Cloudkicker "Woum" (2015)

 At the beginning of the year I enjoyed my first Cloukicker record "The Discovery" from the Pittsburgh based one man band. Seven years later "Woum" is unrecognizable from the noisy metallic Djent-fest I knew this project as. There is no disappointment, "Woum" is an inspired project, its only hint of the past is felt through the intricate, tight guitar performance and use of abstract noises in rhythmic synchronization with the percussion. Its got the feels of a Djentleman but is an acoustic Post-Rock affair that effortlessly flows through peaceful and calm compositions of melodic delight.

The guitars are light, bright and colorful, plucking away with reverbs and echos that feedback on themselves, masking the layers of quiter guitars that mingle underneath. They expand and contract as the intricacies unfold secretly before your ears, steadily growing in momentum and detail. Its held together by a loose and spacious kit that rocks untypical beats in a gracious and distant manor, at times feeling almost irrelevant, but still welcome. On select tracks there is a thick and textured bass underneath rocking grooves that work of the kit, and at other times it is more subdued in light of the lead guitars which were the focus of the record.

It all makes for colorful and bright listen that has a few notable moments like "Threaded", a guitar piece that makes fair use of a continually expanding reverb as the song gets lost into itself in a lurking flood of ethereal ooze. Its ambition and direction is short of the bigger picture for despite all its pleasantries nothing jumps out and grabs you, although you feel it may at any moment. Its a well realized and put together piece of music but it only goes half the distance it has the potential to do.

 Favorite Songs: Trim Splint, Threaded

Rating: 5/10

Godspeed You! Black Emperor "Lift Your Skinny Fists Like Antennas To Heaven" (2000)

Here's a record that's been in my rotation for a couple of years now. Hailed as a masterpiece and a classic I've failed to connect with whatever it is other people see in this album. "Lift Your Skinny Fists..." comprises of four lengthy 20 minute songs that entomb Shoegazing Post-Rock numbers inside a vault of murmuring drones and cascading ambiance. As I touched on in my post of "Celestite", such musical works can be a hit or miss even based on the tiniest of discrepancies but in this records case most of the choices in droning distortion guitars and gentle ambiances that grew and shrunk in-between where a turn off. In its quieter, brooding moments I felt little emotion or connection and in its big and dramatic, soaring guitar led Post-Rock drones I felt very little.

Its hard to describe a lack of connection or emotion, or to even pin point why but if somethings are not doing it for you its even harder when the more approachable content is hidden between lengthy intervals of dark, lengthy ambiance and dull drones. Despite my lack of captivation some moments show a sense of theme developing which come with some nice tempo changes that unfold. "Deathkamp Drone" was the most enjoyable piece from the albums fourth track but lost at the end of a ninety minute record it wasn't often I made it that far through. I gave it my time, I do wonder if its age and the context of that time makes it more remarkable but even so this record just wasn't for me.

Rating: 2/10

Wolves In The Throne Room "Celestite" (2014)

Revisiting one of my favorite records from last year I found myself encapsulated in the mystic abyss that is "Celestite" again. Wolves In The Throne Room are an acclaimed American Black Metal band from Washington who never did much to catch my ear with their traditional sound, however this record, the bands fifth, marks a musical shift in style that may just be a "one off" or ambient record. A deep, dense, brooding guitar distortion lurking under the paranoid soundscape of "Initiation At Neudeg Alm" may be the only echo of their former sound as the group embark on mesmerizing plunge into the world of Dark Ambient and Drone music. In my experience these sorts of records are a niche in taste, they can easily turn you on or off with the nuances that make up the experience. In this case, everything here was primed for my taste, in the right mood one can get truly lost in these eternal soundscapes.

Drifting through the vast, colossal distances of space and time the twinkling of stars can be heard between the vicarious synths that breath in bursts of color and fade into the distance. These eerie and mystic flows of sound coarse past one another in a minimal environment that feels enriched by the quiet yet conjuring layers of intrepid synths that represent the infinite void. Its an experience of two half's, one facing the mysterious universe at its mercy and the other entrenching the spirit of evil with mean, brooding french horns and trumpets, orchestrating the feeling of a presence with a careful balance that lets no melody linger or feel prevalent. Each note works with the next to excite the imagination and paint the canvas with existential introspection in the face of vast nothingness.

The records second track dives deep into the evil, sinister side with thunderous and distant, deep droning distortions roaring alongside the sounds off descending planes and mischievous synths. Through it all the twinkling of the stars can be heard and slowly this heinous droning gives way to the abyss. After this the record continues on its haunting journey through the cosmos, droning and drifting seemingly forever, with only an inkling of evil returning on the title track.

The selection of synths and techniques used to create these sounds has been done with much care and inspiration. The compositions are lengthy, detailed, with many layers constantly working in tandem to maintain a grabbing atmosphere which plays out for 40 minutes through many progressions and drawn out moments that never make themselves to remarkable. The balance of melody and ambiance is sublime. The tunes playing the fewest of notes to whisper a tale, yet making no memorable mark, each time you are truly held into the songs moment.

Rating: 8/10

Birocratic "BiroMakesABeet" (2015)

Back with an appetizer, a whiff of a record that clocks in at just under 10 minutes, Biro teases us with four of his finest beats to date. The charming Jazz Hop vibes flow in a stride of creativity and inspiration as Biro lets these beats swoon and groove in their moment, capitalizing on an excellent selection of samples and intertwining them with plenty of additional instruments to guide the songs through a few progressions that drown out a common sense of repetition. Gone are the trademark vocal cuts and missed they are not, where once the Nujabes similarities took hold there is now a great sense of individual style shining though the chemistry of lush whirly synths and jazzy piano driven samples.

With some great baselines and drum routines there is a strong undercurrent of jive and groove to move to under a dazzling array of jazzy, dreamy music. These songs are short in stature but maybe that's their strength? Biro has reinforced his loops with a pallet of instruments to keep the songs growing and evolving, but maybe it works so well because its in the shorter context. Either way its got charm, soul and is one of the best 10 minute records I've ever heard, although that's not many to compete with its got me hyped for what I hope will be a full-length release in the future.

Favorite Track: Next Stop

Rating: 5/10

Killing Joke "Pandemonium" (1994)

Killing Joke have quickly become a favorite band of mine and more so for their first two records than any of the others Ive been making my way through. After the noisy, discordant rock out, slightly metallic "Extremities, Dirt And Various Repressed Emotions" the niche Post-Punk, Industrial Rock outfit took four years to create "Pandemonium" where their influence comes full circle. Having been a notable impact on American Industrial Metal band Ministry, the feedback loop can be heard as the band take a considerable step into the Industrial Metal sound with heavier distortions and a more Metal sense of rhythm, while keeping all that makes them unique and distinguishable.

The records stand out track "Exorcism" marks seven minutes of pounding industrious repetition and heavy guitar crunching under singer Jaz Coleman's theatrical performance of an exorcism, descriptive, practically visual sound effects included. Once again the band execute repetition to perfection on their heaviest track, which bares a strong resemblance to songs like "Just One Fix" and "N.W.O." from Ministry's "ΚΕΦΑΛΗΞΘ" album, slamming the same riff over and over to pummeling, pounding drums. As I'm writing this I can't help but notice the symbols used in the title on the cover art.

Each track is its own beast taking on a distinct sound, "Black Moon" having a dreary vibe reminiscent of "Revelations", "Millennium" with a soaring sing-along chorus that has a typical 90s charm about it and "Whiteout" brings about denser percussion, with more layers and faster hi hats taking on some borderline Drum N Bass influences. The last two tracks trail off with a noticeable drop in production quality. Pandemonium has its impressive moments but comes off as a collection of fair songs kept fresh with the constant shifts in tone and vibe from song to song. With only one stand out track its a record you'll of wanted more from if your aware of what this band is capable of.

Favorite Track: Exorcism

Rating: 5/10

B.G. "Checkmate" (2000)

Following up on my favorite southern record "Chopper City In The Ghetto" is B.G's last release with Cash Money Records before his departure later in the year over money disputes. Its his sixth release in five years, rather remarkable when you consider he was still a teenager when recording this one. Once again he teams up Mannie Fresh for a production sound similar to the Big Tymers "I Got That Work" album released in the same year.

Much like the sparkling bling fueled cover art, the beats are crisp and glossy as the fidelity steps up a touch. With a finer selection of programmed instruments, the compositions have a greater clarity as layers of snappy, sharp, clean instruments jive together in a mix where you can clearly hear each and every instrument and how they contribute to the song. The drums inflect a southern accent with hi hats and various percussive instruments taking president over the kick snare groove. Around it plenty of noisier subtle electronic sounds and instruments move in the backdrop while the brighter instruments, pianos, guitars, horns and synths, make up the short and simple melodies that loop through these songs. It all adds up to a fair collection of beats that falls short of being remarkable or special, but far from being anything negative.

So when B.G. steps to the mic its his opportunity to elevate the record but his laid back, easy flow doesn't quite chime like it did before. These beats require some hype and energy and the disparity can be heard on tracks like "I Know" where the thumping orchestral hits don't match his tone or energy. A lot of the guest features do better for these beats and for all the verses and choruses Ive listened through there wasn't a memorable line to be had, unlike Chopper City with its many lines and hooks I can't get out my head. Although I enjoyed this record, there is little to talk about or take away, and I'm left feeling this one suffers from the factory approach to keep pumping out records regardless of inspiration.

Favorite Songs: U Know How We Do, This N Die, Get In Line, Run With My Chopper, Problems, he Used 2 Be A Man

Rating: 4/10

Darkthrone "Transilvanian Hunger" (1994)

On their previous record "Under A Funeral Moon" Darkthrone created a purist record that pushed musical boundaries in an "anti music" rebellion against traditional norms, even within their own emerging scene. At the time it must of been hard to conceive the next step but somehow the duo managed to take their sound to new frightening extremes. "Transilvanian Hunger", their first as a two piece, would take on three distinct progressions that set it aside from its predecessor and defined it.

The most obvious, and immediate characteristic is once again production. As if the harsh, colorless pallet of sound wasn't cold enough for their taste, Darkthrone pushed hard with a mix that removed the high end frequencies entirely and squeezed all the instruments into a memorizing haze through the mid and low ranges. Its a shrill wave of noise, narrow and claustrophobic, frightening and haunting as this dense hurtling wall of noise plunges us into the depths of a frozen hell.

The next trait may not be a rebellion, but certainly comes across as one. Switching from English to Norwegian lyrics would not be an original idea but certainly further alienated their music and added a element of mystery to foreigners listening in. Many of the vocals are already difficult to decipher as is, the language adding an extra barrier in the extremities, with exception to the title track and a few other lines that are in English. The title tracks lyricism is gloomily somber, a hopeless romanticism with cold and chilling misanthropy amplified by the bleak and pale music.

Behind this wall of sound and imaginative mystic lyricism lies an impressive take on the simplicity of progression through a singular line of direction. With an onslaught of rattling, whirling, never ending blast beats and mirroring base, the guitars leads us through a single dimension of sound, focusing on simplistic power chord shifts and the occasions whiff of a cold lifeless melody or frantic injection of inaudible solo leads. Through this harsh sound and linear approach to songwriting we journey through the expanses of the cold and dark side of natures cold and unforgiving reality. Keeping the listener locked in through pummeling repetition, a simple riff change can sound monumental, reminding me of the overall experience. Through so little can be delivered so much in the imagination that a peak of light shining through the keyhole sparks, wondering whats on the other side.

Favorite Song: As Flitter Mice As Satans Spys

Rating: 8/10

Darkthrone "Under A Funeral Moon" (1993)

Of the back of their transitional record "A Blaze In The Northern Sky" Darkthrone set out to write a purist record that would cast aside the remnants of Death Metal and delve deep into the spirit of the Black Metal scene. The result is a horrifically dark, chilling and blunt record with a strong satanic message. It brought about techniques, musical ideas and a classic low-fi production aesthetic that would have a vast influence on the future of the scenes music. It was also the last record with second guitarist Zephyrous who left the band as a duo that are still writing music together to this day.

The record opens with an ambush, "Natassaja In Eternal Sleep", dropping us immediately into what feels like the middle of a song with a temperate, ugly scaling guitar riff leading the way, the vocals drop in with a similar mid-song setting and we get a taste of the many rebellious, almost "anti-music" ideas this record experiments with. As suddenly as it starts, it ends, with the song simply fading out sharply, mid riff, after the last lyric is howled "And Natassaja, I'll get these god dam angels drunk".

The lyrics are a merit of their own, but the delivery and execution of Nocturno Culto's wretched screams are sublime. Working with both an immediate and delayed reverb, his snarl and throaty howls feedback on themselves before echoing out into the track. The texture is menacing and shrill, combined with the evil and sinister lyricism he comes off like an anti-christian weapon of malice, haunting us from beyond this realm. On the records title track Culto's walks us through the proceedings of satanic ritual with a chilling nocturnal lyricism, "Drinking the poisoned blood, I enter my shadowed coffin, two goats horns in my hands, I raise my arms and close my eyes, to receive the infernal hails from my brother in the land of the damned". Frightening stuff if you choose to take him seriously. I can't help but take it with a pinch of salt however I think the mood and tone of the record makes their beliefs and intentions very clear.

 The records production is a staple mark of the genre as the band pushed extremes and opted for a low fidelity sound to satisfy their rebellious "anti-music" fever. The guitars have a thin gristly fuzz distortion that feels narrow and evasive, the drums rattle and clash through a claustrophobic lack of dimension. The bass is buried in the haze and the performance has a fair few mistakes and inconsistencies that add to the charm. It was an intentional decision to downgrade the fidelity and it served as a feedback loop to bury the music in an unforgiving sound that would reinforce the ideology. Having listened to this one so many times Its become the norm, almost hard to imagine when I first discovered these record and saw a peak of light through the black, tarnsihed front.

Collectively its a flawless, cohesive collection of ideas executed sublimely but Ive always felt a selection of songs out-shined the others, leaving it slightly short of what would be a "perfect" Black Metal record. Exploring many dynamics of mood, tone and general "evilness" the group even throw down a slamming satanic beat down on "Summer Of The Diabolical Holocaust" that makes a masterpiece out the simplest use of rhythm and power-chords possible. It climaxes with a cryptic, wild guitar shredding solo that wails a noisy mess of sound in an almost piss taking tribute to guitar leads. The rebellion is real with this record, its black, bone cold and not for the light hearted. Beneath its ugly menacing exterior lies an exciting musical adventure that pushes all boundaries.

Favorite Songs: Natassaja In Eternal Sleep, Summer Of The Diabolical Holocaust, Unholy Black Metal, Under A Funeral Moon

Rating: 9/10

Darkthrone "A Blaze In The Northern Sky" (1992)

In recent weeks I've been in the mood for revisiting old favorites and Norwegian Black Metal outfit Darkthrone are among them. Its been well over a decade since I discovered this band and their rebellious music, for new listeners in the genre Darkthrone are often one of the first names to crop up with one of the earliest records in the emerging scene and a prolific influence on the future direction of the genres sound that many of bands would come to emulate. "A Blaze In The Northern Sky" is the first of three records known as the "Black Trinity" or "Unholy Trinity" that marks a crucial part of the bands history as well as introducing the forever copied minimalist black and white album artwork including the classic corpse paint. In the next two posts I will cover the other records that make up the trio.

In 1991 Darkthrone released their first full length "Soulside Journey" an unremarkable Death Metal record that gave them a foot in the door when shifting sounds. Convinced by local musicians to change their sound Darkthrone would be among the first to release a full commercial record as a Black Metal outfit thanks to their record deal with Peaceville records. Although this record doesn't resemble anything along the lines of Death Metal, a closer inspection reveals some left over characteristics that would be non-existent in the follow up "Under A Funeral Moon".

The record starts with the classic 11 minute "Kaatharian Life Code", a deep satanic chant cries out between the echoing tom drum and eerie, hellish synths that create a soundscape of satanic mysticism. Before long it crashes into screams, blast beats and wailing Black Metal guitar shredding. The records aesthetic is sharp, cold and dense, the guitars have a fuzzy and thin tone that spreads a fair range over the warm but unfocused baselines. The drums hammer and drive these songs with a surprisingly flat and sterile quality. It comes together with a charm, magnified by Nocturno Culto's haunting screams, the rough and raw texture of his vocals burying themselves in the excessive, but short reverb. I may of listened to this record too many times, but it sounds fantastic for such an early record in an experimental genre.

Despite nailing the aesthetic, there's much to be said about the guitar work and general tone of the record, although frosty and grim on the outside the mood and undertone of the record isn't quite on the same wavelength. It may be a collection of great songs but the death metal influences are very distinct with the blast beats dropping the kick first instead of the snare, snare blasts being a staple feature in Black Metal. Many of the guitar riffs have a warmer tone and display many techniques commonplace in Death Metal. It sounds very much like the riffs were adapted in their transition between sounds and played at different tempos. That's just an observation though, Its a fine record with a continual churning over of power chord driven songs with plenty of head banger moments.

Favorite Songs: Kaatharian Life Code, In The Shadow Of The Horns, The Pagan Winter

Rating: 8/10

Juvenile "400 Degreez" (1998)

Returning to the dirty south again I picked up this record from the Cash Money crew that's been hailed as a classic. Fronted by one of the better heavily shopped covers it has Juvenile surrounded by fire, golden frames and a sprinkling of sparkling diamonds. Coming from New Orleans Juvy brings a weight of localized slang and pronunciation to digest as he spits with a limp, twisting words to his style, moving syllables, slacking on fidelity in favor of a southern rawness. Production is once again handled entirely by Mannie Fresh of Big Tymers who delivers a solid collection of beats with one or two distinct numbers.

The record opens up with a classic track "Ha" that could turn many a listener away with verse after verse of raps with a single rhyme, "Ha". Juvy shows his skills in other tracks but on this one poses a bunch of questions that creates a range of scenarios relevant to his environment. His flow is lethargic, in a laid back way, pronunciation loose and casual while keeping to the tempo. His charm comes from the subtle grooves and tone shifts as his delivery works like an instrument chiming in with the music. His deliveries trump his rhymes time and time again with the exception of "You see me? I eat, sleep, shit and talk rap! You see that 98 Mercedes on TV, I brought that!". Classic opening verse on the title track.

Its a standout track, and its production brings a dark and gritty vibe to an ethereal and spacey chorus as morphed vocals sweep through the spacious atmosphere, saluted with a subtle roll of bells in the mid. The tracks are mostly composed of electronic instruments typical of the era but in the rhythm department the kicks, snares, hi hats and stabs bring a distinct bounce and southern groove. Doubling up on the beat the songs often drop in shuffling hi hats and harsh 4/4 claps onto the beat. Its raw, and sets a president for further experimentation, which would have an influence on Trap music. Overall its a great record but between its better tracks the 72 minutes does feel stretched. Unlike B.G. these Cash Money rappers don't keep me captivated on that side of Hip Hop music as much as the instrumentals do.

Favorite Tracks: Ha, Ghetto Children, Follow Me Now, Welcome 2 Tha Nolia, Back That Azz Up, 400 Degreez

Rating: 7/10