Little Simz "No Thank You" (2022)

 

Album number five, No Thank You, is a moment for pause, a frank examination of where Little Simz currently finds herself. The brisk London accent, a 90s cadence occasionally instrumentally aligning in tone and temperament, this was a keen fit for my tastes. Its strength however, is Simz' lyrical journey. Often rhymed simple and plain, among other topics she mostly grapples with the record industry, attacking the subject from many angles, never running out of steam in the thorough process.

Wording tales of industry woes, systemic issues and ill intended individuals, an unsurprising yet deeply engaging narrative of her struggles emerges. As the theme resurfaces, each iteration serves a new purpose. Personal distress, advice for fellow musicians, how its impacted family relations. Even turning the question on herself, Simz' questions her own motives and wants as a performer allured by the industry.

Toning down the instrumental theatrics heard boldly on Sometimes I Might Be Introvert, grandiose string sections, warm ruptures of infectious Gospel, shades of Funk and Jazz. They come subtly woven into an apt chemistry for rhyme and beat to house the subject at hand. Gorilla stands out as a fun throwback to the early nineties groove of The Low End Theory. She pivots to breezy rhymes and playful swagger in cheeky yet firm style. Its a lighter, fun track among a lot of serious, expressive topics.

 With every spin I've been locked in and invested. Peaking with the pained Broken, its ending somewhat fumbles. Sideways' instrumental a tad too minimal and obnoxious, followed by an odd dreamy synth stint Who Even Cares. Seems like a couple of cuts that didn't fit were squeezed in. Also interesting, the album didn't chart well. It went under my radar for a while too, hence why I'm late to this one. Given the subject matter explored here, it seems Simz moved label for more creative freedom. This effort definitely reflects a change in attitude. Doing it for oneself, with nothing to prove.

 Rating: 8/10

Crag Forge "Hoardlegend" (2021)

One to slip straight into my "Dungeon Synth Focus" playlist, Hoardlegend revels in a deep rumbling mystery of epic stoic ambiguity. Lofty ambiences flood the foundations, a fog of unshakable presence murmuring from the depths below. From it arises distant smatterings of percussion, the thuds of doom drums echo upwards with a temporal sluggishness to rid it of any groove or tempo. Aligned with occasional strikes of cymbals and gongs, it outfits a rather simplistic set of ideas into a grandiose tension.

These eight chapters simmer in stature. Resting on a slow yet unmovable iceberg-like drift. Its as if one watches the space between heaven and hell from a empowered distance. Angels and demons at endless war among eternal clouds of the afterlife. Equally, ones imagination could venture on similar scales to a vast underground setting. Barbarian Mines clearly suggests a cavernous might of Dwarven proportions, its increased tempo and droning thuds certainly have a work-like rhythm about them.

The following Crystalline Flame ditches its low foreboding rumble for an airy shimmering excursion, a mysterious ascension devoid of destination, guided by an elongated flute melody and swelling synths. Its a rare moment of variety among steady temperament, fixated on a visualized settings, explored thoroughly in lengthy stays. Wonderful for conjuring a focused frame of mind with a Dungeon Synth tint.

On closer analysis, Hoardlegend is rather simplistic, lacking complexity with slow drawn out melodies, housed in chords that shift in a disconnected movement. Its brilliant at achieving an aesthetic experience, reveling in a Wagner-like militant tension, but one wont be taking away melodies from the experience. For all its mighty stature, no theater, event or progression is to be found. This is simply a collection of well built scenery sets for one to indulge in, if it happens to spark your imagination in the same way.

Rating: 6/10

In The Woods... "Diversum" (2022)

 

Reveling in glum and stormy scenery, drizzly guitars moan and slumberous singing swoons to be routinely assailed by gleams of heathen melody. Diversum is another glorious gallop through the rainy seasons of Scandinavian inspiration. Now three albums deep into Anders Kobro's unlikely resurrection of a historic yet niche Black Metal outfit, five years pass for In The Woods to return with a familiar tone and theme.

Exploring the relationship between shrill guitar distortions and dreary acoustic melodies, burly melodic singing and howling screams, careful grooves and flurries of blast beats, its craft is a familiar one. Ancient story telling and natural scenery, elicited through dynamics as plunges of aggression and abrasion sway in torment of its tuneful appeal, always sullen and bordering on the bleak. It allows for many a gratifying moment as relief from key persuasions that arise from gloomy tensions.

Occasionally they delve into the metallic fray, focusing on a grizzly groove or mean scream. Otherwise its best comes from the melancholic wallow as its uplift feels locked in a wet naturalist hardship. Overall Diversum has the lighter composition, yet an aching moody temperament. Kobro's tamed voice soaring is a beacon shining through fog yet in his stride, a uncanny Mastodon resemblance often emerges.

Despite a welcoming duration and competent execution, this one somehow shies from greatness as the dreariness drowns out the catchy music wedged between its dynamics. It doesn't fire on all cylinders. For all the welcome familiarity for a band I'm fond of, the spins started strong but waned as familiar footing fumbled to dig in deep. An enjoyable experience in bursts, but one that lacked legs to go the full distance.

Rating: 6/10

Boston Manor "Datura" (2022)

 

Datura, a brief twenty six minute strive housing four tracks on the bleeding edge of Pop Metal. Embracing Djent guitar tones and the Linkin Park method, Bring Me The Horizon have undoubtedly ushered in an era yet to be named with fresh acts reveling in their shadow. Fellow Brits Boston Manor caught my ear among the noise. At the core, catchy lyrical lines and guitar hooks sell the songs. The arrangement felt inspired, with depth, as Floodlights, Foxglove, Passanger and Crocus rope one in.

 

Each has distinct explorations of this sound's borders. Starting off with siren-like guitar wails and mammoth riffs on restraint, the airy atmosphere toys with intensity dynamics as singer Cox delivers teh best of his soaring presence. Foxglove deploys a simple kick snare dance beat. Chunks of low end guitar mesh this dance-floor sensibility with competent groove. It all shimmers in the lead guitars ambiguous effects pedal flange.

Passanger's leans into Cox's appeal as he soars again above a snappy snare kick groove and distanced shoegazing guitar chords. It reaches for an epic, which dispels into subdued nightclub kicks and thunderous drums, building to climax again. Crocus is the darker display, its guitars reveling in distant distortions as stabs of angular riffs penetrates the groove. Its tone reminds me of Cane Hill's acoustic Grunge moment.

The rest of this record is fluffed with instrumental electronic sound design, failing to resonate. The musical core however, was a strong show of craft as its instrumental contributions toyed with texture and intensity in a woven mesh of familiarity and depth. As one gazes on its particulars, the simplistic appeals of riffs and drum beats become awash in its textural design which melds between these musicians just wonderfully. One to keep an eye on moving forward! Their prior efforts not so appealing on a brief listen.

Rating: 6/10

Narrow Head "12th House Rock" (2020)

 

Wedged between two fine outings, their sophomore effort 12th House Rock fits awkwardly, an anomaly drifted off a fine trajectory. Narrow Head embark on another bash of Grunge revival, shedding the shades of Groove and Nu Metal that perhaps steered them to greatness. With groans and gristle they lean into the textural oddities adjacent to the 90s scene. Reveling in hazy guitar overdrive and other fuzzy distortion effects, both guitars and vocals get a variety of tweaks over a thirteen track course.

On review, this aesthetic dwell is an unsurprising focal point. With their vocal hooks and guitar riffs lacking a spark heard before and after, many songs fall flat on arrival. It leaves ones attention attuned to its many off kilter flaws. On a handful of songs this textural rebellion is its main character, leaving a bitter taste as much fails to resonate.

The potential success of a lacking originality simmers. This revivalist pursuit wears its influences like wounds on occasion, cutting bold and obvious, jarring when a lack of gravitas persists. Hard To Swallow thumps hard, reeking of Helmet syncopation yet Night Tryst sparkles bright, despite utilizing a blatant Smashing Pumpkins blueprint.

For all its nostalgic tint, when components don't quite click, whats left is an infuriating fumble of forms. Enjoyable but barely engrossing, the ideas sought after became more audible than the music itself. Narrow Head didn't sell me on this, thus falling short on many fronts. Not awful but I couldn't get pasts the rotating cast of 90s pitfalls.

Rating: 5/10

VNV Nation "Electric Sun" (2023)

 

A five year gap between Noire and Electric Sun has elapsed, the largest among VNV's twelve records. Evidently a veteran of ones own identity, this re-emergence offers next to nothing new. Its steady stream of melancholic warmth resonates on familiar footing. Harris' soft fatherly voice words lyrics steeped in compassion, introspection and wisdom. The message of victory not vengeance persists, navigating humanist struggles and emotive pains through grandiose metaphors. An easily digested balance of darkly Club synthesizers and thumping Dance percussion whirls up energy. Slick Neo-classical instrumentation ushers itself in, fanning emotive flames with soothing pianos, completing a glossy aesthetic housing both softness and edge.

Its a bright, thoughtfully crafted execution of a familiar blueprint. Its glittery melodies, grand stings and pulsing dance floor drums are left dulled by their lack of surprise. Having acquainted with and grown fond of an unshaken sound so many moons ago, its left this listener with little to love beyond its pleasantries. Both aesthetic and thematically resolute, even Electric Sun's structure felt archetypal. The same rotation of gleaming astral interludes and a dark banger, Artifice, rolled out with familiar feeling. Its a fine record but perhaps not something I was in the mood for. I'm sure these songs would find themselves home on rotation in a VNV Nation playlist.

Rating : 5/10

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Siebzehn "Starship Signals" (2016)

  

 Following up on The Ocean Palace, we have another spacey Pysbient record, interestingly created the same year. Once again its another expectant occurrence in terms of meditative mood and focusing ambience. Like the latter it had an allure of mediocrity that landed it square in the middle of the spectrum. Siebzehn's defining characteristics are built within its busy instrumental nature. Soft rattling synth stabs oscillate alongside aimless percussive noises, held by a steady groove as one is locked in this slice of time. Bass lines brood below with a synthetic textural intensity. With this blueprint, a fair range of astral inspired temperaments are explored.

Under The Radar strikes as a resonant assembly of the spacey tonality heard so far. Illusive melodies strike a sense of momentum frozen in time. Its pulsing bass loops its brief notation as airy occurrences of alien noise drift in and out of focus around it.

Tektoniks is another highlight. Again, lead by a bass line slowly pulsing with a touch of sub, were guided through unease and tension. Observed with a sense of detachment, percussion waivers in and out of focus alongside the sounds of deep space.

Starship Signals has its flavor and as the title suggests its sense of space is woven with mechanical, technological constructs of a future mankind. This is greatly emphasized by its slightly industrial approach to the drums which have a busy roll despite the relaxing nature of the music. I could hear this as a keen soundtrack to a video game, with the right space adventure inspired theming of course.

Rating: 5/10

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

One Arc Degree "The Ocean Palace" (2016)

 

Lately, I've been on an ambience oriented, cosmic themed, spacey vibe Pysbient kick. Whatever fancy words I throw at it, their is a niche in me for this temporal, meditative music that's been difficult to satisfy. The crossover territory of Psychedelia and Ambient in an astral setting slices like a blade, either immensely satisfying or rather dull. This is one of two recently discovered albums that fall precariously in the middle, leaving me unable to make up my mind. No doubt however, this one will make my "temporal focus" playlist for when in need of a restful yet channeled mind.

The Ocean Palace has a sense of stillness on arrival, as if the astral activity is elsewhere. One observes from a desolate planet, as the stars and skies above bustle with activity. This feeling evaporates as its tracks steadily bloom. Thumping bass percussion builds, each track running a similar trajectory with increasing intensity.

With Kraken Mare the record pivots to its textural offerings, different flavors of dense airy ambience and complimenting illusive melodies. Every songs feels tangled in a web of noise work, quirk sounds and details rumbling in and out of focus on mechanical rotations. It creates a sense of alien activity, not understood but observed. With Hydrogen Times Pi, a strong sense of influence emerges, the echos of pioneers Carbon Based Lifeforms brews as its lead melodies take on a similar character.

As I mentioned, this well fell in the middle, not quite as captivating but certainly not bad. Saturn Rising felt like its defining song and the ambience was pressured by a slamming sub bass drum and rapid clicky noises. Quite the contrast, that birthed an interesting atmosphere. I won't go deeper with this artist but the search is still on!

Rating: 5/10

Frank Klepacki "Morphscape" (2002)

 

 

Frank Klepacki, creator of the timeless Command & Conquer soundtracks that have obsessed me since playing the classic Westwood Studios games in my youth. His debut solo release Morphscape is no unknown entity. Yet despite discovering it many moons ago, it seems this musical gem never really registered. Released after Red Alert 2 and Yuri's Revenge, this is clearly a collection of leftovers from those sessions.

 

The unabashed aesthetics and niche stylistic framework remains intact. A jiving fusion of Industrial grit, futuristic Electronic, Funk bass grooves and on occasion, a slab of Metal through distortion guitars. These elements meet on bold ground, punching stiff melodies and rhythms into the fold. Controlled chaos emerges as layers of crowded sound compete for dominance, a familiar yet strange charm resonates again.

On its surface much of Frank's compositions seem tacky and unhinged. Despite its crude union of snappy instruments, immersion emerges through the various pivots that signal intention and direction. Best are the plastic sweeping synths, often arriving unexpected, manipulating a lively adventure with a soft passing emotional depth.

Quality is reasonably varied, as are the particular styles explored. Although I enjoyed all but one of these cuts, only a couple felt they could have offered the original soundtracks something extra. The other songs bore much resemblance to originals, with similar ideas, arrangements and aesthetics being spun with less magnetism.

That leaves us with one song, Gonna Rock Yo Body. Clearly his passion project, Frank pays tribute to legend Afrika Bambaataa and the Planet Rock musical blueprint. It illuminates some vague Hip Hop related influences lurking elsewhere on the record. On first listen, a comical, quirky take. With repeated listens its stark unapologetic nature becomes tiresome. An odd blemish among a fine collection of C&C songs.

 

Rating: 6/10

Aaron Cherof "Minecraft: Trails & Tales (Original Game Soundtrack)" (2023)

 

Playing it safe and getting it right, Aaron Cherof, Minecraft's latest soundtrack composer, steps gracefully upon familiar foundations. With the last three installments, Lena Raine managed the burdensome task of moving forward from C418's iconic musical blueprint. She did so with a touch of magic, encroaching on a new wonder. Inspired atmospheres emerged, darkly yet gratifying tensions fit for nether dimension adventures. Gentle and dreamy surges of melody blooming from humble origins one Caves & Cliffs. And then The Wild Update, fusing hints of location and culture into the music for the discovery of new destinations, both ancient, dark and swampy.

Along with game ambiences, the inclusion of Pigstep and Otherside persevered with praise. Players now had new music discs at their mercy. Alongside the original twelve, they stood in equal brilliance. Relic is now the sixteenth record to join the collection. A reddish brown hue, light blue inlay an alluring look but does it live up to expectations?

Following firmly in Lena's footsteps, Relic works with the vinyl crackle, hinting a soft organic fidelity as buzzing synths resonate with shimmers of wobble and warping. It humanizes the key melody, which conjures Minecrafty spirits. Initially reasonable, it grows with percussion and variations on theme. The bass busies and drums increase complexity on path for a gratifying conclusion as underlying synths glow warmly.

A safe success and the same could be said for the other four overworld ambiences that make up this five song soundtrack. They follow a familiar format built by Lena. Pianos lead with lavish reverbers, building gentle, soothing ambiences that blossom with surges of lucid, ambiguous atmospheres bustling from beneath its main motif.

Bromeliad breaks ground a fraction, intriguing, as its main melody initially alludes. Sweeps of a piano chord get lost among the emergence of soft rhythmic percussive sway. Quite the build up, that leads itself astray as the musical direction pivots into a cloudy conclusion as airy synths and glimmering piano drips steal the focus again.

 Crescent Dunes could of been my favorite! A grand yet distance cram of shimmering instruments sparks a bold stance at the onset. Yet swiftly does the composition sway into familiar territory as pianos breeze in the winds of softly atmospheric synths again. It does find a charming passageway as rhythmic stabs of strings guide its ascending key melody. Not quite the typical characteristic for this game but it does work.

As I said in the opening, these new compositions play it safe, sticking to a proven formula and yielding competent results. There were a few glimmers of something fresh and distinctive on offer but always brief. If Aaron gets the chance to work again on the next updates soundtrack, I hope they get a little adventurous and explore their own musical flair could offer the games atmosphere and its passionate players.

Rating: 6/10

$uicideboy$ "Shameless $uicide" (2023)

 

Recently Ive brought myself up to speed with this duo's trio of full length efforts. Its been a mixed bag of tricks, reeking with potential yet lacking a firm stride. Unsure of where to navigate next, its seems Ive lucked out! This latest EP, dropped two months back, struck indulgent vibes. Their difficult subject matter lures suffering into mellow relief through dreamy instruments drifting over the steady slam of crunking drums.

 Ruby & Scrim bring their best, strong vocal tunes with sway, elevating their unapologetic raps into breezy melodies. Its a wild wrestle, a mastery of struggle yielded to a cathartic escape through expression. Something retro and summery also lurks among this gritty percussion. Flirting with cheesy, stark synths and cloudy electronic melodies, they conjure a laid back allure among the dark topical chaos.

At the mid point things turn nasty, leaning into violence with gun sounds and grizzly beats, peering into the bleak. The bass bangs with deep sub resonating underneath bussing drum patterns, an apt chemistry to house such grimness. The pair, along with guest for the record Shakewell, lean into nasty gangster braggadocio to great effect!

Some of their sharpest raps arrive among these two shorter cuts, before the moods mellow out again. For me, the melodic sung raps shone brightest. The change in pace works but that's where the magic sparks. I really enjoyed this. When each song clicks, it suits my preference for a cohesive collection of songs over randomized playlists.

Rating: 6/10

Janelle Monáe "Dirty Computer" (2018)

 

As the last of Janelle Monáe's offerings, Dirty Computer signifies a departure from its established android protagonist narrative. Where that theme evaporates, so does its 70s Psychedelic, Soul and R&B elements. In essence, an entirely different sound with Janelle operating on the level of an 80s Pop powerhouse front-woman affirming her stature. Intermingled with trendy tones of the times, its instrumental offerings ran a little weak for my taste. Many musical elements are striped to a mild resonance, energies muted, with a hyper focus on catchy hooks and empowered braggadocio.

It does however kick off with three decent numbers. Brian Wilson of The Beach Boys lends his iconic swooning vocal sways to the background of a tender, harmonious introduction. Gears then shift as a dazzling mix of modern production collides with echos 80s Synthpop. This luminosity fades as the lyrics become bold, overt and obvious. Substance is inherent but its musical chemistry rubs me the wrong way. From here the record leans hard into the Pop trends of the time. To my ears, all to dull.

In its final third, the gears shift once again. Brushing shoulders with great songs from nostalgic eras, the influences come obvious and stiff, failing to ignite. This stripped compositional approach sours here, leaving its songs instrumentally underwhelming. Janelle seems unable to spark the magic either. Little of the conjured greatness beforehand is present. Clearly a different vision, one I'm sore I didn't connect with.

Rating: 4/10

Narrow Head "Satisfaction" (2016)

 When invited to indulge with music so apt to ones taste, it can be a tricky task to pull on the threads of its magic. After being spoiled with a refined and mature, White Pony inspired Moments Of Clarity, what I thought might be a blemished origin story, seems settled with an endearing rawness. On arrival, the dense, muffled guitar tone and crunchy baselines take a moment to adjust too. This seems like an amateurish first outing yet when Duarte's voice drifts into focus, dreamy, like a mirage coming to pass in a moment, It all clicks into place. What then unravels is simply a string of treasures.

Aching with shoegazing aesthetic wonder, punching in sharp percussive grooves and often aligning on the power of the riff, strong Grunge and Nu Metal persuasions are woven in between an energized ethereal haze of crooning distortion and swooned sleepy singing. Unafraid of hard grooves or dreary acoustics washed in reverbs, their degrees of intensity are always met with inspiration. These songs play with purpose, direction and immediacy, through direct song structures that get straight to the meat.

Its all killer, no filler, with eleven songs to pick favorites as the many takes on groove, guitar noise, melody and aesthetics explores classic 90s ideals. Despite coming reasonably close on occasion, it avoids any plagiarism with a lot of its influences manifesting in enthusiasm, energy and awe. Personally, I found its ability to grip for thirty six minutes fascinating. A sense of coming persists and no idea outstays its welcome. Best of all, firing up the record for a spin and adjusting to that thick, rumbling, dense wall of sound on Necrosis gets me every time. 

Rating: 8/10

Metallica "72 Seasons" (2023)

 

Seven years on from the lively Hardwired, a surprising return to form, these aging veterans rebound on a thematic feast revolved around struggles of the first eighteen years in ones life. As a lengthy seventy seven minute chunk of straightforward Metal, 72 Seasons has many subtle shades of Metallica as we have gotten to known over the decades. Leaning on its appealing metallic aesthetic, the group push distilled ideas in there simplest form, running through an arsenal of mid tempo riffs with occasional the sprints of frantic tempo and flashes of crafty low end groove.

Hetfield's tandem voice and guitar assault is the principal appeal, his talent, flair and expectant demeanor still a delight as he ages gracefully. Although somewhat a predictable style, repeated listens will have his chemistry getting wedged in your mind with many infectious hooks sinking in. With sticks in hand, Ulrich splatters his flat, bland and dull drumming down with that familiar sense of asking is it understated genius or the power of Hetfield carrying him by? I think the latter. Hammett and Trujillo have muted rolls. Robs baselines a powerful compliment when deviating from mirroring the riffs. Kirk shows up for thrashes of his distinct fret shredding yet barely a fresh idea is heard. It really feels like James is the driving force on this outting.

On first impressions, the album seemed reliably competent. Nothing daring, a safe bet. Yet with repeated listens I must admit many of its understated, mid-tempo Load era songs became favorites. Faster hitting songs nail the feel of Hardwired and Moth Into Flame but without a special sparkle. That ended up becoming my main takeaway. For all the indulgence in a love of Metallica, it lacked something to break the mold.

Throughout 72 Seasons the group retread old ground, leaning into classic Thrash riffs perhaps better shredded by other acts from the genres heyday in the eighties. Another subtle gripe, its song structures lean fondly into lengthy arrangements that seemingly cycle riffs in masterful arrangements. Yet they all lack that climatic surge into the unexpected. Thinking back over their classics, many early songs broke ground with daring, unforgettable ideas that justified such lengthy assembles. This record feels more like an easily digested Black Album approach, just stretched out.

With a dash of daring and heavy curation, the offerings here could have rattled off at a dazzling pace, making for an exciting whirl of new riffs from the arsenal. The repetitious guitar led drive gets a little too comfortable with itself, landing the record on a fair mediocrity instead. Its competent, hard hitting and fun but falls short of anything special. I am still enjoying this one though! After a healthy binge it does feel as if many of these new cuts will tire before long. Only time will tell, but I'd keenly bet on it.

Rating: 6/10

$uicideboy$ "I Want To Die In New Orleans" (2018)

 

$uicideboy$ rock a rapid release schedule that signifies a different approach to distribution. Since 2014 over forty or so EPs and mixtapes have emerged. It creates a daunting task in search of there best material, yet its where their most popular songs reside. I'm unsure of the significance the album format offers but this debut arrives with a clear concept to tie in their notoriety with home state Louisiana. Interlaced with locational references, tales and affirmations, the radio and news snippet interludes grounds a grizzly reality, illuminating the harshness of growing up in the south.

Sadly, my experience has been a dull one. On this debut record, both the gritty horrorcore beats and harrowing rhymes lack a sharp potency they land with on later projects. The sullen moody aesthetics and unabashed honesty with difficult subject matter remain in tack. Their vision is evident, a distinct individuality reaching out yet those infectious sung hooks and energized flows are yet to be honed and harnessed.

The record feels tied closer to its cultural roots with many southern tropes lining the instrumental design. Vocally, the pair drift into lazily spoken registers. Dull, softly delivered monotone raps distract from the subject matter itself, unenthused in nature but sometimes seeming conceptually relevant in a defeatist sense of overwhelming struggles. Despite analysis, the stars did not align for this listener. Clearly the foundations have been laid. In this manifestation, their expressions failed illumination.

Rating: 4/10

Janelle Monáe "The Electric Lady" (2013)

 

 Unabashed, bold and brazen, this sophomore follow up confidently struts its thematic concept directly into the spotlight. Where The Archandroid maneuvered its robotic humanoid inspirations with intrigue, The Electric Lady hits these beats on the nose with no subtleties. Key protagonist and android messiah, Cindi Mayweather is thrust against fear and ignorance. Crudely deployed with overt interludes between songs, a radio show host reigns in calls of colorful bigoted callers, reputing their hateful views revealed. An obvious metaphor for various phobias that grip people in current times.

Contrasting this illumination of social ills, most these songs are positive, uplifting, striding with themes of empowerment and strength. Its title track plays like an homage to the powerhouse anthems of Soul and Disco crossovers from the 70s and 80s. Unsurprisingly, this era is where much the records stylistic draw comes. On this track however, its self assured execution and expressions of female empowerment fall flat against a perfected checklist of tropes, notes and beats to hit in emulating this style.

Originality and inspiration is in question. The albums second phase hits an thematic echo with Ghetto Woman. I prefer this one, however its instrumental is clearly lifted from Stevie Wonder's blueprint of vibrant expressions. Although only palpable on occasion, much of the record drifts by without that keen infectious spark of its predecessor. Its historic sentimentality left exposed in the shadow, an awkward underwhelming stretch of luscious, warm, soft to touch music that rarely peaks.

One track hit a groove. Dance Apocalyptic swiftly picks up pace, deploying a chirpy percussive jive to wiggle with. Instrumentally soft all over, a youthful love of live emanates through its lively assemble of carefully performance instruments. Even turntable scratches can be heard in the mix. Janelle's jovial chorus and cheeky hooks are a delight, "shellang-alang-alang". One to get stuck in the ear, among a lengthy stretch of songs lacking the depth and charm seemingly lost from that last triumph.

Rating: 6/10

$uicideboy$ "Long Term Effects Of Suffering" (2021)

 

Following up on Sing Me A Lullaby, My Sweet Temptation, this prior sophomore record has solidified my warmth for this duo. Where the last album swayed in quality, Long Term Effects Of Suffering hits focused! A dreary, creepy crawly mood permeates as slick aesthetics provide the groove and enjoyment. Glued together by themes of personal pains, the sullen, bleak, rain soaked atmosphere sits front and center.

A few tracks offer a slight respite. 5 Grand At 8 To 1, New Profile Pic & Forget It drift into warmer tones with tonal echos of Jazz Hop emerging under its trendy Trap percussion. Then there is Bleach, leaning face first into the flames, embracing the burn, a gritty banger to say the least. Whats left explores a broody melancholy, reminiscent of Emo Rap when wearisome acoustic guitars and glum pianos emerge.

Consistently across its lean thirty minute duration do the percussive arrangements delight. Noticeably apparent on this outing, its snare kick grooves are elongated. Occasionally lethargic and sparse as shuffling hi-hats offer erratic pitch shifting patterns in the space between. Done right here, it challenges the usual 4/4 loop of Hip Hop beats. The cohesion with instrumentals is fantastic despite a strong contrast.

Stars of the show, Ruby Da Cherry and Scrim, offer brutal honesty with their personal struggles laid bare. Its a topicality expected, however consistency really elevated the message. Shared experiences offer relief, forge connection and its hard for their openness not to endear. Last time the stints of braggadocio broke up the flow. This time they forged a fine album that you want to play from front to back each time.

Rating: 7/10

Periphery "Periphery V Djent Is Not A Genre" (2023)

  

 As a band past the peak of their creative edge, the use of this albums title to make a statement was a curious one. I have no idea where in this string of songs it was supposed to manifest. Only the Pop ballad Silhouette and ending Ethereal ambiences of Thanks Nobuo made a distinct departure from their atypical sound. This remark on Djent feels hollow, the music offers up little to counteract the notion as Periphery spin their prominent style again. After all, genre names are an attempt to objectify subjective experiences of difference across a spectrum of auditory distinctions. Djent may have initially been in reference to Meshuggah's extreme guitar tone, yet it has clearly become a catchall for a scene that has since blossomed around them.

So what does this fifth chapter offer? A healthy helping Periphery melting the steel again! With harsh rhythmic assaults, extreme guitar abuse and a duality personified by Spencer Sotelo scowling screams and ascending clean vocals, the band do what they do. This alone explains why I took so much time with this record. After weeks of repetitions, I couldn't unearth what was new and fresh. Many of these songs could slip into previous records. My favorite moment of intrigue was Wildfire's dissonant guitar solo, simple for being a clone of Fredrik Thordendal's rapid alien tapping style.

Its a rarity to hear done right but suffers its unoriginality within the bigger picture. In many intervals do the band detour from metallic thrashings into softer temperaments. With lavish helpings of sweet and subtle orchestral elements woven into their dense wall of sound, they offer up an aesthetic wonder but the songs seem to fall short on new and interesting directions. One could feel that waning on IV, with Blood Eagle being the lone rumble traversing new grounds. Here on V the lack of ascent felt real. Left unsure of favorite songs, despite enjoying the offerings with each spin, Its as if the band has run out of fresh ideas.

Rating: 6/10

Rune Realms "In The Wild North" (2016)

So far this journey has been propelled by sequential surprises, as scene setting triumphs in constructing naturalist and fantasy ambiences. In The Wild North is the first instance where much of the music drifts from its scenic powers into drab spells of soft instrumentation lacking a thematic potency its album title suggests. Its opening two tracks weave strong melodies into its web of chilled, shimmering instruments. Between lulls upon snow blanketed fields do surges of valiant adventure arise. Dancing melodies move with gusto among the castly brooding synths below.

An excitement short lived, the following songs meander into a string of uneventful quiets, resting on its icy tone. The pace is sullen and lingering, not quite luminous to paint the vividness felt among these soft temperaments before. Individually the aesthetic chemistries are pleasing to the ear. Collectively they amount not much as direction feels lost among these frosty enchantments. Around the mid point, one song, Discovery Of The Ice Chasms, does turn the ear. A shivery mortal danger lurks in the shape of its unforgiving terrain, suggested only briefly in its one minute duration.

Another short piece, Emerging From The Caverns gains a similar distinction with the sudden shimmer of animated melodies. The song names suggest directions I didn't quite follow. However these pivoting moments made intentions obvious. Perhaps I've been spoiled by other works, or maybe this one could grow on me with time. Either way, its pleasant stay didn't hit me quite the same as the other incarnations.

Rating: 5/10

Dreamstate Logic "Starbound" (2023)

Since discovering Dreamstate Logic last year, the spacey music has become a staple in my streams. These cool, cold, cosmic breezes of astral ambience are pleasurable tone setters when focus is required. Starbound is the first new material beyond twelve or so other lengthy release. I wanted to give these seventy five minutes more attention but have since discovered its mostly business as usual. Not that business is bad...

The records instrumental pallet is somewhat indistinguishable from prior creations. This artist seems very much settled on stick to what works. Stellar drones and shimmering dreamy synths lay its atmospheric foundations. When pace musters, sequenced melodies and gentle arpeggios brood steadily among dense galactic reverberations. As momentum gains, its Downtempo inspired percussive lines take charge with punches, thuds, combined for satisfying kick snare grooves.

Most notable on Approaching Aldebaran, do drums and its general mood, slip into the enclave of Synthwave. The buzzsaw's make themselves known among sparse synthetic tom drum strikes. Its a subtle shift but about the only song that showed signs of somewhere new to stride. I did pick up a couple new favorites on the journey, to scratch the itch. Otherwise a fine set of instrumentals fit to serve its purpose.

Rating: 6/10

Enslaved "Heimdal" (2023)

Although finding myself not particularly in the mood for Metal as of late, Enslaved's track record of recent years had me curious at the least. No longer the same cult Black Metal band born among the Norwegian chaos of the 90s, they have continued to offer intrigue and magic as matured musicians. The once teenage founding friends Kjellson and Bjørnson are still going strong, now on their sixteenth full length!

Heimdal offers up a curios contrast of harsh excursions that drift, pivot and meander into uplifting spells, often spearheaded by its symphonic instruments, clean vocals and brighter compositions. Once accustom with its dances, the bleak distortion tones and gruff throaty howls that accompany bite less with knowledge of their destination.

Congelia possesses my favorite enchantment, marching forth, relentlessly. Stiff, ugly, grim riffs dance against hypnotic palm muted chugging. A harsh drive that is suddenly flipped, simply entrancing upon the arrival of gleaming keys. Its spacey melody echos with subtle psychedelic ping pong fade, transforming the song from its bestial grind.

The following Forest Dweller takes a different approach, starting with the lull of its soft atmospheric folk. Conjuring visions of a harder life, in endless wilderness, among ancient spiritualists. Suddenly, the music whips up into a frenzy of hasty roaring aggression, plundering us into a whirl of riffs, reminiscing classic Black Metal ideals.

As the album grows, more of its Progressive and melodic approaches get pinned against their extreme unruly origins, a dance across the fire, flirting with the prospect of getting burn. The variety is gratifying. A fascinating fluid chemistry among obvious contrasts. The Eternal Sea is another keen example. In one moment its sea bearing temperament of adventure, uplifting and glory, propelled by heathen singing ascends. In the next, its as if the world has been set ablaze by demonic forces of old. Heimdal is a worthy listen, these seasoned musicians continue to provide luminous music, managing to say a lot among sounds tired in the hands of others.

Rating: 7/10

Redzed "Bohemian Psycho" (2019)

 

Hailing from the Slavic regions of Europe, this young Czech's distinct accent embeds sharp flavors on top his nasal pitch. Loaded with obscenities and violence, his rapid fire shout raps drop sharp and vicious, making quite the impression. As one in a roster of many Trap Metal artists in rotation on Spotify, his maniacal flow caught my ear.

Tight, snappy and obnoxious in presence, the harsh delivery and brutal tone lured me in for more. Sadly, it seems Redzed is somewhat of a one trick pony here, emulating the same cadence for most of the record. In intervals, the pace softens with songs leaning into half sung hooks, looking for a catchy knack that seems out of reach. His pitch and range unable to muster charismatic charm previously bestowed among his venom spitting, ferocious raps.

So to do the instrumentals stiffen. Its somewhat typical Horrorcore theming leans heavily on hard bass kicks, jittery Trap hi-hats and harsh snares strikes. The groves are competent yet narrow in scope as each song circles the previous one. So to did the comprehensible lyrical content seem slim. A race to the bottom! Violent, foul, over the top braggadocio laced with cuss words and graphic obscenities.

Bohemian Psycho was fun for a minute but lacked a reason to stick around once its merits were proven. The closing Bleed For Me / Drumin' Hard had a touch more excitement. The inclusion of distortion guitars and what sounded like a drum jam session had some personality not heard elsewhere on the record. Ultimately Redzed's wild energy on the mic has a punch but lacks a depth to flesh out this record.

Rating: 3/10

BABYMETAL "The Other One" (2023)

 

A lack of anticipation for this newest BABYMETAL record seems obvious in retrospect as its singles and promotional songs mustered little excitement in the build up. Having binged the record somewhat, I've been struck by how underwhelming the music is in comparison to prior records. Where are the banging riffs, cheeky chants and surprises along the way? The Other One seems subdued in approach, toning down extremities and eccentricities, curbing the wild in favor of easily digestible song writing.

Much of the heavy lifting is handed to Su-Metal, who struggles to find hooks and cadences to forge the unforgettable songs heard in the past. She sits front and center with a tame sequence of bland singing that feels so monotone in creative terms.

Perhaps Mirror Mirror comes close to capturing that old magic, a willingness to embrace the wild instrumentally can be heard but referencing the old "mirror mirror on the wall" fable leads nowhere. Elsewhere on the record eclectic directions can be heard but never does a melody, hook or groove converge on something memorable.

Time Wave explores a soft take on Club and Trance aesthetics, Metalizm toys with hard percussion underneath eastern and oriental melodics, Monochrome traverses all too familiar Pop Metal trends with oh-woo chorus chants and a warm guitar melody.

Despite having much of the original band behind the music intact, The Other One feels like a shadow of former glory, a withdrawal to safe territory where ambition is traded for safety. Its an aesthetically treat, a gorgeous mix of Metal, Electronics and J-Pop singing. The songs may be pleasant and welcoming yet their bite is absent. Every song here feels like the one you might of skipped on previous records, to get to those fan favorite tracks like Gimme Chocolate, Karate and The One.

Rating: 5/10

Yagya "Faded Photographs" (2023)

 

I recall commenting previously that Yagya's music, a unique blend of dreamy Ethereal Downtempo ambience, had run its course with me. Still in adoration of the peaceful persuasion this composer casts, this newest installment commanded a curious listen. The soft sway of deeply subdued dub percussion meets a timeless array of cloudy synths again for another sleepy affair in the heavens. Business as usual, the sweetest of routines that leaves me with little to say I haven't already in previous posts.

Where Faded Photographs caught my ear was with its vocal collaborations. A real sense of intended chemistry emerged as these delicate, softly sung voices chimed in as if a new element of the Yagya sound. Its been done before but in a few instances, these unions with Bandreas, Benoit Pioulard and my favorite Saint Sinner, turned out a treat! The subtle saxophone expressions from Óskar Guðjónsson another delight.

With a rather constrained temperament and consistent approach to the composition of these eleven songs, the novelty wears off swiftly but a soothing charm does persist. The Serpent stands head and shoulders apart as the records best song. Grappling with foggy unease and eerie stresses, the chorus moves through gratifying shifts as tensions resolve and elevate with beautiful chord progressions. It commanded me to write this post! The record however did become a rather typical affair for a sound thoroughly explored already. I do still enjoy on occasion though, this was one of them.

Rating: 6/10

Various Artists "Loud Rocks" (2000)

 

Here's one for my youth! Loud Rocks is a Hip Hop & Metal crossover record I'm somewhat flabbergasted to have not discovered years back. Release around the peak of aggression in the millennium music scene, dictated largely by MTV, it features popular Nu Metal bands and Rap artists collaborating in varying shades of success and failure. I'd actually heard a few of these from the Napster mp3 trading days, for example Wu-Tang Clan linking up with System Of A Down and Tom Morello to perform their songs in a metallic context. How I'd not learned of the record is beyond me.

The brief 90s Rap and Nu Metal collision was a strange affair yet the holly grail of my youth... If done right, a rare occurrence. I think the crown might belong to Cypress Hill with the second, metallic, half of Skull & Bones. Most other crossovers are novel and occasionally decent but Loud Rocks mostly seems conceived to serve a niche through remixing Rap tracks, often giving the stems to an artist to re-arrange and work in metallic elements. I think Wu-Tang are the only exception, however the remix of one of their finest tracks, For Heaven's Sake, is handed over to Black Sabbath for a strange mix of two sounds that clash awkwardly with sudden eruptions of dense distortion guitars and Ozzy singing that simply cannot resolve to the mood of its rap verses.

Xzibit seems to have the most success. Something about his tone and cadence mixes well with guitars. His songs too have a meaner demeanor allowing the original samples to blend. Far from fantastic yet hearing Sevendust and Endo scream out his chorus hooks had a little gratification. Hardcore legends Sick Of It All bring an interesting touch to the Mobb Deep sound, however its sense of rhythm often looses the lyrical cadence. Everlast reworking Shook Ones Part II might be the albums one solid track, however it plays more like a moodier incarnation than anything metallic.

With the Rap Metal era being so disliked, this record will sound like trash to most. My observations on its various chemistries were simply a vent on my curiosities. I wanted this long forgotten musical movement to work out so bad, however the reality is very little of it did. Discovering another piece of the picture will always be a delight for me, even if the fruits of collaboration were far and few between. In the case of Loud Rocks, it mostly feels forced to serve an audience. A fun listen but I'll move on swiftly.

Rating: 4/10

Narrow Head "Moments Of Clarity" (2023)

 

Herein lies another nostalgia bend, or so I thought on first glance. Hailing from Dallas, these Texan's reach thirty years back for inspiration and aesthetics. The unmistakable influence of Deftones dominates as they plunder the Grunge, Alternative Metal and Shoegazing scenes of past to re-imagine the period. Moments Of Clairty was initially easy to dismiss for its lack of originality. A few obvious gems held it over for more spins, then with each try I found it harder to put down. Underneath its rosy tinted veneer lies some fundamentally decent songwriting that kept me engaged.

The records architecture revolves on effective riffs. Steeped in Shoegaze distortion, unraveled with a little Nu Metal syncopation, its sharp grooves hit with rhythm and endear with fuzzy tinges of color creeping out of its warm distortions. Overhead sings Jacob Duarte, who glues the music with tender vocals. On first impressions they seem a little timid, reaching without power. With familiarity, they become a focal charm. What melody he squeezes out goes a long way to make the songs memorable.

He aids a quiet loud dynamic, offering a comfy withdrawal from the harder aggressions brooding on guitars. Their songs play out in degrees, learning into acoustics, fuzzy guitar textures and bouncy groove riffs. Many a page comes pulled from the Deftones playbook. Less often Smashing Pumpkins with lead guitars and singing. Despite the obvious idiosyncrasies, it endures! However track eight, The World, cannot hide its My Bloody Valentine origins. Too obvious yet a good song.

Originality felt reserved until its closing moment. A touch of Industrial drive creeps in as a very 90s drum machine loop sets pace for Soft To Touch. The fuzzed out droning guitar that swirls around it, along with Duarte's vulnerable singing has all three components feeling vastly alien. Somehow it crafts a memorable song with the unique atmosphere. Flesh & Solitude has a little Industrial edge too, its whipping snare sample locks in a stiff marching drive. It however, yields to obvious influences again.

Moments Of Clairty is fantastic nostalgic ride for a fan of these ideas and this era. Its songs are solid and lasting. A little more uniqueness could of pushed it over the edge, finding freshness among old ideals. As it stands, practically no musical moment doesn't echo something heard on other records before. Its nearly a distasteful affair. Fortunately these influences are wielded skillfully, satisfaction its destination.

Rating: 7/10

Rune Realms "The Stormcoast" (2016)

 

I find myself in awe again. Next on our Rune Realms journey I picked The Stormcoast. Adorned with a teal stone runic border and painted landscape of mountainous crevasse shorelines, my curiosity for a sea fairing adventure was both peaked and eventually satisfied. Led mostly by long aches of unmovable stoic string sections, accompanied by the soft, distant commands of horns, a mystic sense for exploration of the unknown is birthed. Unsurprisingly its themes echoed The Fate Of Atlantis, produced later but perhaps the soundtrack itself served as an inspiration.

With its theme suggested, the music herein fit the bill. Ones imagination will wonder through natural beauties, unscathed by man. Fantastical terrain, treacherous to traverse, yet gazed upon at a distance, from rivers, streams and coastal regions. Here lies no sea sickness, no sense of endless waters and torrential storms but a curious exploration of foreign lands inhabited by illusive natives who watch unseen.

Much of the record traverses the quiet and cautious. Meager in stature yet gratifying upon inspection, its miniature excursions are delightful, however can pass one by if distracted. Between its many soothing, calmer spells erupts the main theme of exploration and glory! These crescendos of strings, with the sounds of waves crashing and harp or flute melodies, converge to create grandiose magnetic spectacles. They command ones attention with their intense brooding and rock steady pace.

The Stormcoast is another remarkable chapter, found early on. It seems the what I would of hoped to be an evolution of the later records is actually here early on, the ability to lead the music into more nuanced spectacles. The melodies and progressions here work wonderfully with the aesthetics for some nostalgic sea baring that doesn't lean heavily on any tropes. Its really tasteful and so well crafted. Bravo!

Rating: 8/10

A Perfect Circle "Thirteenth Step" (2003)

 

Now a fully fledged Tool convert, it seemed logical I'd enjoy more of Maynard's voice, having grown so fond of his unique persona. A Perfect Circle was formed in union with guitarist Billy Howerdel, while Tool where in their prime and working on Lateralus. Mistakenly I though this was the bands debut, however Thirteenth Step is actually their sophomore which also features James Iha, formerly of The Smashing Pumpkins.

Parallels to Maynard's mainstay are all to easy to state. As a similar ensemble of Alternative Metal, its the later that recoils in the wake of acoustic guitar leads. Wailing and whirling in reverbs, its melodies brood on brown tones and cold shimmering aesthetics. A Gothic echo lingers as touches of Shoegaze noise and Ethereal atmosphere creates a distant emotive cry, often feeling sorrowful without empathy.

The music lingers on its textural flavors. Organic, progressive unravelings of nurtured tensions brew, occasionally sprouting into aggressive spurts. These lively floruishings, Its best moments, are what makes the record so disappointing. After drudging through overcast windy affairs of acoustic drabness, the excitement only seems to emerge upon the arrival of distortion guitars. These moments are etched in the Tool blueprint.

To name the few, Weak And Powerless, The Outside and Pet. All brilliant songs, yet do little to define A Perfect Circle. Everything else that does was simply to dull and aimless. Reasonable to have on in the background but after many listens I simply couldn't find anything deep to latch onto. I may give this journey up already.

Rating: 5/10

Yeat "AftërLyfe" (2023)

 

Following up on last years Lyfë, Yeat returns to hold down a lengthy record on his own. Onboarding two alter egos, the twenty two tracks have only one guest artist. An unlikely cause of my disappointment, yet seemingly fed into the repetitive nausea I experienced. These hypnotic beats, alien and psychedelic by design, persist on a single idea. With no beat switches, little in the way of structure, they make themselves known swiftly. Shuffling Trap hi hats bustle away alongside brief melodies on loop.

Over top, Yeat brings in sleazy slurred flows, breezing off the reverb, toying with plenty of dreamy auto tune vocal manipulations, leaning deep on the slang and sluggish cadence. Of the lyrics I could decipher, little value was unearthed, lots of nonsensical boisterous bars and wealth braggadocio that lacked hooks and repeated itself a lot.

Although this formula yielded some groovy hypnotic beats I return to on occasion last outing, this followup was abysmal, little of the beats landed and the vocals became rather grating as the hour of music dragged on. A note of merit is the closing track Mysëlf. Far from great but at least an attempt to introduce a change of tone with dreary acoustic guitars, piano and soft strings. Overall, a big disappointment.

Rating: 3/10

$uicideboy$ "Sing Me A Lullaby, My Sweet Temptation" (2022)

 Hailing from New Orleans, this independent Rap duo made quite the impression. Muddying between Horrorcore and Cloud Rap, their dark leaning beats and heavy subject matter had its familiarity while introducing new ideas to digest. Its mostly the flows of Scrim and Ruby da Cherry who consistently captivate. Their distinctive navel voices and tight rapid flows hit rhythmically with snappy timing. Endeared by creativity, the shuffling of pace and pitch keeps things exciting. Best of all, the pair have an ear for melody, transitioning into catchy sing raps frequently that nail the mood of a song.

Instrumentally, the variety is decent, delving into different Southern styles with echos of Memphis Rap and the sluggish distortions of Chopped And Screwed. The sampling pull on the esoteric and obscure with odd sounds twisted into solid Rap beats. The darkest moments pull on brooding pianos and melancholic strings, the likes more suited to depressing Classical. Great to hear such an eclectic source of sounds. Of course, its loaded with darkly samples and snippets to beef up the grizzly atmosphere.

The subject matter wades through its share of typically misogynistic boisterousness. Between the showboating emerges a handful of tracks with difficult subject matter, addressing emotional ills, mental health struggles, drug abuse and urban trauma. The expressions are endearing, honest and laid bare, tackling the difficulties of life from personal darkness. Although a fantastic introduction, Sing Me A Lullaby, My Sweet Temptation has waned on repetitions but I've found a few songs to return too.

Rating: 6/10

Rune Realms "Seeking The Lost Castle" (2015)

As master of environmental ambience and subtle suggestion, I next ventured to Rune Realms' early works, to see how insinuations of castle era adventures would manifest. The distinction remains pervasive, a craft imbuing the resonant charm of aesthetics. Ancient plucked instruments, gleaming strings of awe and the foggy lurch of Dungeon Synth keys, all coalesce on spirits of lost majesty among mother natures beauty.

Its opener, Seeking The Lost Castle, dials up intensity and tempo as aching strings and mighty empirical synths cast light on the dawn of kings, queens and castles. Cinematic yet soft, a reoccurring brilliance of multi focal range for ambience and theater guides it well. Ancient Walls Of Stone plunges into foggy ambience at the other end of the spectrum. Between these, a range of varity keeps the music moving.

Its focus's shift too, the pleasantries of fairy-tale adventuring emerge through woodwind and plucked instruments. It arrives with a warm playfulness, protected by the innocence of youth, oblivious to the horrors of warfare that often accompany such places. Equally, distant calls of military and might can be heard when horns and fanfare arrive. Calling through soft murmuring reverberations, they seem like echos.

Occasionally, like on Forgotten Grandeur, tension and foreboding can take hold. Its a rarer occurrence that never veers into darkness and horror. Essentially, casting a rich spell of the era and adventures within from a safe and wondrous space. With its main thematic melody serving as both entrance and departure, the record has a keen phantasmagorical presence, as if conjuring a portal back to a lost moment of time.

Rating: 8/10

Gunship "Dark All Day" (2018)

 

With an enigmatic dystopian eclipse cover and suggestion of darker themes among its title, one might suspect a mood shift towards the more sinister Synthwave machinations of Carpenturn Brut. Alas, the opposite seems true, honing in on Synthpop influences a cheery narrative of uplift against struggle prevails, perhaps best exemplified on When You Grow Up, Your Heart Dies. Its christening bells add a resonant gloss of warmth to a spirited battle against the odds, with warm, fuzzy blurts of sentimental language to uplift spirits wedged into its telephone call interlude.

Dark All Day's atmosphere suits its presentation well. Many of the songs hold this ecliptic tension. Punchy bass synths, lined by meaty percussive grooves hold a mean edge against the soar of warm lead melodies and bright instruments acting as the light around this circular edge. Although Thrasher and The Drone Lacing League lean into nightly territory, its the melancholic warmth of its 80s influences that find dynamics to emerge as the narrative resolution. One of inspiration and uplift from hurt.

Stella Le Page and other effeminate voices featured compliment a stellar variety, breaking up the soaring calls of Alex Westaway who sings with a stride in his tenderness. More would have easily been welcome, their contrast a great dimension. Dark All Day is a rare record for me, where the voices really nail the instrumental theme, guiding the aforementioned tensions to a glistening resolution. They were a key component to solidifying these glossy soundtracks of nostalgic imagination. This one is definitely a shade better than their debut self titled Gunship.

Rating: 7/10

Janelle Monáe "Metropolis: The Chase Suite" (2008)

 

Prelude to The Archandroid and first installment of a conceptual series of records, Metropolis is a fair introduction to Janelle's quirks as an artist. For this listener, the spoils of what follows overshadows its charms. Metropolis plays as another union of instrumentals reaching into a diverse past for inspiration, paired with sharp, groove inducing percussion, its a fantastic reinvention of timeless musical expressions.

With March Of The Wolfmasters, the thematic premise is laid bare, somewhat spelt out. Outlawed robotic romantics, a vision of science fiction imagined future, plucked from the 20th centuries early decades and intermingled with a very human narrative. So to does the music plunder gloriously with trumpeted Swing band elements, theatrical string sections and stabbing horror organ melodies spun to a jovial rhythm.

Although a brief EP, its focus slips at the end with Mr. President. Pivoting to a plea on current social woes, the shift in tone is jarring. Then proceeded by a cover of Smile her incredible voice sadly doesn't quite suite. It was however an excuse to learn about a song covered many times, going far back to Charlie Chaplin. On Metropolis, Its clear the groundwork was laid for great things to follow, however the core three songs that merited this thematic inspiration was ready for more at this point in time.

Rating: 5/10

Len "You Can't Stop The Bum Rush" (1999)

If mid 80's Hip Hop with its clunky grooves, fun but dated rhyming tropes is your niche, then You Can't Stop The Bum Rush might just float your boat. I'm quite partial to the era, however Canadian group Len's millennium offering has little to add aesthetically, essentially a stiff nostalgic resurrection. Its bizarre his how eclectic and interwoven with other genres this record is, however the music isn't all as fluent.

Echo's of classic 70s Electronic music to the likes of Kraftwerk emerge, as a string of songs foray into crossover with Hip Hop the likes of Afrika Bambaataa once flirted with. Loaded with body popping vibes and vibrant 808s, the authenticity should be sky high with legends Biz Markie and Kurtis Blow hopping onboard to lend their voices. Despite this, the lack of reach to new territory has a stale energy about it.

After Cold Chillin the flow looses pace, ditching the Hip Hip beats to explore Rock, Punk Rock, Pop and Jazzy vibes to see the record out. Although its nice to hear such diversity, only June Bug swoons with its easy flow and gentle singing. Of course, the albums star is Steal My Sunshine, a massive hit known the world over. An oddity, considering how little of its charm gets echoed elsewhere. Worth a listen but quite mediocre.

Rating: 4/10

King Geedorah "Take Me To Your Leader" (2003)

 

Operating under the alias of Godzilla's three headed nemesis, the beast King Ghidorah, prolific hip hop entrepreneur, rapper, producer, MF Doom puts his talents to work. Take Me To Your Leader is an oddity, an album standing apart from the norm with its quirky thematic charm. Emerging from the ashes of old Godzilla flicks and Ishirō Honda's "Invasion Of Astro Monster", vocal and action snippets revive a unique vision to life. Monster Zero runs by as a keenly cinematic track, unloading its samples front to back without a verse, as does title track too later on in its thirteen tracks.

Between the instrumental passages of crafty world building, a diverse range of voices drop onto the mic. Mostly rhyme riddled and intricate in nature, lyrical games play out on the bars, adept with flow, woven with tricksy word play and verbal acrobatics, the focus shifts as the album matures. With such talents strutting, the subject material often slips into bombast and prowess as these emcees rhyme hard. In its transitions, the spectacle remains, suiting this novel packaging for a memorable listen.

The beats rapped over are relatively straightforward. Its the source material and obscure movie dialog sampling that gives this production an undeniable charm. The firm mix of Soul and Jazz gets obscured by a string section focus. The occasional Sci-Fi theme's spice up the overall vibe and tend to find themselves paired with stints of sampling as the guest verses end up on the Jazz Hop leaning cuts. Although capable of dissecting its composition, the elements are gripping throughout, making for a record difficult to critique on its own merits. If this suits your preferences, you'll adore!

Rating: 7/10

Skinny Puppy "Rabies" (1989)

 

Where this journey ends, others shall begin. Having occupied a fair portion of my auditory real estate, I've come conclude there is little left for these Canadian Industrial pioneers to offer. Despite legendary status among the Industrial Metal I adore, the unearthing of the disjointed musical ideas that informed them has become a dull drone. On this fifth outing, Skinny Puppy recycle their dissident formula for dystopian soundscapes again. Lined with malfeasant movie snippet samples, inhuman percussion and jolting baselines, Rabies oddly offers the most accessible incarnation yet. Even so, its mediocrity has songs failing to favor themselves with memorability beyond brief surges of unsettling noise and claustrophobic vocal distortions.

A few songs are distinguished with a new dimension for the group. A metallic drive, as Al Jourgensen of Ministry lends his guitar craft to his musical idols. Thrusts of enthused yet blunt distortion riffs grind in repetition to lend a familiar aesthetic. Sadly the meld is a dull one, perhaps peaking with Facist Jock Itch, although its rampant snare drum abuse is a grating one. Other than this chemistry of note, the records aesthetic and atmosphere echos so much I've adored of their influence yet again fails to connect. Warlock manages a special moment, its alien vocals emoting deep pains with fascinating guile. As its concludes, the rising synths birth something unique. It reminds me fondly of Dysmorphik. There are more records in the catalog but currently the exploration seems futile and thus another journey concludes itself.

Rating: 4/10

The Ruins Of Beverast "The Thule Grimoires" (2021)

 

Fancying a dip into darker realms again, a name from years gone by caught my eye, the German one man band known as The Ruins Of Beverast. This sixth installment, The Thule Grimoires, is softens its blow by the crisp sweetness modern productions offer. Its a blessing, an alluring warmness emanates from once shrill guitars and howling blast beats that pave a familiar path, cushioned for an attentive focus on its unruly surroundings. As the musical intensity unravels, oddities emerge at frequent intervals. An intentional alien darkness manifests, with esoteric rumblings ushering in the dusky realms of nefarious deity worship and pagan hardships.

Toying with slanted choral chants, hazy descending guitars awash in reverb and demonic gutturals, convention breaks into hellish limbos of ambiguity. These occult atmospheres come drenched with unease and tensions not aimed at the listener. Its quite pleasant to experience such crafted balance. This peering into demonic depravity plays like an observer watching mystic rituals from a distance.

Although most of the length record resides in this creative space, with a healthy range of compositions, on occasion the music gets tangled in bright melodic leads that don't quite express their purpose to this listener. A small blemish on a solid record I just haven't been in the mood for. The dark arts are not as charming with age.

Rating: 6/10