Post Malone "F-1 Trillion: Long Bed" (2024)

A year on from a toned down yet catchy Austin, Post Malone returns with passion, plunging gracefully into another love of his, Country music. Surprising to no one who knows of his passions, F-1 Trillion's shock and awe lies in authenticity. Bringing on a star studded cast of heavyweight producers, seasoned musicians and huge Country artists, a bright, cheery set of songs built for southern blue collar American life.

Pulling no surprises, themes of love and heartbreak, work and drive, booze and blues play out in typical fashion. Post's unique voice croons a snug fit for these glossy instrumentals, his soft wobble breezy and charming as ever. The music flows sweetly, rich, fleshed tunes layered with steel guitar, piano, strings and occasional harmonica.

Given my casual love of the Country mood, this hour flows like an easy day traveling in the sun. Great to ease the mind and keep things simple. Practically every song features a big name, including legends Dolly Parton and Hank Williams among plenty of younger names. With a large cast of songs, only California Sober leaps of the playlist with its powerful hook and lively instrumental venturing into Southern Rock.

Disc two, the Long Bed, adds nine additional tracks with Post going at it alone. These songs simply extend the mood, feeling like there is room for additional voices yet he holds out well on his own, well worth a listen. F-1 Trillion was about bringing the best musicians together to make a stellar country album. With such brilliant composing, its hard to imagine he alone is orchestrating such warm, cozy music. Thus I'm left with a sense that Post is a guest to his own show, which has created a fantastic record.

 

Rating: 7/10

2Pac "R U Still Down? (Remember Me)" (1997)

 

Decades have passed since I last enjoyed one of 2Pac's many posthumous records. I barely remember this double album, loaded with a hundred minutes of the iconic rapper going at it alone. Released thirteen months past his death, it reeks of a rushed release. A lack of vision or focus swiftly becomes evident, Pac's raps arrive from different eras on top of demo level beats that loop at a bare minimum. Even basic techniques like dropping instruments in and out to add some variety seem missing.

Disc one houses more of his 95 era flows. Fresh outta jail on a mission to record as many raps before his impending demise, these lively verses recycle so many of the tempos, tropes and topics of his All Eyez On Me double album. More thuggish, less thoughtful, many of them recorded in one take, Pac's motto at the time. Among them, cuts like Open Fire and Nothing To Loose from my favorite era, Strictly, are a delight.

 Disc two, my favored, mostly houses outtakes from then to Me Against The World. The instrumentals seem like the demo's from that era too. Hearing his pitch shifted raps return makes it clear why those takes didn't make the original cut. Do For Love and Nothin But Love hit hard, as do some of his verses heard elsewhere among a weighty catalog of posthumous material. The original verses of Changes are here too.

Its hard to acknowledge this as much more than a collection of demos. Without Pac's creative input, it feels hands off, the producers aiming to preserve original vibes. R U Still Down does have an eerie foreshadowing of his tragic fate lingering within the lyrics, not unusual given that perspective lurched in his prior records. Besides familiar bars used elsewhere, a few novelties emerged. Beats similar to Snoop's Gzs & Hustlers and Black Moon's Buck Em Down. Given all were released in 93, I wonder if these were instrumentals Pac passed up. Credits suggest coincidence.

Rating: 6/10

Clown Core "Toilet" (2018)

 

 

Predecessor to a similarly structured Van, Toilet's waning novelty grounds its impact, having listened Van prior. Elapsing from crunching bursts of garbled Grindcore mania into esoteric Jazz and beyond, the blaring toy horn, jolted timing stunts and frenzied ghoulish growls sadly fall short. On a joke turning stale, the moments of musical magic shy from a curious wonderment achieved in its successor. The many pivots into bass drum grooves or scenic Smooth Jazz interludes have charm but lack a maturity.

Toilet, possibly recorded in a porta-loo, reeks of youthful adventure. A bold plunge into a vision, mostly realized but leaning on its own oddities too much. Jarring synth noises and unhinged blast beats drop all to frequently, the counteracting moments of gratification only mediocre. Although I have hindsight tainting my perspective, it really feels as if Van is a rework of this piece, going back to the architecture for a redo.

Rating: 4/10

Eminem "Relapse: Refill" (2009)

 

 

As expressed on the comical Steve Berman skit, a returning from retirement Eminem had enough material for two albums. Refill suggests an overstatement, its nine cuts only treading water with Relapse's weaker tracks. Forever feels like a false start, Em tacked onto one of Drake's pop rap songs. The music starts out strong but gets goofy as Elevator trades a quirky rap romp with its elongated sung chorus. Em reveling in the astonishment that his mansion has an elevator. It's likeable but shy of greatness. Music Box & Drop The Bomb On 'Em drag on, both lack a cutting edge, going through motions, feeling like exercises in creativity that didn't live up to his standards.

 

My Darling goes dark and grisly, a flawed execution of an interesting concept. Wrestling with a demonic voiced Slim Shady, he lives up to the ills of the character that brought him fame. The back and forth echos what he tried to do on The Death Of Slim Shady at length. It rolls into Careful What You Wish For, another dance with the devils of fame, commenting on the hysteria around his rise and how his records have been revisited as classics by critics. These two tracks feel like foreshadowing of an artist unable to escape that monumental moment in time. Entertaining but the last time it will feel fresh. One things for sure, Encore will never be considered an Illmatic.

Rating: 5/10

Eminem "Relapse" (2009)

 

Returning to Rap after a short lived five year retirement, Eminem battles his issues with alcohol abuse and pain pill addiction. Using his rhymes as therapy, we venture upon topically focused tracks, lyrically animating the trajectory of his struggles with drugs. Reviving familiar grievances along the way, Em sees himself in his abusive mother, leading to the comical line, "this ain't dinner ,this is paint thinner". Medicine Ball takes more shots at a now deceased Christopher Reeves. Dark and twisted as ever, he undoubtedly courts controversy again with a slew of edgy humor insults.

Still drawing inspiration from negative sources, Em dips into unsettling imagery often, painting himself as a deranged serial killer in a murderous daze on opener 3AM. The violent, cruel imagery is a constant recurrence, leading to impressive strings of zesty rhymes and stacked rhyme schemes. Often entertaining, Insane goes over the top, taking a depraved turn. With foul stench, Em delves into disgust, painting sexual abuse stories through crude and vile wordplay. Its a rather difficult track to stomach.

Bagpipes From Baghdad blooms with fresh creativity. The squirmish Indian accent fortunately subsides into a wild rhyme ride of satisfying oddities over one of the records grooviest beats. Its an oddball and bagpipes are indeed included. Hello follows up with a cringey crush confessional, a strange divulgence of attraction that finds itself twisted into dark places, a recurring theme. After these ear catching tracks, the songs settles into an ample groove, entertaining on its way to grand finale.

With tense strings and the voice acting of medical professionals, Mr.Mathers paints an image of his overdose through the eyes of paramedics. Leading into Deja Vu, the broody instrumental tone and cinematic lyrics flips the perspective, unraveling the prior event through a deep struggle as Em lands one of his best sung chorus hooks. The subtle organ chords rising in the background gel so well with his voice. These lyrics are so open, tender and endearing, a vulnerable expression from sullen lows.

Beautiful stirs this energy further, wallowing in his pains, pulling another sung chorus that works on this inspired level. Introspective, gloomy with an air of uplift lingering, has him riffing more earnest lines off the chest. Its deep and real, however Crack A Bottle pivots to a fun rompy jive with a dull feature from 50 Cent. Things pivot again as Underground amps the intensity up for a angered ending as Em goes wiling off again.

 Relapse was slammed by critics upon release. I'm fifteen years late to what sounds like classic Eminem in his prime. Sure, many raps have a goofy streak, the crudeness can get sore. Throughout it all, rhymes and flow are sharp as ever. Its flawed but full of excellence. I can't recall the last time a seventy minute rap album held me start to end. Absent at the time of its release, Relapse has been a "what if" answered, more of an artist I adored in my youth, rapping that exuberance hes been unable to recapture.

Rating: 9/10

Fogweaver "Magelight" (2023)

Working with a typical set of Dungeon Synth keyboard tones, Its clear Fogweaver has mastery of the magic. With no surprises in wait, Magelight charms with its enchanting melodies. Located somewhere at the crossroads of soft esoteric murmurings, mystic natural beauty and joyous adventuring innocence, we arrive as a lonely wandering spirit, set to journey through these soothing sights of wonder, mystique and fantasy.

Amidst a meld of classic synths used by pioneers, familiarity paints itself within a luscious dreamlike production. Deep airy synths and apt reveb casts a mood inducing calmed atmosphere to melt into. Tranquil in spirit, yet cautiously animated, a layering of tuneful instruments and subtleties is delightful to indulge with. Arrangements feel inspired, meaningful, enriched by the visions guiding these artful compositions.

Venturing here after hearing Fogweaver on The Kingdom Is Ours, I found myself immediately persuaded and the magic persisted after numerous spins. Magelight has much to offer, from mystic melodies in scenic settings, to gloomy swells of bewitching fog. Its varying shades conclude with the ambitious Inien, pushing its keys towards noisy terror. A chilling reflection upon the same crashing waves it opened with.

Rating: 7/10

Clown Core "Van" (2020)

 

Sudden bursts of paranoid Cybergrind madness and muddled demonic screams on its opening pair of tracks may paint a crude, unhinged impression of these nightmare-fuel circus buffoons. Setting their intentional ugly, hellish jokester veneers aside, this anonymous Clown Core duo splice spicy Saxophone leads and lively, animated Jazz Fusion ideals between bizarre rhythmic renditions and comical timing antics.

Early on the pair toy with foolish bicycle horn jives, an oddity to spin in your musical favor. Progressing, stiff toned drum and snare grooves rattle out keen rhythmic wonders, driving the record along. Freakish synth machinations accompany, often in syncopation with the drums, these eerie, ghoulish tones lurch as Sax melodies take focus. A subtly unsettled soulful interludes finds home too, among its many anomalies.

Existence culminates all its elements to play a twisted descent, erupting mid-way to double down on its clownish madness for a peculiar ending. End then indulges us in smoky ambience on a roomy soft piano piece, only to pivot yet again as we embark on a cheesy, upbeat 80s daytime TV Show melodic romp. Somehow... it makes sense?

Van, possibly recorded live inside a van, is a musical outlier that just works. Twisting many strange ideas to its will, the seventeen minute ride still feels fresh after many spins. Its a gratifying experience, even if delivered through a distorted haze of strangeness, its grooves and melodies come through with magnetism, forging a unique and baffling realm to call its own, fit to entertain oneself with its odd curiosities.

Rating: 7/10

Rakim "G.O.D.'s Network Reb7rth" (2024)

 

 From the silence, a certified legend returns. One half of Hip Hop's golden duo, Its Rakim's lyrical artistry and unchained cadence on the mic that help transition those iconic stiff 80s flows into the jazzy poetic rap of the 90s. Some claim no one has contributed more to raps evolution, a compelling argument. Thirty five years on from his creative peak, there should be no surprise that Reb7rth barely makes waves. A fond, welcome return but nothings on display that will change the game again.

These seven songs mostly serve as a stage to platform a collective of talent, including fresh voices and fellow legends like Kool G Rap and members of the Wu-Tang Clan. Rakim himself offers up decent verses early on, then pivots to handle chorus hooks for the rest of the record. The mood plays a celebration of talent, his presence seemingly encourages all twenty plus guests to dig deep for their sharpest rhymes.

Instrumental construction lacks surprise, rugged grooves continue an exploration of fundamentals built in the 90s as modern production aids its sturdy tone. The backings complexity keeps loops fresh and animated. Brilliant beats to house an arsenal of cunning rhymes but nothing exceptional to break your brain. These OGs are doing whats proven to high standards, giving us a dose of what we've adored for decades.

For a fan, this is a familiar pleasure. Reb7rth plays a classy execution of fundamentals that hold up well. I would have preferred to hear more of Rakim but with so many guests you get a steady flow of unwavering excellence. I also loved B.G's feature, he seemed immensely humbled to be on the project, giving up a fantastic set of bars. That's what this record is, a celebration of the art form brought about by a legend.

Rating: 7/10

Dead Can Dance "Spiritchaser" (1993)

 
After a stunning stretch of remarkable records, the Australian duo ventured on-wards one last time before parting ways. Fortunately they would reunite nineteen years later with the well polished Anastasis. Spiritchaser is the last album I'd yet to hear, a critically well received departure I find myself indifferent too. Remaining within the tapestry of Worldbeat aesthetics, they seem to take a new approach to song writing.

 Gone are the emotive swells, gallant melodies and esoteric leanings. Instead, a focus on plain, steady tones. Allowing for simplistic instrumental notation and brief percussive grooves to drone in repetition on top of foundations. Its subdued, simplistic and supposedly aims to find a meditative atmosphere in unclutter compositions.

So to do vocal performances feel restrained, intentionally softened. The cultural roots of fresh singing avenues possibly explain why. With dialectic inflections and native languages I'd not heard prior, the pair appear to aim for a less dramatized tone and certainly achieves that. In the apt setting, it becomes soothing background music.

I've been critical, Spiritchaser is simply a different beast, lingering in the shadows of a luminosity that came before it. The record does little to offend. Its sensibilities are calm, gentle and drift upon lazy tempos on lengthy durations. Highlights reside later on, with The Snake And The Moon offering a beautiful campfire at night vibe fit for tribal chant and dance. Perry leads the first half, Gerrad the second, shifting energies.

The following Song Of The Nile plays deeply cultural and subdued but houses the albums most animated passage as bells chime and some exotic sitar alike instrument offers up a brief but striking swell of musicality. However the rest of the record failed to make much of an impression on me. Maybe more time would strengthen bonds.

Rating: 5/10

Dame Silú De Mordomoire "A World Of Shadows" (2020)

 

 Introduced via an operatic indulgence on Erang's gloomy levitation Despair, I had to seek out the French singers solo material. Dame Silú De Mordomoire is not just a powerful voice but an enthusiast of Dungeon Synth, composing vivid instrumentals, melding melodic Fantasy and weighty Neoclassical into a Medieval nostalgia. A World Of Shadows plays through diverse shades of imagination, venturing upon unique constructs shaped by deeply dramatic singing. Its a worldly experience tinged in a lightly Gothic veneer. unlike much I've heard before it. Perhaps the esoteric leaning Dead Can Dance arrangements with Lisa Gerrard may come close.

Its strengths are varied, Fantasy elements toy in the dance of bright, playful instruments exchanging melodies yet rarely a fresh delight. Its the brooding stretches of dark and empirical tunes that dazzle. Grim Banners a keen example of militant led percussion heard before yet her deep bellowing voice finds a fresh touch of magic. From heavenly and Ethereal, she descends into solemn emotions, epic, sorrowful and weighty. On occasion, even turning to ghostly apparitions and Orcish growls.

Given the albums diverse nature, moods do chop and change, pivoting between songs. Subsequently its special chemistry in voice and instrumental feel fractured upon the records flow. I'm left fascinated by the darkly compositions yet stumped with a sense that a higher grandiose lays in weight. A strange reaction to such a stroke of brilliance with a stale genre. Maybe it speaks volumes to my personal fatigue, or perhaps Erang plucked some of that yearning charm on their duo Despair.

Rating: 7/10

Labyrinthus Stellarum "Tales Of The Void" (2023)

  

Progenitor to Vortex Of The Worlds, this inaugural effort suffers the knowledge of its own infancy. In light of a stellar brilliance yet to come, this album rides high and mighty through the cosmos, somehow with the wind sucked from its sails. Lurching in the shadow of its successor, the precise mechanical rattle of stiff drum machines and shrill elongated howls paint an amateurish impression. Retroactive listening perceives blemishes to be ironed out, giving Tales Of The Void the impression of a demo.

Spending time within its galactic realm reveals a magnetic, indulging charm. Cruising song structures and epic astral melodies pull us adrift through the void without a care for reality. Leaning heavily on its exotic synth, striking me now as a xylophone drowning in reverberations, a leaner aesthetic makeup adorns these colorful songs. The crux of its magic emanates from these bright, steadily paced keyboard tunes, with the underlying rhythmic section driving intensities steady, grindy notation shifts.

With barely a peak or valley in sight, consistent mood stands a key strength. If any weakness is present, stints where synths step aside for other instruments often play dull. An impressive entry given its a narrower set of ideas playing out. The band establish their identity firmly at the offset. I can't help but feel I should of started here. As expressed, knowledge of the genius to follow tainted my view. Fortunately I've enjoyed this and have hopes the continue to evolve as musicians with a vision.

Rating: 7/10

Dead Can Dance "Anastasis" (2012)

Returning from a lengthy sixteen year hiatus, no fresh spark of light, or flash of genius awaits us. Instead, Anastasis plays as an amalgamation of the duo's best cultural aesthetics and voicings. All eight songs bestow simple, gratifying song structures. Luscious clear instrumentation enables layers of satisfying melodies to link together on introspective meditations. Mellow tempos, broody baselines and aromatic synths let an array of worldly instruments peruse on flavorful, exotic paths.

From the offset, no distinct sense of historical or societal vision for these songs emerges. The vastness of Worldbeat influence converges on unique spaces, almost fantastical in their pleasing persuasion. A steady flow of tuneful notation, funneled through the sounds of distant instrumental heritage, lets their natural songwriting strengths become a dominate force, leaving space for imagination to fill the gaps.

The duo's voices still charm a delicate delight, another dimension of worldliness mysteriously woven in. Gerrard is exceptional, her performances on Anabasis & Agape help sway a deserty Middle-Eastern mystique. Perry on the other hand, a delight yet lacking cultural unity with the instrumentation. At times it as if the modern, spotless nature of its production holds back a clear vision. Perhaps a little lower-fidelity aesthetic could of enabled some healthy nostalgia. Either way, I love this for what it is. Fantastic songs finding new spaces out of old ideals.

Rating: 7/10

Erang "The Kingdom Is Ours" (2024)

 

 Now over twenty albums deep, one might suspect familiarity to dominate first impressions. What awaits within, is quite a humbling surprise. Wonderment and novelty return as Erang unites the Dungeon Synth scene on a gallant stride to glory. The Kingdom Is Ours plays as a love letter to the shared passions among his peers. Its title reflects a unity tied into the realms of imagination led kingdom lore.

Pulling in both legends Mortiis, Depressive Silence, Jim Kirkwood and contemporaries into the fold, nine of its thirteen songs play in collaboration with a fondness, steady paced and endearing. Together, the spooky realms meander by in a stiff nostalgic peculiarity, a whimsical stroll through ancient fantasy melodies of shadow and wonder.

Acting alone, Erang's solo efforts feel expectant. Yet Heroes takes a bold stride upon a scenic frenzy of bellowing percussive strikes and gong strikes delivering warring drama. A grabbing moment, bi-polar to the luscious aquatic lullaby of Isles. Its beachy sound design and exotic steely lead synth deliver a melancholic warmth over these endearing and serine plucked acoustic guitars. Its a firm highlight of mine.

The collaborative peak is undoubtedly with Dame Silú de Mordomoire, who flips one of Erang's classically eerily bleak and emotionally morose indulgences on a dime. With her arrival... transformation, a beautifully graven gushing of sorrow unloads. Her deep operatic voice replaces the viola halfway in unleashing a brilliance held within.

Other notable indulgences include moments of scratchy low-fidelity embrace. One with Hedge Wizard, an unraveling of ghostly groans and fiendish shivering guitar leads. The other with Fief, on the albums title track. Its baroque, royal fantasy vibes so expectant yet mutated into a fierce Summoning alike Black Metal stint, lined with drums from the deep, howling screams and Tolken inspired spoken word segments.

This has felt like a special moment in Dungeon Synth, a scene which for me has become tired. As a spark of light in the dark, this union of artists birthed some much needed freshness. Mostly, it played like a love letter to craft and community, a revel in shared creative obscurity. Its been an intriguing moment to celebrate, also introducing me to a handful of new names to investigate!

Rating: 8/10

Hank Trill "Propane Pays The Bills" (2022)

 

 

Parody album? Absolutely! Swaying with chilled southern charm, the soft yet tightly wound voice of mild mannered cartoon character Hank Hill gets bastardized into a reckless drug peddling propane pimp. Flipping this 90s uptight conservative dad into a modern Trap rapper slinging braggadocios rhymes is a barrel of laughs on first exposure. In my case, bringing me to tears. As you might expect, the joke does wear off with time but its particular novelty kept me hooked for longer than expected.

 

The concept of gangster Hank saves this record, otherwise its slowed southern beats and swaggered rhymes would go passed over as mediocre, atypical of the scene. His stature lands so many otherwise weak and obvious plays. Behind the voice, a great impressionist, possibly aided by AI, seems keen on quantity over quality. With another twenty one albums proceeding this, the buck stops here for me but thanks to Spotify's shuffle, a fair hand full of tracks off other records emerge just as amusing.

Its nice to document this for myself and fans of King Of The Hill, I will definitely tune in on occasion for a laugh. Boomhower's indecipherable features are a firm highlight, as is his Rap God cover available on YouTube. My takeaway, however, is a missed opportunity to really refine and laser focus this joke into something unshakable. Instead, its been swiftly played out with a slew of low effort raps. Oh man god damn!

Rating: 6/10

Labyrinthus Stellarum "Vortex Of The Worlds" (2024)

  

Thematically esoteric with astral overtones, this stunning album art strips away any doubts to its lovecraftian cosmic horror influences. Shrill tremolo guitar leads, howling blast beats and elongated screams shrouded in reverb undoubtedly carry all the hallmarks of Atmospheric Black Metal. Tales Of The Void sounds unshakably familiar in design, yet excels with fresh excitement as a Post-Metal delivery of grand, scaling, epic melodies and an exotic symphonic component align for a very memorable listen.

Decent song writing underpins the experience, stellar melodies and a prevailing tunefulness solidifies its catchy ear worming nature. A cacophony of pummeling drums and void descending screams act as sways of intensity and tempo, the ebb and flow, stuttering between tense scenic breaks and descending cosmic eruptions. Together, among dense guitar noise, they guide the musics key component, synths.

Woven deep into the mix, their aesthetic offerings range from unusual and specular, to common and atypical for darkly space themed music. Sparks fly when delving into a mix of bell, woodwind and metallic toned virtual instruments. Foreign for this genre, an unusual fit mostly used to drive home immense cosmic melodies. The aforementioned atypical synths play the subtle role of reinforcing its atmospheric underpinnings.

Another well-earned merit goes to the heathen clean vocals that rise up underneath those howling dirty screams. Its another avenue for one to gorge upon these dazzling melodies they concoct. Initially a ghastly beast of extreme Black Metal, this prevailing tuneful charm becomes the key take-away, a keen triumph for a band in this lane.

 Its only blemish? What seems like programmed drums occasionally amplifies an repetitive drone in its rapid strikes, possibly intentional but definitely sounding stiff in patches. Tales Of The Void is a Stellar record, possibly my favorite Metal record this year? Well worth a spin for fans of extreme music with a crafty focus on melody.

Rating: 8/10

Eminem "Encore" (2004)

 

With rap retirement in mind, Encore represents a bow out from the spotlight before stepping away from the mic. Sadly, it seems the writing was already on the wall, Em returns sounding short on creativity at times, lacking his cutting edge wit, becoming a parody of himself in its patchiest moments. Perhaps this downturn in form has some relation to his decision to step away. With retrospection it would seem so.

No longer working with the Bass Brothers, a noteable shift in tone dominates Encore's beats. Sharp attacks and swift decays shape percussive hits into a minimal spacious frame. Striking on marching militant grooves, many tracks feel stylistically sluggish yet firmly driven. On its best cuts, a newish frontier for the times, yet dull when missing the mark. Split between himself and Dr.Dre, the seasoned pro is more consistent.

Big Weenie has got to be one of the best instrumentals, echoing 2001, yet Em rots the song with a goofy hook and immature lyrics. These would be my main critiques. Leaning on sung raps, sometimes hooks, at other times stretching out in verses, Em doesn't have a charming harmony to make it endearing. Equally, his lyrical substance suffers. Lacking sharpness, blunted delivery of familiar characters and topics spin up again through underwhelming rhymes, unable to bring freshness to his limelight.

The record starts strong, reasonable tracks lead to an unforgettable Like Toy Soldiers. That song always gives me goosebumps, a beautiful anthem built around a tragic story. A downturn follows as relevant topicality slides into a string of obnoxious numbers lacking some much needed intervention with the rapper. Ass Like That's crude accent seems pointlessly offensive. Having spent its capital upfront, only the heartfelt Mockingbird picks up a merit on a dragged out crawl to conclusion.

Back when this was released, I barely took notice having become obsessed with Dimmu Borgir and extreme metal. Lead single Just Loose It, was a total goof then and has aged poorly. Its a keen example of Em sliding in the wrong direction. Returning to Encore revealed some merits but clearly a sensational streak came to its end.

Rating: 5/10

Eminem "The Eminem Show" (2002)

 

At the peak of his popularity, somehow, the teenage me checked out with this record... Getting deeper into Metal and Hip-Hop, I remember being more interested in Metallica and N.W.A. than what was on MTV. The hype was palatable, Without Me was a sensation. I recall hearing it for the first time on a school holiday, kids cramming into a dorm room to hear a copy ripped from Napster. When returning home and purchasing the album, I felt disappointment, leaving it to gather dust after only a handful of spins. With The Death Of Slim Shady out, an appetite for nostalgia has been turning back to these juvenile records I missed out on, Encore and Curtain Call being the others.

White America kicks the show off with a fiery Eminem, possibly at his angriest ever? Spat with gritted teeth, a venomous anthem roars to life, stiring his teenage fans into rebellion aimed at conservative families in disarray over his influential force. The following Business is a track I remember fondly, pivoting from a moody grind to goofy upbeat fun with quirky rhymes painting the Em and Dre as Batman and Robin.

 Getting deeper in, the unfamiliar cuts, Square Dance, Soldier, When The Music Stops, Say What You Say, reveal a dark undercurrent. The records less distinguished songs lean on a savage Eminem upping the anti, finding a nasal tinted amplification of aggression, his cadence flowing vicious and unrelenting, like a Mike Tyson throwing a string of knock-out blows. Ferocious and cutting, Em's mastery of his controversies still finds ground to run on, engaging, witty and sharp yet familiar topicality by now.

Still working with the Bass Brothers, they and Dre rock these beats hard. Instruments are pushed to peaks, bold thudding percussion to rhythmically drive subtle moods and catchy melodies with clarity and space for Em and his guests to shine. Till I Collapse exemplifies this attitude, a sublime instrumental to propel a frenzied Eminem willing off, ascending on the high of his own rhymes. Its beyond impressive, an absolute gem to discover all these years later.

Housing many classics, The Eminem Show falls short of the timeless perfection that came before. Resting on the merits of its star power at times, weak concepts and recycled themes get tired in spots. Edging out at his prime, Em pushes himself hard, reaching new peaks but also a few missed targets along the way. Its a cracking listen. I wonder how attached I'd be, had it clicked in my youth. Age is mysterious like that.

Rating: 8/10

Eminem "The Death Of Slim Shady" (2024)

 

Reviving to supposedly retire his cynical alter ego Slim Shady, the aging rapper takes another stab at resurrecting the glory from his monumental output at the turn of the millennium. Exploring all approaches, Em arrives armed with fresh controversies to spark, simultaneously using Slim as a shield for his lyrical ills. On the sequel to his classic Dr.Dre collaboration Guilty Conscience, the two exchange blows, juvenile insults and even reflective thoughts in a game of passing the blame baton.

It highlights an underlying lack of cohesion. Well past the prime of his controversies, these multiple perspectives shed the record of feeling like the force of nature he once was. We are however treated to some of Em's best rhymes in decades. I'm suspicious of AI involvement. Slim Shady and Marshall Mather's era flows unravel with his youthful tone intact. Ominous at times, its like stepping into a time machine. The vicious track Antichrist unites voices from across his past on a wild ride of crude insults, snarky remarks and plenty of name calling. Impressive but also edgy.

Other highlights include Road Rage's beat switch to land his Juvenile rhyme in homage to a Southern classic. Houdini's fun, reviving his classic formula of recycling songs from the hook outwards. The South Park references and other echos feel a lot like fan service. Outrageous skit tracks, quirky backing voice snaps and uncouth spoken interludes to paint unhinged scenes. Enjoyable but the charm fades swiftly.

One track, Temporary, stands apart. Tender, endearing and vulnerable, Eminem expresses an estranged relationship with his daughter, who became somewhat of a character in the lore of his old records. Despite this sweet emotional out poor, Em's plain flow and underwhelming instrumental sours this brilliant moment, interwoven with humbling recordings between the two when Hailey was just a child. It feels like album closer Somebody Save Me tries to remedy this with a melancholic anthem.

The Death Of Slim Shady is a mixed bag that could of easily been worse. Mostly mediocre but plenty flickers of past brilliance emerge, his guests rise above Em's average bars to spice things up. Still ruminating on old topics, stirring the pot of controversy is simply past his moment in popular culture. Despite that, Em overcomes the lack of thematic relevancy with genuinely entertaining music, despite questionable lyrics at times, its a good listen with some new favorites to add to your lists.

Rating: 6/10

Knocked Loose "Laugh Tracks" (2016)

Entertained yet unimpressed by Pop Culture, this follow up debut album showcases a distinct shift in approach. Illuminating an unhinged magic to blossom fuller on You Won't Go Before You're Supposed To, the Beatdown oriented Hardcore outfit dazzle with tangents and derivatives leaning into the umbrella of Metal sub-genres. Occasionally overt but often subtle, to a seasoned Metalhead, guitar riffs shift gears with metallic thrashings between the onslaught of gritted Hardcore Punk aggression.

 

The band chew through struggling terrain, challenging music to endure. Addictive within its angered outburst, abrasive refrains, aesthetic dissonances drag one along with a touch of chaos. Wading through a swamp of discontent, each track eventually arrives with a gratifying stomp of mosh friendly groove. An awkward balance to achieve but Knocked Loose grasp it with a masterful strangulating grip.

Laugh Tracks plays in constant anticipation of whats to follow, barely lingering in any arrangement for more than four bars, its swiftly navigates non-linear writing promises a romp to follow. I think only Last Words opts out of a throw down as its final palm mute chug diverts expectations as the guitars take on an uglied Black Metal aesthetic. Its swiftly remedied as No Thanks lunges straight into the dance floor chops.

Without sensationalizing their own material, remaining grounded to the frustrated howls of Garris', Knocked Loose offer up a whole work worthy of listening front to back. I've found it hard to pick out a favorite song, This one plays complete, consistent and cunning as something vicious always lies in wait, all the way up to a sudden outburst of menacing, high society pompous laughter at its ending.

Rating: 8/10

Graywave "Dancing In The Dust" (2024)

 

Stepping forth from Rebirth, another six-track EP lands Graywave in their darkest territory yet. Dreary in tone, dismal and bleak, these melancholic songs explore downtrodden sorrows in a stormy, engulfing resonance. Recycling a now familiar formula, each song sways from eerie Shoegazing acoustic melodies into a swell of blissful noise. Euphoric in relief from woe, these eruptions remedy the graven, haunting tunes that proceeded. Both halves play infectious, a gripping concoction.

I've binged lead single Blur Into One beforehand, Its my favorite Graywave song. Jess' spellbinding performance sucks one in along its cathartic descent from dreamy origins. These other tracks fit snugly around it. Cycle's depressive demeanor marks a perilous plunge, a challenging ride as this shadowy beast finds its darkest corner. Dancing In The Dust amps the energy, deploying a rock steady beat to twist tristful tones into a surreal uplift. A derivative on their blueprint that plays luminous and bold.

That experimentation might be a way to move forward. This obvious formula has done wonders so far yet may eventually run its course. Stitched on to the end of Dark Spell plays a distorted, glitching beat. Its reminiscent of New Order's classic Blue Monday. Utterly inconsequential, yet could possibly hint at something afresh to come?

Either way, this works right now and the aesthetic is engrossing. Calmer spells deliver twisted melodies, beautifully intertwined with feedback and shimmering noises. Its heavy halves plunge with devilish bite. Bass rumbling, distortion guitars swelling and possibly some crafty synths amass into lunging sways of delightful yet burdensome bliss. Jess' sorrowed, sailing voice and damaged lyrics tie it all together.

Rating: 7/10

Rina Sawayama "Hold The Girl" (2022)

 

Following up on a smashing debut, Hold The Girl's antidote lays in repetition as first impressions come stiffly poisoned by uncanny familiarity. This is Pop music after all, its broad appeal conjures the best radio has to offer. Admittedly, it took time to flourish into the ear worm monster it has become. Trading in the eclectic ensemble of debut Sawayama, Rina commits to an intoxicated romp of glossy bangers pulling from across the spectrum of popular music's finer offerings. Showing her hand, an obviously play is made for high octane Dance-Pop that also ushers in mild echo's of 80s Synthpop and driving percussive energy of the 90s UK Electronic scene. Along the way were treated to crooning ballads, a touch of Country Pop, R&B and Soft Rock.

Uncanny in nature, lacking originality, yet sparkling with a touch of magic, its Rina who makes the record whole. Track after track delivers stunning performances, soaring vocals, emotions flowing in infectious cadences. An emotional weight grips her lyrics of struggle and expression, entangle in the moment. Your Age hits hard, an anthemic reflection on predatory abuse. A dark undercurrent manifests into a shudder of glitched vocals. It plays beautifully against ascending cries on the tracks chorus hook.

She is simply on fire, as are the instrumentals. Most songs play fleshed out with charisma and craft, leaning hard into the concept at hand. Occasionally flaring up with a Glam Rock guitar solo. Dense and powerful, subtly is not the intended direction. These tunes know themselves well. Some tracks however boarder "plagiarism". Americana inspired Send My Love To John feels all too familiar. Perhaps a victim of is stripped down acoustic simplicity, if I had a broader recall, I feel as if I'd put my finger on it. Quite a few songs do this, however Catch Me In The Air's guitars are blatantly derivative of The Smashing Pumpkins' 1979. Holy is another ghost of the 90s Electronic scene. That Ethereal piano melody over the thumping bass is uncanny.

Despite all this, the record is utterly brilliant. More the half the songs hit like classics and the trailing tracks ain't far behind. Hold The Girl plays with fire. Does it get burnt? Yes but I couldn't care. Perhaps had they been a little less overt with influences, such thoughts could have been avoided. Lastly, I'd like to end on the album's closer, To Be Alive. Such beautiful lyrics, blossoming out of the darkness of youth, warmth emanating from within, a platonic love song of life. Its emotional build, shoegazing blurs, dance pianos along with the lofty choral voices is simply blissful.

Rating: 9/10

$uicideboy$ "New World Depression" (2024)

 

Slick Southern Rap duo $uicideboy$ return afresh. Having built a cult fan base from the ground up, New World Depression marks another benchmark, their highest billboard charting to date! Impressive, but not reflective of the albums substance. Spending weeks with these cuts, Ive felt the sparkle fade gradually. Now accustom with their dreary tuneful sing-raps, slanted Southern cadences and difficult topicality, their routine of snappy beats and weighty rhymes fizzles into just that, a routine.

The closing stretch catches my ear. Covering U.N.L.V's classic Drag Em N Tha River makes for a memorable shift in tone. Stabbing string jabs and a jarring piano riff mixes up the mood. Its proceeded by the records darkest and best track. Us Vs Them ushers in criminal melodies mustering a tone for stealthy mischief as the pair rap devious carefree threats. The Thin Grey Line indulges in a similar mysteria, the beat conjuring conspiratorial vibes for the duo to exchange their sharpest flows.

Mostly dabbling with moody, glum instrumentals, brief moments of insightful lyricism fall between the cracks of boisterous showboating wordplay. Relatable messaging of struggles and drug abuse dull as a result. Previously their words soared. Its either familiarity or the routine I alluded too but New World Depression simply entertains before fading from consciousness. Competent record, but lacking a fresh spark.

Rating: 6/10

Ankor "Embers" (2024)

 

I take no pleasure in negativity. After a good go at this one, due to personal recommendation, I've found little positive to say. Hailing from Spain, Ankor have been at it for over twenty years! This latest iteration finds them splicing bouncy Djent leaning Metal with garish Trance synths with an unsurprising Pop tilt. Singer Jessie Williams occasionally offers up an indulgent softness but mostly soars with power that lacks soul, clean but all too reminiscent of others in the female fronted European Metal scene. Things get uncomfortable when dropping into cheesy spoken half raps. The lyrics are weak and mostly juvenile takes on mental struggle. The harsh screams from Julio Lopez mostly rub me the wrong way too. Not my cup of tea.

Behind the pairs front presence,instrumentals come varied. Not locking in on a distinct style, they flummox between brutal guitar chugs and symphonic surges. Shifts in tone rarely gratify and momentum is often dispelled by the vocal cadences put in front. It makes much of the music forgettable and generic in its stride. Trance Synths bluster loud and bold, crashing in around guitars with a lack of spiritual cohesion. The vibes clash, I imagine enjoyment of such chemistry would be rather niche.

If I can bestow any positivity, a few arrangements catch the ear. The soft vocals on Embers and fair portion of Stereo has engaging passages but they are always squashed between the unremarkable. The arrival of a dance-floor stomp upon its conclusion is a gratifying climax, this record however, was clearly not for me.

Rating: 2/10

Soley "HEX" (2024)

 

Its been a minute since we've heard from Soley. This short movie soundtrack lures us back into her creepy side. The opening theme conspires a soft whirl of 60s sci-fi horror synth with haunting layers eerie voices. It has just enough strangled percussion to muster a Victorian freak show theatrical charm. Powerful but brief. After a stint of tense dark ambience, Entering Of The Witches reignites this flame, a spaghetti western guitar spangle soured by mischievous choral voices floating through limbo. It to is halted by short duration not looking to flesh out the experience into a full song.

Desert is different, starting out a quirky oddity of childlike innocence, colliding with thee obscure. Soley's voice enters tame and gentle, getting lost as atmospheric ambiguities melt into the forefront with cursed shapeless intensities. As crescendo approaches, never arriving, she disappears, only for the cackle of crows to cry through the eerie ether. Her return brings harmony to this restlessness, a powerful resolve.

Nostalgia briefly dabbles in spooky de-tuned piano melodies but ambles back into the shadows swiftly. The nature of this format forces Soley into brief compositions, complimenting the cinema setting. Even with those limitations, flashes of brilliance still arise, a reminder she has much to offer. A craft still strong from chilling inspirations.

Rating: 4/10

Thrown "Extended Pain" (2022)

With Spotify turning me onto the modern Hardcore scene, these German slammers have caught my ear. A no nonsense, straight to the point, meat and bones approach has snappy songs swiftly erupting into frenzies of groovy anger. Roaring riffs, sporadic dissonance and infuriated shouts. These eleven minutes charge head first through spiraling manic intensities. Often, they lead into gratifying beatdowns.

Nothing new but where they excel is aesthetic production. Down tuned guitars froth and revel with a Djent tilted intensity. Dirty obnoxious bass rumbles beneath, adding a gritty texture. Syncopated drums with tight and snappy kicks reinforce the rhythmic drive, pushing much of the music forward on its fist throwing march.

A few cuts of brief atmosphere and layers of dystopian melody spice things up on occasion but their main charm is delivering on that enthralled rage that spews forth unrelenting. A promising debut, it will be interesting to see where they go from this solid introduction. With a string of singles out, looks like another record nearby.

Rating: 5/10

Knocked Loose "Pop Culture" (2014)

 

You Won't Go Before You're Supposed To has become a recent obsession of mine. Its been years since a band has pushed the envelope on the extremes of "heavy" music. Logically its time to do the deep dive, starting with bands first release, a five track EP.

 Entertaining but far from memorable, Pop Culture only has retroactive flickers of a genius yet to unravel. Playing like typical beat-down Hardcore, the group barrel through angered stampedes of syncopated rhythmic assault. All roads lead to Rome, each song finds climax through slam grooves fit for hardcore dancers swinging limbs.

With knowledge of whats to come, one can hear their subtle rejections of typical song structure flow. Taking apt opportunities, linear strings of dissonant riffs often divert from anticipated grooves. Lacking the gravitas to rip up the rule book, they sound off-kilter but yet to evolve into the unhinged beast frothing anger at the mouth.

Aesthetics and production suffer too, dulling their intensity, a amateurish affair typical of debut low budget records. The ending of All My Friends offers a whiff of textured atmospheric chaos to come but its brief. Most of the time, power chord guitars fall into cushioned palm muted distortions that lack teeth for a sharper bite.

Its lyrical themes mostly hinge on conflict with religion, unanswered questions stiring deep unrest. Garris' high pitched shriekish bark is still jarring but yet to encapsulate that livid frustration put forth later. Its clear he and his band mates have much maturing to do but their is no denying the foundations of whats to come were laid here. I'm seeking a tipping point in their evolution! However this didn't win me over.

Rating: 4/10

96 Bitter Beings "Return To Hellview" (2024)

This entry in the journal is less "review" and more of a footnote for myself and any of you reading who are fans of CKY. Former band-mate Deron Miller, also of Foreign Objects, split with the group in 2011, leading him to form 96 Bitter Beings. The project fels like a branch of the same tree, this release enforces that notion with authority.

 

Selecting some of the best tracks from An Ånswer Can Be Found, Infiltrate Destroy Rebuild and one off Volume 2, Deron stamps his mark on these classics, re-recording them in modern glory. The performances are tight, production bold and chunky, instruments don't shy from being heard. He and his band mates really do them justice.

Carrying the energy and charisma of its originals in stride, extra layers of synths can be heard on a few tracks. Occasionally sprucing up some passages with additional harmony, the added creatively is mainly reserved for the end of songs, fills or transitions that get a redesign. Its fun to spot the differences, they don't spoil a thing.

I can't help but feel I might gravitate to these re-recordings when in need of some CKY nostalgia. They are simply really well done and Deron's voice is key to that. His performance glues it all together and gives this project a seal of authenticity.

 

Rating: 7/10

Pallbearer "Mind Burns Alive" (2024)

 

Dreary, tender and burdensome, grisly groans of weighty emotion toy with sullen, melancholic strides of vulnerable melody. They flicker like flashes of sunlight through autumnal leaves, clinging for life on old trees. Pallbearer's rural guitar distortions and laggard, lunging rhythmic groves paint an effigy stripped of all but natures pains. Front man Campbell drifts an honest voice into sombre innocences. Bare, naked and hurt, they humble, swelling into cathartic shouts and memorable tunes to land his words.

Mind Burns Alive's music sways intensities gently, brewing gusto with subtly, gradual aches blossom as a roaring beautiful gravitas emerges in conclusion. Its earthly tone persists, almost Heathen in nature. Song after song displays wounds to be wound up into heavy-hearted reflections that escape true relief. Depression lingers, hung in a curious balance, gloomy yet a dim flicker of hope survives, only to be snuffed out.

The sunny shimmer of its naturalistic opening acoustic guitars swiftly retreat into a glum foray led by saddening lyrics. It sets one up for a riveting ride through bi-polar extremes, yet past the opening pair, balance starts drifting in mercy to a darker persuasion. As the album blooms early on, its lengthy ending circles on itself, persisting further into its oppressive sorrows. This sadly soured an otherwise deep piece of music that defines itself clearly, to take one along on a spellbinding journey.

Rating: 7/10

Spiritbox "Rotoscope" (2022)

 

Succeeding their stunning debut Eternal Blue, this lively three track EP stands apart with a unique embrace of dance groove rhythms and EDM. Stepping aside from Ethereal atmospheres, two step grooves and subtle modern synths intertwine to bolster pummeling Djent guitars. Title track Rotoscope embodies this best, concluding with a burly monstrous break down to contrast its persuasive dance floor energy. 

Sew Me Up hints at heavy, guitars start with a stomp but swiftly pivot into the magic of LaPlante's voice, sailing into heavens. It too finds an outbreak of aggression, led by a rhythm section that syncopates to thuds with aesthetic satisfaction. Hysteria withdraws from these ideas somewhat, feeling like the typical track of the bunch yet ends with an utterly filthy and devastating, disgruntled song deconstructing break down.

From the outside listening in, Spiritbox achieve clear creative distinction here, a succinct snapshot of musical vision yet seemingly unfit to develop further into a full album. Its a curious approach for a Metal band, to focus on singles and individual songs. I'd originally glanced over a lengthy list of singles, assuming they were on an album so now I'm going through it all and this one turned up a couple of gems!

Rating: 5/10

Spiritbox "Spiritbox" (2017)

 

Four years prior to the brilliant Eternal Blue, then duo Spiritbox arrive fresh on this self titled debut EP showing glimmers of whats to come. Yet to figure out the nuances of their engrossing Ethereal aesthetics, singer Courtney LaPlante spearheads all melodic magic. Melding over a tempered Djent framework, she steers the dense, chunky guitars to tuneful inclinations, an elevating croon in its atmospheric strides.

These remarks speak mostly to The Mara Effect split into three parts. The other four cuts slip into genre norms. Aggressive outbursts led by frustrated shouts conjure atypical riffs. Powered forth by programmed drums, this writing sounds creatively constrained in counterpart to the shimmering sways of ghostly melody heard early on.

The Beauty Of Suffering embodies this as the sways between their two sides of expression feel detached from one another. As the rhythm section descends into a blatant borrow of Meshuggah's iconic Bleed riffs, it becomes all to obvious they are yet to mature their own identity. I'm not sure I would of heard the Spiritbox spark listening to this record first. Cast out of an evolving Djent scene, its not entirely clear what here would separate them from their peers, despite being a decent listen.

Rating: 5/10

Currents "The Death We Seek" (2023)

  

Seeking another record under the emerging Argent Metal label, I've landed with Currents' latest effort. The American outfit play Progressive melodic Metalcore tinged with Deathcore growls in their heavy outbursts. With a Djent adjacent sound, the dense wall of sound production occasionally strike hard, as Industrial synths and electronic oscillators chime in for that violent dystopian Mick Gordan inspired menace.

Ultimately however, The Death We Seek has a far more artistic vision in wait. Swinging between creative curated atmospheres of expressive epic and blunt force strikes of shunting aggression, the band forge a steady listen plunging into darkly places and offering respite to this desolate place the band conjure visions of.

The usual foray of chugging riffs and low end guitars are met with guttural growls and throaty screams. Decent by design, the spark emerges when these sudden shifts into the light arise. Aided by vocalist Brian Wille's soaring cleans, plucky melodies shift its unending intensity into uplifting strides, still chained to an overriding sense of doom.

On one level, the musical foundations seem rather atypical for this particulate niche of modern Metalcore. On another, the thick aesthetic craft and engaging songwriting amounts to a memorable experience. Distinct and consistent across its ten track, I found myself unable to pick favorite tracks, enjoying the record as a single entity. The Death We Seek isn't quite an Argent Metal record but in moments they do incorporate the hardened rhythmic ideals and synthetic aesthetics to great effect. 

Rating: 7/10

Gothminister "Pandemonium II: The Battle Of The Underworlds" (2024)

 

Excitement swiftly squashed, another cast iron installment diminishes my faith once again. In retrospect, my expectations were unreasonable, considering this is a direct follow up to Pandemonium. Unable to grow past this Gothic symphonic Trance fusion with Rammstein style Industrial Metal, Gothminister recycles their blueprint with even less pizzazz than usual. Scenic interludes play underwhelming, attempting to raise theatrical stake yet any deviation from the tested formula sadly felt stale.

 The word of the record is "we". More so than ever, this perspective illuminates itself, a Gothic horror inspired realm of witches, demons, ghouls, zombies and monsters of the underworld. These flag waving war cries paint a protagonist's voice for these unsavory beings, rallying them together in the shadows. Its fun but at this point driven into the ground. Repeated lyrical cadences and thematic stagnation churn the whole anthemic angle into rigmoral, as track after tracks repeats itself with little new to offer.

When bands fail to evolve, they run the risk of writing themselves into a corner. It's a shame, a few albums back they hit a nerve. That spark is lost. Every song here lingers in its shadow, saying nothing new and often making you feel a sense of Deja-Vu.

Rating: 4/10

Vince Staples "Dark Times" (2024)

 

Dark Times had me reflect upon Vince's past. The bassy House and percussive Latino influences felt on Big Fish Theory and FM!, in retrospect, were exciting, fresh and distinct. Hard edged and gangster, yet fun and catchy too, a keenly crafted sound time has served well. In 2024, Staples arrives soft and subdued, his casual wordy raps sullen, ruminate on the pains of balancing fame friends and family among other hurts.

With glum spirit and dreary tone, he flows over slow burdensome beats. Downtrodden tunes drift by dreamy and haunting, utilizing soft hazy synths, shadowy pianos and ambiguous plucked melodies. Its musical themes and flavor lingers in the past. Echos of 90s Gangster Rap Funk influences linger among the jazzy soulful East Coast counterpart. Snappy percussion mostly shapes it to the current era of Hip Hop.

Vince offers a very honest expression, vulnerable, direct and tender, unambiguously sharing his troubled state of mind to be reflected through its moody instrumental direction. These songs feel individually crafted with intention and meaning in mind. Engulfing, yet when flirting with darkness, if the music doesn't offer reprisal and catharsis from that difficult mindset it can be encumbering upon the listener.

Sadly, that was my big takeaway from Dark Times, feeling Vince's troubles dragging down the mood. That's not to dunk on the record, its a fair piece of art but without moments for sunlight to peak through the clouds, it plays a downer. Impressive in its honesty, however I find myself unable to vibe with its brooding intensity right now.

Rating: 6/10

Feldspar "Feldspar" (2024)

 

Executing a curious exercise in inventing nostalgia, Feldspar enters a fantasy driven time machine to re-imagine the origins of "evil" Metal. Sounding fitting of the early 70s, a Psychedelic Rock motif hardens in form. Stiffening groove and hard edges converge on colored esoteric melody. Prancing guitar leads gallop in simplistic loops, notation conjuring an eerie mystique for its tuneful nature. These three songs and short outro piece are a delight, catchy and impactful, succeeding in its inventive intentions.

Despite instrumental excellence, shortcomings lay in the vocals. Lacking charm or charisma, this attempt to aptly tone down some of the manic stylings first heard on the like of Venom or Bathory, sadly land flat. The echoing splats of throaty howls miss the mark of memorability but can be given a nod for picking a suitable candidate for that "evil" direction. I'm not sure what else could be suggested to fit its overall aesthetic.

Feldspar's production is gorgeous and roomy, a cosy listen yet a touch to crisp and clear to truly slip us into the past. On some moments its melodies conjures familiarity to early Ghost, especially when a soft, subtle organ glow can be heard chiming in on opener Glyph Schematic, a reminder of another band to tread similar waters.

Rating: 5/10

Rina Sawayama "Sawayama" (2020)

 Arriving at the cutting edge of contemporary Pop music, singer-songwriter Rina casts an excitable web of diverse musical influences. With dexterity fondly reminiscent of Queen, her execution plays effortless, a graceful genre gallop between Pop Rock, Disco, J-Pop, R&B, Synthpop and even Nu Metal? An obvious favorite of mine, the latter broods its menace on STFU! Unleashing the era's groove through a mammoth, lunging riff, the growling guitars get across their point without need for excessive distortion. Creepy Korn alike melodies linger in the backdrop as the song sways between this aggressive energy and a twinkling dazzle of glossy melodic relief.

Its a keen example as to how Rina hones in on the essence of appeal, each song could merit such discussion as particular eras and genre distinctions meld into an engrossing listen. Other highlights include Comme Des Garvons, a stylish strut of attitude and glamor. Love Me 4 Me revels in the cheese of 80s attempts at bold punchy instrumentation, steering its bright melodies and chirpy nature to an endearing infectiousness. The "fake live" fanfare of Who's Gonna Save U Now? plays a genius touch, elevating this Arena Rock anthem as Rina sails her voice to new heights.

Tokyo Love Hotel woos with soft touches of Synthwave and Vapourwave. A breezy cruiser fit for the cities night lights. I could continue with my praises. Only mid track Bad Friend landed sour. Its spacey, Ethereal Electropop aesthetics feel lost on its own topicality, a "woe is me" self pity anthem. Conjuring the hurt of relationship wounds, its confessions of wrong doing seem a strange fit for its mood. An odd one but aptly fitting of the overall theme, a self oriented set of expressions felt direct with plain, connecting language that rarely feels deeper than its straight forward nature.

A stunning debut, Sawayama plays front to back like a seasoned musician reveling in creative strides. The music is effortless, exploring all curiosities seamlessly, avoiding an "eclectic" label despite clearly fitting that frame. All ideas explored simply click into place. Many of these ideas hail back to the early 00s, the years of my youth. Frank references to MSN messenger amused me greatly, I remember those Windows XP days with distain but the music has always been a consistent source of meaning. Its no surprise this record resonated with me. I haven't put it down for months!

Rating: 9/10

Bring Me The Horizon "Post Human: Nex Gen" (2024)

 

Five years on from the opinion dividing Amo, a diverse yet trendy leaning record, Bring Me The Horizon return again to the cutting edge of catchy, tuneful Metal. We got a whiff of this feisty spirit on preceding EP Survival Horror. The Post Human series continues in aggressive glory as the group nail down a solid set of songs, remaining intense and lively while skirting edges with Pop Rock melodies and Post-Hardcore creativity. Weighty sonic riffs and the mania of glitchy frenzied synths in its extremes, yet gracefully swaying into the arms of Pop sensibilities through Ollie's knack for catchy, ear worm choruses that hook into the vulnerability of your personal emotions.

Lyrically, the theme continuously hinges on negative internal dialogs, spinning the words of self doubt and inner turmoil into anthemic sing-alongs. These songs pair their tuneful inflections with words for strongly palatable emotions we have all experienced. Its cathartic, yet hollow. A spin machine twisting hurtful self talk into spirited release yet little of matured substance lies below the surface of these catchy cadences.

Originality is always a curiosity with Bring Me The Horizon, a line can always be traced elsewhere, some echos, obvious or vague, to other bands and genres. Although a favorite song of mine, Limousine blushes in its naked Diamond Eyes era Deftones demeanor. Even Ollie sings to Chino's tune as the low-end guitars crunch and peruses with the lunging gravitas of Steven Carpenter's definitive style.

Many other influences make themselves known too but ultimately this record boils down to song writing, which they have lock and key. As always, these musicians know how to forge musical ideas into apt structures that revel in their merits. Each song feels fully realized as riffs, melodies and hooks land without fail. Their unconventional side shines bright too, the OST interludes breaking the flow for spicy deviations.

Aesthetically, density is a delight. A tight production bordering on wall of sound, as guitars often get lost in the weave of electronic noises. Glitchy bursts of color and vibrant synths intermingle, deepening the experience as its pivots and transitions invite a flavorful diversity steadily becoming more frequent in modern Metal. For me, this is an unsurprising assemble of many proven ideas wielded to their Pop Metal writing. Its nothing they haven't done before, the true test will be how long these songs will stick around for. I have a feeling this ones got a handful to go the distance.

Rating: 7/10

Tineidae & Sole Massif "Remnants Of War" (2024)

 

Although Remnants Of War is themed around the aftermath of AI fulled armageddon, I could not escape its dramatic cover art. Reminiscent of the cult Japanese Cyberpunk flick Tetsuo, I've absorbed this one with metallic body horror in mind. Learning now of its true intention, the cinematic vision locks into place. These desolate soundscapes paint dystopian terror as the unease of soft synths collide with ghostly mechanical buzzes and whirling sparks, echoing on through tainted winds. Worbling electronic voices churn from automated warfare wreckage, a poisoned landscape, terrain now littered with cybernetic corpses. As far as eyes see, an endless sprawl of technological annihilation claims mother nature herself as collateral damage.

Its only tuneful moments stem from brief surges of soulless arpeggio saw-wave cycling. It births intense motion out of lifeless scenery. The tension derived suggests the presence of a surviving robotic killing machine, scanning the area for life, a dangerous prospect for us observers. Otherwise its charm resides in dense atmospheric dark ambience, littered with sound effect design to paint maddening scenarios in the mind of the listener. My favorite moments are the subtle whirls and buzzes, hints of wrecked machines with robotic systems attempting to function. So too, distorted voices add mystery. Seeming like scrambled recordings they possibly hint human life is transmitting from somewhere... or are simply remnants of the war.

Rating: 6/10

Silent Planet "Superbloom" (2023)

 

Here's an interesting release labeled under the emerging Argent Metal genre. For their fifth outing, Progressive Metalcore outfit Silent Planet pivot to a Djent driven aesthetic redesign of brutality, envisioned by producer Mick Gordan with his iconic Doom soundtrack eight years back. Shades of the bands Metalcore origins mostly remain in vocalist Garrett Russel's raging throaty shouts and bitting lyrical cadence. Otherwise, they have fully embraced a fusion of low end guitars with Industrial synths to layer on dense, rhythmic shunting of force as the driving component in the music.

Superbloom has a clear artistic vision I haven't fully clicked with, an aesthetic smothering, powerful and intense yet often lacking melody and memorability. Its meaty slabs of rhythmic assault seem to miss out on the groove or elastic sway others like Meshuggah have used to bring me around. Behind theese jolting punts of guitar noise, darkly synths lay interwoven, reinforcing momentum and often providing a luminous sense of color. Its sadly just aesthetic dressing in absence of melody. Occasionally swift arpeggios emerge, or swelling chords but always lacking a hook.

The best moments come in climaxes, where intensity surges with a luminous stream of color blooming through its dense synth design. A peak blesses the album on its title track conclusion, tying a bow on its conceptual nature as "I'll rest for now in the Superbloom" leads into a stunning glide of epic proportion. These ascending sections were my favorites among a looping slog of sporadic fret-board leaping riffs that carried little meaning beyond the fist throwing aggressions of jolting Djent guitars.

In conclusion, I've spent enough time to acknowledge Superbloom's class yet find myself not fully sold on this new aesthetic direction. Its gorgeous to listen to but the songwriting suffers as its tracks drift into mood, rather than casting one under its spell to march to its beat. The idea of Argent Metal has its merits but until it delivers something truly innovative in terms of song writing, it will mostly feel like cosmetics.

Rating: 6/10

Steve Roach, Kevin Braheny & Michael Stearns "Desert Solitaire" (1987)

 

Mesmerized by opening track Flatlands, my morning walks exploring the cliffy sandstone shores of southern Portugal were elevated by its meditative qualities. Fit for the sunny Mediterranean climate, a rhythmic trance of exotic percussion guides us through unforgettable swells of dense soothing tone. Cycling through several stellar synths, blushes of warmth arrive on the heels of the prior rescinding surge. Emotions stir through apt chord selections on occasion too. Its a remarkable track, one I've returned to often, however this time, I was reminded that its appearance on Journeys To The Infinite, which I've covered previously, was a hand picked compilation of works.

I'm sadden to report, Desert Solitaire does not expand its opening majesty. More so, it picks apart its pieces, rearranging them into lengthy stints, sharing those initial aesthetic suggestions. With a theme of solitude in desolate regions, scorn by the heat of our sun in daytime, the record quietly picks through temperaments, moments of grandeur and scenic suggestions all laid bare through competent track titling.

A handful of songs try too cut the mold, Knowledge & Dust deploys an irritating stereo-pan, attempting trippy disorientation. Shiprock shifts its instrumental drone with a shrill cutting synth to usher in eerie nightly sounds. Empty Time returns this high pitched whine to conjure in baron horns and percussion on a lifeless wandering that seems to leads nowhere. These three are also the weaker pieces on the record.

Labyrinth feels completely out of place, a nightly spell of bleak, cloud swept skies converging on imitate dusk. A lurch of conspiracy and lonely unease wrestles with its subtle reliefs of tension that dissipate like waves on a beach. Its a stunning piece of darkly atmosphere but more fitting of a Dungeon Synth record to these ears.

The other remaining songs flesh out the tones heard on Flatlands. Those swells of tone, now elongated into soothing drones to transform your imaginations. Its all to typical of this genre to comment on deeper but a handful of them merit return for conjuring these meditative moods, this time with a warmer climate than usual.

Rating: 6/10