The Cure "Boys Don't Cry" (1980)

I've been aware of English Goth Rock group "The Cure" and their influential status for a long long time, but Id never given them a listen until recently. I can't count just how many times I've listened to this record, but essentially I have held of from talking about it in search of a deeper understanding of this record and it's importance. Nothing profound has really come to mind, I just found this record to be a simple pleasure, a light and relaxed listen that had a fluency and ease about it that made each song as enjoyable as the last. Maybe thats the beauty of it? In the age of cerebral, introverted extreme music we can loose touch with the pleasures of melodics and simplicity.

Boys Don't Cry is a warm, spacious Post-Punk record that has a tinge of moodiness to it that would later blossom into a Goth Rock aspect of their sound. On this one, the trio stroll through 12 short numbers that create an uplifting and mindful feeling through a minimalist and toned down sound that greatly appreciates the space between the instruments. The kit is soft, the bass kick is padded, the snare devoid of any snap or punch, and the symbols are quiet and low in the mix. The bass lines rock a steady groove, providing a backbone for these songs which Smith's guitars compliment at their own pace, the trio don't overpower there own ideas by trying to give all the instruments something to do at the same time, on certain tracks and moments the bass and drums rock together quietly with Smith's musings, and the absence of guitars works in their favor.

The guitars bring in the most colorful aspect of sound, cleanly strum chords are tinged with flange for a tone that has an exotic touch. Its a splash of color into an otherwise tamed sound. Smith's vocals are enjoyable, I like his strong accent and afflictions, they are the final component of what gives this record a pleasant and warm approachable sound. As I said earlier, I didn't find anything profound about this critically acclaimed record, but its a simple pleasure I can listen to over and over.

Favorite Tracks: Boys Don't Cry, Accuracy, Jumping Someone Else's Train, Killing An Arab, Three Imaginary Boys

Rating: 7/10

Linkin Park "Meteora" (2003)

I often wonder what it would be like to hear the music of my youth for "the first time" in the context of todays modern music with my vast apatite and knowledge of music (mainly Metal & Hip Hop). It dawned on me that Meteora was essentially that. Although I am familiar with Linkin Park, I have never actually listened to anything other than "Hybrid Theory" and "Reanimation" (smelly album). This would be a great opportunity to get a taste of listening to that music in the present day.

I was rather skeptical at first, a little unsure what to expect, but very quickly this album rapidly grew on me and I found myself feeling like it was the 00s again, listening to Hybrid Theory for the first time. At first Meteora came of as more of the same, but on repeated listens it became very apparent how fine tuned and well crafted this record is. On the surface not much has changed about their sound, its more of the same formula, Mike's mini raps, Chester's screams balanced with clean hooks and of course the characteristic electronic sounds accompanying the Nu Metal backbone. Under the surface there is more at work here, it feels like the group made a conscious decision to tone down the aggression slightly and focus on mastering their pop sensibilities and hooks. The melodic leads and choruses on this album are so infectious and satisfying, everything from the delivery of Chester's appeasing cleans, the crisp and soft guitars, electronic melodies just feel so in-sync and on the same wavelength. Its far from challenging and very much easy to enjoy, which is a strength they play to. Linkin Park is not trying to change your understanding of music or challenge your perspective, they are writing straight forward poppy music and they do it here to a perfection on particular tracks.

For all good thats been said, there are two things that came to mind, first of all the drumming, not at a single point in this album did the drums ever come to the forefront of my attention, is this a good or a bad thing? Is the rhythm department executing a subtle genius of accommodating beats, or are they just tame, generic and holding the tracks together? I really don't have an opinion but it was an interesting observation. Second of all the lyrics are once again the epitome of teenage angst, expressing simplistic and overly emotional fears and frustrations with a lack of any real introspection or depth to the subject matter. This is probably a strength though, easy to relate and simple to recite, its what you need in poppy music and perhaps the magnitude of this pop appeal is a reflection of how focused this record is on its catchy hooks and choruses. Overall, fantastic record, enjoyed it as much as "Hybrid Theory", very satisfying to hear more of that great sound they forged.

Favorite Tracks: Don't Stay, Hit The Floor, Easier To Run, Faint, Breaking The Hobbit, From The Inside, Nobody's Listening

Rating: 8/10

Zornik "One-Armed Bandit" (2004)

One-Armed Bandit is the sophomore album of Belgium rockers "Zornik", a record I have spent much time enjoying and wrapping my head around. Zornik would be described as a "Rock" band, but in this modern era of music I find that term to be vague and nonspecific, a generalization for the traditional guitar, bass, vocal and drums band format. Their sound on "One-Armed Bandit" is characterized by some Indie and Alternative influences as well as a strong 90s Pop Rock undercurrent. They also spruce up their pallet with some additional synthesizers and electronic elements, giving this record a diversity thats strengthened by the varied approaches in songwriting. I'm glad I gave this record a chance, usual I look to abrasive sounds and confrontation for appealing musical ideas, this record reminded me that good music can be found in the most approachable of styles too.

For me, this album was mostly defined by the mood and tone set by vocalist Koen Buyse's soft and gentle, emotionally driven presence that would very much guide and mold these songs as the accommodating instrumentals built powerful and moving settings around his narrative which swims through a current of heartbreak and sorrow that comes through in his performances. They are heartfelt and strong, giving a real sense of a troubled soul letting it out through the music, and despite this bluesy and moody feel, these songs feel bright and positive, mostly to the credit of the accommodating instrumentals. Buyse's voice has fantastic range and flight when hitting graceful high notes, he often opts to balance it with gently spoken numbers that elevate his higher range in to epic moments in the songs that make up this record.

Instrumentally, these songs are tame, gentle and humble, strolling through calm and collected instrumentals that grace through inspired melodics. There strength is in the moments between their quieter sound where the group can build up the volume and intensity with overdriven guitars and climatic progressions utilizing Buyse's impressive high range. It gives this record great flow, and theres no shortage of variety between the tracks, which can shift gears effortlessly between different intensities. Theres a great Pop sensibility about some of the vocal leads, and no shortage of energetic riffage that fuses into the tracks from time to time. Its a warm and compassionate listen that grows on me with every listen, looking forward to more from this band!

Favorite Tracks: Scared Of Yourself, Miracles, The Place, We Are Lost

Rating: 6/10

YOB "Clearing The Path To Ascend" (2014)

I was sent the song "Marrow" by a friend, I was thrilled by this lengthy, brooding, melodic and doom like epic that moves at a snails pace, dragging the listener through 19 minutes of heavy, sludging colorful bliss. I was excited, and got hold of this record immediately, but much to my disappointment the rest of the record, despite following similar principles, was a lot more doom and less melodic for what made Marrow shine. Although not strictly my cup of tea, this record was a decent listen that demonstrated some fantastic musicianship through unique suspense and progression. YOB are a Doom Metal group from Oregon USA, who are receiving a lot of praise for this album which has topped several Metal album of the year lists.

Whats most characteristic of their music is the slow drawn out riffage that utilizes the space between each bellowing strum, creating a monstrous stride that parades to its own cause. These riffs pound and bludgeon there way through sections that last several minutes and are spiced up by off kilt repeats and suspenseful returns. Between the guitar bludgeoning come quieter moments that are quite brittle and abrupt, with the growing mood often building to a moment that simply drops of into a lull. In the climatic moments the band stick to their riffs and accommodate the building atmosphere with additional guitar leads and demonic guttural vocals.

The record is crisp, indulgent, the textural guitar tones and foreshadowing drums mold a dynamic, expressive sound that compliments the musicianship. The clean guitars have a dreary melancholy about them, retaining a colorful melody yet expressing a cold and sorrowful tone that gives Marrow an emotional and moving climax. Its a great sound that works so well with the songs, yet for everything great about this record, for me personally the meandering nature of these songs can fail to hold my attention at times and despite being a terrific record, its one that doesn't quite hit the niche with me.

Favorite Track: Marrow

Rating: 6/10

G. Love & Special Sauce "Yeah, It's That Easy" (1997)

Every now and then I have the displeasure of writing about a record I didn't enjoy, although to be fair this an medicore listen, just one that didn't do much for me beyond some mild entertainment, and thats my loss. G. Love & Special Sauce is an Alternative Blues Rock group from America who are fronted by the charismatic G. Love who servers as the vocal narrator for some fun, uplifting funky Blues Rock. On paper, and on other tracks I've heard from different records, the group have the formula for funk and blues that gives them a little flair, which in this record I couldn't find.

G. Love's folky narration and jives about American culture were not my cup of tea. I found the light hearted whimsical stories and musing in these songs to be just a step beyond what engages me, and this made it hard to get into a record thats focal point is his laid back charismatic style. Accompanying him are some chilled out grooves that bring together Funk and Blues with a touch of Hip Hop in the rhythm department. These grooves rock and swoon through the tracks, utilizing an array of instruments including the harmonica and some light organs too. Behind G. Love are some great backing vocals which on a track like "You Shall See" that elevate the song, they pop up here and there, adding a lot to the songs, but is not enough to save the record.

The strongest element of this record is the instrumentals which are far from spectacular, despite being on the right track, there is a distinct lack of stand out moments or anything where the music grabs you. They muddle through mediocrity and the bass and kit grooves are often spoiled by a loose snare clanging over the bass's warm and moving texture, its disappointing as it feels like their is great potential here, but too many misfires. A nice listen but a lack of substance for repeated listens.

Favorite Tracks: Slipped Away, You Shall See

Rating: 3/10

Cloudkicker "The Discovery" (2008)

Bomb sirens cry out in desolation as an eerie suspense unfolds. An underlying noise creeps and crawls amounting into a rising, atmospheric guitar ring out, then suddenly busts out into a gorgeous, tight, rhythmic thrashing of djent tonal guitars oozing in reverb and crushing out a simplistic repetition. Straight away I got that feeling like I knew exactly what this record was about. Several listens later that initial appeal is still here and this record is everything I thought it would be. 44 minute of enigmatic instrumental djent with a vibrant splash of color and melody. Cloudkicker is the one man band project of Ben Sharp, mutli instrumentalist who releases all of his music for free through the bands official website.

"The Discovery" is a polarizing formula, a crushing rhythmic assault is carried out by the low end guitars and forceful drumming, while the leads and high range notation color and climax these songs with rich and absorbing melodics that wash together in a sea of immersible abrasion. Its a formula that is set down from the first moment and fails to stay far from it. Through the record each of the songs offer up some different approaches, riffage and ideas that make this very enjoyable if the sound is your cup of tea. Theres some melodic, lighter, more acoustic tracks in between the heavier songs that really help this album flow and transition between tracks.

Asides some great instrumentation and songwriting, this record has a great sound to it. It comes with an "amateur" overtone to it that I can only describe as being warm and loving. It feels like someone put a lot of heart and energy into the production which sounds great, but has some technical flaws, none of which are even a big deal, but that amateur vibe stays present, and I like it very much so. One of the most notable features is the use of a drum machine that sounds like "Drumkit From Hell", having worked with this before it is certainly a hard sound to disguise but even though its noticeable the drumming is well programmed and fluent with the songs. Overall this is a fantastic record that has a lot of personal charm and one that has me yearning to seek out more from this talented artist.

Favorite Tracks: Genesis Device, Dysphoria, The Discovery

Rating: 7/10

PRhyme "PRhyme" (2014)

PRhyme is a collaboration project between legendary producer DJ Premier & Rapper Royce Da 5"9 who is known for his early association with Eminem. This mini album consists of 9 tracks and the opening track "PRhyme" focuses on the idea that the pair are in their creative primes, It sets the tone for an album of solid raps and beats that would certainly indicate both are in a creative warm spot. The two have a decent chemistry that gives the project liquid cohesion and defined character.

Premier's production is as finely tuned and crafted as you'd expect from such a veteran, bringing forth that 90s feel through approach as these tracks are littered with scratches and vocal samples from fellow 90s stars like Nas, Method Man, KRS-One & Gang Starr. The beats themselves are generally urban and darker in mood, taking a subtle roll providing backing for Royce to shine. These beats, although solid, sit in a comfort zone that sees little experimentation, taking on only a few modern aesthetics and ideas. Its not a negative point, but if your looking for something new and progressive this isn't that.

Royce is consistent and vibrant on this record, bringing an enthusiastic and motivated flow to each song as he narrates some stories but mainly delivers a boasting array of raps with a musing touch. Consistency would be a key point for me, there was no point where Royce failed to hit the mark, yet none where he really goes beyond, his best lines where from referencing Notorious BIG, "Kick in the door, wavin the four four".

The record as a whole is short and enjoyable, solid and flavorful, but perhaps lacking a depth to keep me coming back. After a few listens I feel like I got all the record had to offer and there were only two tracks I wanted to come back for. The 90s vibe was welcome but didn't really add to the body work thats already out there, one of the better beats was "Microphone Preem", utilizing a loud harsh snare and giving it something a little more unusual which could of made this project a little more. Overall a great listen to digest, but a lack of anything special.

Favorite Songs: You Should Know, Microhpone Preem

Rating: 5/10

My Top 10 Music Discoverys In 2014

Its been a great year for music. I've seen a lot of live music and caught some amazing anniversary shows, like Emperor playing the whole of "In The Nightside Eclipse" ans Nas at Lovebox playing "Illmatic". Also got to see Sikth, Metallica, Eminem, Dog Eat Dog and Limp Bizkit a couple of times too. Theres countless more but seeing two of my all time favorite albums played in full was really something. I foolishly missed out on seeing Linkin Park play "Hybrid Theory" in full and Smashing Pumpkins with Marilyn Manson in London, but no need to dwell on the missed opportunities, next year I will aim to take them all! Beyond live music I've broadened my horizons and discovered more fantastic music, this list covers my top 10 new discoveries over the year, for my top 10 albums of 2014 click here.

(10) Kendrick Lamar

I was never expecting to find much in the way of modern Hip Hop, but this artist had what was great about the old and the new rolled into one. It gave me a better understanding and appreciation of the new era. ive since found myself enjoying a lot more Hip Hop from our current time.

 (9) Skee-Lo

Not the greatest of rappers, but Skee-Lo's style and sound is prime 90s, and I love 90s Hip Hop, after expansively exploring this era over the last few years there are not many leaves left to turn over, but Skee-Lo was a hidden gem that had some how alluded me, much like Kriss Kross possibly because of short lived commercial success at the time.

(8) Chelsea Wolfe

Simply a brilliant musician, Chelsea's dark and haunting psychedelic folk paints her a unique sound to my ears that is a welcome discovery, but one I have neglected to take beyond "Pain Is Beauty", must listen to more of her albums in 2015!

(7)  First Aid Kit

I've said a lot about these two already, my favorite album of 2014, and beyond that their other records are enjoyable too. A great discovery recommended by a reader here at the blog.

(6) Depeche Mode

Known about this band for as long as I can remember, but finally had some encouragement to give them a listen and found that I very much like what they are about. With such a large discography I'm sure I will be listening through their albums for some time to come.

 (5) Ministry

I've known about Ministry for a long long time, even listened to ΚΕΦΑΛΗΞΘ a couple of times but this year their music just clicked for me. I brought a 5 album bundle at bargain price and never looked back. Incredible energy and anger in their music, my favorite discovery from my dive into Industrial Music.

(4) The Art Of Noise

"The Seduction Of Claude Debussy" Is a blinding album, it fit a niche for something I had always wanted to hear, a joining of old and new, Classical and Opera colliding with Jungle and DnB. The record itself is no experiment, this is a masterful execution and expression that utilizes the qualities of each and brings them together in unison, beyond the album they have a few other songs I like and have been a rewarding discovery.

(3) Marilyn Manson

I've been familiar with Marilyn's music since my youth, all my friends liked him, but for some reason it has taken me 15 years to get it, but its well worth the wait. Manson has his own genius and he flaunts it through his angry, rebellious music that has plenty of food for thought. I've really connected to his music and I'm eagerly anticipating a new album from him in 2015.

 (2) Marvin Gaye

I was drawn to the TV after hearing extracts from "Kind Of Blue" to find a great albums of past show, after Miles Davis came Marvin's "What's Going On" album. It stuck a nerve with me immediately, and I found myself at the mercy of his soulful voice which appealed to me through the subject matter. He could talk about our deep rooted societal issues, but package them with a warm reflection and positive perspective that spoke to me deeply. I brought the record instantly and it has been spun countless times since.

(1) The Smashing Pumpkins

Undoubtedly my favorite discovery this year, and maybe of the last few. Their a band I've always known of, but really had no idea what their about. After watching a documentary about them, it clicked, and listening through their albums one by one I've realized Billy Corgan is a musical genius and one I connect with. His sound is brilliant and unique, bringing influences from across the spectrum of Rock, Metal, Grunge and Alternative, but blending it all together and painting songs in his own color. I've enjoyed there first 4 records tremendously and theres still more to come.

Linkin Park "Hybrid Theory" (2000)

Hybrid Theory was thee record of my generation. It's the biggest selling record of this millennium and was a phenomenal success at the time. It's been a long time, maybe even 10 years since I last gave this a listen. The other day I got an itch to listen to this record and I was curious to see what id think of it. 14 years ago was around the time I started listening to Extreme Metal and Hip Hop while still being spoon fed bands from MTV and VH1. I'm a much more mature listener now but I'm not one to disregard what I liked in my youth. I do see a lot of hate towards Nu Metal and other music thats insulted as being only relevant to the youth of that generation. I don't get whats wrong with that, but I understand that people can grow out of music but for me, I hold onto what I enjoy and it was no surprise that after so long this album still sounds great, but it also came with a nostalgia trip, vividly reminding me of my past and where I was at that time. The power of music!

Returning to this classic, I tried to keep in mind the popularity of this record, and from this perspective hear what the formula of their success was. This was released around the same time as "Chocolate Starfish" which is the fastest rock album to go platinum. It was in the peak of Nu Metal and the music industries stranglehold on record sales which has since been in rapid decline, it was prime time for a band like this with Bubblegum Pop groups like "Backstreet Boys" and "Britney Spears" being the alternative in MTV culture. Their sound would characteristically defined as Nu Metal, but the guitars are not excessively distorted, the screaming is infrequent and their aesthetic has its heavy moments but keeps a rock sensibility throughout. Simple and infectious melodics are brought to the forefront through electronics and guitar leads that are a key part of what makes this formula work. Not only are the group delivering bouncy and grooving riffage, they also balance it with memorable and catchy leads. Chester's clean vocals and Mike's raps are like icing on the cake of an already approachable sound, the two give every song a great hook and relate-able, easy to follow lyrics that the target audience can easily get into. Even after all these years these simplistic melodies and grooves still strike a nerve.

The album as a whole is fast and to the point, each track is 3 to 3:30 minutes in length, short, to the point and devoid of filler. Starting out with its aggressive tracks, the album calms down towards the end and gets into its more melodic side. Every track does something different and by the end I am satisfied but this short listen does leave one hungry for more. I believe the success of this album is down to the aesthetic being just right for the times, but that alone wouldn't be enough. Theres no denying the groups ability to write simple hooks, appealing melodies and memorable lyrics, the combination of which made this perfect for MTV and radio to push onto consumers, at a time when corporate power had a huge steak in a bands chances to "make it". With the changing landscape of music Linkin Park may just be one of the last bands we will ever see reach these heights of popularity and success. Still brilliant after 14 years.

Favorite Songs: Papercut, With You, By Myself, Place For My Head, Forgotten

Rating: 9/10

My Top 10 Albums Of 2014

The end of the year is upon us, and now its time to write about my 10 favorite albums of 2014. Most of them have been reviewed on the blog which has only been going a few months. Writing about music has given me tremendous focus when it comes to appreciating music. I am now much more organized with my listening habits, I only write about records after I feel an understanding and connection to that without the blog wouldn't have been the same in the past. I'm thankful for this blog and everyones support by reading the articles, Its improved my musical experience greatly and this article will cover my thoughts of each record in brief.

(10) Panopticon "Roads To The North" Link

Delightfully different approach to Black Metal, Kentucky folk influences, an appreciation of heritage and culture made this a colorful and palleted record that is enjoyable on every listen.

(9) Yagya "Sleepygirl" Link

 

Not an especially distinguished or grabbing record, this was just simply what I wanted from this artist, some chilled out super mellow dreamy electronics.

(8) Earth "Primitive And Deadly" Link

A masterful record that saw long running band Earth find their inspiration and direct it into a mature and well developed record that brought vocal elements into their usually instrumental sound. An unexpected and welcome suprise.

(7) Erang "We Are The Past" Link

Erang has pumped out a lot of music in a short amount of time and each record brings a variety of interesting and indulgent music, but unexpectedly this one really stepped up the game with some of his most inspired and captivating music yet. Makes me excited for the future of this project.

(6) Wolves In The Throne Room "Celestite"

Stripping out core elements of their sound and focusing on the abstract synthesizer sounds, the group made a remarkable record that goes on a vivid and mysterious journey through space and time with and eerie and cold undertone. Gripping soundscapes

 (5) Behemoth "The Satanist"

Stunningly dark, evil and well composed. What could of been another run of the mill album for their 10th effort turned out to be focused and ambitious record that despite sitting in a comfort zone, turned out to be monumentally engrossing and heavy.

(4) The Underachievers "Cellar Door - Terminus Ut Exordium" Link

A pleasant surprise to find a Hip Hop record in the modern era I could get into. Very much enjoyed the atmosphere of this record which borders some dark moods at time. Great beats and flows outside of my comfort zone made this an expansive record for my taste.

(3) Saor "Aura" Link

A brilliant record that appreciates Black Metals melodic side, bringing together the abrasive aesthetics with culturally inspired melodies and instrumentation. A pleasure for the ears.

(2) Messenger "Illusory Blues" Link

A Progressive Rock record that draws inspiration from many of the greats while creating its own identity. This record is mature for a debut and paves the way to a bright future for this creative band.

(1) First Aid Kit "Stay Gold" Link

Picking my favorite was as easy as it gets. Since I first heard this record Ive found myself more and more engrossed by these gorgeous songs that are charming and relate-able with down to earth, uplifting and reflectional lyrics that are driven home by the pairs beautiful voices, which put me in a good mood every time I hear them. Simply can't stop listening to this one.

Kittie "Oracle" (2001)

Born in the prime of the Nu Metal scene, Canadian metallers Kittie gained a lot of attention with their debut album "Spit" and subsequent touring on the Ozzfest festival. Unfortunately the group never continued their commercial success, record sales declined as the interest in Nu Metal faded into the 00s. This, their sophomore release, is a humble record that I like to turn to from time to time. It may not be quite the something "Spit" was, but this record offers some decent Nu Metal with dark aesthetics and that classic dropped guitar sound so characteristic of the genre.

Oracle is a simple, straight forward record that at times borders mediocrity as the group play out some elementary tracks that are flared up by aggressive drumming, engaging vocals and a fair few riffage moments. Morgan Lander's screams are snarly, forcefull, borderline brutal and fulled with anger, she contrasts them with some warm, magnetic clean leads that add a welcome layer of color into what is a pretty black and gray sound. A warm crunchy bass marks its territory underneath distorted guitars that have the classic down tuned and dropped sound that doesn't have much going in the way of characteristics, its a pretty generic sound but its executed well. Holding it together is Mercedes's drumming which doesn't stray to far from comfortable territory but has great chemistry with the guitars and provides another aggressive outlet to their sound. When all these elements combine and Kittie hit the mark, musically its a pleasure, the aesthetics are spot on and Landers voice gives it all a definable flavor and character that keeps me coming back.

Simplicity is a core element here, this isn't music thats trying to do anything grand and bold, its down to earth, fun and unapologetic. The guitars are entry level, offering very little more than dropped single finger power chords and the occasional lead utilizing a few notes that may resemble a melody. Its something Ive seen them criticized for, yet I think it misses this point. A lot can be achieved even if simple in nature, it also serves as great entry level guitar to play along to if you like Metal and want to play it. Good album, great in places, theres also a Pink Floyd cover which fits right in (with an interesting guitar solo), despite not resembling the original much.

Favorite Tracks: In Winter, Severed, Pain, What I Always Wanted, No Name

Rating: 5/10

Meshuggah "Chaosphere" (1998)

Meshuggah, Swedish for "Crazy", are one of the most important and innovative bands in this modern era of music, especially in the context of extreme metal, a genre which hasn't undergone much evolution over the last decade outside of Meshuggah's massive influence in the context of rhythm and the "Djent" tone. Chaosphere marks the inception of Meshuggah's ascension into their own stratosphere of sound, one unlike anything that came before it. Previously this band were a group inspired by the American Thrash sound of the late 80s, introducing odd time signatures and experimental rhythmic approaches with their debut "Contradictions Collapse" in 91. They followed up with "Destroy Erase Improve" in 95, a classic Post-Thrash record that saw the band home in on their approach to rhythm and timing, executing polyrhythm guitar riffs and bass kicks against 4/4 arms on the kit. The result is a landmark record, but one that would not deter the band from progressing to bigger peaks. I decided to write about this record after catching them in London, where they put on a phenomenal show. I completely lost my sense of self to the mercy of their rhythmic tribal onslaught.

On this record Meshuggah take their sound to the extreme, ditching the power chords and taking their guitar tone into a new dimension unheard before. The "Djent" tone captures the crunching lows and powerful persuasion of distorted guitar picking textures, amplifying it to create a monumentally abrasive and uncompromising sound. Alongside the guitars, the bass receives a tonal depth and distortion that has is wavering around the guitar tone, further adding to the intensity that is put to effect with a simply genius approach to rhythm that appeals to the primitive and tribal rhythmic instinct inside oneself. Meshuggah's genius here is in their ability to execute two distinct rhythms simultaneously. The polyrhthms are elasticated and magnetized by their relation with the 4/4, sounding impulsive and sporadic inside a measurable pace that in its best moments bleeds a relentless and uncontrollable rhythmic energy that mesmerizes the listener with its infectious tribal instinct.

Although the concept may sound simple, many inspired bands have popped up over the years and it has to be said no one does it like these guys. Their riffing and compositional choices are sublime. Drummer Haake has to be complimented for his double brain. Playing 4/4 with his arms and varying unique time signatures with his feet, the man is a drumming machine and complete legend! Singer Yens also plays an important roll in their sound, his monotone and forceful shouts add to the chromatic texture of their sound and serve as a compliment to the 4/4, adding strength to one half of their timing make up. His lyrics also come with a unique approach, see "New Millennium Cyanide Christ". Much is also to be said about this bands overall "sound". At first they may sound somewhat one dimensional and tonally aggressive, but this simplistic and colorless sound just further emphasizes the importance of the relation between rhythm and polyrhythm. Fully aware of this aspect of their sound, the band blows the dimensional door wide open with Thordendal's alien lead guitars that burst into fold out of the void with an expansive and colorful tone as he shreds through the most unusual arrangements of notes at lightning speed. See "The Mouth Licking What You've Bleed" for an example. This unique almost sounds as if hes trying to hit every note arrangement that isn't in a scale. Its just another beautiful dimension to their sound which is also executed in the opposite fashion with his leads often being extreme or completely minimal. See "Corridor Of Chameleons" for both. His style is most comparable to Avant-Guard Jazz music.

Chaosphere is where it really happens for this band, from this point on they only expand their horizons and evolve their sound. This isn't a perfect record. I feel like the best of Meshuggah is found across multiple records and on this one their a few moments here and their where, if not in the mood, the constant onslaught can be tiring. My favorite way to describe this band, "being grabbed by the ankles and having your head slammed to different sides of the room to uncontrollable rhythmic madness". If this band intrigues you but you can't get into their music I would encourage you to persist. Their is something genius, tribal and totally unique at work here.

Favorite Tracks: New Millennium Cyanide Christ, Corridor Of Charmeleons, Neurotica, The Mouth Licking What You've Bled

Rating: 7/10

Depeche Mode "Music For The Masses" (1987)

Taking off where "Black Celebration" left, Depeche mode's "Music For The Masses" takes a step towards a simpler, easier to digest format that sees much of the instrumentation focused around its main lead rather than the layered constructs of Black Celebration. This minimal and simpler approach is subtle by design but becomes apparent as repeated listens fail to invigorate the same energy and captivity the previous record had. Its a calmer beast by design, and my tendency to compare the two may hold back my enjoyment a little, but there is no doubt that this is a solid record that at no point has felt stale or mediocre at any point.

The calmer tone of this record is soothing, the compositions and arrangements pair well with lush sounding synthesized instruments and a soft, yet punchy kit. The subtlety of the less "grabbing" leads make for great enjoyment, but not the sort that comes to the forefront of you attention and fills you with awe, like "Stripped" and "Fly On The Windscreen". Thats whats disappointed me most about this record, the hooks and leads are less ambitious, and mostly remain in the quieter comfort zone this record muddles through without having any bigger or bolder moments, with one exception, "Strangelove" which genuinely sounds like a left over from the previous album, boasting a more upbeat energy and catchy hook.

What may lack between the two records is certainly not in identity, Depeche Mode very much sound the same band, retaining their colorful sound and moody undertone. Every listen has been enjoyable but theres rarely a moment that jumps out and grabs your attention, its a subtle experience, maybe more suitable to the background while working on other tasks. The album as a whole is decent, but a few slower, moody tracks towards the end are not always what I'm in the mood for when listening to this group.

Favorite Tracks: Never Let Me Down, Strangelove

Rating: 5/10

Marilyn Manson "Holy Wood (In The Shadow Of The Valley Of Death)" (2000)

Having really enjoyed "Antichrist Superstar" & "Mechanical Animals" I was rather hesitant to listen to this record which I remember listening to many years back, and not being particularly impressed. Whatever my thought were then, they are certainly not relevant now that I have connected with Manson's music. "Holy Wood" is the first of 3 records released in reverse order. Confusing, but conceptually these albums are linked and acclaimed as Manson's golden era, or creative peak, following a decline in popularity with later releases which I am considering checking out since Ive grown a lot of respect for a musician who's music is intelligent and thoughtful despite its grotesque and confrontational presentation through art and aesthetics.

Holy Wood is consistent with their style established so far, but represents a more condensed and metallic approach. The overall mood is darker and at times feels rather pessimistic through Manson's hopeless lyrics. The band bring a more traditional rock feeling forward with riff oriented guitars, either distorted or clean, being a bigger focus than the keys and synthetic sounds that brought a lot to the tracks on the past two records. The drum machine is the most diverse element, offering variety and creativity through different kits that guide the tracks they are utilized on with driving energy. The straight forward approach serves the record well, there is no shortage of ideas and the tone of the distorted guitars sounds ripe with hate. There a lot of aggressive energy on display focused through Manson's iconic lyrics.

"Well I'm not a slave, to a god, that doesn't exist. I'm not a slave, to a world, that doesn't give a shit". Lines like this got stuck deep in my mind and despite delivering some of his best hooks, I felt it came in smaller quantities with a lot of the better tracks appearing at the beginning of this record. Holy Wood has some of Manson's most aggressive, abrasive and catchy tracks, but across the course of the record there were quite a few numbers that couldn't quite match the intensity laid down by the love and fight songs. Overall this album offers up more of what I've grown to love about this band, but as an album it falls short of previous works.

Favorite Tracks: The Love Song, The Hate Song, The Death Song, Burning Flag

Rating: 6/10

Ice Cube "Amerikkka's Most Wanted" (1990)

American rapper Ice Cube may have a different reputation in this generation, but back in the 90s he was one of Hip Hops finest. He made an explosive debut with N.W.A. on "Straight Outta Compton", an all round classic that set the group on a course for world domination. Cube made a sudden departure from the group in 89 following disputes over his contributions the the lyrical contributions on N.W.A. and Eazy-E's albums. He was the groups most talented rapper and walking away from something as prolific as N.W.A. was a bold move. In retrospect it has served him well. "Amerikkka's Most Wanted" is Cubes solo debut and one of the first rap albums I got my hands on. As a kid I loved this record and having picked it up for the first time in years I was blown away by the lyrical and instrumental content of this record. Its still angry, violent and explosive, and more so feels relevant following the racial unrest in America in response to police brutality. "How the fuck do you figure, that I can say peace and the gunshots will cease? Every cop killer goes ignored, they just send another nigga to the morgue". Not only relevant, but a sad reminder this has been going on for decades.

Cube has it all, voice, flow, lyrics and inspiration. We find him here at his peak, delivering a record fueled by anger and frustration towards racism, police brutality and social injustice, as well as aiming some raps at radio stations and telling stories of life in the wrong neighborhoods. His flow is sublime, a fast yet sturdy pace delivering fueled raps with an audible grace, every word is crisp and easy to follow. The content is even stronger, Cubes story telling is engaging, passionate and structured. Every track keeps you locked in to the stories which unfold steadily. Theres a lack a filler, Cube keeps banging out the rhymes from start to end with many tracks ending with a sudden feeling as Cubes intensity fails to dwindle before the end of the verse. His engaging and charismatic style is genuine, one of the most talented to grace the mic.

Lyrically this record is extremely progressive in the context of a rappers freedom to express oneself. Its no surprise coming from the group who drew FBI's interest with the classic "Fuck The Police" that Cube would kick up the heat with violent and aggressive raps, flirting with sexist and racist themes that would make this record a focus for controversy and censorship, ultimately paving the way for more expressive freedom in the future of Hip Hop. For all thats ruthless or vulgar depending on your perspective, it comes in a relevant and necessary context as Cube raps stories about crack dens, drive byes and a girl from the projects who claims to bare his unborn child. Cubes dynamic story telling here is stark and unforgiving, telling everything how he sees it, not dressing it up for record sales or commercial success, which this record ironically became a huge success at the time. 

Cube's known as a west coast rapper, but on this record we have production from the legendary Bomb Squad who work with Public Enemy. Their contribution is monumental, providing the backing for Cube that makes this record a classic. Their beats are energetic and layered, bringing that unpredictable and dizzying sound, but packaging it up with a flavor that really differentiates the style from their work with Public Enemy. These beats have got bounce, groove, and best of all they are crafted and catered to Cubes input, following his lead and providing plenty of breaks and variants to keep these songs vibrant as Cubes mesmerizing raps suck you along the course of these instrumentals. Its a fantastic chemistry, one we will never hear again, and for all the positives I've talked about, it has to be said the second half of this album is a grade behind the opening 8 tracks, after the comedic track "A Gangsta's Fairytale" the albums sound and tempo varies as production from Sir Jinx doesn't follow the energy laid down by The Bomb Squad, the track "Who's The Mack" even sounds like a prelude to Ice Cubes later releases. Blinding album, the first half of which is pure classic.

Favorite Tracks: First half of album.

Rating: 9/10