Mazzy Star "Among My Swan" (1996)

 Its been an absolute pleasure to enjoy this record which instantly grabbed my attention, singer Hope Sandoval's sleepy, dream like vocals washed over the hazy distortion and entrancing acoustic guitars to create a sound that felt right at home, yet new to me. Mazzy Star are an American band whos music is composed by the core duo of Hope's vocals and guitarist David Roback. The band released three albums in the nineties before a hiatus that left 17 years between this record and their 2013 release "Seasons Of Your Day". Their sound and style is distinctively blurry between Alternative Rock and Dream Pop with a subtle touch of Country too. 

This record struck me with a vivid image of simple life, maybe on a farm or working the land but with a deep respect for life. The mood and tone balances both beauty and sorrow on a mortal hinge that could be felt in either direction as a sombre undercurrent drifts through Hope's soft, sleepy words. In the distance hazy distortions play out ambiguous riffs as radiant acoustic tones strum out colorful melodies that dance around Hope's voice. On the first tracks bells feature in a slightly discordant manor, their presence is spellbinding and the additional instruments that pop up throughout the album add new dimensions, the harmonica in particular conveying that simplistic, yet emotional depth the music has.

 Across the twelve tracks theirs a mix of tones, moods and intensities to be found. The percussion sometimes fully involved with a light kit, occasionally a tambourine keeping pace, something I haven't heard in some time. The group get psychedelic on "Umbilical", a chilling slow drone with a haunting organ building atmospheric intensity from the guitar and drums. The distant, hazy distortion guitar brings the most unique flavor to their sound, but on every track if its present or not they play out truly charming, engulfing songs that wash over with a touch of tranquility. Bewitched by Hope's voice and the humble emotion the instruments serenade I find myself hooked on this record and the peace it brings.

Favorite Songs: Disappear, Take Everything, Ive Been Let Down, Roseblood, Happy, Umbilical

Rating: 7/10

Graveland "Raise Your Sword!" (2001)

Taking a little nostalgia trip back to "Prawo Stali" my research led me to this Graveland record which consists of three tracks from the same recording session. It's labeled as an "EP" and clocks in at thirty minutes, not far from what could be considered a full record however these songs were left off the record for a reason and despite being such, they make for an enjoyable listen.

"Till The Final Death" marches to the same warlike anthems of the full length, parading battle horns and war crys under the focus of tempered guitars that don't have quite the same groove and momentum, but bare a colder vision with riffs that lurk into higher octaves, rattling and fuzzing away at the mercy of the low fidelity distortion. Between these moments the familiar shifting riffs chime away with the symphonic elements and make for a solid song.

"Temple Of My Hatred" dives into darker regions with a relatively similar style of track, utilizing the same lengthy song structures and compositional choices, but homing in on a darker tone through a memorable lead rift that once again comes through a wash of fuzz and rattle as the distortion's higher end struggles to contain. A selection of moodier riffs give this one a different twist but its a very familiar feel.

"W Objecia Simerci" is the records most distinctive song with a different mix that has the snare snapping through the mix and more space between the guitars and synth. The composition is a little more sparse too with plenty of passages for just the guitars, or for them to drop behind the synth which has some brilliant choir tones singing out booming chants in their moments. Overall its really enjoyable, but a definite mark behind the full length which had the pick of the sessions best songs.

Favorite Track: Temple Of My Hatred

Rating: 6/10

Autumn's Grey Solace "Monajjfyllen" (2014)

 

Autumn's Grey Solace are an American duo who could be considered a "spiritual successor" to the Scotish group Cocteau Twins who broke musical boundaries in the 1980's with their wordless Ethereal dream music. Scott, all instruments and Erin, vocals have been creating dreamy, melancholy ethereal music since 2002 and I have had the honor of being able to feature their music in some of my videos. The two refine some of the Cocteau Twin's best ideas and in their beginnings, delivered glossy sombre guitars and beautifully soft, delicate, almost ghostly vocals over gentle drumming, calm baselines and acoustic chords that echo out captivating serene revebs. Across the six records since the first the duo have dropped the subtleties and drifted further into rich reverbs and glossed over sounds which until this point had been nothing but a delight.

With not a lot of promotion, or presence online "Monajjfyllen" slipped completely under my radar with the duos migration to bandcamp. I was praying for more from the two and now its arrived Ive got to say I feel disappointed. The new record has lush aesthetics as one would expect. Erin's voice is as soft, airy and dreamy as ever. The guitars vibrant gentle tones always playing off the reverb, and there's a thick layer of airy reverbs and synths gliding through the mix. Its all great, but the music behind it doesn't carry the same weight.

Every track on the record drifts through itself in a haze of self indulgence that seemingly forgets to be spectacular in ways the duo usually are. None of the tracks break from the status quo and the temperature set in the opening moments never changes intensity as the songs drone for a few minutes before coming to an end. There's a lack of hooks, spark or excitement, and of what the album does offer feels very much familiar to the tones of previous songs. Each track brings a guitar chord to echo out over and over while the bass and drums quietly keep tempo. Erin's vocals, despite delightful in tone, fail to encapsulate and I'm left wondering If the magics gone or I've simply gotten my fill of this sound. "Divinian" was ripe with ideas and excitement and with this one offering just thirty minutes across eight tracks it feels like the two just didn't have the inspiration.

Favorite Track: Neowollic

Rating: 3/10

Birocratic "Beets" (2012)

 

Beets, exactly what you can expect from this short record, just not the edible kind. The play on words, or word, sets a straight to the point tone that lets the music speak for itself on this small collection of instrumentals by Birocratic, an American Hip Hop producer from New York City. How I found my way to this project I am unsure, but no doubt it has something to do with the obvious Nujabes influence that takes hold of a couple of tracks on this one, feeling like carbon copies, emulating his distinctive mix up of bright, jazzy piano hooks and bouncy drum loops.

 As a whole this record is very much a short appetizer showcasing static instrumentals that for the most part have little progression or change beyond the initial samples and concept. It holds the listening experience back, but one is still to be charmed by the dazzling chemistry of loud punchy kicks and snares that bouncy back and forth with airy jazzed up samples. Biro shows two sides of himself on this record, "Merlot" emulating the styles of Nujabes with a choice of rigidity in the cut and splicing of piano samples, a touch that comes into its own on "Wants To" which makes a engrossing melody of female vocals cut to distort the words and craft a tune with the instances between the distinguishable while rocking a bold moving bass groove underneath. Its not an original technique but its executed to serve its purpose. Biro shows a lot of promise but the short release hinders itself from offering up more of his style and creating an engrossing listening experience.

Favorite Songs: Orientation, Wants To, Stay Gold

Rating: 3/10

Carl Karjalainen "Snakebird The Soundtrack" (2015)

 

Having thoroughly enjoyed my recent playthough of the addicting puzzle game "Snakebird" I found myself compelled to pickup the soundtrack, which I was pleasantly surprised to find out its free on bandcamp. The hours spent rattling my brain for solutions had been accompanied by delightfully quirky and innocent melodies that got stuck in my mind. This is often the case with soundtracks, but its a sign greatness when you can enjoy that same music in another setting. Whenever I need to knuckle down and do some jobs, "bits and bobs", the snakebird soundtrack is there to sooth and help me focus on the task at hand.

There is not much information available about Swedish composer Carl Karjalainen, but his music speaks in volumes, or maybe lack of. The soundtrack's gift is in its minimalism, its quiet, and what it crafts with so little. Its not demanding, or taxing in anyway and just a few instruments create little passages of time that drift on by peacefully if your paying attention or not. The percussion quietly shuffles along with muted kick and snare sounds that are not to dissimilar, as ambient sounds of waves on the beach and winds fill a void quietly in the distance. Along with a murmuring baseline, the lead instruments sing out chirpy, harmless leads and define each song with a strong melody.

Its music for a setting, music for a mode and beyond that there isn't too much spectacular at work but there doesn't need to be. There are a couple of songs which go for a bit more depth and it dispels the simplicity a little. The last song feels very out of character, but it was composed for the end credits, an attention grabbing song to signify victory over the game. For me this record is a great "go to" when you need something gentle to focus your efforts elsewhere.

Favorite Songs: Down Below, Sokosnake, Up Above, Space Maze

Rating: 5/10

Young Guns "Ones And Zeros" (2015)

 

Trying to stay out of the rain at Download Festival I caught this band, one of the secret acts, on the forth stage. I was sucked in by there performance and stage presence. Upbeat, bold, energetic and poppy they certainly put on a show that at the time I knew wasn't exactly my cup of tea but I enjoyed it none the less. Young Guns are an English five-piece group who play enigmatic Alternative Rock with reverb heavy metallic tones and poppy hooks. Their sound is both generalized and accessible, as it is distinct and a tinge on the heavy side.

"Ones And Zeros" is their third full length record and as a whole a powerful, absorbing record if their dreamy, pop epic aesthetic is to your taste. In my case it very much was on the aesthetic front, however the pop hooks and overuse of "woah-oh-oh-oh" vocal inflections really killed of a lot of the enjoyment to be had. There's a lot of good tracks in here, beautiful numbers that soar and glow as epically strum instruments collide in a wash of noisy bliss. Its the poppy undercurrent that at times get under my skin. There's too many moments where the group trade in the progression for cheap hooks and breaks that really break the spell, often with the backing vocals throwing in reinforcing, distant "ah-oh-ah-oh" chants that by the end of the record are driving me mad as the last few tracks seem to ramp up there use.

If it wasn't for my dislike of these choices id be really into this record, there's a lot of the magic I saw live and the aesthetic of the instruments, their chemistry with singer Gustav's strong, velvety voice a real treat for the ears. The production is a typical flawless modern capture that gives so much space for each instrument to fill and with little technical issues to talk about its sound is fitting of the big, lofty, glistening sounds the group create. Its a shame the rely so much on the cheap thrills of trending poppy styles, but between those moments there is substance to be found.

Favorite Songs: Rising Up, Memento Mori, Lullaby, Daylight

Rating: 5/10

Graveland "Prawo Stali" (2001)

 

 It was back in the early days of my minecraft adventures that I discovered this record and a little nostalgia for the game always brings back fond memories of caving adventures and building for the first time while listening to this record on repeat. Rob Darken's "Graveland" holds a formidable reputation in the Black Metal scene. Emerging out of Poland in 92, before the scene flourished with exposure and controversy in Norway, Rob has been consistent releasing records, over 20 in total, since the inception. The quality is somewhat inconsistent, but on "Prawo Stali" he strikes a nerve with a glorious and immersive record defined by its unique theme of viking warfare, paganism and mythology as well as executing some of Black Metals most standardized principles in a unique and memorable fashion.

The beauty of this record is both in its aesthetic and writing, both of which excel, creating a rich, atmospheric record of dense mystic black which rolls over the ears with fuzzy high end guitars chiming with deep horns and a buried base line. Rob's vocal's are usually a little to shrill for my ears, but on this record he gets the balance right and utilizes the wordless screams with thick, echoing reverbs that create haunting chills, amplifying the intensity as the screams cry out from under the other instruments. The drums are a tad stiff and lifeless, but they hold a solid beat for the other instruments and never make much of an attempt to gain your focus. The key here is in the chemistry between the guitars and symphonic elements which continually create the best moments and drive home the strong sense of theme this record has.

There's a warlike feel coursing through these songs, set in mythic times one can envision the glory of conquest as the symphonics gleam victorious sounds of horns blaring the signals of attack across the battle field. The drums clash and pound like the rhythm of warfare while Rob delivers his battlecrys that echo and resonate under the thunderous noise. The progressions and notation used between the guitars and horns helps glue the record together with each ten minute epic feeling right at home with one another, yet each finding their own niche and mood to carve a different setting. The albums only flaw is perhaps its production and the drumming which could of been polished better, but its always a point of debate that the lack of fidelity falls inline perfectly with the records ancient and mythic feel which does an incredible job of uniting such strong themes together under the Black Metal banner.

Favorite Song: Tyrani Okrucienstwa

Rating: 9/10

D'Angelo "Black Messiah" (2014)

 

Having heard rave reviews about this record, I decided to pick up a copy, despite R&B being a genre I've never given much time or attention. It was the fourteen year hiatus between records that intrigued me, despite that being somewhat irrelevant. With an open mind and a new found love for exploring music I gave it a try, and thoroughly enjoyed this record of which I had few points of reference for.

D'Angelo's back story is an interesting one, at a young age he received praise and acclaim for his voice which would guide him into the music business, creating two records that had monumental success before disappearing from the limelight, disillusioned by his fame and status. Fourteen years later we have "Black Messiah", an easy flowing record of laid back groove and soothing soul that ebbs and flows with D'Angelos harmonious voice swaggering sweet vocal infectious in an effortless breeze of ranges, peaks and styles.

His voice is a highlight, a point of attention, but the instrumentals are as much a part of the chemistry creating a chilled, versatile setting for funking grooves to content with a soulful counterpart. The bass bobs and weaves under claps and kicks that strike a powerful rhythm without need for force. The guitars, pianos, trumpets and occasional strings all contribute with a subtlety of force that can do so much with so little as each add quiet inflections to the groove in the moment's there not playing a lead, or directing the drama with sudden hits and strikes. It utilizes simplicity and executes it with cunning, for example a simple clap, kick and whistle groove on "The Door" with acoustic guitars accenting the vocal leads creates so much without filling all the spaces. Its not the sort of sound I'm used too, but I'm liking everything about it and this album is increasingly enjoyable with every listen.

Favorite Tracks: The Charade, Prayer, Another Life

Rating: 7/10

Wardruna "Runaljod - Gap Var Ginnunga" (2009)

"Sound of runes, the gap was yawning" is the translated title of this fogy, foreboding record by Nordic Folk group "Wardruna" who formed in 2003 with a vision of creating music and sounds to captivate Norwegian heritage, Norse Mythology and nostalgia of forgotten times through Ambient music. The group distinctively pass the mark of general musical ambiance, creating wildly vivid and transforming soundscapes that paint a dark and tribal vision of cold, unforgiving north.

The record is ripe with cultural instruments, tribal chants and enchanting vocal choirs that play over a rigid backbone of foggy, dense violin-like sounds and the deep pulse of the drum that keeps pace in the backdrop. The sound is lush, capable of igniting the imagination for tribal life and mystic mythology in the snowbound Norwegian landscapes. The detail going as far to include the sounds of birds singing, and crows squawking in the distance as the sounds grow into visions of ritualistic behavior and worship of ancient gods.

The record has a powerful, and obvious drone as the feel of one song flows into the next, the pounding drum guiding the way, never giving in to any dramatic experimentation beyond the scope. Wardruna have a clear vision thats executed exquisitely. Its strengths make it a fine record when in the right mood, in others its droning nature and rigidity leave it a little dry and uneventful, but thats clearly not the intention. Every droning moment paints the abandon of vast empty landscapes and brings us closer to our mercy of nature. With caring production capturing the charm of the instruments and cultural voices "Runaljod - Gap Var Ginnunga" throws the listener deep into a vision of the past through the eyes retrospect and romances with the times forever lost.

Rating: 7/10

The Lox "Money, Power & Respect" (1998)

The LOX (Living Through eXperience) are an American trio from Yonkers, New York who signed to Bad Boy records in 1995. Impressed with their feature on the track "Last Day" from Biggie's "Life After Death" I decided to check their debut record out which came out the following year. It struck me as a record lost in the flood of records that made up the bling era, but one with substance and character that could stand on its own two feet and still sound great today.

Initially I was a little slow to get into this record. The production comes off as being caught between two eras. The vibes of these tracks fall in line with the styles of the late 90s where money and success was the image most rappers tried to portray, but the sampling, loops and instruments didn't have the clean cut sound and had the rawer early 90s fidelity about them. Across the 21 tracks their are a few great beats, but most of them sit a mark above average, making for a record that does little to offend, but often falls a touch short of being great. Some of the best moments come from the numbers that embrace RnB influences through calmer vibes and harmonious guest vocals that flesh out the choruses and hooks.

The trio of rappers are clearly talented, possibly the best Puff signed alongside Biggie. Each bring a distinctive tone and style but Jadakiss a mark above his counterparts Sheek Louch and Styles P. Puffy's appearance on the record was once again irritating as he makes affirmative remarks in the background of tracks, but its to be expected on Bad Boy. The album is probably a little lengthy at 70 minutes, but it personalty gets better as it progresses, moving away from success oriented, boisterous tracks in the beginning and developing uplifting vibes in the later half. It's an interesting debut that very much fits the mold of the time and comes across as a little disposable but theres some substance to be found here.

Favorite Tracks: Let's Start Rap Over, I Wanna Thank You, Can't Stop Won't Stop, All For The Love, So Right

Rating: 5/10

Outkast "The Love Below" (2003)

"The Love Below" is Outkast's, or Andree 3000's, second half of the duo's critically acclaimed 2003 double album. The first half  "Speakerboxx" saw Big Boi hold is own on a collection of solid tracks, but this record really pushes the mark as a conceptual record which truly challenged the Hip Hop sound with soaring highs and crashing lows. Andree brings us in with a classical score fit for backing in romantic golden era cinema before throwing us into a Jazz band groove with trumpets, pianos and guitars on "Love Hater". Its a change of gears that flows effortlessly as a gentle, serene acoustic guitar strums a dreamy tune with Andree bringing in the records conceptual nature, and the goddess of loves blessings upon him. Its a memorable group of tracks to bring the record in, but this is just where it gets started.

As the album comes into its own as the instrumentals find a sublime chemistry, stretching boundaries as subtle rhythmic presences let Funk, Rock and Soul fly free of any expectations. "Spread" and "Prototype" only held to Hip Hop through muted, subdued bass and kick grooves that let live instruments play out enigmatic songs like a normal band would. The album peaks with the cracking "Hey Ya!" & "Roses", both songs laying fetching memorable lyrics over the live band setup which reaches its peak at this point. So far we have been helped to a stunning level of genius as Andree stretches the versatility of this music effortlessly, with much help from is soft and ranged vocals which peak the songs with beautiful, catchy hooks in between his energetic raps.

Unfortunately thats where the magic ends. In an almost bizarre turn around the skit "Good Day, Good Sir" brings in a second half which casts the live band aside in favor of electronic synth leads and toned down percussions that lacks all the charm of the records first half. The romantic themes of the album feel further abstracted and become more convoluted in a now nauseating rumble of musings that lack a point. The record feels done at "My Favorite Things", a Rave and Drum and Bass remix of Coltrane's classic that dispels the magic from the original with rigid drum loops that rub up against it in an uncomfortable nature. Then the album just trails off with three uninteresting tracks.

I'm not sure what to make of this record. I want to know what Andree's thoughts were on the record as a whole, as from where I'm listening from the first half is genius and the second a real stinker. Theres no doubt though that the expansive ideas that have shaped Outkast's boundary pushing direction come from Andree and on "The Love Below" we hear his ideas at there best and worst. The live band brings limitless possibilities when couple with minimalist groove oriented percussion. The synthesizer work leaves much to be desired, however executed perfectly on Speakerboxxx's "Ghetto Musick". I'll return to this one time and time again, but just for the first ten tracks.

Favorite Tracks: Spread, Prototype, Hey Ya!, Rosses

Rating: 6/10