrumental alternative take of the first track.

Things get interesting on Get Mine, kicking off the unforgettable alarm clock, its obnoxious grate is cut up and rearranged with groove alongside the percussion and Acid synth leads. Its counterweight of chopped up effeminate vocals go back and forth, finding interesting overlaps and a reference to Cypress Hill along the way. It would of been nice to hear more raps in the project. The final track samples the "drop that game on them" insistently, as dirty baselines rumble and pivot with bright piano chords and cheery child choir singing among an arsenal of animated sound effects.

As volume one of hopefully more, hearing this style meld with Digg's raps would be a treat. This installment offers just a glimpse of that, the rest of the material lays more on the shoulders of Snipes's own creativity. He is class at what he does but that middle ground could be better explored. There is clearly an interesting chemistry.

Rating: 4/10

Exhorder "Slaughter In The Vatican" (1990)

Reminded of thee band who helped shape Pantera's sound, it was time to revisit an old record I only knew of briefly upon learning about their influence on fellow southern metallers. Released later in the year than Cowboy's From Hell, the claim to originality, in terms of a Groove Metal style and the Phil Anselmo singing vernacular, lies within Exhorder's late 80s demos. At that time, the Abbott brothers were living out Kiss inspired fantasies in the local scene, with self produced Glam Metal records.

Slaughter In The Vatican is not the killer blow to Pantera's genius. Having studied its form, this is clearly an "of the time" hybrid of Death and Thrash Metal, pulling a few cunning ideas along for the ride. Its hard aesthetic, a dulled battering of low end guitar tone and clicky percussion is a pale aggression tiring from a lack of aesthetic vibrancy to spice its metallic rhythmic chops. On first gasp, quite the beast, lunging in hard with guitar grinds and drums bordering on blast beats, but the brutality lacks endurance. Its tone quickly narrows as the keen distinctions in groove are lost among an endless stream of atypical extremities lacking catchy hooks and memorable songs.

Its best song could just be Desecrator. Weathering the storm with its better riffs, it concludes with a dazzlingly lean and dark, swiftly osculating riff I'm sure Pantera have lifted somewhere in their later discography. Moments of distinction like this are far and few between. Not to dwell on comparisons but the point would be this, Slaughter In The Vatican is a rather typical record for the broader extreme music scene. Although a fun spin, on all fronts it lacks a spark to become spectacular despite its competence.

Rating: 6/10

Billie Eilish "Don't Smile At Me" (2017)

Ignorance leads to serendipity, as unbeknownst to me When We All Fall Asleep, Where Do We Go? was not Billie Eilish's debut. Furthering an excitable confusion, all the songs of this prior EP were already relatively well known, given the extensive air play and commercial application her music as received. Stripped of experimental leaning aesthetics yet to germinate, Don't Smile At Me serves as a slick, slender collection of Pop tracks. Its hard to nail down its attributes, as flashes of various genres pass by. The music mostly leans on Billie's presence and Finneas's keen percussion, which carries the pacing through its spurts of instrumentation.

Both his apt production and balanced compositions are fantastic. Simple, catchy and clean, they compliment Billie's vocal melodies and lyrics so well. The genius clearly runs in the family. Now listening further back into her youth, as a teenager, Billie's lyrics are so surprisingly self certain. Mostly musing her words on the matters of love and relationships, not only does her voice shape luminous feelings into infectious hooks, her sincerity strikes with maturity too. Her massive success is no surprise.

These humble origins are yet to establish a unique tone among the loose and cluttered genre of Pop music. Despite this, the bright, brimming talents of this sibling duo would be heresy to dismiss. Most mystical of all, their youth. Both musical and emotional maturity displayed seems a true rarity. So as of late these nine songs, including a brief feature from Vince Staples, have been on heavy rotation. The downside? This moment in time has surely passed, unlikely to be captured again.

 

Rating: 8/10

Tamaryn "Tender New Signs" (2012)

This second foray into revivalist Shoegazing takes a matured aesthetic leap, leaving behind the stiff disappointment of debut The Waves. Armed with strong guitar melodies, the wall of sound is penetrated with quite a distinct tang, vague echoes of Country and Americana from its lead guitar licks. Often melting out of bendy shimmers, their moments of articulation bring a necessary melody to the dense breeze of dreamy, foggy warmth this colorful sound indulgently basks in.

Yet to truly dabble with the Pop sensibilities of Cranekiss, Tamaryn rarely emerges front and center, rather she is shy and reserved. Lowered in the mix and competing with the thick echos of effect smothered guitars, she blends into haze. Even on a more dynamic Transcendent Blue, she sings only in crowded spaces despite plenty of lulls. It creates a sense of intention to have a continuously deep tone for all of its songs.

This single minded approach breeds a lack of distinction. The mood of Tender New Signs is warm, a cozy space to curl up in yet it barely breaks for anything spectacular. Not even an alteration or deviation. Some melodies may be more distinct but they all follow a hazy path of bleeding instruments and dreamy aesthetics continuously fall into one another. Reasonable as a mood setter but in the forefront the album plays dulled and tired. Definitely a step in the right. The best yet to come.

Rating: 5/10

Abstract Void "Back To Reality" (2018)

 

What do we have here? A Synthwave and Black Metal crossover. Is this possible? Anything in music is but that doesn't always lead to success. In the case of Abstract Void this union of styles is slick and smooth, a luscious mix of glossy synths, dense guitars and distant shrill screams. Together, they steer Dance grooves into aggressive plunges as Back To Reality gradually layers on the intensity in its opening stretch.

The atypical night life, neon light vibes finds its balance with an atmospheric approach to Black Metal where slow, lunging Shoegazing melodies bridge the gap in composition. Percussion steers the music into its extremes as drum patterns rattle into blast beats and the like. Consistently emanating dazzling melodies from the layered keys, each song has quite a luminous presence. Glistening in its well crafted resonance, they venture to emotive the grandiose with its epic scaling melodies. Very satisfying.

The harsh yet muzzled screams feel like an afterthought. With such synthetic vibrancy steering the musics mood, the vocals arrive like discernible blocks of noise barely contributing to anything rhythmic. Its a minor blemish of wonderful chemistry that does feel somewhat obvious in retrospect. Although a brilliant union of distant realms, its played down the middle, nothing unique or unheard emerges as a consequence. With a little more adventurous spirit this could of traversed new terrain but to these aged ears it mostly resonated with solid ideas heard many a time before.

Rating: 7/10

Den Sorte Død "Depressiv Magi" (2022)

 

 Depressiv Magi, a fitting name for these steady solemn strolls through the pale. Its six chapters fragment all differing increments of funeral gloom and lonely wonders. Its bleak exterior, a dominating aesthetic, casts a forlorn prison to the minuscule glow within. Its stoic charm and glimpses of effervescence, caged, dragged and smothered by a nostalgic doom. Although the duo wrestle on occasion, its darkness that wins out.

Comprised of Dungeon Synth and Berlin School electronics, a textural affair is to be enjoyed. Foggy, fidelity diminishing Low Fi ideals rub against the precision of angular buzz, sine and saw wave oscillations. The two find a unison in unraveling songs where their composition and chemistry is apt. Although its often humanistic Dungeon Synth tones that represent escape from the glumness, they interweave rolls, creating quite the spectacle of impressive musicianship and craft.

Den Evindelige Skygge opens the record with a lurching sense of unease before its title track rebirths the tonal theme to reveal dire tensions. From here much of the relief is abandoned as these chilly, joyless atmospheres turn grave, often punctuated by driving percussive strikes that call out from the dark. Depressiv Magi is a well executed project but limited in scope it suits a particular mood.

Rating: 5/10

Kyros "Celexa Dreams" (2020)

 

Kyros have delivered fresh magic, a new "song of obsession". The epic ResetRewind gave me pause to go deep with this band. Their bold, unabashed exterior and enthusiastic tone would of been easily glossed over. So with their third album effort, the spins of Celexa Dreams have been numerous. The result? A keen, warm sound carving space where I knew not it could go. With the explorative spirit of Progressive Rock, the punchy, hard hitting instrumentation inches into with metallic territory. The vibes arrive with unshakable echos of performative 80s Synthpop and a subtle sense of VGM influences, perhaps from the likes of a Nobuo Uematsu and his Black Mages.

Built with both lengthy ten minute plus epics and short songs too, the record oozes its instrumentation like a river gushing. As a constant flood of musicality throws big punches, dazzling melodies and harmony, we are never far from the fold. With slapping baselines and big gated reverb percussion every idea is rhythmically powered along by a theatrical momentum. The ever-present synths both sing melodies and gently chime into a glorious wall of sound. The treatment is bright, a constant punchlines permeating as its aesthetics sparkle with a powerful persuasion.

Its clear, crisp, precise and full of character. Unsurprisingly the song structures can reach far beyond convention and on that adventure many exciting arrangements and dynamics are summited. Best of all Shelby Warne frequents these peaks with fantastic vocals. Soaring high, some of the albums best leads are in tandem with dramatic surges of catchy human wordings. The whole affair is a delight, reaching beyond its own moods, Celexa Dreams often steers one into its realm. With every familiar listen I've been sucked in regardless of where I was at before!

Rating: 8/10

Warpaint "The Fool" (2010)

 

Crooned by a blissful flurry of soothing sensual songs, Radiate Like This left its impression. An elegant stride through resonant pleasantries that had me seeking more. Disappointed by Heads Up, we lastly arrive full circle, at their origins. The Fool is a subtly engrossing record of broody chromatic Post-Punk, shimmering with dissonant melodies that fracturing its intensities. Through its dreary tapestry, blooms of saturation erupt. Spearheaded by sharp grooves, illusive voices and swelling guitar licks, each song is armed with a convergence from its apparently unsettled nature. Charcoal aesthetics, smothered in ash and rain, the glum exterior harbors gems, sequestered by its overcast skies. I adore the oxymoron. Bleak and pale, lost and aimless yet human colors seep through its pours as the melancholy evaporates.

Its a matter of chemistry that can hit or miss, mostly striking the mark. Composure for example never quite escapes its own shadow, stuck with a soft gloom. Bees on the other hand walks into a trap. Its initial grim frictions overturned with a triumphant baseline chime. Undertow sidesteps the duality entirely with its endearing warmth upfront from the get go. Variety lends itself textually with acoustic leaning songs, some occasional warbling electronics and sparing use of pianos. The Fool has sturdy foundations yet an illusive chemistry, its feet in two halves, a curious glowing charm.

Rating: 7/10

The Veldt "Afrodisiac" (1993)

Memory is a thickle thing. Essential, yet always fading, it shapes our reality in many ways. Fortunately this was harmless, a little shock to stumble over a record I thought could not exist. Seems I forgot of their history on my previous encounter with The Veldt. Their return fusing Dream Pop and Trap was a passing enjoyment. Its a farcry from Afrodisiac, a record fitting snugly into its era, without seeming remarkable or impactful. So far Its stuck me as the sort of album that just gets lost with the times.

With a lurch of early 90s Alternative Rock and Shoegazing distortions, the group fuse timely over-driven guitars with the sparse echos of Funk Metal groove. Its also a textural experience, sliding into dreamy spaces with glittery acoustics. The occasional fusion of Trip Hop drum loops proves expansive as the record sways between styles. Consistently singer Chavis's bold charismatic voice resembles an 80s ballad singer.

His presence is swell, a delight when the vibe clicks but often it arrives with friction. Its this contrast that all of its elements have in some degree, giving it a sense of "almost genius". The songwriting plays into this, ideas merging from different directions, a lot of material exposes its origins and the union doesn't quite find the apt chemistry.

That being said, its an exploration of ideas that has plenty of engaging moments in its lengthy hour long stay. Heather strikes me as a peak, a broody dark wailer of a song powered along by its Industrial percussive thuds. Ultimately, Afrodisiac strikes me as a clear product of the times, not quite finding a way for its unique overlaps to blossom. That being said, it gave me a sense that continued exposure would grow on me more.

Rating: 6/10

Regina Spektor "Home, Before And After" (2022)

 

Six years have whizzed by since Remember Us To Life. An impression was left, one of age and fragility, a beautiful moment of vulnerability captured on Obsolete. That emotive power of honest introspection has felt absent on this newest venture. Regina goes through the motions with embellished instrumentals, a far cry from the origins of her lone voice and piano. Still singing in her cutesy quirky cadence of whispers and wordplay, the synergies between intention and expression seem bold and obvious.

Home, Before And After mostly struggles with if that synergy clicks. Each song has its own character, often emphasized more by the extended array of warm instrumental sounds than Regina herself. On-boarding lavish string sections and 80s Synth Pop tones among others, the album cycles through bright and varied aesthetics. So often do they burst to life with emphasis and purpose, as if to say the words not spoken.

Its simplest song, Raindrops, was my favorite. Just her delicate voice and a soft piano. Humming tunes along the way, the endearing Regina emerges in her element. Many of the other songs have these humble beginnings too. Yet they often stray into the crescendo, a need to swell and bloom in extravagant conclusion. From a song writing perspective, its well orchestrated but on this outing the big production stripped out her charming personality. The instrumentals seem to drain Regina's unique vibe. They drift away from the magic, a soft, subtle and calming setting she is more suited too.

Rating: 5/10

Tamaryn "The Waves" (2010)

 

Without the punch and powwow of tuneful Pop sensibilities she would develop later on Cranekiss, Tamaryn's debut leans hard on its textural Shoegazing haze. Its a dreary debut hinged on distant guitars that wail harsh Ethereal ambiguities. The groaning textures shimmer and stew in the heat, droning without a gratifying conclusion. Its song structures I take issue with. Each whirling, repeating wash of noise and her various weaving of voice tend to ride the initial exotic wave. As its character sets in, the songs lack a counterpoint, and thus the hazy guitar textures begin to grate.

The percussion is often distant, a drum machine falling mercy to smothering aesthetics. Often its a step behind, lacking presence to command tempo or inject a rhythmic groove. Love Fade is one song that stands apart. The drums have comparable gusto. The gratifying vocals in the chorus give it a half hearted shift off the main loop. Its a single exception among a collection of nine songs that couldn't find an aesthetic chemistry or musical component to define themselves. Every spin of The Waves has been somewhat uneventful. Mediocre and mild as background music but in the foreground it seemed so lacking in life. Quite a dull affair.

Rating: 3/10

Exhorder "Mourn The Southern Skies" (2019)

 

If anyone had a claim on Pantera's era defining sound, these neighboring Louisiana's had the framework for a new metallic approach locked in years before Cowboys From Hell. Having disbanded in 94, I was shocked to hear them in rotation on Spotify with new material decades later. More so was the similarity to the "Phil Anselmo" breed of groovy Southern Metal. With a foggy memory I returned to Exhorder's debut, Slaughter In The Vatican. A brief reflective listen had me in awe. Kyle Thomas's cunning vernacular a blueprint for Anselmo to emulate. It's been quite the historical reminder and undoubtedly I'm gonna have to dive into those old records again.

Mourn The Southern Skies is a ripe affair. Reviving classic groove oriented, fist pumping power and might, the southern swagger scales atop fiery momentous. Kyle rides the waves of crushing guitars and battering drums with attitude as they burn through iterations on the arsenal of techniques accustom to this sound. Its secret weapon is quality. With little in the way of innovation, the band churn through sludgy stomping rhythmic grooves. Baked by southern humidity, it oozes style and persona. Guitar solos dazzle but unsurprisingly, can't charm like a Dimebag. Reasonable in theatrics, a couple leads take a more dynamic roll in musical direction, a niche touch.

 

A competent production aesthetic serves its purpose with a touch of rawness, possibly brought on by budget constraints. Exhorder have never been a big name in Metal. Its kind of remarkable to hear they have been sitting on such talent and inspiration. However this return has influences in reverse as the last twenty plus years of Groove Metal's legacy can be heard throughout. A great record but it can't claim originality this time out. Final thoughts? Listening to this record feels like stepping into an alternate reality given the back story. Looks like I'm adding nineties Metal to the playlist next!

Rating: 7/10

Municipal Waste "Electrified Brain" (2022)

 

I may be mistaken but I believe Municipal Waste were among the first of this modern nostalgic Thrash Crossover "revival". Its no new trick nowadays, the access and availability of music today has inspirations run amuck in all directions. I was introduced to the American thrashers at Download Festival 2008. Despite a fantastic live show full of mad mosh pits and crowd surfers armed with surf boards, I never brought into their studio records. Having forgotten the mediocrity of Slime And Punishment, It was only a passing curiosity that brought me here.

Electrified Brain had me in its grasp from the first spin. Unlike prior efforts, its crisp, clear and cutting production aided its mission. Along with a fully fledged arsenal of classic Thrash and Crossover riffs, the two push the bands ideals to about as good as it could get. Pulling no unsurprising punches, the galloping speed and chugging chops of 80s Metal was set to to strike a nerve. With filtered cuts rarely exceeding three minutes, the fourteen tracks get to rattle wall to wall off five years of curation.

The main distinctions felt like variety and lead guitars. Although operating within a strict blueprint, the rotating shouts, screams and gang vocals kept things fresh and exciting as the rapid rhythmic abuse was electrified by periodic guitars solos. A handful of song endings struck me as having some momentary but keenly distinct riffs woven in. Perhaps an intentional nod to their eighties Thrash Metal influences? I definitely heard Metallica on more than one occasion.

Despite seeming excellent, its gravitas has dwindled. With frequent spins, my initial excitement has politely dulled. This however feels like a symptom of nostalgic Metal, always competing with your appetite as its novelty wares off. Either way, in times of growing metallic lackluster, it was good fun to head bang again!

Rating: 6/10

Favorite Track: Grave Dive, Crank The Heat

The Gathering "Nighttime Birds" (1997)

 

Shrouded by the swift abrupt judgements of youth, my initial contact deemed Nighttime Birds unfit for consumption. Supposedly not cut from the cloth as Mandylion, one of my all time favorite albums, it has sat snugly in the shadows, patiently awaiting me all these years. Like a broken record, past judgements have failed me once again. At this point, it might just be worth conducting a list of all prior dismissals...

Nighttime Birds is the broody matured brother of a band once ripe with color and youth two years prior. With a touch of restraint and a seclusion of craft, the band withdraw their eternal melodic delight to initiate songs with darker morose tones. Heavier guitars lean in shadowy chromatic, luring Anneke's sublime, luminous voice to a weighty pensive reflection. The duality explores a beautiful and burdensome contrast. Its a measured friction that compliments, coming to fruition with increased exposure.

Where its synths once adventured with bold punctuation, the keyboards now withdraw to a subtle, powerful role. Lurching behind steely distortion guitars, they await a turn to chime, often guiding the music from its beautiful gloom, soaring to blossom its hidden hues. Each song journeys to blushes of sequestered warmth. Familiar simplistic lead melodies gush from guitar and keys with their classic, distinctive personality.

Comprised of mostly lengthier tracks above five minutes, the album locks in a mood and explores it in beautiful increments, each exploring this darker chemistry. A union of thick power chords and cold acoustic guitars is explored early on. The May Song introduces a powerful, emotive organ tone to set off one of Anneke's most delightful performances. She wails sublimely, ascending with spirit much like that of Leaves. In fact, I'd go as far as to say its this albums equivalent, given the familiar guitar solo.

The following songs invoke soft computerized effects expertly, characterizing synths with subtlety. Later on a soft violin can be heard too. Each song finds subtle shifts to define them. The band fire on all cylinders. The shuffling contributions from its instruments explore so many ideas within a snug sound. Even moments of heavy metallic groove emerge in climatic beat downs and sluggish power chord brooding.

Nighttime Birds promptly made itself apparent as a lost classic from my youth, one I would have adored. However, I persisted. With my love of its saddened tone growing, I couldn't put it down. Weeks turned into months and that emotional evocative magic kept oozing. I feel so fortunate to have discovered it now. The Gathering's spell is truly eternal with me. Although a fraction behind the charm of Mandylion, this record has a clear sense of maturity and direction locked in by a fruitful yet cold concept.

Rating: 10/10

Chaosbay "2 Billion" (2022)

 

With surprise struck off, the stakes were high. As a result, 2 Billion had a harder time leaving its mark. As one of my favorite discoveries this year, Chaosbay swept me up with conviction through their prior Boxes EP. This following four-track fits the mold set earlier in the year, possibly all material for a future album. Rock-steady on the same path, another round of blows is exchanged as high octane Djent Metal explores the dynamics of bow wrapped, polished brutality and bright melodic gleams, present in both glossy synths and through the energized emotive vocals of Jan Listing. Once again, I'm immensely impressed with the song writing and breezy flow of these songs. They swing from hard chugging grooves to soaring tuneful lines with class. Sadly, its all still mostly in the shadow of Periphery who came before them. That lack of originality may explain why they are yet catch a viral wind within the Metal scene.

If there is any distinction to be drawn, the mechanical nature of tight metallic chops and slick production imbues many of the slamming chugs and tightly gated riffs a real sense of "computerization". The bass pedal stomps with precision, in unison with "on off" guitar grooves. Being rigidly syncopated, they sound almost glitched like a record skip. Its satisfying tho, a treat that moves sweetly with the momentum. Furthering this industrious precision, the rhythm section sits up front in the mix, dominating. The magic, in my opinion, mostly stems from the electronic tones layering in an airy ambience and the acoustic guitars that weave in the luscious melodies. Hard to fault, as it works so apparently. I do wonder if more emphasis on this calmer, more uplifting side would serve them well. Either way, they have both aspects locked down.

Rating: 6/10

Phoebe Bridgers "Punisher" (2020)

 

The Punisher lays bare a calming rot of depression, manifesting itself in aimless drifting atmospheres. With internal frictions, social worries and self deception explored, the record seems harmless in its meager meanderings. Instrumentals wade through the minimal and ambient with spells of swelling pushed on by the breathy motions of Phobe's voice. As a folksy Indie Rock singer, her plain voiced resonance and murmurous singing plays into this sleepy state. The music looses itself in pained vulnerabilities, deceptively feeble and soft yet oddly harrow and hopeless.

Is it the lack of gusto in her voice? She leans into a gentle tone to express hurts, such a contrast. To my ears, the album plays like a subtle oxymoron of sorts. Its timbre and temperament at odds with the difficulties its lyrics explored. Conceptually its a charm but in execution the music drifts by in limbo, unsure of itself, one foot in the morose and an other in dreamy illusions. Aesthetically gorgeous but emotionally confusing.

Punisher has been on my playlist for months now. The lack of hooks or keen melodies, not a crime of course, makes for a dreary experience of unsettled lingering. Its creeping moments of Americana bring about a grounded footing but these influences are brief at best. Otherwise I'm stuck with its lack of oomph. The perpetual meandering of the music comes across bleak, vague and restless. This may be more down to my preference in vocals as I rarely vibed with Phoebe's singing.

Rating: 5/10

Autumn's Grey Solace "Therium" (2022)

Another year, another album but alas, my wishes have not come true. Therium continues firmly rooted in an unchanging Ethereal form. Anticipating a familiar lack of novelty and surprise, I approached this newest installment of eight soothing tracks with nothing but warmth for enjoying Autumn's Grey Solace's charm once again.

Shimmering crimson acoustics gleam tranquil melodies once again. Erin offers her sweet wordless drifting as a human compliment to the serinity. Washes of ambiguous guitar effects sparsely chime in. The base guitar occasionally busies upfront with plodding rattles. The percussion keeping pace with simple patterns lacking theatrics.

 Its various shades and timbres seem like a deck of cards shuffled from the back catalog. So to do vocals and melodies conjure deja vu like symptoms. I wouldn't be surprise if previous riffs and notation were simply lifted and interchanged. I'm not suggesting its so but the experience of a new AGS record has become pretty much that. Always welcome but it seems they do not want to explore any new directions.

Rating: 5/10

Darkane "Inhuman Spirits" (2022)

 
For some time I've wanted to get around to this band. Born out of the Swedish Melodic Death Metal scene, I found their Thrash adjacent approach enthralling in my early days of exploring Extreme Metal. Crossing my path in the early naughts at the peak of their freshness, they join a handful of bands that share that inexorable link to youth. All thanks to Nuclear Blast records no doubt, who signed and promoted a lot of decent Metal in that era. After nine years of silence they are still brandishing the same intensity and character with little new to offer. Although I'm keen to hear innovation and new ideas, I'll hand it to them that sticking to their guns worked out for the better against a popular Djent seven string sound you might expect them to onboard.

I'll save my enthusiastic descriptions for another day when nostalgically reflecting on their discography. Although Inhuman Spirits plays to the Darkane sound strictly, its only brief moments of carbon copies that conjure the adrenaline. The lead guitars have its distinct melodic flavor and battering drums team up with the rhythem guitar for choppy, pacey grooves just as before. Its only the vocals that venture into a new territory with fitting deep guttural roars akin to fellow Swede Akerfeldt of Opeth. 

Alas this blog mostly serves as another entry to catalog the memories of a never ending journey. The early Darkane records are far from remarkable but bring enough distinction and character to give them some edge if Melodic Death Metal is your thing. With my apatite for Metal dwindling, this was a nice reminder of their competency. A Spiral To Nothing had some cracking discordant riffs held within, one that stood out. Possibly a better re-emergence than most returns but my excitement was quelled.

Rating: 5/10

Malcolm Horne "Mending" (2022)

 

Shedding the antiquities of Jazz Hop's established union of styles, this third stroke rids itself of percussive burdens. No longer hinged on crunking snare kick grooves and subtle boom bap rhythms, Mending arrives at the source of inspiration. An orchestra of instruments croon. Luscious, resonate and gently woven they harmonize at a place of healing. Soft airy reverbs and atmosphere indulge as soothing calm sweeps over every track. Minimal, spacious percussive lines subtly hold tempo, an evolution felt between Infinity & Volume II. With Mending, a conclusion of that trajectory is met. Malcolm accomplishes inspired moods free from shackles of the genres tropes.

The delicacy of performance is a delight. We are spoiled to baselines hinged on texture and feel, over power and force. Many instruments follow suit, perusing, swaying with persuasion. Capturing the essence, a symphony of minimalist parts amassing a serine outcome. Mending's warm calm is evening sunlight, the yawning death of a beautiful day. Cool airs breeze by, so welcoming in its gentle demeanor. This outing is an inspired refinement on the instrumental magic heard twice before.

Nothing is perfect and for all the praises, Mending does serve its conventions to sooth and relax with formulas. On inspection, the looped nature of compositions emerged, highlighted by instrumental drop ins and outs, a key song structure utilized. Lead instruments are often absent, leaving space in the music for a voice to shine through.

The moments where a guitar solo steps up are grooving, variation aids its purpose. Like before though, they cropped up before fade outs. Grander directions would be very welcome but perhaps not as suited as one might imagine. Lastly, the Synthwave and 80s Synthpop influences are amiss. Constellations treats us to this charm again but its brief stay perhaps signals the style no longer has a place. Quite a shame as I enjoyed this take greatly yet its absence makes sense given what Mending is, a cohesive record of introspective healing. This is definitely my favorite of the three.

Rating: 8/10

Tamaryn "Cranekiss" (2015)

 

It took but one listen of Cranekiss's euphoric Shoegazing title track to win me over. Spotify's algorithm has figured me out! Serving up a slice of the finest Dream Pop, I felt the warm fuzzy charms of Cocteau Twins alongside an effeminate apparition resonating an eerie similarity to Erin of Autumn's Grey Solace. Those heavenly fragile breathy voicings, ascending over top the bustling baselines and stiff drum machine grooves gave me chills. The song is awash with shimmering reverbs its melodies get lost in. Best of all, the song comes in hard with dense bendy effect drenched guitars, a fond reminder of ideas introduced with My Bloody Valentine's influential Loveless.

Cranekiss is an 80s love letter. Its aesthetics rears the nostalgia with a lean grip. The brilliant song writing captures all the charms of Art Pop and modern conventions. On its venture, the crevasses of influences part. Post-Punk, Ethereal, Synth Pop and all others mentioned so far unravel on catchy songs ripe with stark punchy melodies woven through a dreamy web of ever shifting reverberated sounds. The wonderfully indulged singing makes for many a memorable chorus on the Cranekiss journey.

 With a strong Electronic maturity in composition and execution, Tamaryn reaches into the past for inspirations, shedding her music of any cheese and dates ideas. Although it lacks originality at every turn, the nostalgia dance is a beautiful one. Its vague and shapeless rumblings create a mask for potent percussive grooves and dazzling instruments to punch through, best of all her voice sits central to all the wonder.

Its emotions are powerful, a curious love, often emanating a contagious warmth yet peering off into ambiguous moods of unsettled footing. As the album plays its deviations and themes keep the tone flowing with fantastic cuts Softcore and Sugarfix to be found towards its conclusion. The last of which has an uncanny resemblance to Elizabeth Fraser's wordless musings, followed by a lush, smothering choral hook.

I've sung Cranekiss's praises. That's because all its avenues of sound touch on my favorite ideas within these overlapping genres. It has a handful of songs a grade above the rest but not every track needs to be a hit when the mood flows so slick. It may lack surprises but the main show is the excellence in which ideas from a few decades back are executed. For me, this will be a great record to return too.

Rating: 8/10

Kalandra "Beneath The Breaking Waves" (2017)

 

Seeking more of The Line's immense serine soundscapes has led me here. Beneath The Breaking Waves is lacking its keen persuasion. After many spins, the scent ruminates like a "warmup" EP, a group finding their footing. Released three years prior to their debut, the magic is either sequestered of lacking entirely. Don't get me wrong, this folksy six track charmer cruises in a parallel lane but the chemistry is yet to be arrived upon. Each musician brings beautiful sounds, textures and craft to their parts.

Lacking the drive to swell and croon together like a symphony, much of the music lays its ideas bare. Padded by interludes and gentle atmosphere building, the feistier surges and potent melodies are brief sparks in fields swept by the drab calms that simmer in their own quietness. Unlike the experience of encroaching growth that came with each listen on The Line, these tracks tired quickly. It seems the components are in place but missing an inspiration to bring Kalandra to life, I'm glad they found it.

Rating: 4/10

Tiamat "Clouds" (1992)

 

My metallic ventures of late have leaned towards nostalgia. This path however, id not previously indulged with. Uncovering this European scene of melodic Gothic Doom and gloom, unearthed parallels capture much of my attention as the tapestry of influence enriches. Yet to devise the matured atmospheres of Wildhoney, Clouds builds on the heals of Thrash Metal. Its weaker songs burdened by the tempo and intensity of the 80s scene, a hangover needing a cure. The dusky keys and tuneful melancholy struggles with reflexive sways into choppy aggro and sluggish groove.

Magic emerges when its macabre themes blossom. Funeral synths and grievous melodies paint its Gothic graveyard blues vividly. The record finds stride with songs like The Sleeping Beauty as its distortion guitars lean into the lurching terror Doom Metal. In other chapters the spell is broken by pivoting guitar solos. They wail dazzling flushes of theatric on the gallop of thrashing riffs and doubled drumming tempos.

To my ears, Clouds suffers its influences. Aching from within beautiful, inspired song writing emerging stiffly in its calm and dark temperaments. Stitched together through tropes not quite suited this vision, my ears can't help but linger on the disparities. One of which is Edlund's wretched poetic "cleanish vocal" readings and lightweight guttural growls, the latter of which surprisingly suited the dreary cumbersome tone.

In brief glimpses, its keys yawn similar to a favorite of mine, Always... I especially loved the arrangements utilizing cheap and effect Casio keyboard tones for its Gothic cast. I wouldn't consider Clouds great but It seems fitting that adoration can be bestowed if discovered in the right time. For me, that probably would of been in my youth when reveling over Cradle Of Filth's starkly Gothic take on Extreme Metal.

Rating: 6/10

Steve Roach "Mystic Chords & Sacred Spaces" (2003)

As of late, I've needed focus and calm. With Mystic Chords & Sacred Spaces, I've found that, a spiritual soothing far from hurried. In search of temporal meditations to aid the mind, Steve Roach's daunting discography has gems to be unearthed. Its knowing where to look that's tricky. With apt research into online discussion, the record popped up alongside his classics on occasion. As a massive 150 minute experience, it serves as a majestic ethereal tone setter, devoid of any sense of structure.

Each track dissolves into the next as its array of dense soundscapes are explored, carved apart with the notable aesthetic shifts. Melody and rhythm are absent, this is all about texture explored through temporal organics as its existence sways to the whims of winds, the invisible hand. Every moment is singular and unmovable, yet in a constant state of shimmering change. Sure, a few eventful transitions and animated passages are wedged in sporadically but for the most part, its mesmerizing demeanor hinges on the deep reverberations that birth these shapeless musical forms.

 Its first half is superior, a select cut of lengthy sessions, each reveling in their particular flavor. The second half plays more like a jam session, split into parts as tones are transformed on the fly. Its leads to shorter cuts that don't quite fit the meditative format. Whats remarkable is how masterfully Steve constructs these sounds. Despite being somewhat predictable in nature, they still conjure and evoke a stillness in the mind of this listener. Oracle was the track that did that best for me.

Rating: 6/10

Carpenter Brut "Leather Terror" (2022)

 

Its gritty and grisly, a leather clad clenched fist, the blood stained blade and lack of face to identify this anonymous gruesome demeanor... An apt fit for the nightly wailing music that awaits. Sticking firmly by an established, yet darker Synthwave aesthetic, Leather Terror gets pulled on the dusky, nefarious path as sinister symphonic themes and bouts of pounding aggression permeate the overarching mood on this outing.

I'll admit, engagement dwindled. Quite often is cruise control engaged. Sharp pulsing kick snare grooves crusade over devilish synths that hit hard with intense tones and gruesome half melodies hinged on deep groaning textures. They recycle and strike on a similar vein. This string of songs sways between a dread driven demeanor, then contrasted with typical 80s, upbeat Synthpop. Sometimes its thematic transition are jarring, if not for instrumental consistency but the writing reveals itself.

This record is a notably more collaborative project. Ulver returns again for another sublime union on lofty moment of calm. Gunship, Greg Puciato, Persha and Sylvaine led their vocal chords too. Unlike previous mixed results, they all gel well with the song writing vision. The musics power gets by on instrumentals alone but Leather Terror has its harmonious voices in the balance. Interestingly, its conclusive track goes Metal with Jonka bringing both terrifying ghoulish screams and full on metallic drumming to the mix. Its an interesting genre crossroads. Haunting organs fuse the two in a fiery contentious conclusion, by an artist inching closer towards infernal damnation.

 Rating: 6/10

Kalandra "The Line" (2020)

 

This gem almost went amiss. Its subtleties slithered to a silence, a withdrawn instrumental softness letting this listener go by. Lacking gusto, bite or immediacy, only the striking resemblance to fellow Nordic queen Aurora held me in. If not another charmed, utterly gorgeous voice, the likeness would border plagiarism. Timbre, temperament, flow and inflections all swoon like a deja-vu. Its why I stuck around. With each listen I felt further from the words I initially wanted to share in this space.

The Line is a record of awe inducing landscapes, the resonance of which expressed aptly through its album art. Crimson skies lurch, whispering clouds part, the sunlight aches in to bless the primal earth beneath. We experience tits wonders as heathen inhabitants, devoid of technology and gods alike. Clearly a part of the growing Nordic Folk movement, Kalandra's strings pull on an endearing warmness. Unlike fellow contemporaries Wardruna and Heilung, they peer not into the northern darkness.

One could pen them as Soft Prog, gentle foragers of atmospheres with felicitous moments of Post Rock swelling and Etheral dreaminess. Tranquil, soothing and calm in nature, its rare flashes of hurried pacing, harmless brooding and climactic roars seem perfectly architectured, as if a force of nature. On its weathered journey outpacing the storm, occasions of rest incur with folkish tunes and tales. It all speaks to the ancestral human, married to mother earth, one that rumbles deep within us all.

And so with every passing listen, my initial foolishness, a deluded disappointment, fortunately grew distant. Somehow I was rustled by these "over indulged" instruments. Keen for vibrant melodies, a punchy baseline or tribal percussive groove, I was aloof to the atmospheric magic unfolding. Quiet is a strength, one that passed me by. The instrumental craft, a careful curation. Licks, grooves, riffs are subtly snug, every inch of aesthetic measured, fit together under a masterplan where nothing overpowers.

There are no particulars that leap of the page. Every song is a journey blossoming from a perpetual mellow flow. The record thus becomes river. Drop in, let its coolness wash over you and chill out. With at least a bakers dozen of spins under the belt now, it still grows on me. No doubts here, this could be honey that sticks for time to come.

Rating: 8/10

Warpaint "Heads Up" (2016)

 

Reflecting on the fractured minutia of details between Warpaint and Radiate Like this, this record between has been striking. With every project, this Los Angeles quartet of Post-Punk women reorient their sound slightly. Of course, most bands bring a flavor to each record. So whats peculiar? The vibrancy falters when just a few dials are turned. Heads Up is marginally rawer, a little grit and glumness in its moody garage aesthetic has tits allure evaporate on the solemn road in treads, both aesthetic and in spirit.

New Song, The Stall & So Good sit early in the lineup. Together, and with a gloss of colorful reverb, parts of these songs steer into luminous strides of warmth backed by groove and attitude. Despite this streak, the rest of the record is bleak and moody. The dreamy singing of Kokal often drifts into this pale. Bass lines become deep dreary murmurs, lacking a feisty punch. Guitars shimmer impressionable noises alongside fractions of riffs. It amounts to this self indulged soundscape of unassailable blues.

For this listener, the record just didn't click. Its shadowy tone wasn't resonate, passions were dulled and its chromatic aesthetic didn't sparkle. In the aforementioned songs, an upbeat stride, a touch of smiley warmth gave it momentary gusto. Otherwise these songs mostly reveled in their own identity, unable to amplify the expression. With unhurried pacing and reveling in its bleakness, this was a tire on most listens. Perhaps more enjoyable with less attentive focus when in the background. Quite disappointing.

Rating: 4/10

Post Malone "Twelve Carat Toothache" (2022)

 

Its all to easy to over-analyze, dissect and buy into ones own critical thought. As one of popular musics most illuminated figures, Post Malone's music arrives through a lens of impact and relevance. This initially soured my experience. With a lack of obvious growth, new dimension or creative streak to latch onto, it seemed Twelve Carat Toothache was a firm disappointment. Post's unique vocal manipulation, now fine tuned to a peak, the day-dreaming instrumental glow and trendy hi-hat shuffling Trap inspired beats routine to a fault. It all seemed like a safe bet at first glance.

I'm glad I stuck with it. Some records just take a few extra spins to get going, ya know? I've now found the soundtrack to my summer. Its lyrical struggles deal with the double edged sword of fame, the ills of alcohol and mental health battles with his musical creativity. Despite this, glossy overtones and breezy reverbs stream a wealth of warm, thick melodies, track after track. Whenever an attentive glance gives thought to his embattled words, a darker tone is felt. Only on a couple of instrumentals do they manifest through tension and soft dreariness in mood. Otherwise, a sunny record.

The poor response from journalists seems warranted. A flawed record, forged in a thickle moment for Post. Despite this, its presence holds. This string of songs has an ambience, it holds its slick smoothness gracefully, the brightest of hooks bursting out between plenty of interlude paced moments. He still has his knack, its just used sparingly. Not a jam packed set of songs but its pacing works in a casual way.

Nestled right at the end is an absolute banger. The Weeknd once again features and brings the 80s Synthwave inspired aesthetic along for the ride. He frequently provides great songs to other artists and must be killing it with this approach of on-boarding listeners to your sound through features. Anyways, final thoughts? Its a mixed record in terms of what lands. Its percussion-less songs often a weaker cut yet its glossy tone and warm dreamy mood lets it drift by with an ease I can get onboard with.

Rating: 6/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Suspended Memories "Earth Island" (1994)

 

Reuniting to follow up on the entrancing dusky spells of Forgotten Gods, the trio tread lukewarm waters, unable to spark the temporal magic that sung before. Failing to find fresh distinctions, their worldly disjointed percussive lines and ancient cultural chants rub up against airy atmospheric synths in a mediocre affair. With soft keyboard driven ambiences, its smooth, cloudy synthetic chemistry resides in a lofty yet unassuming place. Danger and mystique or awe and wonder rarely engulf quite like before.

Hinted strongly in naming and presentation, the album cover, Earth Island yearns for a cosmic perspective, yet even the brief chatters of astronaut communications nestled in doesn't sharpen this vision. Melting World offered immersion, a grade above the rest, but it also marked a shift. The initial human link between stars and stones shatters as a darkly brooding unease encroaches before the final two songs break pace again.

These ambient works often feel subjected to mood and fatigue more so than other genres. So i'd take my words lightly. One can hear the trio trying to move the Aztec inspired soundscape out of its shadowy realm, turning to an uplift, brighter in spirit, yet earthly and deep. The two ideal either don't gel, or lacks execution. Subsequently, the gravity that came before is illusive despite the mild meditative calm it conjures.

Rating: 5/10

Kirk Hammett "Portals" (2022)

 

If your as surprised as I am to hear of a Kirk Hammett solo record, then you're probably keenly aware that Metallica have had a strong no side projects policy. This attitude of total commitment played its part in the rift with then bassist Jason Newstead, leading to his departure. Times change and so do people. Unaware of any official policy chance, I think its fair to assume that in their age, attitudes have subsided. The result? The unleashing of a talent only previously heard through the Metallica lens. Kirk going solo is a delightful difference where Metal meets Classical for a cinematic experiences, four short portals into the realms of imagination.

As one might expect, you can hear the echo's of Metallica in its steely riffs and blazing guitar solos rocking Hammett's distinct style, the latter being quite a treat at times. Its not what stuns me about these songs tho. The instrumentation between metallic stints, strings, violin, horns etc. Its all orchestrated with vision, painting vivid dramatic scenes that emote, brood and evolve alongside Kirk's licks. How much of this classical composition is his own genius? A curiosity to wonder upon as it is quite adept.

 Much of this is said with Maiden And The Monster in mind. The whole composition is fantastically dynamic, gently building to climax with big chunky riffs, icy guitar solos, all built with chilling acoustics shimmering of The Call of Ktulu. The Jinn continues on trajectory but midway into the song, sketchy riffs on a brittle guitar tone disconnects from the subtleties of its cinema with an unfavorable Death Magnetic flavor.

High Plains Drifter reclaims glory, a Western piece echoing The Ecstasy Of Gold. Truly wonderful and immersive but then The Incantation leans on classic Sabbath vibes without success. Its an attempt at something broody and devilish that only Hammett's remarkable, epic solos can elevate. To be fair, its the main riff that leaves a sour taste. The rest of this exquisite instrumentation is again both remarkable and fascinating. Ironically Portals shows their is much more to Kirk than just a lead guitarist but its not rhythm that is his game. The unique blend with orchestration is class. His "big" metallic riffs play stiff and sadly muddy the waters, but its brief at least.

Rating: 6/10

Suspended Memories "Forgotten Gods" (1993)

Fancying another foray into the works of Steve Roach, a musician with too many records to count, I couldn't help but notice its popularity on Spotify alongside the pivotal works of Structures From Silence and Dreamtime Return. The latter leaves its legacy on Forgotten Gods with the consistent jabber of worldly, cultural and ancient percussive sounds. The construct, like before, is beautifully disjointed, deconstructed and abstract from the norms of groove and rhythm found in western music. Although in any moment its strikes and hits seem free and sporadic, its arch find a meditative pace, holding the atmosphere together with a steady, easy temperament.

Suspended Memories is the name for Roach's collaboration with fellow ambient artists Jorge Reyes of Mexico and Suso Saiz of Spain. A cultural tie to the Aztecs feels beyond relevant. With distant native chants and baking dusty echos, the musical pieces delve into the shamanic mystique the mysteries of lost civilizations can conjure. Both warm yet nightly, one can envision the blistering heat of desert sands, secrets laying in wait under weathered tombs. Equally, its drafty tone and dreamy presence has the cautious calm of night. Dangers lurk in the shadows yet the listener is always safe within the ambience. These contrasts co-exist, allowing one to hear their own adventure within the music. It may not be intentional but has been remarkable.

As the title Forgotten Gods hints, its theme evoke celestial wonders lost to the decay of time. As expected the record explores a variety of temperaments. Snake Song and Mutual Tribes appealed strongly to desert vibes I initially thought of as Egyptian but on further study, the inspiration was likely a historical middle American. Ritual Noise was the darkest track on offer, a lone song where a nefarious presence gets a little to close for comfort. Despite its devilishness, all the music is beautifully soothing and meditative. I've heard these sounds encroached on prior, yet the trio handle it so masterfully. This is absolutely another favorite for the ambient collection.

Rating: 8/10

Wu-Tang Clan "Iron Flag" (2001)

 

Picking up a fever, delving into the leaked Demo Tape & ODB's Return To The 36 Chambers, I thought id wrap up my cravings with Iron Flag. Released hot of the heels of The W, its commercial decline gave it a dire reputation at the time. Subsequently, I'd never given it a fair go and maybe I should of left it that way. The talent of these rappers is not in question, however the Wu mastermind RZA himself might be.

Iron Flag's instrumental tone is a frequent bore. The production of these beats hinge on short repetitive loops from front to back. With little in the way of variations and nothing to offer with song structures, the record is a grind. RZA turns to tighter constructs with clearer samples, often 70s Soul, crisp drums and synthetic instruments. Its a departure from the gritty, low fidelity musk that once defined them. Radioactive manages to capture that spirit but its a lone track among many.

A few others put their hands on beat creation but Mathematics and other guests simply fall inline with RZA's vision. Its one of hard hitting percussion with moody sampling housing brief, stabbing melodies on loop. With a tone that lacked any excitement, it was tough to get into the rhymes. Despite competent flows, the topicality felt like a group on auto pilot pumping out another record that lacked depth.

Rating: 4/10

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

Warpaint "Radiate Like This" (2022)

 If this title were literal, then one would glow. With radiance in abundance, a deep warmth, a crooning sway, Warpaint resonate sensuality with this casually persuading swoon of blissful songs. Its ten cuts ooze with luscious ease as dreamy aesthetics drift by. Captive to Emily Kokal's gentle endearing voice, she rides the soulful breeze her compassionate presence creates. This performance makes the record whole. For all the gorgeous instrumentation, vibeing in the lofty heat of an easy chemistry. She steps boldly into each song with a tender soul, soft in tone yet powerfully charming.

Once labeled as a Post-Punk band, its only the forward baselines, punching high notes on the fretboard that resemble the umbrella sound. With calming beats, loose grooves and shuffling hi-hat rattles, a subtle percussive performance houses all other instruments from a quiet yet foundational roll. The acoustic guitars, in dense washes of reverberation, gel with keys and electronics. Swept up in a swelling production, the atmosphere of each song punctuates a soulful, dreamy mood with stunning ease. Its tone is part Ethereal, part Dream Pop with a light touch of Shoegaze indulgence.

Radiate Like This is far from perfect however. Navigating all ebbs and flows, frequent detours into halve measures of the magic occur. Often when Kokal is withdrawn the spark is dulled. Despite this, the allure is ever present. A soothing persuasion pulls one in as simple melodic loops revel in the dense ambience they sink through with echos and reverb effects dialed to perfection. The aesthetics and textures are stunningly captured by the group who self produced the record. Its a triumph, as the best cuts, again championed by Kokal, hit the sweetest groove after every repetition.

Rating: 8/10

Tiamat "Wildhoney" (1994)

 

Upon reading comments and critiques on Almost A Dance lay proclamations of a broader movement in Metal at the time, one that promised more of that niche, early The Gathering sound. If Wildhoney is anything to go on, it seems these musicians were expanding on the slow brooding gloom of Doom Metal with a contrasting lushness through symphonic melancholy. With a tinge of Gothic mystique, it seems between the crevasse of Metal's many sub genres, lies another calling my name. Hailing from Sweden at a time when the Melodic Death Metal scene was blossoming, Tiamat developed their initially Doom and Death Metal sound in this renewed Gothic, Symphonic direction. Wildhoney being their commercial peak and my entry point.

Delivering on exactly what I was looking for, the opening tracks lunge forth with broody grooves in slow tempos haunted by darkly effeminate vocals. Drawn out power chords lay foundations for the keys to chime and adorn the mysterious chemistry that once spellbound me on Always... . Soundscape alike tangents gets the imagination turning with shadowy horrors early on. A curiosity in Johan Edlund's challenging vocals hint at something more. His sway between wretched doom gutturals and earthly heathen "cleans" show an artsy side to the music. It gets its moment later on after a string of big atmospheric songs, sailing deep emotions, a swelling mix of loss and beauty.

After the rocking sway and colorful gleam of Visionaire, the music descends from peak to valley as interlude Kaleidoscope puts the break on all momentum and sets a new tone for its final songs. What wordings come by feel more poetic, performative, so to say. Do You Dream Of Me? leans into European cultural sounds. Planets dwells on mystery, pivoting from loneliness to wonder in its progression. Then we have A Pocket Size Sun. Performed as a tender poem on the loss of innocence, its whole framing feels so profoundly different from all that came before. The exchanges with an effeminate being highlights charm well but again, feels like a complete departure.

With every spin this record has always felt like it had more to offer. A third of the record is its final four songs and although they are instrumentally wondrous, the obvious shift leaves one feeling like not enough was explored early on. Perhaps that is just a burden of slow, doomy music. Tiamat navigate something beautiful here, finding the sweet spot between its dark gloomy distortion guitars and all the lush keys gathering around. On the journey, there is much to marvel at. Its ending though, somewhat derailed. If this style of Metal is your cup of tea, as I have discovered its mine, then Wildhoney is a gem to be adored! This one can only grow on me, I'm sure!

Rating: 8/10