The Smashing Pumpkins "Monuments To An Elegy" (2014)

So far I have listened to the Pumpkin's records in chronological order, but while listening to "Machina" I couldn't help myself, after enjoying the "Being Beige" single I was itching to hear "Monuments To An Elegy" and didn't fancy the wait. The group split in 2000 and since Corgan revived the project it has received a mixed reaction from fans on critics alike, but the single promised a sound closer to their "classic" era, one I am very much fond of. On a side note I also like the album art here, whatever it supposed to be it looks different each time I see. Much like seeing shapes and face in the clouds.

Monuments is a straightforward record of simple pleasures, short, punchy songs that get straight to the point. The guitars aesthetic is reminiscent of the "Mellon Collie" era, warm tones of distortion that crash in with big chords and have a diverse composure that find new directions, bordering Indie at times but in general blurring the lines of rock and its counterparts in typical Pumpkin's fashion. Its exciting, an evolution of ideas that retains the core. Alongside the main instruments, Corgan brings in a strong electronic element through bright and vivid synth leads that add an expansive dimension to the sound. Either organs, bells, strings or phased buzz-saws, they gel with a contrast that matures with each listen and familiarity. On one track "Run2Me" a pulse dance beat and bright chirpy synth create a very different flow and vibe that really didn't work for me, it stuck out like a sore thumb in the middle of the decent track listing.

The instrumentals are strong, progressive and focused, but Corgan's charactered singing is the glue holding it altogether, every riff and groove is amplified by the eternal youth of his voice. Now approaching fifty, his voice still has the charm it did twenty years ago, most obvious on "Dorian", the most infectious vocal hook the record offers, one that gets me singing along with the simple to follow afflictions of the name. The chemistry at work on this song is a prime example of the album in its better moments, the instruments come together under his captivating lead, with a punchy dance kit, astral plucked strings, pianos and a crusading flanged guitar orchestrating a big atmosphere. Its a great record, only 32 minutes in length its quick to consume but has great songs and really sets a positive tone for Corgan's current creative state. Looking forward to the next record at the end of the year.

Favorite Songs: Anaise!, One And All, Monuments, Dorian

Rating: 6/10

Beyond Creation "Earthborn Evolution" (2014)

Canadian Death Metal outfit "Beyond Creation" from Montreal are back with another healthy serving of their tightly performed, squeaky clean technical onslaught of growling gutturals, crunchy guitars, fancy leads and tactical drumming. They caught my attention with a viral video of their song "Omnipresent", standing aside from other bands for two distinct reasons. Firstly the fretless bass, a bright colorful sound that bounces and slides its way from the background to foreground in a tasteful manor. Secondly the overall aesthetic is crisp and orchestrated with a delightful balance between the instrumentals which compliment one another in a genre that can often be plagued by emphasis on brutal tones. Their debut "The Aura" was an interesting one and I have kept an eye out awaiting a second record, which arrived late last year.

"Earthborn Evolution" is a cautious step forward for the band, working within the same frame they set for their selves as on "The Aura". In terms of production the most notable change is the drums, slightly softer, less of a sharp sting to them, otherwise it could almost be the same record. Musically its a continuation too, not a lot of evolution in style or experimentation, the band play out ten tracks of enjoyable high-octane technical death thats continually frenetic, shifting mercilessly with grindy riffage and shuffling blast beats while the fretless bass dances around between the instrumental onslaught. Constantly rearranging themselves, these songs unfold like a tapestry of ideas being unwound and stitched back together as the guitars and bass dance around one another with complimenting ideas the exhausting drumming narrates with its continual hammering. The guttural vocals come in with force and power over the top of the musical onslaught, they are captured with a textural quality that amplifies the brutality through that texture, as opposed to volume or force. It has a strange effect of leaving these songs feeling complete with or without their presence. When they come in they add a new dimension, but one thats not felt in its absence.

For all thats good and said there is a big negative. Across the 46 minutes of technical bliss there is little that feels memorable. It is pleasant to listen through each song musically unwinding its way through its gorgeous aesthetic, but never does it "strike a nerve" like "Omnipresent" did. There are a few share of unique moments, like the speedy bass fretting on "Theatrical Delirium", but its impact is momentary. After listening through several times it is apparent that for all they do right there is a certain spark needed thats absence can not be disguised. A good record needs to leave you with music you can't get out of you head, and despite being a great listening experience there was nothing here that did it for me on that level.

Rating: 5/10

Outkast "ATLiens" (1996)

Following up on 94's "Southernplayalisticadillacmuzik", Outkast's second album is a relatively big side step from the cultured southern character established on their debut. The album cover stands out as a Hip Hop record for its cartoon inspired graphic and primative 3D fonts. The logo and price an added oddity that as a whole is reminiscent of old Playstation games, at least for me. The cover hints at a strong sense of theme that is present throughout in the production and lyrical content. Reflecting on their commercial success and maturity as people, Andre and Big Boi focus on introspective and social topics in that lyrics that address family responsibility, urban life and a sprinkling of extraterrestrial activity that often feels like a metaphor for social alienation, the name being a combination of Atlanta, where the duo are from, and Aliens.

The theme established is played out well on this record which comes with a thick consistency from track to track. The production opts in for tight, crisp kits and constructed loops that provide a strong backbone for the raps without being bombastic or hyped, they subtly impress with quality and no cheap thrills. Working with the drums a cautious, paranoid bass line creeps around these tracks in the deep low end, playing out paced out grooves that break often to utilize its own absence. The two have a minimalist chemistry the sampling amplifies through quiet samples of various instruments and sounds that leave a big air in the mix for the duo to fill with their raps. Most tracks are devoid of hooks and melodic leads, the samples paint the atmosphere cautiously with alien, out of space sounds and noises to complete the sense of theme so strong.

Big Boi and Andre both shine on this record with continually engaging lyricism taking us through their introspections and thoughts that come with a handful of memorable lines and thought provoking lines, especially with their attitude towards women that displays a lot of change and maturity. With the musings on fame the two show a level headed character not phased by the ego or illusion success can bring. Their engaging intellect is a strength from a record that has no cheap thrills, needless violence or boasting. Solid lyrical content that feels like a breath of fresh air for this listener, despite it being almost 20 years old.

Overall I felt this was a solid, absorbing record, but maybe not one to pick up too often. The calmer vibe and subtler approach is a two edged sword that doesn't fit every mood, but in the right one this stands tall. It wasn't till I started to write that the era crept into my thoughts, this was 96 and a solid execution of new production ideas that were emerging at the time. This was also the beginning of the bling bling era and the record is rather bi-polarizing of that direction. In retrospect this album's importance and significance could be something I overlooked when gathering my thoughts, but for now I will look forward to obtaining their third "Aquemini".

Favorite Songs: Two Dope Boyz, Atliens, Wheelz Of Steel, Elevators, Mainstream, 13Th Floor

Rating: 8/10

The Smashing Pumpkins "Machina - The Machines Of God" (2000)

Its been some time since I last listened to the Pumpkins, we last left off with "Adore", an album that marked a shift within the band that set them on a different path musically. Suffering the departure of drummer Chamberlin and brain of the band Corgan going through a deep depression, the shift is considered the end of their "classic" era and has since left fans divided on the bands musical output after this point. I found Adore difficult to fully appreciate, but it wasn't till after a wrote my blog and put it down that the melodies and echoes started to play in my mind, and picking it back up I really grew to love and appreciate what it was about. Having not been especially swooned by this record I'm wondering if it will follow suit with Adore, a record that absence grows fonder.

Machina sees the return of drummer Chamberlin and departure of bassist Darcy, but not a change that makes a drastic impact on the record, even with their drummer reunited the drumming has the stiff looped feel of Adore. On first listen their is a lot that feels like a progression from it, theres a thick ethereal ooze of airy noise between instruments, many acoustic moments alongside the return of distorted guitars that are fitting of Corgan's style that blurs the lines of Rock and Metal. It is a sound certainly identifiable as Pumpkins, but only lives up to their reputation in the strong moments of this record, of which their are many, but as the record draws on there are some less attentive tracks, namely "The Imploding Void" and "Glass And The Ghost Children", fifteen minutes that fall flat. Machina was originally proposed as a double album, and after being rejected by the record label the second half was released online for free the same year. One of the first records distributed online free of charge.

The strengths of Machina come from Corgan alone, his voice cruises over lush ethereal tonal guitars ringing out in a haze of distortion and melodic acoustics. Either jamming out a riff or parading a thoughtful lead, his voice coursing over the airy soaked layered sound is comforting and warm from track to track. The other instruments don't quite speak in this volume, the bass muddles on with a basic groove behind each riff and the drums are not as adventurous as they have once been, but its looped feel and contained approach may server as a better backbone for what is an indulgent and intoxicating sound on its best songs. On its quieter tracks Corgans ideas feel solid but just fall short in execution as the mediocre suffers the flow set by some of Pumpkin's best songs with "Stand Inside Your Love" and "The Sacred And Profane". Time will let me know more about this record, I certainly found some gems here, but as a whole it didn't quite smooth out.

Favorite Tracks: The Everlasting Gaze, Stand Inside Your Love, The Sacred And Profane, This Time, Wound

Rating: 5/10

Haken "Visions" (2011)

Following up on my enjoyment of English Progressive Metal band Haken's debut "Aquarius" I had to check out there second release "Visions". Continuing from where the first album left off, Haken bring us another installment of there grand progressive form that sees no major shift in style or sound. "Aquarius" told us a fantasy tale revolving around a mermaid, and "Visions" comes fit with an equality solid, but vastly different, theme as a boy sees visions of his own death in his dreams, the lyrics tell a story of his life spent avoiding the knowledge of his impeding death. Its an interesting step from humorous fantasy to fearful introspection, but on the surface of the music its barely noticeable, the music operates on the same theatric level as before, giving us another epic serving of their unique flavor of Progressive Metal.

The record opens with an instrumental number that sets a tone and lays down some of the main themes heard in this album. Followed by "Nocturnal Conspiracy", the albums first lengthy epic, we are gently brought into the story with Ross Jennings soft and tonal voice narrating and hitting sublime notes as the song gradually intensifies. It builds to a moment where everything parts and a gorgeous piano lead gracefully enters over ringing guitar distortion and subtle strings and horns. Its a distinctive moment, one that revisited a couple of times. The following instrumentation really dives into quickening melodic leads exploring scales in a style reminiscent of Nobuo Uematsu's approach to progressive leads, it was a vibe I felt over and over in the better moments of this record, although a strength of this record was its consistency, continually impressive and well put together there wasn't a single dull moment. Progressive music of this nature is forever winding through passages and moments that its almost impossible to summarize, for all this album goes through it ends on a powerful high as the album's theme falls into place with the title track "Visions" a twenty two minute epic that ties everything together.

It should come as no surprise the record sounds great. Moving forward from "Aquarius" the fidelity has only improved. The kits got a lovely punchy bass kick, big spacious tom drums and a rounded snare that add up to create a kit for purpose, capable of theatrics and Metal rhythms. The strings and symphonic elements are exquisite, sounding almost real at times. Theres a great continuity, as the electronics and strings always participate and linger in the background when not in the forefront. It all ads up to a lush and capable sound thats fully utilized by grandiose musicianship. Visions is a strong record, self realized and stimulating, it conjures up a grand show of sound.

Favorite Tracks: Nocturnal Conspiracy, Portals

Rating: 7/10

Bauhaus "In The Flat Field" (1980)

With a recent exploration into the origins of Gothic Rock, Bauhaus's "In The Flat Field" was one I picked up alongside Christian Death's "Only Theater Of Pain" & The Cure's "Boys Don't Cry". It's a Post-Punk record thats been hailed by musicians as a hugely influential one, making them a "bands band" in some regards. The Post-Punk era is a fascinating one, a time of great potential and innovation. Here we can clearly here the origins of new ideas blooming a sound of gloom and darkness arriving with a distinctive clarity of vision. The expression and musical theatrics feel void of experimentation despite that era indicating you could of labeled it "experimental" at the time. This was the groups debut record and they released another three before disbanding in 1983, leaving a short lived legacy behind them.

The record starts with its most bi-polarizing track, "Dark Entries", which starts the record of with a declining single strum note riff that rings out some chords and shifts octaves in between blazing out the dark riff over and over. Theatrical, moody vocal musing don't detract from rocking feel this track delivers, but its far from what the rest of the record offers. As "Double Dare" starts we get a different feel from the same pallet as a submarine ping introduces distorted, fuzzing guitars into a dark, hopeless atmosphere. The guitars play between crumbling drum rolls that rattle in the absence of the distortion. This goes back and forth as Daniel Ash's vocal theatrics embellish like a performer at a play, exaggerating every word. Quickly a dark and paranoid atmosphere is established and explored as the song descends into itself, heightening with Ash's tempering line "I Dare You", performing the "I" over and over. It paints a powerful image of him parading around a set as he performs.

From that point on the album plays out an hour of theatrics, bold, dramatic, audacious and artistic manipulations of sound explore the doom and gloom through screeching guitars, muzzled electronics and big, tom rattling drums. The bass diversifies itself continually with all sorts of fx pedal manipulation. It sounds terrific for an old record, the space and atmosphere is captured finely without a dated feeling. The group utilized what was available and captured there expression timelessly. I have a lot of admiration for this record, but its not one that gets me especially excited. Perhaps they captured the gloom all to well, as these songs plunge into despair they do so artistically, not manipulating it for bombastic effect, but for the art itself. Every moment is intense and gratifying, but tends to stretch on as only a couple of songs change up the pace. Terrific record, was well and truly worth my time.

Favorite Songs: Double Dare, In The Flat Field, Dive, Stigmata Matyr

Rating: 5/10

Bill Evans "The Bill Evans Album" (1971)

For as long as I can remember I have always been fascinated by Jazz music, not for just its soul, but its fade into the shadows over time. Jazz evolved and developed over several decades at a time where information and ideas moved slower. Over this time many styles, ideas and "sub genres" formed before its eruption in popularity in the 50s. This era gave birth to a lot of classic records which have since been forgotten by current generations following its rapid decline through the 70s and 80s. The emergence of Rock music and TV changed society in a big way, so much so that you can barely feel its legacy in modern music. With this disconnect it can be hard to find the right records for you, considering the substantial back catalog of Jazz thats available it is a sea of forgotten wonder to wade through, and its always a pleasure to find something to digest. "The Bill Evans Album" was certainly something I can dig my teeth into, having never heard of this musician before I had no idea what to expect, but alas here was a record I could dive into.

I find it especially difficult to differentiate the deeper artistic expressions in this music, for it is wildly different from modern music. Jazz is classy, bright and sophisticated. That may sound cliche, but its true. This music doesn't revolve around melodic hooks, repetition, beats or sing along lyrics. Its an entirely different construct of sound thats artistically inclined towards free flowing expression and atmosphere. Despite my love of this music, its one I struggle to articulate. Jazz is mysterious and felt beyond words, its as if a higher sense of self is reached through sound that strives for so much more than what we are. What I'm trying to say is despite my enjoyment of this record it doesn't leave me with much to say.

"The Bill Evans Album" is another liquid record that gracefully jams through lush fields of indulging Jazz as Rhodes keys, bright pianos and a walking bass groove vibe back and forth from one another as the kit guides them with gentle timbering ride cymbals, gracious snare fills and sensitive tom rolls. The pianos dances fluently with intricate melodics that glide through scales with a effortless free flowing spirit, signs of a great pianist at work. The bass is often a quite mode of groove, hammering away behind the Rhodes and piano, it occasionally steps into the limelight as all instruments do at one point or another. Its a warm record to feel good with a touch of introspection, more so that acceptance. With no hooks or obvious "moments" to point at, its a fluctuation of feels that wash over at their own desire, occasionally the Rhodes and piano chemistry peaks as captivating melodics overlap in brief instances. Another record in my collection, but nothing on par with the classics.

Favorite Tracks: Funkallero, Re Person I Knew

Rating: 6/10

Berlin "Pleasure Victim" (1982)

Searching for something a little out of my comfort zone I stumbled across "Berlin", an 80s Synthpop group who despite their name are from America, not Germany. Checking out this band in brief was a bit of a trip, a throwback to a scene barely recognizable in modern culture, but only in terms of looks and fashion. Synthpop left a resounding influence in pop and electronic music that can still be felt today, and despite a limited knowledge of the genre, this sounded like a prime example of the sound in its retroactive peak. This was when pop music exploded with rich keyboard synthesizer leads and catchy melodies, an emergence that leads us back to Krafwerk. "Pleasure Victim" went platinum in the states, it took ten years to do so, but now its success seems like something washed away in a ever evolving musical landscape.

Opening with a rigid and plastic electro bass lead, it doesn't take long for the retro sound to kick in as a hyped, glistening synth lead bursts into the fold with an almost cliche melodic lead. Rich synth strings fill the space behind as laser zaps and explosion sounds play away in the background alongside a condensed drum kit that sounds narrow and contained, but of course fitting of this style. Terri Nunn's vocals were initially a turn off, theres a raw authenticity to her voice that felt slightly contrasting to the music, there is a distance created between her traditional singing style and the glistening synths, which as time went on I found to be one of the more enjoyable chemistries on the record. Occasional guitar leads and overdriven chords bring some rock to what is fairly unadventurous record which exemplifies the Synthpop sound.

The record is short and sweet, across the 29 minutes 7 numbers play out with catchy infectious melodies that border cheesy, depending on your taste. The song "Sex (I'm A...)" grows into a cringe fest as moans and groans infest the track as it progresses. Its a thick slice of cheese between two enjoyable sides of a sandwich, which was easy to digest. After repeated listens I felt there was a lack of depth, light and cheerful on the surface the songs were simple pleasures of glittery sound of hooky melodies, but only a couple of songs had the character to stick in the mind. A worthwhile listen, but nothing especially great unless your really keen on Synthpop.

Favorite Songs: The Metro, World Of Smiles

Rating: 5/10

Enter Shikari "The Mindsweep" (2015)

For me, Enter Shikari are no normal band. They were once thee band in our local scene, playing at our schools, pubs and clubs we saw this band grow from the back garden to headlining festivals. Back when they were the unsigned hype in the UK we all knew where this band were going, they had heart and charisma, a sound they could call their own and a determination to live out their dream. I have an immense amount of respect for these four friends who started the band while still in school back in 2003. Through relentless touring and commitment to their music they have built a large audience across the world from the ground up with a DIY ethic, creating their own record label to release their music on and touring constantly, playing many clubs and venues across the land. Eight years on from the release of their debut major release Shikari have matured as musicians and this, their fourth, is their most structured and diverse record to date.

The record start of with a familiar feel as Rou gives another rousing speech regarding the state capitalist society and the problems we face with the need for social awareness, the music steadily builds intensity before breaking out into rocking riffs emphasized by sporadic synths and climatic melodic vocal leads. A warm opener for a record that got a lot to offer, Shikari's diverse sound is know for pulling many elements together, Alternative, Rock, Post-Hardcore fused with Techno, Trance, Drum N Bass and even tinges of Dubstep. The group are not afraid utilizing electronic club sounds alongside their traditional instruments. More so than ever we hear a dynamic fusion where the glistening synths and noisy glitch sounds compliment the core of the songs, giving them a rich musical dimension that never falls short to deliver delight. Whether rocking a guitar heavy breakdown, a moving rock ballad or slamming drumstep break, they find cohesion between the diversity of styles and write effortless music which further incorporates raps alongside the scream and clean vocals, even a Symphonic element is present with some soft strings dropping into particular tracks.

The albums production is classy, with so many instruments at working its great to hear them meld effortlessly, aided greatly by the production from Dan Weller of Sikth. Beyond the flush sound, the music itself is positive, upbeat and full of good vibes as the album courses through tracks that focus of the best of their diversities. Each track feels characteristically different from its predecessor and all of them are pack with musical moments you look forward too, whether a melody, riff or hook every song is filled with something to enjoy and despite being such a varied record is flows effortlessly. Its the first time I had listened to them and not yearned for something like the old classics "Sorry Your Not A Winner" etc. Shikari have matured, but here it really came together, firring on all cylinders. There was only one downside to this record, the lyrical content. Not much resonated with me, or even grabbed my attention, but that is no fair critic as words and lyrics often go right through me. Its been great to see the band progress, but here I hear their flame grow strong, a terrific record that sets them on a path for great things.

Favorite Songs: Anesthetist, The Last Garrison, Myopia, The Bank Of England, There's A Price On Your Head

Rating: 9/10

A$AP Ferg "Trap Lord" (2013)

"Trap Lord" is the debut album of New York rapper / producer A$AP Ferg, a member of the A$AP Mob, a Hip Hop collective consisting of 14 members who have been active since 2007,  finding success in recent years. I found my way to this record looking for "Trap" music, a term used in Southern Hip Hop in the early 90s that has seen a wave of revival and innovation in recent years in both Hip Hop and Dance music. "Trap Lord" was a record of two halves, one great, the other awful, so we will start with the good. 

There is a stylistic formula at work on this record that doesn't take long to break down. Ferg's production follows some core principles that doesn't stray to far track to track. The kits are tight, sharp and cut finely. Crisp claps and snares groove with sudden kicks that leave a big space that even the sterile hi-hats don't touch, they rattle and stutter at varying tempos creating dynamic grooves that even the occasional reverb soaked snare doesn't touch. It leaves much room for the instruments to fill and the compositional arrangements have their own style not afraid to bring in minimalism with frequent kick and snare dropping. Filling the space the kit leaves are minimal leads from a variety of electronic sounds that rarely move beyond one or two layers. The melodies are simple, consisting of a few notes that repeat over and over. Its easy to strip down, but built up these songs build a contrasting air of swagger and paranoia that paint an image criminal wealth and looking over your shoulder. Further stylizing the sound, the vocals come with distant echo affirmation shouts and aren't afraid of using pitch shifts and effects in places.

Ferg's rapping is both rigid and laid back, his flow is often tight and repetitive, choosing words to fit a tight rhythm that loops over, occasionally Ferg suddenly shifts gears to double the tempo of his lyrics. Spitting stiff his tone and delivery is contrasting, sounding casual, often slurring or drawing out words, mispronouncing to fit a rhyme he creates a lot of substance and style. But thats where the good ends for me, the lyrical content of this record his ruthlessly misogynistic and graphic. Between boisterous sexism and degrading imaginary their is little substance that grabs me. Not a line sticks in the mind, even if the flows are enjoyable what their rapping about is hardly. On "402" and "Dump Dump" Ferg hits a low as he shows his self centered moral-less attitude, glorifying his promiscuous behavior and rubbing salt in the wound, depicting his victim crying on the record. I enjoyed the instrumentals, but the lyrical content leaves nothing to return to once the beats dry out.

Favorite Songs: Let It Go, Shabba, Lord, Hood Pope, Fergivicous, Cocaine Castles

Rating: 5/10