Kid Cudi "Insano" (2024)

  
Keeping steady pace, Kid Cudi returns from Entergalactic with a loose concept. Taking twenty one shots, these shorter cuts seemingly throw out ideas to see what sticks. Linked together by recurring buzzy sub-base lines, the referenced insanity is heard instrumentally as the aesthetic experience explores an unusual spectrum of melodic presentation. Repetitive tunes often run through mild manipulations, playing into an artsy atmosphere. Trap beats bustle harder than usual. Kicks, claps, snares and hit-hats from all directions chime in, amping up the sequenced rhythmic energy. Its these base oriented tracks that mustered my attention as between them, Cudi leaned into his established style, smoothing out the records exit with a string of colorful songs.

Running commentary from a boisterous DJ Drama and lack of lyrical focus gave me little else to latch onto. Insano feels like a round up of studio time spent without direction. Vocally, Cudi spun his style with the records best hooks feeling almost recycled from previous records. Nothing offensive, the record just lacked anything with shock and awe. Electrowavebaby perked an ear for its redesign of Ace Of Base's All That She Wants. That's the second record of 2024 to include this memorable 90s hit. Its a fun track, flush with zany zapping sounds and some endearing singing. The second track Keep Bouncin' is a banger, the baseline melding with crisp pianos is a classy conclusion to its dark, speedy energy. Other than that, its a mediocre record with flashes of distinction that fade among its extensive tracks. Good for a mood tho.

Rating: 6/10

Trevor Something "Archetypes" (2024)

 
My introduction to one man band Trevor Something was through a handful of delightful re-imaginations of 80s Synthpop and Alternative classics. I wasn't pulled into his original music, so this new record of twelve cover songs suited me well.

Trevor's built a unique sound, treading a line adjacent to Ethereal, Synthwave and Electro-Industrial. Like a dream inducing sedative, subdued and sluggish, his soft, distant voice steers us through hazy atmospheres. Layered arrangements of textural synths dance, often with chunky bass wobbles. The usual culprit of echo and reverb masks an otherwise sharp set of steady melodies into a concussive daze.

In this reshaping of originals, a unique soothing, slightly dystopian crooning is birthed. You want to stick around and indulge. Not knowing a track wasn't a barrier to entry either, the warmly dystopian aesthetics, lingering tempo and Cyber-Goth vibes maintain across its duration. Closer and No Ordinary Love where my favorites.

All That She Want's is a surprising throwback but record ends with Change (In The House Of Flies), which I thought would be a lay up. On this occasion, a sterile overindulgence approach lost the original spark. Its smokey, cumbersome stride swiftly dulls. Strange ending to an otherwise unique and enjoyable record.

Rating: 6/10

The Tiberian Sons "Satan's Office Supplies" (2022)

 
Here's a release I overlooked, The Tiberian Sons' first album re-imagining video game music within the Prog Metal format. Anthems Of Liberation was such a blinder, I had to give this a go. Sadly, little joy has arisen from its Paper Mario origins. Once again, I've not heard the originals but one can attest to their thrilling aesthetics and colorful liveliness. Satan's Office Supplies is given a lavish treatment, layered music with punch clarity. Subtle symphonies and jiving synths bustle between the upfront grooves of chomping, snappy drums and Djent rhythm guitar chops. Often stealing the lime light, the lead guitar wails with excitement, delivering key melodies and running away with dazzling solos, vivacious and vibrant, often serving as a voice of expression.

Why this didn't click with me is somewhat mysterious. Perhaps my Prog Metal clock has been run down for the time being. Maybe its the source material not quite matching the intensity. Although this music works, its jovial melodies run counter to a lot of hard hitting rhythm and stints of nostalgic orchestration that melds with a lack of feeling. Origami Castle is a keen example of its ends not quite sticking together.

 King Olly VS Mega Bowser is a similar composition, flutes and airy chorals coalesce around chomping groove and sinister horns, yet the track rides its devilish atmosphere well. The rest of the songs where somewhere in between, its opening five part set of tracks not feeling particularly special. A lot of the record descended into lively rumblings, were a blaze of passing melodies didn't land as they had done last time.

Rating: 5/10

GGFH "Disease" (1993)

 
Weird, wacky... wonderful? This is a zany descent into dystopian depravity. Cold, sterile, emotionless, Disease plays shrouded by bleak, mechanical aesthetics. Embracing quirky synths, wavy baselines and bustling drum machine abuse, the duo known as Global Genocide Forget Heaven forge unsettled stints of misanthropic commentary. I was turned onto them by Dimmu Borgir's Dead Man Don't Rape and the two bands share little in common besides a grim outlook on humanity and morality.

Much of the records charm stems from passages of rhythm that lock in with its synthetic counterparts. In these strides the grim atmosphere carries some passing joy. Otherwise its an unsettling oddity that rarely feels welcoming, a confrontation slog, forcing one to reflect on the dark subject matter at hand. Snarling, distorted soft shouts bark off through the record with a continual rigorous dissatisfaction.

Its an inescapable grasp, a downwards pull as alien melodies swirl around aimlessly. Vocal snippets from horror movies and the like help paint the music with more strange darkness. The atmosphere is vivid and intentional. Only Plasterchrist detours from its core chemistry. Tense lullaby like bells toy with menace, contrasted over top warm symphonic strings. Its within reach of relief and reprise, yet holds firm to its limbo.

 Overall I am impressed by how clearly theme and intention are executed but on a personal level this examination of humanities worst was lacking the musical jive to pull me in. It could be intentional, to keep the music confrontational and inches from comfort. A fun listen but after a few spins I'm good.

Rating: 5/10

Dream Widow "Dream Widow" (2022)

 
Birthed as a fictional band through the Foo Fighter's Studio 666 movie, mastermind Dave Grohl brings his youthful adorations to the limelight. An exuberant testament to the gods of Metal, Dream Widow plays as a love letter to Thrash and Heavy Metal. Churned out with a soft tongue in cheek attitude, this self awareness plays keen. Backed by a consistent onslaught of sharp grooving riffs, its evil thematic comes across fun and playful. Dressed up with moments of metallic extremities, the record initially feels edgier, clearly oldskool Black Metal on March Of The Insane before settling into its cruising altitude of mid-tempo Mastodon crooning Metal.

Dave is pretty fantastic at steering his unique musical voice to these comically darker directions. Half the record feels fully committed to sinister theatrics, yet the other melds his Alternative Rock roots in both singing and writing. This is no complaint, the middle ground is entertaining too but after the shock of its full throttle, screaming and stomping opener Encino wears off, its clear this intensity isn't its firm format. When stepping away from the atypical cheese over the top Metal provides, the music sways with delightful inflections of melody, exchanging verse and choruses that compliment through dynamic shifts from rhythm to lead and all expressions between the two. 

Dream Widow is a cracking record stretched between Dave's expectant self and a mischievous, metallic inner child. Ending with seventeen minutes of sludgy hell, Becoming and Lacrimus Dei Ebrius illuminate his genuine understanding of the craft, as cheesy themes give way to sinister mockeries of the light. Ultimately its forty two minutes are a solid listen. Thoroughly entertaining, yet showing these three or so approaches that could of individually been their own beasts.

Rating: 7/10

Hundredth "Rare" (2017)

 

Opening with shiny crimson acoustics, Vertigo croons on contrasting vibes. Its initial Ethereal glaze rubs against a pacey rhythm section. Thunderous baselines rumble, as lively kick snare grooves set a cruising tempo. Swells of overdriven guitar erupt, reveling in their haze of noisy reverberation. Singer songwriter Chadwick Johnson glides in, calming with breezy harmonization, soothing in his softly presence.

Its a chemistry that persists throughout, as this Shoegazing, Alternative Rock hybrid flickers with fondness for a cascade of influences that inspire an inclusive wall of sound production. Forever sounding like a beautiful fever dream, hints of Grunge, Britpop, Post-Punk, New Wave and Dream Pop emerge in subtle suggestions.

Almost all tracks sail with riveting energy. Ebbing and flowing into colorful lulls, dragged by pounding percussion, leaving room to breath and rebound into epic swells of lead melody and momentous guitar riffs. A consistent experience, yielding a monotone expression. Across its forty five minutes its deeply explored yet spinning the same structures in rotation. Fortunately with such blissful energy it rarely tires.

Early on the music feels uplifting and charged with warmth yet as the record reaches its mid point, both lyrics and emotions tilt to darker subjects. Its a subtle shift, a dreary dourness creeps in, the sprint slows. It feels like the same beast yet moodier, as melancholic acoustics drift in and a vulnerability in Johnson's presence grows.

Rare's merits reside on its songwriting and vision. Initially seeming to fit into a familiar umbrella of genres, the record takes on its own memorable character. I do prefer its opening half, the speedy pace a delight that fades into its brooding counterpart. Overall, Rare is a wonderfully engaging set of songs that don't try to rewrite the rulebook but focus on what works and wrap it up into an inspired aesthetic indulgence.

Rating: 7/10

Love Is Colder Than Death "Mental Traveller" (1992)

 
Proceeding their sophomore Teignmouth, we embark on sullen strides of mournful brooding. Mental Traveller ventures into worldly vibrations, linked by language-less tones of morose suffering. A frequent chemistry between dawning strings and Susann Heinrich's burdensome singing, captivates a moody pre-technological tension. One will be transported with visions of rural hardship lived in the shadow of human sin. A sense of ancient culture and lost religion prevails through these belated downtrodden soundscapes. Perhaps an artifact of my imagination, their gradual groaning, building up to rigged percussive grooves, can't help but evoke this antiquated notion.

My main gripe with the record is its similarity too Dead Can Dance. Many ideas and paths walked feel closely modeled on their music. This feels most obvious when an occasional song shifts gears for uplift and reprise, a little tuneful medieval charm having the same tone and textures as the aforementioned. This is however what I have been seeking, Neoclassical Darkwave. Love Is Colder Than Death have just that. Their approach just lacks a distinction to provide conversation to the genre.

 The second half of the record pivots, Ralf Donis takes over, ushering in Industrial tinged drums that reveal their programmed nature. Like last outing, it leans Electro-Industrial on a couple of tracks, almost birthing some genuine fascination with a grim tone but falling short. Despite all my attempts, this one just didn't latch mentally. 

Rating: 5/10

Myrkur "Ragnarok" (2023)

 
Danish outfit Myrkur had a busy 2023. Not only Spine but this TV show soundtrack too. Surprisingly, Ragnarok is the more straightforward of the two. Rocking rural stints of Heathen Metal, guitars frequently drop in with overdriven power chords, chunky rhythms and a touch of Doom Metal lurches. Bruun's Scandinavian tongue roots its viking feeling when in spoken demeanor, her ascensions into charming sung passes feel like a softly symphonic charm to dress up the rather dirty, gritty guitar tones.

Each Metal song alternates with an orchestrated alternative, softer instrumentation, often keyboards, pianos and strings. Odins Sang offers a Nordic folk chant over primitive percussion. For the mesmerizing Modgunns Tema, a different direction. Deeply calming, mysterious and natural, the gentle lonely notes that glimmer in its lingering reverb feel like a tribute to first light over a pristine snow swept forest.

This shuffling variety is refreshing, creating quite a journey. Initially I was drawn to its softer side but the Metal tracks have a charm in their simplicity. The aesthetic is spot on for conjuring pagan visions and rural hardships worshiping ancient gods. Its subtly impressive and a firm reminder of why I'm still interested in what they might do next. Although completely fitting, Ragnarok is still candidly bewitching, even more so Spine.

Rating: 7/10

Crosses "Crosses" (2014)

Having enjoyed the duo's new sophomore record, I ventured back to their debut, released nine years prior. Feeling very much fitting of its era, the electronic percussive arrangements tilt in a handful of directions, ta Disco House flavor of Daft Punk rears its head early on. The rest mostly an assemble of sluggish Trip Hop grooves and subdued drum patterns. They mostly stir echos from Post-Punks expansive umbrella, far from the hard hitting, cutting edge that its followup leaned into. 

This left Crosses with an expression rooted in the moment, something about arriving ten years late has been tricky to reorient. Led by Chino's charm, that inescapable Deftones feeling is prevalent but this time his partner Lopez crafts moody textural passing of mellow sound. Drenched in ambiguous, airy, soft design, many sounds emerge. Gentle guitar licks, plucked strings, a groaning Sax, broody pianos and riveting organ shimmer, with the occasional metallic riff dialing down its intensity.

The two fall into a sway, grooving on sullen, melancholic strides, mustering occasional bursts of energy on odd songs. The Epilogue was my favorite, cruising with pace and bustling in gated toms for a lively energy, the guitar lick and vocals made for a catchy hook. A rarity, much of the music focuses on mood, highlighting a lack of connection in its absence. Ultimately, the duo focus on a side of their chemistry that doesn't quite tick all the boxes for me. A fair listen but not one I'll come back to often.

Rating: 5/10

Graywave "Planetary Shift" (2021)

Enthralled by Rebirth's swelling descents of darkly Shoegazing magic, Planetary Shift has lingered in its shadow like an egg ready to hatch, not yet finding a final form. Fortunately, I've gotten past this notion. These five tracks are further from the dense, engulfing aesthetics of its successor, they reside closer to the "traditional" Ethereal, Shoegaze, Dreampop soundscape. Crooning in the sombre resonance its shimmering guitar chords echo, each song runs a dreamy trip, usually steering into a familiar distress, yet exploring uplifting phrases too, like on the opening Dreaming, which gleams with a kind warmness. The following Swallow toes the line with soaring ascents to glory before a dreary, distant title track sets up its final two stints.

 

The arch peers into darkness on conclusion, as Like Heaven's catchy chorus bleeds a sombre melody to hint at its closing struggle, which Before delves into. Bringing back that alluring engulfing darkness heard on Rebirth, It is perhaps the catalyst for Jess' natural progression. After establishing its verse chorus loop, the later half ignites with a ferocity as she dials the soaring vocals to another plateau. The music swells, riding its decent into a the void. Stunning music, which again starts from a brighter place. This side has much merit but I find myself magnetized to the darker expressions.

Rating: 5/10

My Top 10 Music Discoverys In 2023

 
Another year, another remark on changing habits. Last year I wrote the more posts than ever, this year I wanted to tone that down and be selective. A lot of my discoveries have been through playlist exploration on Spotify, with less getting the album treatment I would then bring to the blog. Despite that, these new unearthed artists have been solid, with perhaps one exception...

(10) Sleep Token

As the currently hyped band in Metal discussion circles, I was strangely not impressed by the metallic elements on display. It was the singers expression, demeanor and passion that slants in other directions. This is what found me about their music. Are You Really Okay? is the one track that gripped me deeply and happens to be the albums least popular. On that song, I hear a intense meaning, with gravity and weight to it. I'd like to hear them lean into that more.

(9) Bal-Sagoth

There were many more records than the one I covered here, Bal-Sagoth have a fun, fantasy slash cosmic breed of Symphonic Metal. I've now found my way in and could of explored their back catalog. It would have been fun to write about but with a narrow evolution across the years I decided to leave this one brief.

(8) Apashe

This record is on the cutting edge of expression, pulling from opposite ends of the musical spectrum and finding genuine harmony. Apashe even pulls in some rappers to rhyme on his Classic EDM mash ups. Its brilliant, one artist I will be following closely in the future!

(7) Marconi Union

Discovered via a podcast on dealing with anxiety, the Weightless composition embodied all I've heard and loved about ambient music's calming magic. I've not gone much further than the one album but this discovery was a blessing and it firmly anchored the idea of having "go to" music for when feeling anxiousness creeping in.

(6) Këkht Aräkh

A love letter to early 90s Black Metal, Ukrainian one man band Këkht Aräkh actually pulls off the impressive act of avoiding nostalgia and capturing the magic of that era. You could slip in some of these songs alongside Burzum and Darkthrone to an unsuspecting friend and they might not be none the wiser!

(5) Gunship

It was a good time to get into this Synthwave act, as later in the year a new record after a five year gap would become a favorite! This duo left Fightstar with a clear musical vision that;s made for some fantastic neon lit nightlife vibes. Synthwave can quite often feel tired and cliche but this pair made it feel fresh again!

(4) Health

I'm late to Health. They have been around for sometime. Somehow I didn't get pulled in to recently and although I'm not head over heals with their sound, it has a real persuasion when its not your soul focus but the mood setter. In that environment, the downtrodden dystopian atmospheres weigh powerful and heavy.

(3) Potatohead People

Jazz Hop has been re-imagined by many with obvious techniques and tropes, so I was surprised to hear this duo escape that fate. Its a familiar feeling yet this pair of producers bring class, adding in expressive instrument leads between the melodic beat loops. Top stuff.

(2) $uicideboy$

Another double act, these two are a calling cry for an overlooked generation. So much topicality speaks to the struggles of those worse off in a supposedly wealthy society. Themes of mental health and drug abuse are so open and honestly spoken about, its hard not to be drawn to the positivity that comes from facing these demons openly.

(1) Janelle Monáe

This is what kicked my year off, Archandroid! Its been with me ever since. I rarely give a 10 to something that isn't from my formative years. Only three records or so records within the liftime of this blog. This album certainly challenged that form, what a fantastically eclectic assembly of lively sounds, driven by catchy, meaningful words to tie its animated energy together. Janelle has since recreated this genius only  in flashes but in this moment its pure class. Bravo!

My Top 10 Albums Of 2023

Listening habits have changed, I've put more time into creating and as a result, my shortlist was literally these ten albums. I've passed over quite a few records from old favorites too, instead opting to keep an eye on newer artists but even then its familiar names emerging on the list this year.

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

The fallout with C418's timeless soundtrack is saddening but in his shadow, Mojang have managed to pluck some exceptional artists that suit the games atmosphere. This latest addition grows on me with each listen and as the year grew, each return to these new tracks proved how great they were.

(9) Dreamstate Logic "Starbound" (2023) link

One for the temporal playlist, Starbound has a flavor not all distinctive but lasting. As the year went on I found myself drifting back to its magic which turns out to be one of the strongest calmers in Dreamstate Logic's now extensive catalog.

(8) The Tiberian Sons "Anthems Of Liberation" (2023) link

Soundtrack to my ice boat racing, I may now never return to it without visions of skidding across frozen blocky landscapes. The musics tone is familiar but wonderfully animated, that crossover between Progressive and VGM again yielding magic. Its nice to see this group branching into their other soundtrack passions.

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

I commented earlier on passing over old bands still pumping out records. Now twenty years into their legacy, Enter Shikari are one I can't pass up and I'm happy to see them find that youthful spirit again after experimenting with a more subdued approach.

(6) Post Malone "Austin" (2023) link

Its not here for its status as an album but the few favorites that emerged from Austin have been absolute ear worms, bringing hot and uplift over and over. Post has always been a keen talent but here you can hear him actualizing the vision of a songs expression and backing it up with melodic candy.

(5) Gunship "Unicorn" (2023) link

Clearly brilliant but trailing off towards its conclusion, the strong songs of Unicorn has again been ear worms. With Spotify's auto shuffle pushing them after finishing other records, they have become favorites this year. It feels like they really timed this one well, waiting for inspiration to strike after a few years.

(4) Old Tower "Draconic Synthesis" (2023) link

Dungeon Synth has become somewhat stale with my explorations of what its got left to offer. I keep eyes on a few artists and really felt that Old Tower stepped up with another maturity of sound design that yielded some fresh other worldly expressions.

(3) Myrkur "Spine" (2023) link

The uncanny feeling covers has subsided given some research into the musics originality and now I've just been enjoying how curiously strange and wonderful its chemistry is. Bruun is clearly pulling inspiration from different genres and how it all comes together has been endearing and a joy to listen.

(2) Narrow Head "Moments Of Clarity" (2023) link

With nostalgia being on plentiful supply in these times, its great to hear a band so masterfully craft inspirations of times past with a spirit and charisma that escapes that nostalgic grasp. Narrow Head have banging riffs and write songs that don't serve the past but compliment it. Everything came together so well with Moments Of Clarity. Many of its songs have been on rotation through the year.

(1) Olivia Rodrigo "Guts" (2023) link

Often singing about topics quite distant from my own experiences, Olivia's presence, expression and musicality has an allure hard to ignore. Like with Sour, she can pull you in with catchy pop chorus and sincere divulges of personal distresses that paint a picture. This outing, everything felt tightened up and finely tuned, while maturing lyrically too. Guts has me enjoying her catalog while anticipating where she will go next!

Arkhtinn "三度目の災害" (2023)

  

 Pulling no surprises, another intense installment of Symphonic Black Metal plunges into a familiar abyss. Using blast beats as its unrelenting propellant, rattling drums steer an unending wall of sound. Screams howl and distortion guitars roar. Choral keys gleam towards the night sky with an undying sense of rising epic. On occasion, glistening patterns of synths sparkle with astral wonder. The music sways, rarely taking its foot of the gas, predictably finding its way back to calamitous climaxes.

The second of its two twenty minute plus halves is more gratifying. The texture of its ferocity a dangerous concoction. Hopeful lead guitars tinge with shimmers of positive melody yet shrouded by a grim blackness. Its followed by glittery ascending, descending cosmic synths, an interesting arrangement stiring the pot on this frightening brew. After calms and void circling plummets pass by, the lead guitars return to unite the narrative, culminating in a last stand full of dying screams and relentless pounding that gives way to a bleak aftermath of pale distortions.

This track defines itself as the better of two but ultimately feels somewhat stale in the wake of all the other albums before it. Arkhtinn has mastered their own sound but now that mastery offers little new other than the comforts of returning to familiar footings.

Rating: 6/10

Graywave "Rebirth" (2022)

 
Illuminating attention with an engulfing dreary charm, Graywave, brainchild of Jess Webberley, intensifies their dense Shoegazing Ethereal haze with bustling over drive guitars that swell and shimmer in flushes of bleak beauty. The instruments roar with inviting texture, baselines rumble, showing cracks and grooves, the drums strike with piercing clarity and crispness. Around them a glory of sombre tuneful sounds ripple and shimmer in waves, losing themselves in copious echos and reverberations.

Crudely Dream Pop, oddly catchy by design, these illustrious melodies lure one into its haunting spell. Each track casts its bait, then reels one into thick, heavy surges of descending imminence. Emotions suffer dark and burdensome, yet glimmer with soft introspection. Often feeling like a cathartic release of internal demons and personal grievances that run deep. Its stunning how each song sways in and out of this radiant hell, retaining its alluring colors and selling one on its shadowy descent over and over.

The magic ingredient is Jess' voice who has stunning softness in strength, her gentle tone can ascend and roar with the swells of instrumental gravity beneath her. Its a stunning chemistry from a multi instrumentalist honing in on a purity of self expression. Five fine songs, with the opening Build a masterful ear-worm to binge. This is about as heavy as Shoegazing gets before you call it Metal. To my ears, its akin to Autumn's Grey Solace on steroids. Absolutely loved this, Ive found my next journey it seems!

Rating: 6/10

Ghosts Of Atlantis "3.6.2.4" (2021)

Following up on the competently executed yet mediocre Riddles Of The Sycophants, this debut record managed to grab more of my attention. Despite seeming a touch raw, its Melodic Death Metal leanings and keyboard driven symphonic elements play to its strengths. The latter coming as complimentary flare to primarily Metal songs that navigate the usual array of tropes with an overcast, stormy demeanor.

This metallic temperament allows for strings and orchestration, often muzzled by the guitars, to suggest a mystical swashbuckling theme. Songs feel frantic, at the mercy of howling winds, ocean waves and unending winds. Strip its symphony out and this could be an atypical Metal record for many stints. 2.6.2.4 frequently drops in with big riffs, stomping grooves, galloping chugs to steal the show from its watery theme.

Between it all, heathen clean vocals erupt with surges of epic intent that don't land with the gusto bands like Dimmu Borgir do. In the mid ground were aggression is subdued, a handful of symphonic melodies sway, mostly second fiddle to a rhythmic march, never a key focus. Its as if keys were written second to everything else.

As such, the songs rarely play with consistency but have moments that leap out. Halls Of Lemuria, The Curse Of Man, Poseidon's bow all leap out with roaring riffs not exactly inline with the usual template. In their infancy, this band had writing strengths that didn't fit their intended direction it seems. A curious listen, entertaining, energetic and fun, bustling with an energy lost in a better produced follow up.

Rating: 6/10

Health "Rat Wars" (2023)

  

Housing four cuts from Ashamed, Rat Wars has been a swift brake in. Retaining their distinct flavor of broody, downtrodden dystopian atmospheres, Health navigate morose and self defeating emotions through the soft, sullen, effeminate voice of Jake Duzsik. Lyrically dark and dejecting, they eerily drift in the cracks of fiery Electro-Industrial pounding. Its inebriating, an alluring chemistry, entrancing and gripping yet on examination, a glum reality composed of crumbling urban sprawl and self abuse.

Many of its thudding kick and bassline grooves feel reminiscent of youthful days, hellbent on escaping ones demons through drugs, enjoying the dance while ignoring the imminent suffering. These entrancing drives of rhythm often feel like falling down a rabbit hole of self delusion. Only (Of All Else) and (Of Being Born) take the foot off the gas, the later sobering up its magnetic march with a grim groan of reality from an earth acoustic guitar to conclude the song. The other explores an acoustic limbo, the plucked strings hold off a frenzy of tense distant synths, ready to unleash in an instant.

 The record is finely crafted, its instruments oozing with texture and intensity, matched wonderfully to serve this nihilistic vision. I fumbled on first listen as Demigods struck me with Deja-Vu. Although not perfectly similar, the same melody can be heard playing out on Old Tower's Moonchamber track. Its amusing how memory works, instantly plucking it out of the darkness. Just a curious footnote for my experience with this darkly persuasive record. Its impressive, will have to seek out more from Health.

Rating: 7/10

Apashe "Antagonist" (2023)

An album of distinction and merit, Antagonist emerges from our times as a triumphant victor of eclectic musical tastes. Transcending obvious machinations, the Belgium musician unites the ages. The tight, bright and snappy percussion of EDM and blaring bass synths walks with Classical, Baroque and Renascence era music. With grace and vision these compositions revel in a found chemistry across two periods. Working in junction with the Prague Symphony Orchestra, songs are fully materialized. No scotch tape sampling and manipulation, these tracks were written for the real thing!

Apashe has a knack for understanding limelight, which elements are taking focus and how the narrative is steered by them. As such, stern strings within a strong symphony imposes powerful emotional sways and dramatic narratives. Hard percussion picks up the slack, allowing for stellar pivots into jolting groove and dance floor drive.

The arsenal is impeccable, from haunting shrill choirs to low-end dirty bass wobbles, all instruments, virtual or performed, have stunning fidelity. A case of fidelity highlighting how well built the foundations of these songs are. Apashe finds his own persuasive voice through this unlikely fusion, a word perhaps undermining of how sweetly this tracks ebb and flow. Chemistry is ever-present, at all degrees of emphasis on the aforementioned genres. I'm fondly reminded of IGORRR's brutal abominations.

Moving with another ace hidden up the sleeve, the thumping kick snares groves have a knack to subtly transform with a Hip Hop sensibility. As such, a handful of rappers pop into the fold at opportune times, delivering energizing verses. He gets a great one out of an aging Busta Rhymes. The record has a lot of guests, with a variety of singers lending their voices. At the mid point this soured a touch with sombre singing on Kyptonite and Rise At Nightfall lacking a connection with the instrumentals behind.

Its a minor blemish on a fantastic outing that revels with a sinister energy in its best moments. More grandiose thematic in nature, I found myself enjoying the spectacle immensely but not developing those deeper connections. Something about its flavor just lacked an infectious edge to wedge these songs in like ear worms. Fortunately, it does nestle in a couple of bangers! Apashe is one to keep a close eye on!

Rating: 7/10

Sierra "A Story Of Anger" (2023)

 

Introduced via a collaboration with Health, this French artist fits snugly into the dark electronic music I've been exploring of late. Not fully Synthwave, Aggro-tech or Electro-Industrial, Sierra rests in an inviting middle-ground. With brooding tones, she embarks on gloomy venture through moody indulgences broken up by bursts of dance adjacent energetic movement. Her voice is quite underwhelming, a half spoken presence muttering musings under her breath, occasionally mustering strength of presence. Soft and pleasant, it gets by but lets the focus fall on the instrumentals.

These virtual synths deliver snappy oscillated wave forms in range. From buzzing baselines to jittering melodies, an angular intensity lands these crisp arrangements fit for dystopian night life. Percussion is tight, hard thuds groove off claps and snares, always titled with an Industrial texture. Airy atmospheric synths drift in the gaps of these plucky arrangements, levers that can be dialed for the required direction.

As an album, its a fair listen, an overcast tone is set and explored but nothing much leaps of the page. With exception to Power, a collaboration with Carpenter Brut's who's excellence shines again. Bring about some urgency, sizzling melodies play off background sirens with sinister satisfaction. The albums best track, no doubts.

Rating: 5/10

Crosses "Goodnight, God Bless, I Love U, Delete." (2023)

 

I was drawn to this project by Chino Moreno of Deftones, the vocal half of this dynamic duo. Drawing inspirations, moods and textures from the likes of Dream Pop, Electro-Industrial and Gothic, Ethereal adjacent music, the pair attempt to carve a distinct niche. Crosses, however, seem inescapable of Moreno's instrumental chemistry. His harmonies relate to melody and rhythm with an all to familiar cadence.

Not intent on exploring new vocal territory, the best of the twos chemistry aligns in the same space Deftones' magic sparks from. The record's most striking tracks could be mistaken for Deftones remixes. Is this a complaint? Absolutely not, just a clear observation. One half of whats to enjoy is firmly rooted in a familiar setting, which Moreno executes with that typical alluring charm. His brilliance never seems to tire.

Crosses' other half, Shaun Lopez, brings character and distinction. Exploring the aforementioned genres' moods, he guides songs with bold, striking percussion. Modern in crisp intensity and rhythmically jolting, groove or bounce aren't words that comes to mind. Steady tempo and snappy aesthetics seem to be key motivators. Shuffling crisp, bold strikes, they land resolute on swift attack and minimal reverbs.

These drum lines come counteracted by melancholic melodic instruments, often virtual but housed in enough echo and reverb to paint ambiguities. The atmospheric touch leans towards soft and darkly shadows, breeding self-indulged emotion reflections. Often Ethereal in tone, they brood without catchy melodies. That falls to Moreno, who most often plays a role of light peaking through sombre clouds.

This chemistry varies track to track, almost all its ideas evoke loose relations to the broad spectrum of Post-Punk evolution in music. For all its explorations, this seems just shy of greatness. Invisible Hand, which plays like a Deftones' remix, sets a high ceiling the rest of the record doesn't live up to. When it comes close, its Moreno's mainstay I'm reminded of. EL-P turns up for a fantastic collaboration. I'm sure he had a hand in the tracks baseline. A cracking listen for fans of anything mentioned here.

Rating: 6/10

Plini "Mirage" (2023)

 

Pure joy! With no complaints and no surprises, Plini returns on another triumphant roar of Jazzy, melodic, Progressive Metal. Again, five finely curated tracks swell with colorful creativity. His distinct style as a lead guitarist remains firmly intact. Ever exciting and exuberant, a perpetual craft of inspired music pours fourth from its intensities. From slabs of rhythmic Djent groove, to caressed calms of soothing tunes, his music navigates its peaks and valleys masterfully, crooning with fond luminosity.

Mirage has left me lacking words not uttered before. Plini is an artist firmly rooted on intrinsic motivations, servicing the gods of creativity with respect. Every second of this album feels so expressive and intentional, as does most of what came before. For the first time I didn't sense new terrain. Its awe a familiar one, joyous, bright and uplifting yet a familiar friend. I will certainly enjoy this level of output for time to come but mirage leaves me curious as to if this artist has new ideas yet to unearth.

Rating: 7/10

Myrkur "Spine" (2023)

After the aptly name Folkesange, Danish outfit Myrkur return to the Black Metal tinged aesthetics of their origins. Spine muddies the waters with an uncanny sense akin to a "covers album". Like Humans sets this striking tone, the "talk to me like humans do" chorus arises from a rubble of darkly guitar rumblings and morose pianos nestled in a foggy, swampy drone. The cadence and melodies of Amalie Bruun carry an elevated yet contrasting spirit, rhythm and rhyme akin to catchy yet emotive Synthpop.

Continuously, her knack for lyrical delivery evokes this peculiarity again and again. Other elements suggested similar feelings too. The tense, tick tock alike synth lines of Mothlike and its gleaming flush, a rapid melodic guitar solo that erupts from an initial dark rumble, this too felt like a differing origin brought to to serve a peculiar chemistry.

As the album runs, many inspirations are woven into its fabric. A strange mix of hazy subdued extremity and light shining through gloomy clouds. Blazing Sky brings the bloat and bombast of a sludgy Doom Metal riff to the mercy of Brunn's earthly, gentle voice. Again, its illuminating pivot into a catchy chorus gives this unshakable sense of an original piece re-imagined through a dark and contrasting genre.

After many spins and much pointless research, I've learned of this records authenticity and grown to adore its peculiar position. It speaks volumes to its chemistry as these magnetic songs carry multiple spirits in tandem. The band have yielded a record that doesn't fallen into any typicality or genre pitfalls. Gracefully, they brew great music with their own unique spirit. Its been a breath of fresh air to say the least!

Rating: 8/10

Laurel Halo "Atlas" (2023)

 

Introduced via the Spotify algorithm, a lone track among its ten, You Burn Me, bared resemblance to one of my all time favorites, The Plateaux Of Mirror. Its dreamy pianos pulled me in but sadly the focus of Atlas is not akin to that timeless soothing tranquility. It does however, deal with subconscious narratives. Ambiguity and lofty reverberations house flickers of traditional instrumentation as these gentle mirages embark on temporal musical experiences that eludes a listeners focus in the present.

To my ears, Its early tracks house glimmers of city life. Dense, compounding echos create soft cushions of vague emotional states. Subtly twisted, warped and stretched, these dreary forms of pianos, pads and strings float out of its hazy mist. Somewhere in that gentle flood I hear the sounds of people, perhaps the droning sensation somehow resembling the ever-present background decibels of a city. This notion fades swiftly as its latter half resembles emotional states more often than not.

This leads me to the downside of this record. Many of these cloudy clusters of ambiguity steered into uncomfortable anxiety. Tension is a key component of these arrangements. A few flavors brewed unrest and disquiet through the powerful effects of Ambient music. Where I often welcome challenging sounds as emotional entertainment, a handful of songs placed me in that soft distress which equally sings praises to its power but derived my enjoyment the full length record experience.

Rating: 6/10

The Tiberian Sons "Anthems Of Liberation" (2023)

Looking beyond Command & Conquer, The Tiberian Sons paint a lively love letter to another 90s game franchise. I've never played Namco's Ace Combat series but if this record is a fair impression, then its got an impressive soundtrack! Anthems Of Liberation has songs from across the series. Unleashing bottled up classic VGM energy, the group channel this animated music into a lively Prog Rock / Metal adjacent tone. Its plastered with rich instrumentation, layers of orchestration, synths and human voicings emerge, coloring its rocking riffs and crooning shred guitar with warm spirit.

At times the songs take on a grandiosity when this aspect becomes the focus. When not, the drums drive forward competent riffs for lead instruments to dazzle and shine as the music speeds away. They seem like they are from different universes. One is serious, epic and dramatic. The other half fun, playful, sprinkled with the best of that Top Gun style cheese. Along its journey, the push and pull between its ends is fantastic, always bursting with attitude and charisma yet keeping it fresh.

Anthems Of Liberation is a wallop of fun from start to end, after many spins I can barely figure out what my favorite tracks are. I'm almost tempted to check out the game that inspired it! Or at least the original soundtrack music for now. This one is a fine record for when needing some animated energy to vibe on!

Rating: 8/10

Dimmu Borgir "Inspiratio Profanus" (2023)

 

Far beyond the prime of their active years as a band, Dimmu Borgir blow the dust of old covers alongside new offerings. Its a release of minimal commitment, something to give fans in the meantime between Eonian and whatever comes next. Kicking off with Venom's classic Black Metal, an aging Shagrath offers mid ground between his own vocal extremities and the throaty shouts of that early 80s evil cheesiness.

Its such an obvious choice that's been done to death by many Black Metal bands over the years. Dimmu add little to the conversation. The vicious, blood soaked Satan My Master, from Death Cult Armageddon, still holds its cutthroat aggression and howling menace. The contrast highlights a chasm between past and present. With the rest of the album intermingling old a new, its a similar story with its two new covers.

Dead Men Don't Rape looses much of the originals stark and confronting nature. A harsh Industrial unsettling atmosphere descending through its unforgiving whispered lyrics, Dimmu's atmospheric cushion undoes that. An all to welcoming track within the Extreme Metal context. Its not all bad tho, between some cracking covers of old, Deep Purple's Perfect Strangers gets a fine treatment as the band twist its anthemic march with a darker stride that retains the power of the originals riffs and organs.

Rating: 3/10

In The Nursery "Anatomy Of A Poet" (1994)

In seeking out Neoclassical Darkwave adjacent music, Spotify chalked up this Sheffield based duo who've been active since the 80s. Anatomy Of A Poet features Colin Wilson orating his own poetry in brief stints on various tracks. With its musical concept laid out plain and clear, I've found myself baffled at the disposition between his solemn glum voice and the stunning strings arrangements that meddle around then current percussive trends. Touches of Dance, Industrial and Trip Hop appraise danceable droning drum loops, as cinematic sequences of stellar orchestration muster an emotional elegance. This chemistry is one I've come close to discovering before.

As the album progresses, brief strides of classy composition break up its powerful percussive sway. Acute melodies, subtle chords, unusual instrumentation textures and flashes of electronics craft dreamy hazes that resolve into warming strides of persuasive sound. Then walks in the over pronounced tongue of Colin, his meaty, chocked words break the spell, despite it clearly being central to the records concept.

Arriving at The Seventh Seal, the pair stretch for ambiguous cultural sounds, a tingle of Spanish guitar, sung with a Country tang feels uncomfortable. The following tracks lean further into the poetic waxing and recurring themes has its entrancing energy wain swiftly. The funeral gloom of November Trees almost sparks a spell but the spoken words simply don't align. Its final track, unapologetically embraces the droning cheese of 90s electronic energy, throwing another curb ball to derail what started out as a wonderus musical experience.

Rating: 5/10

Mase "Harlem World" (1997)

 

A long overdue followup on No Way Out, I've finally picked up Harlem World, Mase's solo debut. He'd made a soft impression, a voice fit for variety in the mix but unsurprisingly tame on his own. The casual carefree laid back spoken raps didn't amount to much across a lengthy CD filling record. Although it went multi platinum, its legacy feels like a byproduct of the era. Mase runs through the typical themes apprising his status, playing himself as a ladies man and taking shots at his haters.

His cadence is smooth, easy on the ears but rarely does his words muster up the energy to really grab your attention with standout rhymes. Harlem World mostly rolls by a pleasant ride on average beats spliced with goofy interludes. Stated as such in a lyric, the albums best tracks are simply recycled hits from the past decade. That and many of its instrumentals highlight this Bad Boy Records formula candidly.

With typical features from Puff, DMX, Jay-Z, The Lox and many more, the album gets by on a run of the mill routine. The later, however, elevates! 24 Hours To Live lays down a firm concept, asking a question and letting everyone run through their answers verse by verse. Its a great setup for visual raps that The LOX dominate! The following I Need To Be sinks to a low with very questionable topicality that seems to just slip under the radar of controversy when it comes up in Hip Hop music.

The closing Jealous Guy is an amusing piss take. A tongue in cheek jab at "the haters". These rappers drop some ruthless off key singing over top of the smooth R&B singers beneath. Fun once but an earache after the third spin. Overall, this album felt very average, with little memorable to take away. It feels like the hype and promise of the record label made this one a success. Not bad but firmly average at best.

Rating: 4/10

Poppy "Zig" (2023)

 

Still one to follow for her creative ensemble of pop sensibilities and abrasive tones, Poppy returns with a similar set of mashed up sounds. As a pleasant vocal presence, one is drawn to the lyrics. Lightly cryptic, suggestive and occasionally humored, they rarely yield depth when wrapped up in a hook or catchy cadence. Her direct words muster more meaning with plain language, however none of it amounted to anything memorable for me. At times, a sense of reaching for a mischievous truth emerges.

Either way, the record doesn't hit on this front and neither does its bass groove oriented stints of cold calculated Electronica. Trading in overdrive guitars for distorted synths, the instrumentals often converge on flickering rhythmic drives, lavished in dispassionate texture, lacking emotion and accompanying melody. On occasion, atmospheric synths layer in some compassion but without its a rather lifeless stint.

After the droning disharmony of Zig passes, Poppy's voice opens up, some songs focusing on her melodies. A pleasant direction but only Motorbike strikes a nerve. Its soft Disco Funk grooves elevate the hook and color the song with an interesting subtle sway. On a better record, this might have been felt as a weak cut. Loaded with mediocrity, Zig was sadly somewhat of a bore, doing little to make itself known.

Rating: 4/10

Nova Twins "Supernova" (2023)

Hailing from London, the Nova Twins are a dynamic duo with a typically modern broad assemble of aggressive, abrasive inspirations. Clearly children of the Internet era, one can hear echos of 90s Rap Rock energy and Nu Metal syncopation, with 00s darker electronic music shades manifesting beyond prior crossover restraints. Attitude is its a driving force, shouted raps, soft screams and occasionally Pop R&B tinged sung lines, all emphasizing prominence and status spitting in the face of external adversity.

 Their songs are varnished with an electronic, noisy textural vaneer. Often crashing in with crunchy guitar grooves, the accompanying atmosphere feels as unconventional as un-melodic sounds weave into the fold. Somewhat similar to the worbling of Dubstep drops, these noisy groans are softly abrasive, hard and barely rhythmic yet mixed with a forgiving presence to make their songs rather accessible to my ears.

Its an odd approach considering there is a lack of melody and catchy knacks to latch onto. The drumming is rather dull and predictable, leaving a lot resting on the vocals and grooves. Choose Your Fighter is the records best track, a moment where the instrumental ideology swells around a compelling moshable groove. The rest of the record falls short of this feat and feels mediocre, occasionally dull on its weaker cuts.

In a way, I am reminded of Limp Bizkit, a love hate band who's fans were most likely fresh to the ideas of Metal and Rap. I could easily see my teenage latching on to the wildness this record presents but as a seasoned listener, little here feels special, I've heard it all before. They do show signs of promise however, some musical evolution on this chemistry may turn heads in the future but right now its a touch juvenile.

Rating: 5/10

Ghosts Of Atlantis "Riddles Of The Sycophants" (2023)

 

Even as I sit to write, the words don't come to me. Riddles Of The Sycophants is fantastically competent and yet distinctly generic. The evolution of Symphonic Black Metal, spurred on by late era Dimmu Borgir, has ventured into metallic and orchestral extremity. Weaving mightily angular and rhythmic guitars with stabbing gusts of nightly symphony, the genre's songwriting has escaped the chains of its foundations. No longer simplistic jabs of synth melody and rhythm guitars, the sound has taken on a vivid theatrical intensity, best realized on Shade Empire's classic Omega Arcane.

 Ghosts Of Atlantis failed to tell me why they are different. With the many spins, I've not felt a unique character emerge, or even defining moments in songs that grabbed my attention. Despite this, its lack of flair and originality hasn't hurt a single listen. Its been a welcome venture through turbulent terrain, traversed with elegance and a firm grasp on the dynamics of its varied instrumentation. They serve to aid its core vision, in doing so, lacks any individual magnetism. Its been quite the odd experience, a wonderfully executed record that fails to bring anything new to the table.

Rating: 5/10

Health "Ashamed" (2023)

 

Jumping around their discography, looking for an entry, it was this latest single I really latched onto. Health are a Californian trio that have been at it for almost two decades. Having many remix albums intermingled among their main efforts, its a dense wall of releases venturing in collaborative directions. This four track Ashamed has a balanced mix, two originals and two features. Their sound aligns with Agrro-Tech and Industrial Metal. Its similar to Author & Punisher, deploying meaty slabs of noisy synth over subtle distortions like an assault vehicle guided by tight, hard hitting, snappy drums.

The mood is doom and gloom, a synthetic cyberpunk dystopia traversed at night under neon light. Vocals bleed dour, plain and monotone, then ascending with breezy respite when musical chemistry shifts and a little reverb carries them away. This is the transition of its first two songs, a complimenting shift that lines us up for Sicko.

A sample of Godflesh's classic Breed slips into this one, nestled among its rebuilt core bass and drum groove. Recycling its charm, dreary flat vocals drift by in a haze, lining up an alarmist descend of hellish synth to dazzle one in its sudden urgency.

 The last track, featuring Sierra, bustles with a dark dance floor energy, stepping up its pulsing energy to match the likes of Carpenter Brut and Mick Gorden's Doom Eternal soundtrack blueprint. It retains Health's distinctness, a dense wall of harsh synths turned to a gloomy outlook with its softly pessimistic singing. A powerful introduction to a band who's coming full length I am likely to enjoy!

Rating: 5/10