One Arc Degree "The Forest And The Milky Way" (2023)

Inconsequential! That's the word I've been seeking. A peaceful setting, absent of self. This describes my current obsession with these meditative Psybient sleepers. One Arc Degree's prior effort didn't resonate quite like this one. With soft touches of Yagya alike dreamy Downtempo droning, The Forest And The Milky Way toys with Cosmic Ambience aesthetics as steady thuds of percussive life pull us through serine soundscapes that swell and contract through luscious layers of shimmering synths. Its sweetest fruits emerge through covert arrivals. The driving kick bass locks in with an emergence of soft snare and quiet cymbals, conjuring a hazy dancefloor energy.

Its construct sequences lengthy songs dwelling on an aesthetic tones. Instruments gracefully dodge melody, lurching in limbo, toying with their own ambiguity. A web of sounds hang in perpetuity, whirling, murmuring, drifting on by without a care. The result is soothing, meditative, blending earthly vibes with astral synths that land in their own strange yet welcoming space. My preferred tracks lure me in to a deep calm, the others pass by without concern. Its a wonderful listen. The moments that spin to my rhythm are entrancing. Its not the entirety of the record but worthy of much merit!

 

Rating: 7/10

Burzum "Det Som Engang Var" (1993)

 

 

 The blemishes of Burzum's growing pains fade as Varg's sophomore effort plays concise, sharp, effortlessly flowing through the fruits of his lonesome esoteric craft. A masterclass in how to structure a record, Det Som Engang Var houses the final remains of sinister metallic groove, before sequestering into the depths of lonely atmosphere on future releases. With a bold linearity, songs brood, evolve and venture to breaks, deviations and climaxes at thoughtful pace. Its flow gushes with musicality, weaving in plenty of nightly heathen melody to its monstrous demeanor. Varg jostles extremities, shuffling between tuneful lockstep grooves and frighting bursts of discordant terror held together by loose blast beats, arriving at wild destinations.

Opening with the scowling ferocity of Key To The Gate, this roar of dissonant metalic anger matures through blues pains punctuated by Vargs anguished howls with a stunning uplift of anthemic melody. Proceeded by En Ring Til Aa Herske, we revel in the echo's of Black Sabbath groove twisted to a frozen landscape as soft murmuring chants bestow a glorious ritualistic mood. Lost Wisdom returns in its best incarnation. Bereft of fuzzy fidelity, the track shines with a fierce might. Jostling Varg's typical arsenal of disheveled chords, roaring groove and dusky melody, the song blooms.

Next we hit the Dungeon Synth note, Han Som Reiste showcases an ear for melody evoking naturalistic and ancient cultural themes, tilted to a lonely peculiarity. Its a gorgeous song, the following Naar Himmelen Klarner shares its qualities but is performed on dueling guitars drenched in fuzzy distortion. It creates a stunning atmosphere but its underlying composition suggests it too could have been performed with synths. The gradual build to arrive of a simple drum groove is always enchanting.

Snu Mikrokosmos Tegn has long been a favorite. Its pummeling dissonance and dreary persona grinds with repetition, shuffling into hardy guitar riffs that highlighted the values of brooding on an idea to a young me. Its offering of light at the midpoint plays a swell, gratifying reward, ideas we will hear again later on, explored deeper still. The track then muddies its way through another spooky spell of intensity, lacking the pummel of barbaric drums, to arrive at that magical destination once again.

Either side of all these cuts lay some Dark / Black Ambient pieces, masterfully composed, estranged, mystic and complimentary of the five songs nestled between them. This lean approach will evolve as we embark on Varg's finest work next.

Rating: 10/10

Naughty By Nature "Naughty By Nature" (1991)

An understated classic from the other side of Hudson River, Naughty By Nature's sophomore effort stands the test of time. Uniting radio friendly Hip Hop of the era with Hardcore Rap. This trio's tuneful beats and energetic rhymes somehow grapple the gritty verbal craft and easy pop appeal in the same space. Kicking off with Yoke The Joker, we hear a ferocious Treach drop one of Rap's most legendary verses, rhyming practically every word in the dictionary beginning with s. The whole song is fierce display of talent, his words leap out at you through undying rhyme schemes.

 

In retrospect, he seems ahead of his time. Leaving the classic post N.W.A flow behind. One can anticipate rhymes arriving yet his vocabulary depth is loquacious, a fluent stream of surprises with words beyond casual tongue delighting on a frequent basis. Slick, swift deliveries and chopped cadences are thoroughly entertaining. Every tracks words house a few surprises up the sleeve, spit fit for purpose, wonderfully contrasting the often upbeat, poppy instrumentals with street rugged rhymes.

 Some instrumentals play strapped with typical sampling of the era, reveling in childhood influences of 70s R&B, Soul and Funk. The balance struck sets them apart, with hard hitting drum samples more akin to House music and tight, purpose built baselines. They aid its aesthetic personality along with simple Piano strikes, adding stiff flushes of color and melody to the mix. So to do soft organ or synths chime in on occasion. A Saxophone and Piano solo also liven this sense of elevated beats.

This tailored musicality bridges the cheery tones of OPP, Everyday All Day and Everything's Gonna Be Alight, with hard hitting bangers like Let The Ho's Go, Strike A Nerve and Guard Your Grill. Lyrically, its often gritty. The contrasts this breeds on its upbeat numbers plays a charm that's hard to forget. Naughty By Nature has got it all, endearing beats, enduring rhymes. When it comes to discussing Hip Hop classics this has to be in the conversation.

 

Rating: 9.5/10

Burzum "Aske" (1993)

To my ears, Aske is where things take off. Consisting of three solid songs, refined aesthetics compliment their musical vision. Gnarly guitar distortions are softened into an indulgent flavor of nightly fuzz, brooding an estranged emotive atmosphere. Stemmen Fra Taarnet, the voice from the tower, jostles between metallic power chord arrangements and discordant touches of dark melody. Wounded howls anchor its evil inspirations, shifts invite an esoteric melancholy that swells in the tracks third phase.

Dominus Sathanas, master Satan, highlights a compositional prowess. Commanding a craft for sinister melodies, Varg melds them into clouds of fuzzy overdrive to break the linearity. Its key tune embarks as a lone reflection, to captivate ones imagination in his realm. We've heard flickers of this motif before. It will return again but with this song, a vision is fully realized. A delight to indulge with upon its brief duration.

A Lost Forgotten Spirit returns in its best incarnation yet. Fined tuning percussion and slowed tempos aid the droning distortions. Blast beats tone down intensity, double pedals rumble steadily. Its a better performance that elevates the songs unique mood. The track's first slow down beyond the minute mark is an utter delight. In prior version it sailed by to fast. It demonstrates Varg honing in on what makes his music tick. Something that won't need stating again after this remarkable turning point.

Final notes to share, the album cover is of a Church Varg was suspected of burning down. It is also suspected he took the photo too. This is how wild and real these deranged ideas where within the scene. Leading to more arson and murder, most of the madness emanating from a handful of madmen with the inner circle.

Rating: 7/10

Puremusic "Serenades Of The Night" (2016)

 

From algorithmic shuffle, to library, to playlist, Serenades Of The Night has swiftly won me over as another meditative ambient mastery record worthy of stashing away for the calmness it can bestow in an instant. Cutting through many flavors of sound design, Puremusic encroaches on Worldbeat, Downtempo, Psybient, Drones and subtle natural world aesthetics with an easily persuasive, engrossing distinction.

Every song feels carefully crafted. Dreamy instruments warped in soft reverbs add flashes of ambiguous melody to dense sways of inviting sound. With ebb and flow, intensities steadily muster, expanding from humble origins into succulent swells, expanding scope with entrancing repetitions ever disguising their form with timely subtle iterations and shifting nuances woven into the fabric of its alluring construct.

Highlights include Kama, a fusion of nightly Arabic suggestions, mesmerized by hypnotic rhythmic drive. Warmth strips out all percussion for a dense lavishing of droning synth. No Fairy Tales pushes its drums into electronic territory, conjuring fond echos of classics like Carbon Based Lifeforms. Only Pour L'amour breaks convention for a lonely piano piece that was a little to simplistic to evoke the emotion it aims for.

I didn't bond that much with the proceeding outro track Dawn either but despite this closing drop off, its first nine tracks are well executed and deeply soothing. A lot of this music can depend on mood and apatite yet among my musical ventures, true charm can still shine and I felt as if this record captivated me on its terms, not my own.

Rating: 7/10

Burzum "Burzum" (1992)

Armed with iconic, eerie, unsettling and darkly album art, upon its release, this debut was a freighting extremity, unleashing a new, esoteric strain of Black Metal into the wild. To seasoned ears, these abrasive aesthetics are now somehow easy, especially after enduring the fuzzy swamps of noise heard on the demos. Its Varg's shrill howls that hold up the horror. Sounding like a dying animal, raw shouts through strained vocals skirt the appeal of normal screams. I'm certain the idea is to sound off putting.

I've never been that keen on this record. Varg's writing at this point is yet to be refined. Returning to it decades later highlights the dissatisfaction yet also illuminates my lack of appreciation for the vision. Spell Of Destruction's mental break down consisting of enduring wretched screams and similarly Feeble Scream From Forests Unknown's slip into blurry dissonance and hurtful cries, created ugly sticky points I never got past.

Burzum encapsulates the raw rebellious ideology but lacks a finesse to character the essence of inspirations. A bulk of its lengthy tracks are pegged into a corner, pairing sloppy blast beats with endless strings of guitar riffs that entirely dictate the musical vision. Varg has the sense to shuffle percussive rhythms to aid the shifting moods of his power chord expressions. Twisted and woven throughout, iterations on the chords own structure play with dissonant melody to birth a fantastical sense of earthly darkness, devoid of cheese, frothing with cold suffering and tormenting loneliness.

Between these retroactively embryonic incarnations, we hear swaths of the maturity to come. Channeling lends its ear to the mystic tones discovered in classic Korg synths, laying the foundations for Dungeon Synth to emerge. Dungeons Of Darkness ends the record with a stroke of Black Ambient genius. A slow brooding suspense of ambiguous noise builds up a rumble of terror for what sounds like anguished souls to cry out in the depths of its foreboding visit. The Crying Orc showcases Varg's ear for Middle Earth inspiring melody, something to be developed on the next full length.

Then we have War. Fun and goofy, it plays like a Venom cover, or tribute to the first wave of Black Metal, its ending guitar solos reminiscent of Bathory's Heavy Metal energy. It showcases Varg's metallic prowess and yields to a new strain of dark anger. Before the records guitar driven presence concludes, A Lost Forgotten Spirit plays, another lengthy stint of primitive Black Metal ideology that will be immediately rectified on the next release. We hear glimmers of the genius yet to unfold, the difference between the two highlights a musicians growth, as aesthetic construct and tempo shifts arrive raw and unrefined, dispelling some of its enchanting and strange magic.

So there you have it, a mixed bag of ideas yet to settle into something concrete but taking us to a bewildered setting. Interestingly much of his music was written around this 91/92 era. What follows these songs will later be unimaginable in such crude and coarse form. Revisiting it again, a better understanding yet it has not grown on me.

Rating: 6/10

The UMC's "Fruits Of Nature" (1991)

Having explored the depths of 90s Hip Hop, it can be hard for records to have an impact on these matured ears. Keen not to pass by The UMC's warm and friendly tone, I've stuck with Fruits Of Nature for a fair few spins. Its struck me as one I could have easily adored if discovered earlier on the journey. Leaving the golden era behind, moving boldly into the Jazz Hop era, this complimentary duo capture the essence of a colorful scene with questions as to how its 91 release fits into the tapestry of influences. I've heard them mentioned in plenty of rhymes, possibly listened to it decades ago but opening track One To Grow On really caught my ear this time.

Its the cream of the crop, with righteous rhymes and a bouncy beat, the pair pack positive messages of personal growth into its Jazzy groove. Devoid of cursing, the record plays with an uplifting tone, two youthful voices with heads held high, aiming for a thoughtful impact on their audience, given the lyrical content which rarely deviates.

Fitting snugly into the era, cadences and rhyme structures entertain with competence, perhaps lingering in Guru of Gang Starr's shadow on occasion. Producers Haas G & RNS line up temperate percussive grooves with colorful instrumental loops. Warm, often sunny, Jazzy and Soulful in nature, halve these track play a cut above the norm. The other half getting a touch tired on its repetitious nature. A few flashes of the "phunky fresh" vibe from Cypress Hill's early sound pass by too. All in all a fun listen, a solid record that possibly held more impact on the scene at the time of its release.

Rating: 6/10

Burzum "Demo II" (1991)

 

Depending on where you venture to hear this follow up to Demo I, the quality varies greatly. This fidelity mess is further muddied by its complied nature. Including Depressive Visions Of The Cursed Warrior, later omitted to not be a Burzum song, leaves an unsolved mystery as to where this music actually originates from. I couldn't find an answer online. The other ten tracks are pulled from various rehearsal sessions of varying quality, some with drums, some without. Also present are the three songs from its predecessor. This makes for a messy listen. Three tracks appear twice but so do two songs from later releases that proceed his debut full length.

Essentially, four new tracks. Only two have drums. Between them we are showcased to the oddity of Varg's esoteric guitar riff visions. Linear movements shuffling from the dark eerie to strange metallic grooves, much like before. Only A Lost Forgotten Sad Spirit hints towards the acts future trajectory, something to be discussed later on. Stuffed with aesthetic blemishes from audio drops, swells of bass noise and playing off beat from a click track, a lack of vocals doesn't give this messy release a specific purpose. It ends up feeling hastily assembled to throw something out into the ether.

Rating: 4/10

The Brand New Heavies "Heavy Rhyme Experience Vol 1" (1992)

 

 

British act The Brand New Heavies try their hand at collaboration with rap heavy hitters of the era. Adding story driven rhymes to the mix, the Acid Jazz outfit come full circle on their Hip Hop persuasions that mostly shape up percussive loops with repetitious groove. The fit seems perfect, given the shared influences of Soul, Funk, R&B and Disco on both the bands style and young rappers parental music.

Working with a pre-Wu-Tang Clan Master Ace, Kool G Rap, Main Source, Guru of Gangstarr and legendary The Pharcyde, the band scoop up some top talent among other guests, each track receiving a guest act to layer in the vocal element. The band shape their slick Acid Jazz grooves into fruity, flavorful loops - lively, tailored with apt color and melody. Despite its organic nature, the performance stiffens, stripping out the opportunity for tangents, iterations or progressive leaning song structures.

 

Once a beat makes itself known, it sticks firmly, resting a lot of the music on its rappers who meld with the tone to various degrees of success. With such smiley, friendly instrumentals, its curious to hear Kool G Rap excellence on Death Threat. A strutting baseline and shimmering guitar leads add a soft gangster attitude to its tone. Kool takes it the rest of the way with fierce rhymes and aggressive energetic delivery.

Heavy Rhyme Experience Vol 1 is a competent listen, capturing the rap scene at the end of its Golden Era / Jazz Hop sound, right before big shifts in tone over the next couple of years. With quite a few weak performances and a lack of identifiable hooks, its served as a fun listen to plunder a couple of fun tracks from. Sadly wont have me returning for more, despite the disappointment, its a shame more crossovers like this haven't taken place in this era of Hip Hop. There was such potential here.

Rating: 5/10

Burzum "Demo I" (1991)

With the coldest wintery months of the year upon us, the isolating weather apt for a nostalgic journey into the heart of Black Metal's most notorious musician, Varg Vikerness. A musical genius, yet Nazi with abhorrent views convicted of arson and murder of fellow Mayhem band mate Euronymous. In the naivety of youth, these tales of church burning seemed like mythical acts of anti christian rebellion, however I was deep into the music before being deterred by the realities of its author. This is the first cassette Varg handed to his would be victim, wanting a way in on the niche elitist scene. Its cover, which includes one of his crimes, is from a pressing on Helvete Records released some time later. The original sleeve is said to be long lost for now.

These three dusky tracks, muddied by low fidelity, play like a stream of rumblings, resembling simple linear melodies and basic rhythm through its eerie, groaning distortion fuzz. In patches, one can barely hear the rough drums but the snare and kick manage to jolt this wall of sound, maintaining its pace. Remastered recordings do a great job of bringing out the double base kicks and cymbals. I'm captivated by a curiosity as to how knowing these songs taints the experience. Would fresh ears hear the brilliance in these wistful tunes that toy with metallic might and nightly dissonance?

 

The fidelity downplays it magic yet emphasizes the strange mood Varg has conjured from his Pagan and D&D influences. Lost Wisdom and Spell Of Destruction both jostle with hard grooves and eerie, esoteric melodies in such a mesmerizing way. Personality is vivid, the vision punctuated by a third synth track, which we now retroactively call Dungeon Synth. With this song you can really hear the lonely adventures into shadowy realms filled by mythical creatures. Audio quality aside, its clear that Varg started writing music with a firm footing in a majestic direction.

Rating: 5/10

Entombed "Clandestine" (1991)

 

Here lies a classic from the early years of youthful Metal discovery that I fortuitously happened upon, a shadowy, venomous breed of dark, scowling heavy. Hailing from Sweden, the tuneful stains of an emerging melodic death metal lingers as whiffs of sinister melody trail this wild ride of ponderous riffs and pounding percussion.

The darkly atmosphere is Clandestine's key distinction. No atypical "meat and potatoes" grind of punching brutality. With a pair of unusual, bristling distortion guitars, a fuzzy menace bleeds a tonality that propels its arsenal of hard hitting riffs into a grimacing aura. Danger and death lurk around the corners of its intense sways.

Swinging from cunning grooves to axe grinding malevolence the music hurls with nonlinear momentum, jumping through iterations, finding pertinent moments to build suspense and roar with tuneful fire. Lead guitars erupt with brief flickers of chaos to guide its path, occasionally unraveling into open breaks, evil and atmospheric.

The drums clatter away with individuality, laying foundations for head banging beats whilst steering the ship with bespoke fills and rhythmic articulations to perk the ears in an embrace of its rough sincerity. Out front Nicke Andersson bellows and howls with a raw guttural cadence, stuck somewhere between Death and Thrash Metal.

Early on he punctuates apt moments with deep shouts amplified by timely reverb. Its gritty and menacing, shaping up a character that surpassing genre norms. So to do sprinklings of esoteric synth shape up this covenant of plundered spoils. Both melody and rhythm boldly embark on equal footing, shaping a consistent brood of songs.

Shadowy, conspiring, sequestered, a devious mood truly clandestine. Its a classic from my early journey of discoveries that's held magic over the years. My only critique? Perhaps it tires as its final couple of tracks lack the moments to break up a riff grind that kept the first half of the record so memorable. Imperfect, as is all art!

Rating: 9.5/10

My Top 10 Music Discoverys In 2024

 
This years picks were no struggle. I've pivoted away from picking up every record a band I follow releases. You accumulate a lot over the years and being fussy means avoiding acts that are spinning their wheels. This attitude freed up my time for more discovery and thanks to spotify shuffle its easier than ever to unearth new names and projects that peak your interest.

(10) Clown Core

A perfect example of bizarre internet age musicianship reveling in the obscure, toying with the deranged and masking rhythmic appeal with confronting aesthetics. Moments of magic arise from the memish presentation that often feels like an in joke.

(9) Dimmu Bongir

Another project with a comedic premise plays its stoner parody as an excuse to exercise love letters to early 90s Black Metal. Including the Symphonic scene in tone, these two records superbly resurrected the feel-tone of my most enamoured sound.

(8) Labyrinthus Stellarum

Operating within familiar terrain, Labyrinthus Stellarum's breed of cosmic, atmospheric Black Metal plays a delightful fright. Their embrace of exotic synths gives the rapturous music a curious edge whilst pummeling darkly riffs through the night skies.

(7) Sabrina Carpenter

Pop music is in a shockingly good place right now. So many acts cherry pick the best ideas of decades gone by, repackaging them with a level of aesthetic indulgence that almost surreal. As one of the biggest acts, she has the voice to meet this high bar conjuring echo's of greats like Madonna, bringing authentic country roots along too.

(6) Fogweaver

A fine discovery for the Dungeon Synth archives, a tired genre where unearthing quality feels rarer these days. Although I've only covered one record, Fogweaver has plenty more quality records with a particular flavor to indulge with.

(7) Fred Again..

My issue with House music is that I never quite find what fits me, despite loving the rhythm, aesthetics and overall concept. Fred Again.. has captured my interest with his lovecraft of personal moments bottled into beautiful songs. They explore intimacy through samples of snippets from conversations with friends, repeating the motif through ebb and flows that find gratifying swells over and over again.

(4) Willow

Children of success often carry an illusionary burden, the "bar set high" of their senior. However high Will soared with his eclipsed music career, Willow has simply smashed that idea apart. She stands apart, her own entity willing to dabble in all sorts of musical directions and finding a voice that blossoms in many directions, feeling natural and deeply expressive at every exciting turn.

(3) Rina Sawayama

At the peak of my Pop interest, Rina too plays this current game of resurrecting the past whilst casting a broader net of influences. Resulting in delightful rides across the musical landscape, rooted in Pop appeal, Rina's emotive voice and passionate lyrics reach into places I didn't expect, birthing absolute gems like To Be Alive. Its some of the most moving music I've heard in a while.

(2) Graywave

From the moment I heard this artist, it all fit together, a struggling, depressive Shoegaze venture into the dark reaches of moody Metal. Reflexively toying with indulgence and relief from personal woes, the music plays with hints of Deftones and Cocteau Twins. It's Jess's endearing voice and distraught lyrics that tie it all together, making the dense walls of engulfing of sound feel deeply personal.

(1) Spiritbox

I recall listening to Eternal Blue upon release, dismissing it in the process. How foolish! It was knowledge of seeing them live later in the year that prompted me to try again. Its baffling how the magic was locked away. After many spins it started to click. Since then I've become completely engrossed by their unique dynamic, routinely binging their best numbers, eagerly anticipating more! These are now like Metal anthems to me and I absolutely loved their live show. Can't wait to see them again in the new year!

My Top 10 Albums Of 2024

 
This years list practically picked itself with a clear distinction of eleven records above the rest, so special mention for Erang's The Kingdom Is Ours. A truly novel record, uniting a scene of isolated, anonymous musicians together for a love letter to the strange and wonderful worlds they have individually created.

(10) Billie Eilish "Hit Me Hard And Soft" (2024) link

Still on top of her game, Billie and brother Finneas continue to explore their musical passions. Not as experimental or impactful as prior adventures, the merits of her soft voice carry these great instrumentals to soothing places on a breezy record that's all too easy to enjoy and hard to forget.

(9) Boston Manor "Sundiver" (2024) link

Despite reveling in the echo's of 90s Alternative Metal, these songs transcend their inspirations, making anthemic strides fit for the big stage. Grabbing and infectious, big riffs and soaring vocals ascend. Its been hard to ignore this fresh crop of tuneful ear worms, often wriggling out my subconscious.

(8) Chaosbay "Are You Afraid?" (2024) link

Having firmly grasped my attention and consistently delivered memorable Metal for a few years now, Chaosbay return with one of their best efforts to date, continuing to wrap Pop sensibilities into punchy aggressions that sway from the extremes of rhythmic brutality to tuneful melodies, all within a distinct dystopian capsule.


(7) Sabrina Carpenter "Short N' Sweet" (2024) link

At thirty six minutes, Short N' Sweet is an apt title. Without a touch of filler, Sabrina navigates the current context of revivalist Pop music, weaving in soothing flavours of Country between flashes of Synthpop arcitetchure. She has the voice the match the mission, elevating these instrumentals to another level.

(6) Marilyn Manson "One Assassination Under God - Chapter 1" (2024) link

Although fresh in memory, Marilyn's latest offering has shudders of greatness. Its lyrical anger and relevancy to his recent legal proceedings channels something real through the filter of his cunning juxtapositions. Always one for clever lyrics provoking thought and reflection, his routine has felt somewhat played out over the years. Turning to personal woes with The Pale Emporer resurrected his career and although this chapter hasn't resonated on a broader scale, it feels like another signficant growth.

(5) Tyler The Creator "Chromakopia" (2024) link

Tyler's longevity is already impressive. Chomakopia just marks another chapter where he channels inspirations into grabbing music. The personal themes and intimate nature gives one a lot to chew on as he walks us through some of life's deeper challenges. Of course, its all backed by banging instrumentals to get stuck in your head alongside the topics he brings to light.

(4) Willow "Empathogen" (2024) link

What a voice! So expressive and dexterous, I love how Willow ventures around the flow of the music, complimenting and swaying with its candor. Given its her Sixth album, the maturity of a growing musician who's been at it since her teen years really shines bright on Empathogen.

(3) Knocked Loose "You Won't Go Before You're Supposed To" (2024) link

Metal album of the year, no doubts. The non-linear nature of its sporadic outbursts of frothing frustration had me questioning how long this magic would last. The verdict is in, these songs stick. Knocked Loose continue to refine and elevate their focus and bring us a horrifying indulgence in frenzied aggression, the soundtrack to all your woes.

(2) Kyros "Mannequin" (2024) link

Forging somewhat of a modern Prog masterpiece, Kyros put together a dazzling record. Indulging in musical dexterities, bombarding us with animated melody a rhythmic chops. The band dance through a love of Metal, Rock and Synths, all dressed up in big playful theatrics. Its bold, ambitions and delivers on its promise set by the mighty Showtime.

(1) Aurora "What Happened To The Heart?" (2024) link

Despite a stunning voice, this was somewhat unexpected. As a musician who does music for her fans, more so than herself, it was quite the shock to get such an emotionally resonating album. With Folk-like roots and world music inflections, Auroa's latest record reflects Pop music trends. Taking the care and craft of modern production, the lean towards these more ancient musical vibes resonates deeply with the journey her voice ventures on, routinely finding fantastic upheavals of emotion as the music flows into swells of intensity from soothing settings. Its a magic that's unforgettable.

State Azure "Stellar Descent" (2023)

 

 

This will be my last record for the year, a documentation of discovery. One for the "space music" playlist, State Azure caught my ear with a level of care worthy of attention. At a mammoth one hour forty five minutes, Stellar Descent plays as a astral mood setter. Carefully crafted compositions straddle between shimmering synths yawning in cosmic wonder and a digital counterpart of bustling, whirling synthetic instruments, skirting tuneful melody and conjuring echos of 70s electronica.

No compositions stood apart as distinct or memorable. With everything from its subtle mechanical percussive sways to melting galactic aesthetics serving its atmosphere, these songs drift by in a haze of temporal relaxation. Although structured with transitions and pivots, they flow by calm and understated. These instrumentals never lean into a hook or catchy tune but forge deep tones suited for the star gazing imagination. Excellent background music for focusing on a task of mental demand.

 

My time with Stellar Descent didn't unearth new ground or reach the emotional highs of a Dreamstate Logic. It was a familiar feeling, executed with class and care, finding the meditative balance I enjoy. Subtle by design and intent, I think this is a fair fit for anyone looking to add more to this type of niche listening experience.

Rating: 6/10

Poppy "Negative Spaces" (2024)

 

 

Plagued by the inconsistencies of searching for an identity, exploring genres, never settling on a sound, it seems that Poppy has finally found a firm footing following a fruitful collaboration with album of the year contenders Knocked Loose. Now honing her screams into frightful territory, ranging from soft, harmonious and sweet to roars of unrelenting rage feels an apt for this endeavor. Foraying into the current trendy Pop Metal dynamics, contrasting stomps of Djent brutality exchange with sways of warm catchy melody. Its a dominant theme among other ideas, conjuring echo's of Spiritbox.

The record flows smoothly despite some turns. Crystalized makes a sudden deviation to explore driving dance-floor grooves and Synthpop melodies masked in nightly Synthwave vibes. Vital dials in subtle Emo and Pop Punk influences through its guitars before Push Go jumps back to the dance-floor. Poppy's approach conjures echos of Madonna in here prime and 90s Brit Pop in its soft siren chorus.

The next two tracks get us back on track, going hard as ever on its mammoth guitars. Big grooves stride in anger as raw throaty screams erupt with vitriol. Its a wild ride juxtaposed by the dreamy interlude Hey There, a crash to the ground as the final stretch retreads these ideas already explored. New Way Out notably deploys the Argent Metal formula with that signature Mick Gordan guitar and synth aesthetic.

All in all, Negative Spaces is a really good listen from start to end but perhaps lacks in offering something truly new to take away. Its as if these songs might fade from memory given the overt influence that fail to ascend expectations. On the other hand, its the most consistent record from an artist still seeking out a sound to call their own. It lays a promising foundation for the future after the sorely disappointing Zig.

 

Rating: 7/10

Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Willow "Lately I Feel Everything" (2021)

 

Arriving at Willow's third record, endearing blemishes of youthful nativity emerge. Heart-brake pains and relationship woes dominate its theme. Musically, a similar line is tread. Both sway between raw adolescent reactivity and insightful, matured expressions. On its latter half, collaborations with Travis Barker boldly mimic teenage Pop Punk tracks of the early 00s, devoid of originality yet persuasive with repetitions.

The middle of the record is where the bulk of its magic lays. Instrumentals deviate from the opening simplistic pop appeal. Swells of grungy guitar distortions, dreamy acoustic reverberations and creative drum machine arrangements pull these songs to the edges of Shoegaze, Indie Rock and Emo, blurring lines along the way.

Typically, Willow sings from the soul, drifting around the texture of these tracks like a free spirit, often with power over softness, she occasionally roars into life with soft screams. On the softer side, soaring cadences amplify her thoughtful, introspective words. It turns the topicality of once immature anthems into reflective journeys. Its a curiosity to me how a tracks tone shapes ones experience, two contrasting sides of essentially the same expressive coin.

Lately I Feel Everything is mostly an exploration of an alternative umbrella of distortion guitar adjacent music. Willow crashes the party, muddying up ideas with an aesthetic rawness and endearing amateurish aesthetic. A perfect fit for the genre. Not quite as persuasive as whats to follow but also tainted by these interruptions of type-cast teeny bop music I despised in my youth. Naive and XTRA where the highlights for me.

Rating: 6/10

No Cure "I Hope I Die Here" (2024)

 

 Ears perked by Spotify's shuffle of heavy freshness, No Cure's brief 8 track, twenty minute EP I Hope I Die Here has been a curious listen among a sloth of modern aggressive music. Much of it lacking sparks of originality. Hang Me From The Bible Belt, the track that drew me in, fires up this romp of sludgy brutality with a bold mix of Metallica Hardcore and Melodic Death Metal. This feels like a misnomer as the annals of a tired Deathcore swiftly reveal their ugly head on following tracks. Gruff deepened guttural shouts, gritty low-end axe grinding riffs and filthy pig squeals light up the aesthetics among obnoxious angular harmonic pinches and other genre tropes.

It plays out among a reasonably excitable mix of influences, from Hardcore gang-shouts to Metalcore grooves and Slam Death Metal breaks, the record picks up some character in brief moments. No Cure bridge minor stylistic gaps that seem obvious in hindsight. The collaborative nature of this EP may explain its inconsistency in tone as songs sway between engaging constructs and the "race to the bottom" filth of Deathcore. Each track includes another band, presumably of the local music scene.

Sadly, only its opening track won me over. The rest of its heaviness played mostly as a curious throwback to Deathcore records now approaching twenty years old. In contrast, there are signs of promise, moments of light, however it doesn't come to fruition in a flavor I'm looking for right now. To much grime, not enough substance!

Rating: 4/10

Opeth "The Last Will And Testament" (2024)

 

This fine record has brought several weeks of routine enjoyment, however the latest offering from these veterans suffers its own familiar identity. Having toyed with distancing themselves from metallic roots, the journey back to aggressive aesthetics, befitting of their early days, brings little freshness to their distinction. The Last Will And Testament attempts to layer in a richer symphonic tone, which often gets swept under its gallivant lead guitar melodies and grandiose riffs. So to does a clear concept about class and inheritance get thrown around in spoken work sections between salient singing and meaty death growls. Neither of these elements seem to break the familiar spell Opeth cast, with their usual touch of majestic spirit. Thus the record spins its wheels through grand constructs of Progressive Metal that often feel recast from the depths of their extensive back-catalog. Strident and assured, the record plays exquisitely, its lead melodies often catching the ear as expressive motifs to set the tone for its big vision. Continuously we weave through intensities but sadly, all in the shadow of comprehension. For all the magic this band have bestowed, it lacks anything new to say. Enjoyable but none of these tracks leap from the page.

Rating: 6/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10

Body Count "Merciless" (2024)

 

Now years deep into their triumphant resurgence, the legendary cop killing Body Count return with a fair helping of 90s styled Metal stints to rock, shock and entertain. Serving as a mouth piece for Ice-T's likable angered rants, these loud instrumentals play a fair game. Serving up competent ravishing's of that era's tone, fans like myself can lap it up but lets not be shy, there is little here we have not heard before.

Beyond selecting some preferred cuts from the offering of mid tempo songs driven by aggressive riffs, attention turns to Ice-T's presence. His plain language, dripped in profanities and frustrations, flow relatable and clear to understand. Behind the often grislily lyrics, an undercurrent for peace and prosperity may pass some by.

The packaging is where my critique lands. Fun and enjoyable but the albums best hooks and concepts feel borrowed. From Demo-crips and Re-bloodicans, to the movie concept of The Purge, a helping of thematic concepts have obvious origins. That and an interesting cover of Pink Floyd's Comfortably Numb with David Gilmour revealing his typical unabashed directness. Oddly intriguing but most of the time endearing. 

Pulling in legends like Corpsegrinder and Max Cavalera is a welcome delight on this fiery horror show album. They bring great performances. Its nice to see more collaberation like this which has been sorely missing in the past. Merciless wont reinvent their live show but brings hours of entertainment through some fresh songs with their classic Body Count motif.

Rating: 6/10

Jukio Kallio "Minecraft: The Garden Awakens" (2024)

 

Our latest Minecraft update places emphasis on the quiet unsettled atmosphere of its eerie Pale Garden biome. Upon entering, the games music will cease to play, immersing us in the subtle sounds emanating from the biomes pale blocks. So imagine my bewilderment at learning of an accompanying soundtrack from the drop, given that no new music has been added in game, as a record disc or otherwise. The low key nature of its unannounced release seems even more fitting upon hearing this one new track. Its left me wondering what direction our new composer was given about the new content, as the vibes are completely miss the mark.

Things get off to a great start. Tense strings and disconnected tumbles of tom drums and crash cymbals lead into a dirty bass synth brooding beneath, stiring a ghoulish atmosphere. Its strongly reminiscent of the title screen music from Doom. A few keyboard notes of intriguing melody linger and just before the minute mark, the song erupts with rhythm, a hard thudding kick drum, drives the music into Synthwave territory. Melodic wave synths dance with speedy, cheery nightlife vibes before a brief allusion to the errie opening premise is dispelled again as the dancable percussion returns with more animated melodies far from the expectant Minecraft vibes.

 Its a fine song but ill fit along side the games back-catalog and even more baffling considering the tone of this update. The Trumpet version simply swaps out its VSTs for quirkier instrument tones. The sped up version sounding like nothing more than fluff. The slowed and reverbed original amps up the creepy vibes but its far from a saving grace. It seems now rather obvious why this was such a low key release. A cool song but also a total mismatch for Minecraft standards.

Rating 2/10

Marilyn Manson "One Assassination Under God - Chapter 1" (2024)

 Moving on from the catchy Post-Punk period vibes We Are Chaos reveled in, the band trade in those flickers of color for dreary tones steeped in indulgent misery. Bleak, downtrodden and typically anthemic, Assassination hails back to the spirit of Antichrist Superstar with the metallic inclinations of Holy Wood. Manson's lyrics flow potent and cutting. Renewed with a biting anger, his disenfranchised cries come wrapped in religious overtones and social commentaries. Spinning disillusionment into reverence once again, the nostalgic familiarity hailing back to their creative peak sounds fresh. A few tracks further in, words turn inwards, reflecting on addiction and escapism, a new avenue heard since fragilities expressed on The Pale Emperor.

Throughout Assassination, in some of his words linger a sense of martyrdom, spinning controversies of recent years to paint himself the victim. The tensions amass with Raise The Red Flag. Antagonistic lines make a climatic declaration to "wash the bullseye off my back". Through the lens of artistic expression, its a marvelous twist of the arm, however when reality and legal proceedings are a long muddy affair of accusations and defamation, its hardly a black and white case you can rally behind.

Lastly, the instrumentals are well crafted, a consistent aesthetic that serves this album experience well. Shifts in tones can ramp up intensities for aggression and subside into rebellious melodies. It all flows cohesively with their iconic front-mans licks. At fifty five, he can still deliver his knack for devious and catchy hooks. Now lacking the shock and awe he once commanded like a prophet, Assassination's potent expression themed on recent accusations land well but perhaps with an air of doubt.

 

Rating: 8/10

Willow "Coping Mechanism" (2022)

  

With a chronological step back from an adored Empathogen, Coping Mechanism shifts its fundamental appeal to serve my tastes immaculately. Willow's entangled expressions and gushes of emotional out-poor feel familiar, yet beneath the music nurtures antagonistic intensities, highlighting darker emotions of anger, frustration and sadness. Ever present overdrive guitars dabble in Alternative Rock, Grunge, Emo and Indie, amplifying a hurt in her lyrics. Sailing above with a playful, creative voice, she finds a beautiful resonance with the unsettled rumble of enthused guitar noise.

From a perspective, these songs could be boiled down to catchy Pop Rock songs centered on angsty teenage emotions. Fortunately the underpinning Pop sensibility blossoms with maturity. Willow's lyrics navigate emotional stresses, gracefully avoid the fallacy of simplicity. Her words dissect, introspect and reflect, mostly on the grief of a breakup, in search of a Coping Mechanism. Opposing aspects of these narratives explored often manifest into beautiful vocal inflections. Its a riveting tug and pull, back and forth, an internal mental battle channeled into infectious sing-alongs.

 Producer Chris Greatti and songwriter Asher Bank deserve high praise for their instrumentals. Creatively exploring the aforementioned genres, a Pop Punk ease and occasional touch of Metal aesthetic breeze by effortlessly. The duo weave it all into a cohesive set of both tuneful and mildly aggressive numbers without repeating themselves. One can hear many ideas pulled from across recent decades, rearranged into a new beast. Shifts in guitar tone and color, occasional synths and detailed drum grooves flesh out the experience with continuous variety that's immensely enjoyable.

Coping Mechanism flows, gushes with an infectious liveliness. Willow dances in the river, exuding expressive brilliance. Existing near to unreachable artistic perfection, devoid of weak spots, only its ending seems to dip slightly as the melancholy sways of No Control breaks down intensities for Batshit's return to animated eruptions feeling short of a final statement to wrap it all up. Other than that lack of a landing, this record has been utterly brilliant. Paying close attention to the track listing, trying to select my favorites, I realized the first nine songs are simply sublime. Just wonderful!

Rating: 9/10

Ocean Grove "Oddworld" (2024)

Having struck gold with Flip Phone Fantasy and Up In The Air Forever, could our Aussies from down under make it three for three? Oddworld sticks with the winning formula. Brimming with enthusiastic energy, their high octane production pushes out another bunch of upbeat banger reveling in the Rap Metal Limp Bizkit inspired lane of Nu Metal. With a little less rap in the mix, shades of Brit Pop return with an emphasis on the soaring Oasis alike, hands behind the back, singing. So to can one hear a sampling footprint from the early Rave years of fellow Brits The Prodigy on Raindrop.

At twenty five minutes, Oddworld is notably shorter. Less songs and two interludes highlight a sense of lacking potency. They've put forward their best but there's less to go around. Cell Division and Fly Away roar out the gate with pace and groove. Slamming riffs, quirky melodies and soaring singalongs set the tone. Stunner and Raindrop keep things flowing, spinning the same ideas through expectant motions. 

 Interlude No Offence Detected revives some Limp Bizkit vibes again with the quirky perusing baseline. It doesn't lead anywhere, as the band proceed to spin their wheels. Last Dance offers a shift in tone. Shimmering guitars and atmospheric reverberating noise creates a loud moody softness to mellow in a heartfelt sorrow. Album closer OTP makes its mark, pivoting to a hard hitting, darkly electronic beat. Built to house ear catching raps, their guests verses' fail to make the concept a memorable one.

Despite being lively, uplifting and infectious, the record suffers a sense of routine as only a couple of songs reach beyond the fundamentals of their sound for something great. It could also be a case of fatigue or familiarity on my behalf but sadly my enjoyment has dropped from the ecstatic highs their last two outings bestowed.

Rating: 7/10

Rina Sawayama "Rina" (2017)

 

 It turns out Sawayama was not Rina's debut. This one flew under my radar, a twenty four minute EP released a few years prior. Self funded and independently released only piles on the praise for what initially felt like a tacky take on 00s Pop. Getting past a couple of mediocre tracks, familiarity revealed the subtle powers of brief tuneful melodies and glossy aesthetics centered around her persuading voice.

Early themes paint a sense of glitz and glam, ambitions of a rising star. Cheery, upbeat production with punchy drums drawing on touches of 80s Synthpop and soft Alt Rock guitars opens the record. These nostalgic reaches into the past reoccur through classy production. It flows through a variety of song ideas, none feel original, yet an intriguing assembly of ideas pulling from the past thirty years of Pop music.

 Tunnel Vision drifts into a dreamy avenue, shifting to introspective thoughts. Deploying vulnerable expressions makes for awkward lyrics hinting at smartphone addiction among relationship woes. Its a muddled message. Much of the record has this ambiguous feeling as to which way her words lean. Presenting a bold face with a hint of distress. This lyrical fuzziness is more likely to be at fault with me.

Overall, I'm impressed. This Rina EP strikes me as a leap of faith, a talent unleashed raw and keen, simply getting started and turning up trumps. It doesn't coalescing around a specific vision yet its best songs achieves their own merits. Its been a joyful dive into ideas reminiscent of great songs without being specific.

Rating: 6/10

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Ice Cube "Man Down" (2024)

 

Some critics remark on aging rappers losing vitality and relevancy. I'm more open minded. With age comes maturity and the opportunity to grow. With many 90s icons now entering their fifties, Ice Cube, one of the most important and influential to do it, enters the club. His last outing, Everythang's Corrupt, had bite, a political venom and fiery anger that held well. I still venture back to a handful of those tracks alongside Cube's best songs. That moment has passed, his motivations to return seem routine.

 Despite bringing a studded cast of his 90s contemporaries, Man Down is a stinker. Beats sound tight yet frequently spin short loops that end up droning on. Upfront, Cube raps with his firm flow, fine tuned aggression and smooth, easy to follow, cadence. Its his lyrical content that falters, dropping auto pilot verses lacking creativity to impact. So many lines drop with predictable rhymes, lingering on them for four or more sentences. Many lines seem to fill space just to serve the rhyme. With next to no stories told, this approach is quite disappointing in the shadow of his greatness.

 Early on the moods emulate his classic Today Was A Good Day laid back G Funk vibes. Its a smooth and breezy ride, easy listening. Heading into the midsection, things pivot with 5150. The mood sours with its misogynist leaning rhymes. Then beats go harder, darker but miss the mark. After a few cuts, the variety flows, jumping between sounds emulating his styles but mostly suffer the fate of droning on.

Especially You perks the ears, an Electro-Funk throwback to early 80s Hip Hop. Cube goes for a flow fit of the era but the rhymes are just hollow. Later comes Scary Movie, trying to house a bunch of references to his cinematic career. It houses some of the worst lyrical flops. The album ends on a better note with the reasonable Ego Maniacs but cant save the project. Sadly, this record just lacked purpose.

Rating: 2/10