Nas "King's Disease III" (2022)

 

Finalizing a stellar trilogy, Nas falters not on delivering this inspired prominent stride for a third time running. King's Disease III suffers its own familiarity but wins one over with its articulate excellence. His timeless flow, lacking filler, spits commentary thoughts over past, present and future. Housed in consistent architecture, this third round of musing grabs and engages once again. Tales of the youth, lens through age and wisdom. Well wishes, ambitions of action to revive community values and an indulgent helping of nostalgic reflections on the culture that informed his artistry.

All topicality gets delivered through that tight unwavering lens, a razor sharp focus keeping lyrical narratives firmly on track. The main theme, a stance affirming legendary status, echos again as the King's Disease. Retreading these ideas on certain verses, the firmness of this flow glows brighter, its digestibility and ease to follow still a goldmine, despite circling this particular theme. I wonder could it go a forth round? Unlikely, other topics rise head above shoulders in their freshness.

Behind him, Hit-Boy returns to handle production, their relationship still apt. Resurrecting 90s vibes with modern production, a plethora of pitch shift soul singing snippets give the third chapter a warmer distinction. On a couple cuts, percussion is subdued, or dropped entirely. Nas' cadence serves as the rhythm. This chemistry comes ripe, picking plump verses for voice to resonate on its own pacing. Other tracks reminisce It Was Written, Nas' second album. Undoubtedly a bias for me to adore.

Beef echos I Gave You Power, a sublime track where young Nas inhabits a pistol behind street crime, rapping from the weapons perspective. Twenty Six years later, a complimenting instrumental tone helps center his rhymes from a view of beef itself played well. Thun delves into similar tones too, with its rainy, sinister string section. Michael & Quincy furthers this darkly avenue. The beat switch shifts gears, amounting a contrasting nostalgic reflection on the 80s duo's significant trajectory.

Blessed by distinctive songs to pluck as favorites, the whole album still fits the glove. Now a familiar project, its greatness becomes difficult to distinguish in its similarities. Time will two, the last to chapters still sound stunning. One point worthy of notation, this entire record has Nas go at it alone. No features or guests. Another signal of this remarkable level of greatness so deep into his career. Whats next I wonder? I do think a shake up in theme, approach and aesthetic is required. Although in a bold artistic stride, all good things come to an end. Best to get ahead of that reality while on top.

Rating: 8/10

Type O Negative "World Coming Down" (1999)

 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Mudvayne "The End Of All Things To Come" (2002)

 

Following up on L.D. 50, here is another "what could have been" record of my Nu Metal era youth. I vividly remember a close friend showing off the album art and raving about the music. Of course Not Falling is now somewhat of a downtrodden metallic anthem. One for Millennials needing to wallowing in ones woes. Its a powerful but moody song, flexing between aggression, torment and loathing indulgences. Like their classic Dig, it builds to a fiery release of tension, unleashed with half of a bouncy groove still holding on to its grievances, never quite going all the way in.

The End Of All Things To Come was a surprising maturing of ideals expressed last time. Thoughtfully channeling the syncopation to impactful riffs, toning down the overt Korn influences, this cloudy chromatic aesthetic edges out more from Gray. He finds a range of unique strains on his vocal chords to fire frictions and contrasts with the de-saturated texture his band forges. The rhythm section has power in force, chopping out grooves while melodic outbursts seem sullen and rainy in muted vibrancy.

Considering its sixty nine minutes long, the record lacks bloat. A real sense of care surrounds these songs, traversing a broader multitude of ideas with refined craft and expressive intent. It's a subtle shift away from the bouncy boom of Nu Metal, a further exploration of Jazz and Progressive musical ideas. Tribbet's guitar riffs often slam simple rhythms housed in different time signatures. Backed by the creative drive of drummer McDonough and dexterous musicality of bassist Martinie, it plays a delight.

Moments of expansive percussion, utilizing tom atmospheric drums, hazy looping guitar leads and progressive song structures, alluded that Tool were likely a keen influence on the band at this time. This retrospective has given much appreciation for a band I once considered just part of the fad. Mudvayne have much more to offer than typical Nu Metal bands, this record really defines their creativity and uniqueness. I know things take a turn from here, to stay on this path could of really been something!

Rating: 8.5/10

Devin Townsend "Lightwork" (2022)

 

After two dubious lock-down escapades, Devin Townsend returns to form with familiar footing. Leaning into his glossed up, cloudy yet punchy production style, Lightwork makes fortunes of his friendly craft. With a familiar melodic styling, empowered voice and shimmering aesthetics, a listener is lavished with the finest, matured, wines.

After the rampant revival of prior paths walked on his Empath amalgamation, Dev's Heavy Metal antics of past get channeled to dramatic drifts and subtle surges of might potently deployed when asked of the music. Even extreme screams get buried, a deep rumble to electrify this synth tinged mesh of melodies resonating up top.

A theme of healing runs throughout. Dev's often soft timbre and gentle words stir a compassionate call to calmness on many occasion. The serine nature of steady acoustic melodies woven with sparkling synths seem a perfect match. Humble yet firm percussive grooves command the pace as a variety of instrument voices chime in.

Despite being so typical, once again Dev wins me over with his charm. However, Lightwork as a whole struggles after Call Of The Void. A shift to unsettled rhythms and quirky temperaments may be brief but the charming flow of its opening four isn't resolved again until a scaling epic, ten minute closer, Children Of God.

Rating: 6/10

Polyphia "Remember That You Will Die" (2022)

 

Last I heard of then Texans Polyphia, they were lumped in a then emerging Djent camp. Still echoing time signature grooves and the guitar styling of the scene, a clear evolution beyond it has served them well. Now they perform a smart, sophisticated game. Rocking jazzy, Progressive arrangements and mixing what would often be snubbed as technical "guitar nerd" music with Pop sensibilities. It commands ones attention, the two often opposed ideals meld invitingly when this quartet perform.

With an intricate approach, dazzling technicality and performative tenacity, crafty compositions of dexterous notations gleam with satisfying melody atop sharp percussive rhythms. A simpler key focus always captures ones attention while around it a whirl of showmanship embellishes an inviting idea into a wild ride of tricky performative art. Bass guitars slap and pluck away with impressive precision. Alongside, a three armed drummed who fleshes out tight fills and jolted hi-hat rhythms between electronic drums that snap and kick with a modern punchy brightness.

The records opening songs focus on the instrumental aspect with guests bringing pianos and horns to the mix. With ABC the focus shifts as quest vocalists and rappers really sell the pop appeal. Its a warm fusion, where the band revolve around that focal simplicity their friends bring. It gives the album another dimension to dip in and out of, keeping a fresh flow. Interestingly its most memorable moments are birthed from the catchy hooks guests bring. Not a surprise if you think about it. These things do tend to trump the incredible gifted abilities they have as musicians. Steve Vai signing off on the album closer is a real testament to their accomplishments as musicians.

Rating: 7/10

Matt Uelmen "Torchlight II OST" (2012)

Rejoice! A gift from the heavens, a FREE original soundtrack! If like me, you grew up on the music of Matt Uelmen's Blizzard classics Starcraft and Diablo II, then this is for you! Spellbound by his earthly incarnations of weathered stone age lands and the lurching mischief of a corrupt evil, the D2 soundtracks became frequent listening beyond the game itself. The broody, engrossing atmospheres Matt conjured stuck with me over the decades. Catching wind of his work on this soundtrack, released by the games published for free, peaked my interest. Bar its title theme track, Torchlight II is essentially another half to the classic D2 soundtrack that's so dear to me.

Its no understatement, the instrumental pallet is identical. Shades of all five chapters of the game intermingle. The cinematic orchestration unlocked with the Lord Of Destruction expansion pack a prominent feature too. Not just aesthetics and texture but the musical approach musters that timeless magic. Certain passageways bear a sparkling resemblance. Others seemingly direct incarnations or alternate takes. Once again we get to experience the mesmerizing layers of acoustic guitar Tristram blazed so brightly in Diablo's opening track. A song worthy of any curious listener.

Its a lengthy soundtrack, eighty minutes where new crevasses of his earthly musics are explored, always tumbling back into familiar feelings and arrangements, then to vanish again into something new. Its a delight. A literal dream come true. Too often have I wished for more and finally it is here, or should I say unbeknown to me for ten years! Nestled at the end, Camp Dawn is my favorite track, essentially the closest you'll get to another Tristram. Beautiful! I'm so thankful to have found this.

Rating: 9/10

Helmet "Aftertaste" (1997)

 

Lured to Betty by Spotify's auto-play, I thought a follow up on Helmets final output before a later reunion was due. By fans and critics alike, Aftertaste wasn't well received at the time. Its a mild affair but personally I've enjoyed this one. Harking back to their roots, Helmet pump out a rather stripped down, straightforward rendition of syncopated Drop D riffs alternating on shimmering shoe-gazing chords.

Effective and simple drum grooves build an easy framework for each song to deliver a handful of riffs that rarely venture beyond a few bars. Shuffling back and forth with monotone vocals overhead, It gets repetitious fast. Their songwriting finds little in the way of "special" or ambition, its just simplistic structures playing out their basic ideas.

Its all about aesthetic, If the mold matches your taste, then its worth a spin or two. Beyond that, I'm not sure much else can be found. Occasional compositions resonate well, poking its head above the mediocrity on display. For example, the opening riff of Broadcast Emotion melds a grooving riff with hazy texture wonderfully! On the other hand, its crass guitar solo not on the same level. This record is really for fans of Helmet, beyond serving that crowd, there is little to be said about the music.

Rating: 6/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Lorna Shore "Pain Remains" (2022)

 

With the huge springboard of viral success from last years To The Hellfire single, Lorna Shore have ample opportunity to stake claim in Metal's legacy with this new full length, Pain Remains. Leaning heavily into their breed of attention grabbing breakdowns, the lush orchestral thematic extremity on display gets smitten by sudden barrages of unmitigated brutality. Opening with a symphonic piece echoing Death Cult Armageddon vibes, its dark fantasy orchestration swiftly falls mercy to sporadic, murderous crashes of cold and cruel aesthetic abuse. Brazen pummels of lightning blast beats and unearthly demonic gutturals intrude, lunging its musicality into blunt, primitive howls. Carnal and crude in nature, its offering are slim past its inception.

And thus a truly interesting elevation of symphonic extremity gets subverted. The mighty, triumphant and mercilessly aggressive union has its fantastical themes abruptly diminished by these unconnected inhuman roars from an unforgiving abyss. Identity is lost as synths are stripped out, so to do melody and rhythm fall wayside to simplistic noise barrages. Seeming worlds apart, the immersive lather of strings, trumpets and horns integral to world building, slips into a void, in favor of brutal tropes.

For this listener, a sense of identity and direction for these songs failed to manifest. Where progressing with musical ascends and crescendos might be expected, all I found was the sudden dissolution of magic in the wake of its breakdowns. This was likely the intent, that all roads lead to their ugly abandon of over the top extremity. For me its a novel trope that undermined everything else. Fortunately its final three part title track ads a little saving grace, the best songwriting on the record where they have an opportunity to shine. But at the end of a grueling slog of intensity, it too wains.

Rating: 4/10

Mudvayne "L.D. 50" (2000)

 

As typical a Nu Metal band could get, somehow the depths of Mudvayne's debut record eluded me in my youth. No one could escape the maniacal assisted suicide anthem of Dig, a classic of the genre. Familiar with it, Death Blooms and a few others, I decided the deep dive was in order! Having now binged its downtrodden frustrations these past few weeks, I've unearthed a simultaneously intelligent and trope riddled record. Primarily just a curiosity for the times, I've enjoyed its offerings immensely.

Talking of tropes, the influence of Korn is undeniable. Obviously, syncopated guitars and the angsty, moody tone but more notably does Chad Gray emulate many of the quirky antics and painful inflections Jonathan Davis defined. It stands in contrast to his furious screams and vulnerably endearing clean singing that offers a refreshing individuality. He melds well with his fellow band mates, as musicians, they are clearly a step above their contemporaries when it comes to ability and creative execution.

A big takeaway from the attentive ears of a now seasoned listener is the technicality. Mudvayne were clearly flirting with ideas from Technical Death Metal, Jazz and polyrhythms. Bassist Ryan Martinie routinely counteracts the simplicity of dropped guitar riffs. With elegant, yet complicated finger work, high octave chord strikes and purposeful dissonance, a delight is revealed. His presence textures the music, adding dimension and stripping out dulling repetition where song structures retread riffs.

Also toying with time signatures and more ambitious syncopation, quite often will one hear brief echos of Meshuggah as stabbing guitar riffs jostle with unusual rhythms. This along with calmer moments, delivered by cold shimmering acoustic guitars, amount to a solid formation. On its journey, the ideas explored abridge Nu Metal with more musicality while compromising nothing. The result is a very distinctive sound, easy to cast aside by its tropes yet under the hood a trove of aggressive wonder.

With a depth of inspiration unfolding, L.D. 50 plays sweet and steady. Broken up by a handful of zany, ambiguous electronic interludes, its relentless metallic march is bridged to reinforce a maniacal tension even present in theme. So too do core songs offer occasional instrumental explorations Progressive and atmospheric in nature. With all these elements firing strong, its sixty eight minutes play exciting from front to back. I'm walking away from this astonished, the bands reputation deserves more.

Rating: 8.5/10

Gravediggaz "6 Feet Deep" (1994)

 

Unwittingly, I've uncovered Hip Hop's Horrorcore origins, a treasure trove of terror led by none other than RZA of the Wu-Tang Clan. United with The Undertaker, Grym Reaper, Gatekeeper and producer Prince Paul, this Rap quintet delve deep into life's dark sides. Graphic themes of death, suicide, murder, poverty and black suffering permeate. Both serious and comical, the latter gets punctuated by gruesome exacerbation of comic book horror tropes through verbal creativity. Its former sincerity makes use of thematic extremities to highlight the serious issues of street life.

I'd been aware of 6 Feet Deep's existence for decades. Despite an encouraging reputation, my playlist choices always gravitated to something else. Finally cracking the cookie, I'm overwhelmed by its fortunes. Slipping snugly into an early 90s Jazzy ruggedness, to many samples, flows and drum beats echo many favorite sounds, posing the tricky question of how it fits the tapestry. Warmer Southern tones turn up on Mommy What's A Gravedigga, 1-800 Suicide and Blood Brothers, the latter cruises on a chilling nightly tone with its shimmering pianos and danger lurking baseline.

Diary Of A Madman plays like a blueprint for what I know of Rap duo Jedi Mind Tricks, both beat and flows are uncanny. Many other songs conjure similar familiarity. A handful of verses spat akin to Ol' Dirty Bastard, and the occasional beat like Graveyard Chamber reek of Wu-Tang outtakes, perhaps leftovers from the era of RZA's Demo Tape. Recorded over the prior three years, overlaps with the nine are no surprise, yet Gravediggaz stand boldly apart with their own devilish identity.

The distinction is wild, leaning into theatrical cheesy horror tropes, grim lyrics get cut keenly into its topicality. A depth of cultural references finds its linage in the unsavory side of American cultural history. Experimenting with unhinged wordings and maniacal cadences on occasion, the music ebbs and flows between tongue in cheek humor and deadly frankness with more conventional cuts. Prince Paul's contributions certainly serve that convention, with RZA and other producers offering up the looser screws. All in all, 6 Feet Deep is an essential experience if a fan of Hip Hop's darker leanings.

Rating: 8/10

Old Sorcery "Dragon Citadel Elegies" (2022)

 

In concluding the "castle trilogy", Finnish composer Old Sorcery masters their mysterious craft. Perhaps one to be labeled a modern Dungeon Synth classic, Dragon Citadel Elegies culminates its finest aesthetics for an epic adventure. Woven with elements of Fantasy, Dark Ambience and soft touches of Berlin School electronics, a diverse arsenal of instruments converge on glowing visions. Both its lurches into foreboding darkness and deliriously majestic daydreams find cohesion. Across five mighty songs we explore the peculiar crevasse of an imagination so rich and lucid.

In spellbinding fashion, the grandeur of its themes smother the listener, a fine craft of composition and execution where very minute detail of design seems articulated with brilliance. The balance of intensities, reverberations and tonality of its instruments illuminate otherworldly tunes. This elevation of components seems steeped in unbounded inspirations. The quirkier, playful melodies seem almost Harry Potter akin, as magical bells jostle and chime in nightly gusts of wizardly winds.

Either lurching in cold shadows or bustling through night skies, a zest is always in the air. These paths are well walked as the music bestows a clear vision of fantastical realms home to magics that don't lean into the atypical moods this genre has become accustom with. This has always been a part of what sets Old Sorcery aside. Still growing as a musician, these stunning forty minutes gets at the essence of its identity.

The final song, A Haven, does linger somewhat on its lengthy exit. An intriguing start drifts into its most subdued passageway, however a transition to a final majestic curiosity seems intentional in design. Perhaps leaving us with an appetite for more? Its clear we have been treated to the best offering yet. Who knows what could follow?

Rating: 9/10

Helmet "Betty" (1994)

 

To discover Helmet, is to learn of the bridge between Grunge and Nu Metal. Familiar with their classic Meantime, Betty drew me in after Spotify's auto-play kept spinning I Know. The rhythm laden kick snare groove it opens held uncanny resemblance to Deftones' Around The Fur. The following loitering Shoegaze guitar chords present a striking affirmation of influence on yet another Nu Metal era band. These drifting, hazy, fuzzed out riffs seem seminal to the Deftones sound, leading me to wonder what else the record offered. Between the expectant roll out of syncopated Drop D riffs, dense and hazy showgaze aesthetics conjure a little atmosphere to counteract its grungy metallic stiffness. Its a warm, bold tone, lacking any lean to the dark or light and driven by competent percussive kick snare grooves. Bustling with choppy riffs, they routinely veer into that hazy texture. The back and forth is pleasant and undemanding.

Its other distinction was surprisingly that of Primus. Just a couple of songs venture into the bizarre oddities that their breed of the short lived Funk Metal established a few years prior. Its quite obvious, cheeky baselines, discerning noises and comical vocals break the sound suddenly. It works but lacks originality and serves to spice up an otherwise narrow sound as there is little to be found in the way of expansive song writing or progressive ambitions. This is straight riffs and Hamilton's meager cleans and reaching shouts tend to simply accommodate rather than spear on any energy. He definitely chimes better with the Shoegazing sections but doesn't feel like a key component of this simple syncopated style that would go on to influence so many bands. Betty is a really solid record, a firm execution of simple and effective ideas.
 

Rating: 7/10

Type O Negative "October Rust" (1996)

 

Smoothing out the oddities of torturous experimental sound design and crass, filthy humor, Type O Negative deliver a cohesive, lengthy album experience fit for a classic. Breezing past two brief humor driven tracks, Love You To Death embarks on chilly December moors. Cold winds groan as merciful  melancholic melodies descend upon on a cursed gothic romance. Stripped is the architecture of cinematic cheesy horror tones they previously yielded to sincerity. With a dreamy yet dreary aesthetic, imbued by fuzzed, hazy guitars and murky bass distortions, the record croons with affection.

October Rust's metallic foundations plays second fiddle to the manly sobs of Steele's engrossed voice. Soaring with emotive words, punctuated by cunning lyrics, he lands songs gracefully with infectious moods to latch onto. In duet with Josh Silver's keys, together they reign in a 90s spirit, yielding it to their own confessions in a glory of tuneful delights. Touches of the Alternative and Grunge sound lurk, even a smidge of Britpop akin sensibilities are heard on brighter numbers like Green Man.

Embracing warmth on brighter outings, so to do swings into dramatic sorrows and pains adorn this venture. Glorified by a passionate love of Gothic veneer, Type O Negative revel in the anguish of heartbreaks and loves lost. Thus its songs swerve the terrain of frosty landscapes in remarkably acute degrees. Both light and dark find unusual unions under brooding church organs, shimmering Shoegaze guitar tones and even a glistening Christmas bells on a mournful, gloomy Red Water.

Despite brilliance throughout, October Rust's second half steadies pace. After My Girlfriend's Girlfriend, a tongue in cheek romp, a string of excellence expires. The cover of Neil Young's Cinnamon Girl a further highlight and the concluding ten minute Haunting. Their absurdist humor is not lost, as the song abruptly ends during its Doom Metal parade upon lunging tempo and choral harmonies. I do wonder if it was brought about by medium constraints. After the sudden close, its final spoken remarks, "I hope it wasn't to disappointing" a crude one, given the wonderful seventy minute machination of Gothic majesty and 90s moods that proceeded it. A classic? Almost!

Rating: 9/10

Machine Head "Of Kingdom And Crown" (2022)

Flying on the spirited shoulders of front man Rob Flynn, Machine Head's one soul surviving member, a renewed lineup embark on a mission of defiant intent, to reaffirm their iconic demeanor boldly again. Pulling no crafty surprises, Of Kingdom And Crown rekindles the throttling metallic edge explored over their now lengthy history. Sadly, it arrives on shores of apathy. as my diminishing interest in the Metal treadmill grows. Its song writing may be cunning, the attitude ripe with passion and riffs as intoxicating as ever but a lack of originality breeds only serves a familiar serving.

Its one defining encroachment seems fitting to fail. The "woah-oa-woah" chorals, intentionally epic in shape and crudely catchy in execution just happens to be a cliche I'm not keen on. More commonly heard among cheery Electronic tinged Indie Rock of the last decade, Rob weaves it well into the aggression. As for everything else? A typical assemble of Groove and Thrash, woven in with iconic obnoxious fret harmonic abuse. It serves to paint its climaxes in a stale familiarity, fun but lacking freshness. Although wonderfully directed songs, catchy with steady progressions, the satisfying structures assemble an arsenal of riffs thoughtfully. Yet they blunder, as rehashing classic riffs from past records sours the potency of these peaks they strive for.

Where the record crumbles is in its mediocrity. Only a handful of tracks partially navigate these momentous intentions. Its darkly interlude muster little excitement and Rob's political resentments seem contrived, emerging as stiff frictions between words and the musical attitude. Of Kingdom And Crown may have octane aesthetics and lively execution but its contents are bamboozling, a case of deja-vu intent on a frothing urgency dulled by a lack of something new to say. Sure, one can have a good head bang and enjoy the energy, but ultimately its the same old Machine Head.

Rating: 5/10

The Gathering "How To Measure A Planet?" (1998)

 

On their third outing with the classic lineup, a firm end to metallic components is all to apparent, The Gathering drop both song style and distortion guitars in favor of dirty overdriven tones, progressing into the morose side of their known melancholy. Echos of former selves are heard, if only glimmers of ethereal acoustic arrangements once toyed with, withdrawn sluggish tempos dominate its dreary limp temperament.

Anneke's youthful vitality is sullen by a moody, downtrodden presence, her charmed voice skewed by inescapable sombre sorrows. Paired with steely bleak guitars chords and dull, muted baselines, forays of strange electronic textures and distortion noise further extenuates an inescapable wearisome. Songs do swell, blooming in measured builds ups, only to collapse back into these pale atmospheres wearily conjured.

Its clear I've not been wooed. Despite a glowing reputation, this progression stole what I adored and replaced it with little excitable. A meaty double record duration further emphasized the dullness I couldn't escape. Even on Liberty Bell, its most energized song, the zapping synths rustle my dissatisfaction to grandiose Alternative guitar chords that don't deliver on intentions. It seems its clearly defined chemistry s lost on me, perhaps a result of its mournful spirit that seems tinged on a unidentifiable sadness.

Rating: 5/10

The Comet Is Coming "Hyper-Dimensional Expansion Beam" (2022)

 

Obnoxious rhythmic fluctuations take lead, the Saxophone sits central, a lone expressive voice articulating simple expressions over a surreal synth landscape of cosmic majesty. With Metal adjacent syncopation, the pulsing of minimal notes sways in brief repetitions. Looped hooks and grooves groan in its textural might. Voiced like sequences of chorus lyrics, they bounce and chime off the lavish densities rumbling below, a contrast that constrains its fluttering presence to a narrow linear path. Sadly, its a weak spot. As the record traverses its modest temporal trajectory, the blunt Sax expressions become monotonous and grating. Although exploring tonality and envelope, too often do the short phrases unleashed grind down into a rigid form.

 Casting a lengthy shadow over its complimentary backing section, the wild tapestry of electronics and shuffling percussive arrangements play second fiddle, despite being superior. With an attentive ear, a spectacular array of astral events emerges. Unfolding with shimmering synths and lively drum patterns, the latter jostles with airy ambience and dynamic unraveling of waveform leads. On occasion they gush and ooze in delightful spectacles of musical chemistry. Its mostly heard within a bold string of strong opening songs. As they pass, so to does that spacey wondrous charm. Retreating into routine, unimpressed ideas dominate, it drops off sharp, sparks fading.

Transforming into an uneventful jam session, Hyper-Dimensional Expansion Beam descends into itself. Brief arrangements conjure aesthetic curiosity but direction, progression and creativity seems simply lost. Such a shift from the lively magic it opened with seems sudden around the forth track or so. It rarely returns and thus leaves a sour taste in ones mouth, or ears. Trimmed to a brief EP, this would have been fantastical fruit. Unfortunately, the majority of the crop yield isn't up to scratch and thus leaves much to be desired. The Comet Is Coming are still one to watch with a unique musical arrangement however they have shown the best and worst of themselves here.

Rating: 4/10

Slipknot "The End, So Far" (2022)

 

Breaking from lengthy absences between their prior two efforts, Slipknot storm back onto the scene with haste and inspiration afoot. Reestablishing themselves on We Are Not Your Kind, the nine mature into comfortable territory, able to deliver the goods and encroach on new ground. Adderall beautifully misfires the record start, a torturous lyrical piece on drug abuse juxtaposed by gentle melancholic pianos and Post-Rock guitars. Uplifted on the march of its warm baseline, a pivot into bluesy gospel chorals tinged by shimmering, wailing guitar texture states intent for something different.

One has to await these finer wines as swiftly we crash ashore on maniacal aggressive batterings Slipknot are known best for. A smattering of triple percussionist force punches out classic grooves on uncanny familiarity with The Dying Song and The Shapeltown Rag. These are the crowd pleasers, with bite and vitriol at the ready, the hounds of frightful frustration are unleashed among bouncy infectious brutality.

As the record matures, so do its broody atmospheres and textural treats between the swaths of metallic onslaught, mostly cunning guitar riffs and stomping drum breaks to headbang along with. In this expressive space, Slipknot thicken the fabric of their identity, exploring the creepy, unruly dimension that blesses their distinction. Cracking crates ajar, unlocked are new depths of this mid-tempo, mood led focal point. Explored in degrees, an overlap with convention yields quite an enjoyable variety.

So far, The End, So Far, has been spun without a single skip. It ebbs and flows, leading to a grand conclusion with De Sade and Finale. The former proposes gratifying links between ends as texture, aggression and Corey's clean emotive singing unites different extremes. Venturing then into a string of exchanging classic Metal guitar solo stylings, the fiery energy deconstructs itself, dissipating into silence.

It sets the stage for a grand bow out, Finale offers sombre strings and graceful pianos on slight unease to brood into an emotional climax as Corey declares emotional attachment to his darkness. Its expressed through catchy wordings, to get stuck in the mind. Again, a textural experience. The song breathes alongside its creepy choral chants. Expanding and contracting, it feels like a link to the albums opening.

Consistently does one feel a sense of expression and inspiration. Perhaps loosening the shackles of expectation, Slipknot gracefully venture onto new lands. The production is sublime, a typical modern marvel, managing to cram in nine loud voices in its loud onslaughts. Best of all, I felt Sid Wilson's input was made visible. Often you can hear the turntable textures working in a little extra magic at no expense to anything else. This has been a delight. The best since Volume 3 as it stands.

Rating: 7/10

Mortiis "Ånden Som Gjorde Opprør" (1995)

 

Enjoying a spontaneous plunge into Dungeon Synth origins, we conclude for now with Mortiis' sophomore record. Released earlier in the same year as Keiser Av En Dimensjon Ukjent, it seems substantially maturer of the two. Mortiis, now professing himself as a Tolkein troll on the albums cover, takes a darker route with the music. Stoic, castly vibes permeate its mellow enchantment, as the former fantasy flutes give way to dusky winds and morose organ tones that lurch with a lingering gloom.

On this outing, the instrument selection is ripe, often dense with brooding strings that overlap, its tones have a crowded space to hide the blemishes of its electronic origins under its fidelity lacking production. The low end is thickened out dramatically and when Orkish militant parades pound their unruly drums, a grand mystique is unearthed, a wondrous mix where the performance's inadequacies embellish its spirit.

This is at least true of En Mørk Horisont, Its five chapters traverse vivid soundscapes of darkly fantasy realms, ushered on by the weighty gravitas of deep gong strikes. Visjoner Av En Eldgammel Fremtid experiments initially. More spoken dialog and breaks in tone has its direction muddied before settling into a predictable pace. It gradually builds grandiosity to a victorious trumpet fanfare in its final three parts.

Of all the Dungeon Synth precursors Ive encountered, this felt the most emblematic of what was to come. Mortiis, clearly inspired by Fantasy and Tolkein, lay down rich foundations for others to build from, that would eventually transform into a scene fifteen years later. I had not studied his works attentively before. Now the link is all to obvious but best of all, his music strides boldly into the imagination with stunning vividness. This is no embryonic endeavor but a fully expressed vision.

Rating: 8/10

Depeche Mode "Songs Of Faith And Devotion" (1993)

 

Moving on from the soaring heights of Violator, the English quartet Depeche Mode make a daring bold stride into a resonant religiosity that birthed their Personal Jesus hit. Further embracing the human gulls of guitar texture, they lean on darker acoustic vibrations, Gahan's subtle vibratos inhabiting numerous cold reverbs, wandering towards despaired lows the albums dominating theme seemingly rescues him from.

Songs Of Faith And Devotion is definitely of their vein. Shimmers of Gospel, Hymns and spiritual voiceings line its persuasions. Only with Condemnation do they take a solem plunge of baptism into its sways. A beautiful moment among other ideas that converge with mixes of ideals. One can observe an orchestrated component. Gallant and chivalrous string sections ascend the clouds, disconnected from its counterparts.

Swooned by the times, so too does one hear inflections of an emerging Trip Hop scene. Dense, snappy, popular percussive loops crowd the rhythm section of many a song. Get Right With Me goes hard on its Gospel choral chants, clashing hard with its clunky drum sampling. Rush too flurries a similar fate, its Electro-Industrial synths injecting a jolting energy against dark, steely guitars, Gahan on another frequency.

This records ambitions land it in a variety of places. The better written songs seemingly closer to a formula that served them well before. Its soft religiosity a crooning charm better served the harder they leaned into it. As a whole experience, it holds over with a meaty persuasion but blemishes show on numerous repetitions. Seems the group were pulled in multiple directions, by emerging scenes of the time, yet sticking with their guns and faithful inspiration may have worked out best.

Rating: 6/10

Sabaton "Father" (2022)

 

 "Father of toxic gas and chemical warfare", no surprises here, more plain faced descriptions and tunefully cheesy lyrics. Sabaton have returned with additional songs from this World War I themed era of theirs, which I have enjoyed immensely. Its the first of a few EPs to be packaged with additional tracks from The Great War and The War To End All Wars. Although only hosting one new song, the grouping of relevant tracks is a niche touch, another reason to their music once again.

Father is dedicated to Haber Fritz, a figure well worth learning about. Creator of synthesized crop fertilizers and chemical weapons he has brought about both suffering and flourishing for humanity on a grand scale. He is given a somewhat ambiguous reception by the band. The song has a soft lurching darkness and sinister tone as its guitars take a subdued roll, letting its symphonic tones roar. It pivots to quite an uplifting reprisal, led on by a brief guitar solo, the vocals roll into a brief swooning. Perhaps these contrasts are reflective of the scientists contributions to humanity. Weight is certainly put on the suffering he caused. Its a reasonable song, fitting snugly into their current focus. Can't wait to hear more on the coming EPs!

Rating: 4/10

Mortiis "Keiser Av En Dimensjon Ukjent" (1995)

Reviving his past aspirations with the recent Spirit Of Rebelion, I sought out a piece of the origin story that inspired so many within the Dungeon Synth scene. As one of the Norwegian musicians earliest incarnations, Keiser Av En Dimensjon Ukjent has strong similarities. Comprised of two twenty minute lengthy halves, split into lesser parts, the pairing adventures journey through naturalist, nostalgic imaginations. A breezy spirit for magical adventure and gentle mystique guide the listener along is pleasantries.

The glimmer of yearning strings and playful flute melodies glides over broodish bass warmth. Occasionally bumbling into gustos of castled might and sampled bellowing voices, the title track sails sweetly in the uplift of its welcoming tone. Mischief is beyond sight, however Reisene Til Grotter Og Odemarker finds a devilish grandeur as mysterious choir tones and rumbling percussive strikes chance a little unease.

Eventually circling back around to its brighter persona, part three embarks on a classic, triumphant deceleration of Orkish nature. Freshly unveiled trumpets roar for battle, as deep drums thump the pacey march to war. Its darkness is one of theatrics, the imagination run wild with a strong whiff of Tolkein steering its sequestered charms.

Its a wondrous piece of music for the time. No doubts I once gave it a listen but never made the connection in my youth. Now its gift to Dungeon Synth seems simply undeniable. A lot of its charm emanates from a flawed human performance. The creeks and groans of imperfection, its natural, organic fidelity, aid the immersion. It masks repetitive structures and highlights the gulf a digital MIDI and VST driven project like Spirit Of Rebelion suffers as a result of lacking these perfect imperfections.

Rating: 7/10

Mortiis "Spirit Of Rebellion" (2020)

Somewhat stiff, direct in execution, Mortiis' so called embrace of Dungeon Synth feels a step behind the ruinous, mystic wonders he helped inspired. Often sighted as a precursor to the movement, the Norwegian musician often remarked indifference to his obvious influences. This castley affair of medieval fantasy pumps might, magic and vitriolic spirit from its bold and cheesy synths. Alongside fractures of foggy, murky key tones, an aesthetic veneer glimmers in its own reflection. The unshaken instep march of looped melodies, perfectly aligned in MIDI notation, evaporates the humanity.

Its first half, A Dark Horizon, toys with the moody abandon. Gentle tempered spirits of estranged worbling VSTs venture on lonely meandering journeys, intermittently struck by thuds and drum strikes. Its lonely, occasionally frightful but mostly shy of striking a nerve. With a barer construct, its repetitions become a blemish of its pristine presentation. Simplistic looping melodies swiftly a gnawing gripe, sucking charm and magic other low fidelity production aesthetics of the genre would offer.

Visions Of An Ancient Future embarks on ambitious conquests. Deep gongs, perpetual echos of militant percussion and a stoic stature march forth with the might of glorious battle horns guiding its way. The shift from esoteric curiosity to kings and castles would make for an interesting record if both halves did not endure the lifelessness of such stiffly executed virtual instrument performances. In a nutshell, appealing ideas but a lack of immersion.

Rating: 4/10

Kyros "Vox Humana" (2017)

 

Suffering the meaty bloat of a double disk, lengthy escapade, Vox Humana reaches far. Seeking heavens, with spirit and inspiration guiding, this juggernaut weighs upon itself. As a progressive beast, lunging from epic to epic, its diverse aspirations forge wild strings of temperaments and intensities. Reliving the classic tropes of Progressive Rock, flirting with performative theater, a dynamic metallic energy and even shivers of crude Dubstep wobbles on path, a cluster bomb of ideas explode upon the listener.

Individually, lofty, grandiose themes excels, triumphant roars and gratifying peaks are navigated among an arsenal of instruments keen to show their harmony. Collectively, a broad meandering is endured with no ending in sight. Lacking an arc, a sense of overall direction, its climaxes, dramatic twists and turns, roll of the treadmill linked, a free formation running against its own current. At least that has been my experience.

Despite a sense of disorientation stumbling through the hurdles of its musical might, Vox Humana is littered with gratifying sways into exalted emotive swoons. So often do its musky, gentle lulls erupt, illuminated by surging musical powers. The persuasion of momentous riffs, engulfing dancing melodies and all to often, Shelby Warne's voice, assailing all, Kyros land their adventurous ships ashore upon treasured beaches.

On examination, a culprit emerges, its linking elements. Intensity down-turns, drives into obscurity and the general breeziness between storms lacks charm felt elsewhere. Its where meandering looses attention and the swells of excellence are lost in its over ambitious nature. But the ambition is clear, leading to regular contagions of brilliance.

To my mind, Vox Humana sounds out of ears to its audience, a group of musicians exacting their will, uncompromising in their vision. As an observer, indulges into odd and experimental directions frequently break its flow. Clearly excellence is abundant, with many a satisfying moment along the way. Its peaks show this to be true but the journey? A rocky one in terms of holding over interest and attention.

Rating: 7/10

Type O Negative "Bloody Kisses" (1993)

 

Casting a shadow over their debut effort, Type O Negative return to encapsulate the early 90s alternative vibes under their eclectic Gothic identity. With this lengthy sophomore the band reach a new apex in intervals. Wedged between crude satirical humor, noise driven experimental soundscapes, Doom Metal worship and bursts of Hardcore aggression lies superbulous song writing where melody, rhyme and reason reign supreme. An excellence is to be discovered on its lengthier affairs.

Christian Woman, Black No1 and Bloody Kisses are driven by theme and theatrics, a beautiful sense of expression playing out with a craft on all fronts. Bold horror synths chime with a heavy hand alongside dramatic pianos. Catchy melodies and rocking riffs align succinct with fantastic anthemic vocal hooks, "Loving you is like loving the dead". So to do gleaming guitar solos errupt with a 90s tinge, checking all my nostalgia boxes. The song structures are immense, ambitious and bold, carrying a gripping gravitas on these lengthy journeys. With pivots and sways encompassing drastic shifts, the transformations are remarkable in expressing these Gothic epics.

Sadly, the rest of the record doesn't live up to the strengths of these songs. It can be expected from the brief experimental interludes that paint bizarre horrors. They exist at odds with the more conventional offerings. With a strong whiff of Black Sabbath and Hardcore, Kill All The White People and We Hate Everyone steers too far from the mesmerizing Gothic allure. Where it exists on other songs is among a slew of shifting, radical ideas that don't gel with the thematic intensity seen on its best numbers.

Kudos however, taking a step back from the blender of ideas presented as Bloody Kisses, its clear the band are unabashed in pursuit of what interests them. The vast array of aesthetic influences displayed withdraws the record from a sleek and streamlined experience, revolving on its catchy elements. The foundations of such a thing are in sight, yet the direction seems more intent on where curiosity leads them.

Rating: 7/10

Yeat "Lyfë" (2022)

 

Riding a wave of hype, this up and coming youngster Yeat builds on top a direction the likes of Playboi Cardi, Future and Lil Uzi Vert have established before him. The latter Uzi features on this EPs opening track Flawlëss, the two melding as such bt Cloud Rap standards. Vibeing with subtle psychedelia and mellowed out aesthetics, these beats pair clicky, tinged percussion with zany synths and flat bass rumbles.

Going heavy on the auto-tune, Yeat's voice electrifies tonally, blurring synthetic boundaries. Its a stylistic evolution, words play second fiddle to the feels of cadence and delivery as his flow melds melodically with backing instrumentals. Trendy slang and slurred annunciation lead way, bending vowels and consonants to the whims of self expression. This groovy, easy, laid back gelling is a pleasure to observe.

Sadly, the attention on his unique presence equally highlights seemingly knee deep lyrics. Sleazy slang, cheap nauseous rhyme schemes and a heavy reliance on braggadocio paints a shallow portrayal of the moment. There is only so many claims to success and flipping stacks one can endure. A lack of variety and substance leaves one with little to take away in terms of food for thought. Obviously its not the point.

Despite this, the moods are hypnotic. Songs play like low key bangers. Letting his voice spiral off like an instrument, the beats resonate in their unusually synthetic take on the current direction of Hip Hop. Simple loops with short melodies sink into the contagious aesthetic with ease. The bass stomps find apt moments to drill thumping repetitions, a niche touche. Producer BNYX seems to consistently have hands on the better tracks. In general, they seemingly "glow" more than his contemporaries.

The further utilization of vocals in this auto-tune chemistry is somewhat reminiscent of how Kanye West once brought the harmony of voices forward. This time, the script is flipped. Zany, odd and alien, yet mellow, chilled and groovy, the style being evolved here has something to offer. Lyfë however falls a little short as a record. Its final songs drag, recycling ideas which are wild and exciting in its opening stretch.

Rating: 5/10

Chaosbay "2222" (2022)

 

Built on top of the 2 Billion EP, 2222 expands horizons without a renewed distinction. A few recycled riffs and lyrical themes present deja-vu moments, drilling the theme down ones throat. Otherwise, its a fair effort maintaining its demeanor. Still playing out the Periphery formula, its glossy, crisp production and juxtaposition between jolted aggression and gleaming melodic gets to play out opposites on occasion. A couple bright poppy tracks get a lone run, as do the regular stomps of polyrythmic Djent brutality. The later emphasized by some ridiculous bass noise rumbling in tight spots.

A handful of guest voices spice things up along the way but with the bands dynamic so firmly established, I found myself simply content on many a spin, lacking that craving to climb back in. Boxes resembled a viral infection upon contact. 2222 has not had that impact. Flowing song structures and the sparkling dynamics of electronic manipulation didn't lick like before. Its odd, an attentive rundown reveals nothing but quality and craft, with plenty of stunning singing yet somehow the gravitas was lacking. Its more likely to be a reflection of my mood, more so than the record itself.

Rating: 6/10

Revocation "Netherheaven" (2022)

 

 Four years on from The Outer Ones, Davidson returns with another matured refinement of fleshy metallic complexities, toying darkly atmosphere against angular aggression. The opening Diabolical Majesty embeds a soft warmth in tone and groove, grim melody flickers through flushes of entangled guitar menace as a beastly portrait is painted. Putting its greatest effort first leaves a bitter taste as the following songs suffer its shadow. Delving deeper into a tapestry of dexterous guitar work, attempts to pry apart Metal convention and piece it back together fall flat.

This terrorizing meld of Death, Prog and Thrash flounders as its supposed arcane architecture hits the treadmill of repetitious unpredictability. Twists and turns run amuck, losing sight of what makes a song stick. The endless labyrinth of riff work dispels its own madness. The brutal glumness of grinds dispels its sporadic flourishes of magic in the form of Davidson's incredible solos and occasional acoustics.

Netherheaven arrives on the heels of my despairing disappointment at Metal's continued stagnation. Despite once being my darlings for Metal's future, the years have rolled by with the band burrowing deeper into the road they've carved for themselves and I've frankly become bored with a lack of freshness. The endless wind of sinister riffs, throaty howls "technical" percussion becomes a dispassionate blur, completely unable to peak my interest on this outing. At least its opener had a spark!

Rating: 4/10

Lorna Shore "...And I Return To Nothingness" (2021)

 

In the coming weeks there will be entries here moaning my pains about the dull, repetitive state of modern Metal. Coincidentally, I decided to finally check out one band garnering a lot of attention within the scene. Lorna Shore have had viral success with their abhorrent demonic breakdown ending To The Hellfire. Bloated by filth, absurd screams and obnoxiously rapid blast beats, the monstrous conclusion was simply an obvious increase of Deathcore extremities that came before it to my ears.

My reluctance to dive deeper has not been without warrant. The breakdowns are the least appealing presence presiding within this EP. Each song finds a couple of breaks to murder tempo, unleash beastly gutturals and assault with nihilistic percussive blasts that sounds like precision machine gun fire. Its execution is exquisite with octane aesthetic however the trendy technique is just flash in the pan for this "Deathcore veteran". When new and novel, its a riveting blast but any meaning seems knee deep.

Fortunately, everything else to my taste. Shades of Blackened Death Metal collide with evil symphonic theatrics in the vein of Orchestral Black Metal, once pioneered by Dimmu Borgir. While I'm name dropping, this record felt like an aggressive succession to Shade Empire's brilliant Arcane Omega. Foul winds blown over fantastical landscapes flirting between devilish darkness and Tolkien like fantasy realms.

The production is sublime, letting a lot of densities dance as its instruments throttle alongside luscious symphonies. The tandem is extreme, hanging in a balance other bands might butcher. Yet they navigate the fantastical landscapes with an aggressive flight that's exhilarating in its stride. Melodies are sweet and adventurous, balancing out extremity and developing theme. Its terrific chemistry backed by great songwriting. I'm left rather excited for their next album, set to drop in a month and a day!

Rating: 5/10

Andrew Odd "Discoveries" (2015)

 

Seeking out more cosmic Pysbient by Andrew Odd, his earlier Discoveries ventures close. Downtempo beats are stripped out, pacing set in rarity by rumbles of deep bass and jolting sequenced synths. My favorite track is the one exception. Unknown Phenomenon builds steadily, the reverb soaked snare and complimenting thump of the bass kick amp up intentions. It lingers on this trajectory for some time before unleashing a gratifying closing astral melody. This is the craft I was seeking.

The rest of the records dealing in shades of spacey ambience brought about by combinations of dense electronic strings, murmuring bass noise and lofty, airy synths. These songs most circle their own tensions, drifting from resolution and lingering in the peculiar spaces as ambiguous textures and halfway tunes assert themselves.

The most remarkable of which is Leaving, the opening track. Its perpetual sense of abstract existence is bestowed by a cloudy organ synth tone. It holds an odd tension of possibility beyond what we know. Presiding through its entirety, encounters with grandiose string sections feel significant and momentous, as if observing first contact from a distance. Its distinct and special, the rest of the record offering more temporal solitude but never quite escaping to the extraordinary. A fair set of ambiences.

Rating: 6/10

Depeche Mode "Violator" (1990)

 

Hailed by some as a classic, I approached this record with persistence. A turning point came four or so spins in. Suddenly, the brash, jolting instruments began to blossom. Its snappy arrays of waveform synths revealing secrets. The bold, rigid deployment of its punchy melodies and calculated drum patterns birthing emotional resonance from the void they dance above. Violator's aesthetic philosophy leaves a sparse quiet behind the fast attack and decay of its electronic zaps and stiff sampled percussion.

In the drone of its repetition, what I failed to hear was the build up. Songs start minimal and simple, with all components laid bare. Dave Gahan brings in his steely tender voice to take hand and lead along the lyrical narrative with an engulfing persuasion. Under his spell the instrumental broods these emotive swells as the complexity increases. Leaving its simpler crafts in formation, the later arrives toy with organics as dense guitar wails, dawning string sections and abstract electronic.

As I understand it, Voilator was also their debut venture to include guitars. Sometimes performed but mostly sampled, the acoustic tones fit effortlessly to their demeanor. I sensed the commercially exploited Personal Jesus might become an irritation but alas, under repetition I came to appreciate its genius, and union of digital and analog.

The records character lingers mostly on relationships woes, a sadness that permeates loves struggles without conclusion. The tone teases, toying with a curious poise. A soft sadness, melancholy on the horizon, all whilst being dramatically catchy. Its a highly digestible set of Pop tunes, weaving in odd electronic sounds to its tapestry. As the rush increases, so do strange zaps and brash noises. Quite the delight.

Ultimately I can only conclude to agree with its acclaim. Despite lacking the depth time with records offers, my ever growing love of its persuasion is wondrous. In comparison to Black Celebration, Violator stands matured and cunning by a band forging their expressions with sharpened wit and intellect. The underlying emotional rawness heard through voice and instrument is as before. I'm unsure as to why I did not hear it on Music For The Masses? Its earned my attention for a revisit.

Rating: 9/10

Andrew Odd "Life" (2015)

Seeking more of the Random Thoughts magic, Life of five years prior has flickers of a neighboring charm. Its opener, the lengthy, tense Spark, and aimless dreamy closer track, Darkness, both brood on airy tensions of lofty synths, uneventful soundscapes mulling over their own individual moments. The three songs between venture out of cloudy ambiances with pleasantly subdued encroachments of melody. Drifted along by spacious Downtempo grooves, deep baselines hum with mono-tonal force to reinforce its persuasive percussion.

Unlike the cosmic vibes to follow, life rests gently with the beauty of earthly things to inspire its mellow moods. Always calming, the chemistry of instruments soothes through its effortless pace and welcoming tones. Airy synths house spurts of aimless electronic melody as its motions stew on the feeling of each track. Wonderfully crafted, they can probably fit a variety of feelings the listener might have. Its spell is fantastic for focus, a delight to enjoy when tasked for work. Its only flaw is a lack of depth with only two thirds of its thirty three minute stay being the sweet stuff.

Rating: 5/10

En Voice "Hall Of Dreams" (2006)

 

 

Now steered into niche destinations by the Spotify algorithm, I stubble across Hall Of Dreams, one of two record by a German composer who I could find little information about online. This disparity reminded me of cultural difference music scenes have. I'm certain there would be no shortage of information on a Metal band of equivalent size. Tangent aside, En Voice glimmers ambiences as Downtempo grooves flirt with gentler temperaments. Easy soundscapes drift dreamily, seeming like destinations of a modern, European stature. A harmonious clash of new an old rides the wave. Keen electronic tones and lively mid-tempo percussion rubs upside yawning strings and cultural voices. It livens a sense of travel and adventure as modern life tangos with heritage and histories, fading in an ever approaching sunset of the present rat race.

Offering a variety of flavors across its twelve tracks, a welcoming Pop appeal pallets its instruments and textures with little in the way of challenging. Each song breezes by with shuffling beats and electronics, nothing ever to bold, ambitious or out of step. These serve as warm digestible moods with the occasional flush of 90s British Electronica as potent yet simple piano melodies swoon in over sweeping synths and dawning strings. Clocking in on average at five minutes, most the songs go through simple structures, retracting and extending the rhythm section through lulls and swells with interchanging instruments. It sticks to a tone and sees it through with a lack of remark-ability beyond the character of the smooth vibrations it conjures. Good for a while but lacking a memorable depth.

 

Rating: 5/10

Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022)

 

Author of the Command & Conquer music, a keen nostalgic staple from my childhood to present day, Frank Klepacki brought renewed excitement to his classic soundtracks during the games 25th anniversary remastering. Best of all, he united with tribute band The Tiberian Sons, breathing new life into old songs. Hearing them go it alone on The Only Winning Moon was an unexpected pleasure! Have linked up again, these four original songs feel several steps removed from the origins of their collaboration.

Lay To Waste is a mismatch of fun, energetic ideas. Swaying from the meaty Industrial grit of C&Cs assailant glory to gleaming surges of joyous metallic melody, its glossy symphonies and chunky guitars fit aesthetically like a glove. A bold complimenting force, split in direction. The misnomer lies in mood. Mischievous aggressive riffs underwrite uplifting emotive theatrics most prone to fantasy driven VGM.

 Personally, I loved both aspects, yet together a sense of ambivalence prevailed. One can hear Frank's militant ideas blazing along but frequently they meander in tone from war and destruction to might and magic fantasies as strings and tunes take reins from the rhythmic brutality presented beforehand. Its a strange dichotomy that has eased with familiarity and repetitions yet still dominates the directorial feeling. The opening Gun Metal makes a half baked attempt at incorporating explosive sounds to the mix, then its main theme gets handed off through a string of these instrumental pivots.

Its been one of the stranger encounters on this musical journey. I'm left unable to pick a favorite track as every song sways between contrasts. Its the swaying that makes me seasick. Taking the analytic hat off for a moment, its a fun set of songs pounding with energy and vibrant noise. Plenty of twists and turns along the way! A tight curation of ideas not outstaying its welcome. It will be a matter of time to see how often I return to these tracks as I do love to with their previous material.

Rating: 5/10

Megan Thee Stallion "Traumazine" (2022)

 

Roped in by her catchy Thot Shit hook, Megan struck me as a subversively talented artist overcast by the provocative lane she resides in. Sometimes referred to as "stripper rap", the reversal of overt objectification in Hip Hop often leads to bigoted conversations. Brushing that noise aside, there is a lot to enjoy here on her sophomore effort Traumazine, my jumping in point and a strong introduction.

With a lengthy string of tight banging beats, the appeal is strong. Lean aesthetics and slick execution takes on a reflective roll as many of these songs reminisce on classic Hip Hop vibes and beats from years gone by. If you're a keen listener, you'll hear a lot of familiarity. My personal favorite is Not Nice. Stealthy baselines and ambiguous ethereal sounds between the firm percussion give me some serious 2001 vibes.

Fronting the instrumentals with power and confidence, a crisp flow and swift articulation makes for breezy listening when it comes to understanding the topicality. Megan brings fifty plus minutes of focused, narrative driven rhymes. Braggadocios status affirming and showboating aside, a significant substance emerges as legal battles, personal struggles and emotional distress brings depth to her talents.

Although mostly voiced through a fierce, fearless front, a few vulnerable moments let the guard down. These stories tie up many showy sentiments to a human aspect, putting feelings to the exaggerated persona. Its a story of struggle and hustle, often playing out through explicit lyrics. With Traumazine she weaves in the person behind this success game, balancing out the boisterous with meaning and direction.

Although fun, fresh and powerful, its superbly recycled Hip Hop vibes and somewhat saturated topicality have these fifty minutes feeling stretched on each spin. Although lacking obvious weak spots, curation may have aided. Her tone and cadence has its range, explored early on and maintaining pace throughout. The decent consistency holds much of its material on par and leaves one wondering which tracks will survive memory? Its been a fun record but I'm unsure that time will favor its lasting power.

Rating: 6/10

Timewave "Solar System" (2010)

 

This is Timewave, another intriguing project of Andrew Odd's and another realm that feels familiar. As a mash of Progressive House, Downtempo, Trance and 90s Dance, its energetic pulse and throbbing percussion cruises on by with an intensity for the dance floor. Despite the elevated sensations, it maintains a calming atmosphere as slowly sweeping stringed synths sooth these absorbing dips into nighttime club life, where Its astral component is loose, a keen suggestion that fits the character. If not drifting through the endless cosmos, a variety of ideas could provide its theming.

Dizzying arrays of sharp arpeggio electronics whirl in dynamic oscillation, layers of busying electronic aesthetics stacking into a smothering wall of sound. Its dense with foggy atmospheric synths buried behind its tapestry of noises, all cohesively moving in the same direction. Its freeing, often euphoric but the magic is always birthed with the percussion strikes. Deep bass grooves jive at dance-able tempos thrusting along an infectious freedom to move your body. Its the persuasive magic of club music brought to an atmospheric flavor, both rich, uplifting and powerfully magnetic.

For all appraisals aired, I could simply be reveling in a genre of music that often doesn't quite serve the introverted vibes I adore. Its 90 minute construct of ten lengthy tracks also doesn't fit the album experience. Solar System is more of a "tune in and drop out". All its song structures are built on simple cycles of phasing intensities. Slow build ups brood into percussive drives before calming the crowd to charge back in again. Not all its aesthetics and samples land equally, especially in the build ups but once arrival has transpired, it always feels right when the pounding drums swell.

You can just jump right in whenever you want that deep focus, which is another interesting juxtaposition about its energy. Despite rocking a throbbing pulse, its dense aesthetic and liveliness is strangely meditative, locking you into its groove both as foreground and background music. Although I am in the initial excitement stages, its clear I've found something fit for another niche of mine. Andrew Odd is one to watch!

Rating: 7/10

Karl Sanders "Saurian Apocalypse" (2022)

 

Extending his Saurian series into a trilogy, American musician Karl Sanders returns with a sinister chapter for his Egyptology inspired world crafting. Centered around exotic acoustic guitar tones and Middle-Eastern instruments, cultural soundscapes straddling the cinematic and performative arts are forged. The tang of dense strings persist, plucked with vigor, they center the experience, an expressive voice melding soft accents of western groove and melody into the foreign, eastern dialect.

Deep gong strikes, cries of pain, possessive chants and eerie audio disturbances paint a ritualistic world alongside riffs and tunes to guide us on this ancient journey. With the timbre of tribal percussion ever present, only An Altered Saurian Theta State strays with its use of a modern drum kit breaking the spell. Unlike its underwhelming inclusion, the wailing distortion guitar solo feature on Divergence, cries with despair and fear, a drama to further heighten the tensions. A far greater fit in my opinion.

Mask Of Immutable Self Delusion offers respite from the mostly mystic, shadowy mood with uplifting acoustics fondly reminiscent of Humanoid. That calm deludes us to whats in store as the final piece lines up a glum, rainy setting for intense theatrics. The apocalypse arrives, a destructive event leading to a hopeless recital of despair.

Its great voice acting to sum up the albums trajectory. The dark atmosphere, and narration reminded me of Decard Cain and my adventures in the Diablo universe. Karl has forged a very gratifying record here, vividly visual and inspiring. The vigorous guitar performances stave of its ambient potential but perhaps that is its strength, to be engaging whilst forging its mystic, lively and cultural soundscape.

Rating: 7/10