Macabre Omen "Gods Of War - At War" (2015)

Purchasing a couple of records at a gig I went to recently, the seller encouraged me check out his band and I'm very glad I did! "Gods At War" is a swell Pagan Metal album that delves into Greek mythology, the Athens based bands own ancestry. We are used to seeing Viking Metal and the likes from Scandinavia, so its fantastic to find a gem like this where metal isn't as prominent in southern Europe and of course a different source of mythological inspiration.

Macarbe Omen have a loose, liberated flow to their music that doesn't stick to one distinct path to embellish us in ancient settings. Ever twisting and turning through champion riffage, soaring melodies and a barrage of clattering drums an experienced listener can hear tinges of many bands and styles teetering from Black, Death, Pagan and everything in between. The rhythm guitar muddies through hazy distortions and chunky riffs as the leads coarse over with inspired wistful tunes. Charging like a beast into battle the drums constantly bear down with endless blast beats and nimble batterings that can seep into all the creeks with its bellowing echo and reverb. The records voice comes commonly in two forms, shrill, distant howls reminiscent of In The Woods... classic "Heart Of The Ages" and burly lower ranged half growls. There's also a fair few helpings of Greek choir chants to drive home the records heritage. Its inspired and travels through its motions with plenty of spectacular moments that is helped along with an undercurrent of carefully placed symphonics.

Its a record to remember but not without its flaws. Although distinctively Pagan there isn't much beyond a handful of strikingly obvious moments and the song titles to define the Greek mythology theme, maybe in the lyrics but not much can be said of indecipherable howls. "Man Of 300 Voices" however does this with a lengthy acoustic interlude to set the tone. "From Son To Father" is where the record shines brightest. Epic in scale and tone we are lavished with inspired lead guitar melodies and a memorable group chant chorus to conjure the gods.

At just over an hour its a lengthy record, that can be felt as it draws to a close. Eight lengthy tracks of which a handful do take their time to progression through the motions. The production is also a little slack and forgiving of itself. Although the fidelity is key to its atmosphere and ancient feel, the drumming can be overpowering and constantly competing with the guitars. Its a bit nit picky, but where this record aims high it achieves it musically with an inspired touch that fell short on execution.

Favorite Songs: God's Of War, Hellene's Do Not Fight Like Heroes, Heroes Fight Like Hellenes, From Son To Father

Rating: 7/10

Killing Joke "Fire Dances" (1983)

Steadily working my way through the Killing Joke discography we arrive at the bands forth "Fire Dances". At this point I'm starting to wonder if I've heard the best of what they have to offer, however the next record includes two classics. "Love Like Blood" and the song some say Nirvana ripped of "Eighties". Unfortunately the progression to that point has yet to begun with this album mostly toying with the same ideas "Revelations" explored. A touch better overall it suffers from the same flaws as its predecessor. Even though I wouldn't rave about this release, I have to say Killing Joke do a great job at creating an original sound. When its fresh it has its charm but quickly tires as a session draws on.

The opener "The Gathering" gets things charged up with a rampant tom snare beat that glimmers an inkling of hope for another "Tension". Unfortunately the guitars are set on exploring discordant rumbling noises and creating a paranoid, nightmarish semblance. The baseline holds it together with solid melody line and the song experiments with some harsher noises groaning into the landscape. Much of the record follows this formula, tribal primitive drum pound and throb there way through drizzling distortions and nonsensical riffage that doesn't offer much in the way of song structure or progression and the bass guitar is often the only comforting outlet in a maddening climate.

Obviously its the point of this record. Much better than "Revelations" did, "Fire Dances" clearly establishes its vibe of mental insanity and playful madness no thanks to singer Jaz who seems to be enjoying his performances, flamboyant, theatrical and jester-like one can picture him dancing in front of the fire. Records that play with any theme can easily engulf you in it, regardless of if it borders on morose. There are moments where the band achieve this and their unusual riffs and style come off well, however it was to little as a whole. I'm left with an odd appreciation for this record. Its not one I wish to listen to often however it fills the gaps of experimentation that has led to a lot of extreme music I listen to today.

Favorite Song: Harlequin, Dominator, Lust Almighty

Rating: 4/10

Dio "Dream Evil" (1987)

Venturing back into the spirit of Heavy Metal we get fired up with Dio's forth in as many years. Like a blast to the past we are whisked up back to that air of epic fantasy and big rock atmosphere fit for festival headliners. Its hard to think this band were once controversial and attacked on the grounds of being "satanic" music. It just seems like harmless good fun and that's what I had with this record. Now being more accustom to Ronnie James Dio's voice it was very easy to step into "Dream Evil", led by his pioneering charge, followed by rocking instrumentals and a subtle layer of 80s synth.

Much of what I said on "The Last In Line" could be said of this album too. I find Dio slips neatly into the selfless level of enjoyment fit for festival fist pumping and joyous escapism. Powerful, dramatic and full of Heavy Metal thunder the group sound completely in sync with one another, the riffs and song structures revolving around Ronnie's mighty soaring vocals which will have you at their mercy, bobbing your head and singing along with every word through a great set of choruses.

Four years on the production is a touch clearer and generally better. The keys on this album feel under realized, when they crop up they add another dimension to the sound what wasn't explored enough. "Night People" has a foggy organ-like synth subtly enhancing the atmosphere. On "All The Fools Sailed Away" they suddenly, without prompt, jumps into the track with a jiving, vibrant Prog Rock homage lead solo. It gave these songs an edge that didn't return often enough but in all fairness didn't hold this one back from being another Heavy Metal classic.

Favorite Songs: Sunset Superman, All The Fools Sailed Away

Rating: 7/10

Megadeth "Dystopia" (2016)

Its hard to believe it but Dave Mustain's Megadeth have been at it for over thirty years now. Once of Metallica, Dave was dismissed by the band in bad circumstances that left him soar and on quest of retribution to out Metal the giants of the genre. In the late 80s and early 90s the group saw a commercial peak with a string of well received records. In recent years Dave has been touring and pumping out record after record every two to three years. "Dystopia" is the groups fifteenth and I only decided to check it out due to requests to do so. I'm glad I did, its a solid, enjoyable Megadeth record that shows little sign of the group tiring however this meant the record had little new to offer.

If your familiar with Megadeth's sound its distinctive as ever on a tightly produced record. The distortion guitars have flair and speed, electric blazing lead tones and the rhythm sounds a touch Djenty and maybe over compressed. They sound fantastic when synchronizing with the sturdy bass kick drums which thud away mechanically with precision force. The bass guitar for the most part hides under the guitar, a common disappointment with records that don't utilize its potential. Dave's voice is often a turn off for potential fans and their is no break from his nazel tone. The age can be heard in his voice which can still be adventurous but the limits in his range and occasional gruffer vocals are apparent in moments where he sounds a step behind the instrumental intensity.

For the songs and music its typically metal, attitude and aggression circling around wild and excitable riffs, often busting out into lightning paced guitar leads. The record is held together with themes of societal disillusion, paranoia and government conspiracy. There is really little to fault and some of the opening songs would fit in well between the classics in a live show. On a personal level I don't feel like I'm getting any new spice or flavor which probably reflects my current apatite for new sounds as opposed to the monstrous amounts of Metal Ive consumed over the years. Solid record, wish I had been more in the mood to enjoy it.

Rating: 6/10

Erang "Land Of The Five Seasons" (2016)

This latest Erang record had me at a distance, in wanting to connect with it Ive been pushed away and when Ive made no attempt I have been sucked in. When live streaming the power of the music pushes through into focus at various points in the record, engulfing me in its persuasion. When listening intently, analyzing and thinking about my thoughts the magic is dispelled and In thinking of what this means I have come to my conclusion on what I think is the least progressive work Ive heard in a while. It is not without its charm and my undying passion for new and interesting sounds might make that sound a little harsh but I am speaking in the realm of meaningless expectation, to hear an artist find new ground, where as this one revisited.

Land of the five seasons could be considered a return to the roots, the "Tome" era, noticeably 13 tracks in length too. Simpler, melodies and song structures led by fantasy driven nostalgia for the imagination to drift away is where its magic lies. With a lower fidelity and with a touch more Dungeon Synth aesthetic, we sail through misty winds into the mysterious unknown. Its a calmer, slower record that sets its eerie accent gracefully. Its steady and balanced, conjuring its atmospheres with carefully chosen instruments to inspire and charm.

What makes this record is frustrating for me is its secrecy and lack of immediacy. I say this because most often I put on an Erang record and I'm there. However with this record I cannot get there if I pay attention, listen closely. But maybe that's just me, or my mood but when its on in the background it goes deep into the subconscious and unexpectedly creeps up on you with an explosion of magic. Two things I loved was to hear Erang's voice, clean and honest on "Deep Down Into Your Heart" and the fiery "The Red Snakes Of Amang" getting a great sound out of FL Slayer with its shimmering distortions. I have mixed feelings about this one, It has powerful subtleties and a strange transparency too.

Favorite Songs: The Tangerine Theif Of Tadyar, The Red Snakes Of Amrang

Rating: 5/10

Dan Terminus "Rêverie" (2014)

For my second dive into the small discography of French electronic composer Dan Terminus I thought this short twenty minute EP would be an interesting listen. "Rêverie"is a break from the norm as Dan stated he would have fun, taking a break from the usual dark themes and aesthetics in favor of something happy and upbeat. Luckily for me that form of "happy" vibe isn't overly chirpy, enthusiastic or free of balance, there is plenty of room for other feelings to populate these generally positive songs however Dan can't help but steer to darker leanings at times.

In comparison to "The Wrath Of Code" we have a very similar production style but with more space in the mix to breath as the textural synths are used more sparingly. They still pack a punch with some deep wave forms but the lack of depth in layers frees the listener of the demanding density. Breaking away from the dark sound Dan still has a heavy retro inspiration that paints techno-electro fantasies with colorful dancing synthesizers. The 80s vibes course through these tracks, most noticeable when the Phil Collins style synth toms come punching into tracks with their rigid tumbling tom rolls.

Between the five tracks there is plenty of variation mainly in themes and leads. Most the tracks take on a similar tempo with momentous rhythmic patterns, as if hurtling down the cyber highway, sun glasses and hair blowing in the wind like a bad ass. Unlike the previous record I checked out the leading instruments shuffle through many more passageways and moments, rarely repeating back on themselves which made for much more progressive and organic tracks that held my interest for longer. Its a warm, breezy record knee deep in the retro-electro nostalgic fantasies that could be associated with early home console era in the mid 80s, however much richer in quality and dexterity. Dan shows a different side of himself here, one I think I prefer.

Rating: 5/10

Dead Can Dance "Within The Realm Of A Dying Sun" (1987)

This may be the one, "my" Dead Can Dance record. So swiftly and immediately did it command my interest with mystical enchanted bells playing over a foggy and eerie choral synth that chimes in a moment later. It set the tone for an ancient, dark an deeply nostalgic experience of fantasy music with a similarity to the likes of Erang. In its first half this record borders on Dungeon Synth many years before its primitive inception in the 90s from the likes of Burzum and Mortiis. Unlike its predecessors the bands recreational element is yet to be developed and the visions and atmospheres here tell tales of the land of the dead and forgotten mysticism with a remarkable touch of color and vibrancy.

The records second is my favorite, a short and stunningly crafted piece to send your imagination soaring. Rhythmic synths echo the chimes of war as secretive strings expand and contract through a fog. More instruments chime in to add to the cryptic, mystical atmosphere and I feel as if I'm lost on the foggy moors of forgotten lands, safely observing a supernatural event. The rest of the record has a stronger human element through the sturdy, soft voice of Perry on the first half of the record and Gerrard's on the second, sounding as always like she is from another era of time.

Where the duo take two half's of the record there is a split that can be felt as the gears shift from fantasy to a strikingly dark and serious tones of remorse and suffering. On "Cantara" the mood is lifted with tribal rhythms and more stunning vocals from Gerrard. The other three create sorrowful, grave moods of funeral and loss with little respite for any melodic charm in the wake of heavy, burdening compositions that hold a great immediacy within the musics momentum. From the technical perspective this is a well produced collection of instruments for 1987. Its rigidity of timing may be noticeable but does little to dispel the magic that emanates through the speakers.

Favorite Song: Windfall

Rating: 8/10

Porcupine Tree "Fear Of A Blank Planet" (2007)

Being an avid fan of Opeth, its hard not to hear of this band who are frequently discussed and cited as a big influence on the Swedish bands sound. Porcupine Tree are a four piece British Progressive Rock group who formed in the late eighties long after the genres heyday. Beyond that there isn't much I can tell you about them, however they have certainly stirred my interest with this stunning record. Its remained on my playlist for several months and has resisted my understanding, my reach to put feelings into thoughts and this is a sign of its weight, its value, its strengths. There is so much to digest in this dense lavishing of musical passageways and emotional narratives that one is continually indulged and at the mercy of its evolving direction. With every listen I have wished to better understand my experience, yet each time I find their is more to be learned and discovered.

Having heard a fair share of lush and expansive music like this, I found myself most fascinated by the lyrical content which was starkly blunt and different from my exceptions. Fueled with teenage angst and the line "My Xbox is a god to me", this procession of youthful thoughts referencing school, anger, isolation and pornography was initially confusing but eventually it clicked that of course its conceptual and the subject weight is being expressed through the perspective of adolescence. Its quite dark and deals with the problems of youth in such a technologically charged society that causes its share of mental health problems in young people both connected and isolated through technology.

Behind it a continually unraveling flow of luscious instrumentation plays through its share of striking, memorable moments between lengthy, relaxing mellower periods. The most noticeable traits is the depth of sound behind the core instruments and the metallic tenancies that take over moments in these songs. At all times through this record synths, organs or strings can be heard layered in the backdrop, stepping forwards sometimes to enrich a climactic moment. There's a main direction to follow but always depth in the details these additional instruments add. The guitars on occasions dip into some heavy, sometime Djent guitar tones and heavy, crunching moments which personally felt dry as the other instruments drop out of focus for underwhelming, agressive grooves.

Despite a minor quibble this record is a striking effort, possibly their best investigating the critical acclaim of their discography. I do wonder if the title is a reference to Public Enemies 1990 record of the same name and on a final note the production quality of this record is practically flawless, sublime in all measures, a fine piece of work.

Rating: 8/10

Black Sabbath "The End" (2016)

Black Sabbath, a legendary band that needs no introduction but if you happen to not know who these guys are you need to educate yourself, Sabbath are thee band that pioneered Heavy Metal with its most distinctive and lasting qualities in comparison to other bands, ie Led Zeppelin, that were pushing the Hard Rock boundaries at the time. Sabbath put out their self titled debut in 1970 and nothing has been the same since. The distortion guitar tone, the melodic yet doom and hellish atmosphere and Ozzy's remarkable voice shaped the future of Metal to come, having a listing influence on modern bands as well as inspiring the Doom Metal sub genre with "Master Of Reality". Much of Metal's history can be traced back to them and a string of fantastic records with singer Ozzy before his departure in 1979. "The End" is the group's final record, a short four track EP of leftovers from their last full length "13" released three years ago, one that I am guilty of not listening to yet. It's been 48 years since the group first formed, they leave behind a legacy that refuses to be forgotten and this is where the curtains close with the band doing their final round of shows this year.

For a collection of left overs "The End" is surprisingly solid record. The record opens with a thick, strong guitar tone laying down a tight groove at that slower, doomish, Sabbath pace. Ozzy's voice drops in as if It never ages, still youthful, on key and with his distinct tone in full force. The song goes through its seven minutes steadily with a set of riffs that play through a few repetitions in a simple song structure, Gezzer Butler also throwing in some snaky baselines to spice it up with some variety.

The other three tracks follow this rather straightforward song writing and "Take Me Home" adds in an inspired Spanish guitar lead to give a climactic moment it what is a very steady and consistently paced record. Its strengths are almost to a fault, the rigidity of the riffs playing over and over gets a touch stale with many listens but its undeniably a good collection of riffs and grooves that show these guys still have it. Of course nothing to beat the classics, but something you can get behind and rock out too!

Favorite Song: Isolated Man

Rating: 5/10

Tory Town Poets "TTP" (2014)

Along with Kate Tempest this is another gift I received for Christmas. Its a short 18 minute spoken word piece, performance poetry enhanced with a few lingering sound effects to help set a tone. Poets Olmo Lazarus and Sioni Richards present us with food for thought through word and rhyme as they express their disenfranchised situations. Through topics of war, work, money, youth and suburban disillusionment we muse on their thoughts. The duo have similar styles and tone, complimenting one another from track to track with their deeper, common voices, spoken as if talking directly to you. With a silky flow of organic rhymes and sturdy pacing their words suck one in to the clear and cohesive narratives laid down around the points expressed. You can sense the emotion and anger, its behind calm and calculated expressions but the weight of each point hits home heavy and as the pace of delivery whizzes by as a whirl of mental activity stirs inside on the many observations and points touched on. Its a very socially oriented piece, relative to the human experience, as opposed to any political alignment or ideology, however the groups name may give you a sense of where their politics fall. Its short, rammed with substance and an expression to tune into for a touch of sanity.

Favorite Track: C.V.

Rating: 6/10

Kanye West "The Life of Pablo" (2016)

 

After waves of internet hype and social media buzz, one of the worlds most popular artists drops his newest ambition exclusively through the unpopular, high fidelity Tidal streaming service. Its his eighth full length record and a distant memory of his illuminated arrival into the Hip Hop scene through record like "The College Dropout" and "Late Graduation". I was vaguely excited for this one, the promotional tracks were mediocre, my expectations were in the balance... but not what did we just get?

King Midas of Greek mythology comes to mind, everything he touches turns to gold and that's his curse. Unfortunately in Kanye's case everything he touches is not turning to gold, and he is oblivious to it. Yeezus gave us a taste of Kanye's growing ego, but on this record its stretches far beyond the over bloated, obnoxious lyrics, hollow and shameless for most of this recorded verses. The record itself shows no signs of a purpose or ambition. The records changing name, the last minute shuffling of tracks, adding an additional eight at just before release and using the outro track as an intro? Where is the idea, the inspiration, direction? It's all an apparent mess. "Name one genius that isn't crazy" says Kanye, I'm convinced he is talking about himself and this sporadic behavior is no work of art.

Track listening and last minute changes aside, its the music that counts and I'm sorry to say this was a sorely disappointing slue of unpolished and sporadic ideas that lacked flow, theme or identity. Instrumentally the beats felt average, they could hold a flow, decorate their environment and on occasions showed a spark of light but there was nothing here to challenge or surprise the listener. Lyrically... well Kanye open's with a few lines about a model bleaching herself? And well... Use your imagination, this record is a unfiltered onslaught of Kanye's over inflated ego going through some loathsome self indulgence. The track "I Love Kanye" seems like a love letter to himself, hes in love with himself, he loves hearing his own voice say his name... I'm poking fun, jokes aside I don't know the man but I want to hear some substance of thought and reflection, I don't care how many sneakers hes sold.

Alongside Kanye's raps there is a fair gripe of irritating autotune that I didn't get along with and I could go on moaning... so I will! Whats with the two Pablos? Which one? Picasso, Escobar? Perhaps this mad, directionless, unfiltered record is some brilliant expression of the obscure parallels between art and crime? There is no lyrical content to suggest it is tied in anyway to the title. I'm done, rant over.

Rating: 2/10

Abigail Williams "The Accuser" (2015)

American Black Metal band Abigail Williams has stormed through a catalog of band members in over a decade of history. Led by lasting front man Ken Bergeron, their forth full length record shows signs of stability for a band that's changed its identity a couple of times within the context of its genre. Formed as a Deathcore Black Metal crossover, Ken's true intentions have been made clear over the years having used the once popular Deathcore scene to kick start his bands career to a hungry audience. On their debut record the sound of the trending scene was lost to a lush Symphonic Black Metal sound, which has gradually shed its symphonies in favor of a rawer, darker sound.

"The Accuser" is an unfocused and messy onslaught of vicious black aggression. Furious blast beats and shredded tremolo picked guitars barrage the listener through a menacing, claustrophobic wall of noise. Dark, dingy and mammoth in scale the perpetual plunging is met with shrill hate filled screams and cries that bleed into the haze of sound. It can be uninviting for an already difficult sound and as one grows into the record its best moments are where it takes a moment to breath, slow down and try some different ideas from the atypical bludgeoning. The songs structures do enough to keep the record flowing but it does through flawed aggression that holds it back from the sparks that crop up between its hate fueled onslaught.

Its a rough, sloppy production, bleeding instruments and buried sounds don't aid the low fidelity aesthetic but through its glaring flaws, ie the imbalanced tom drum sound, it does find some charm, especially in the screams that are illuminated by their descent into the warmth of guitar distortions. As the album stretches on the diabolical-ism lets up for more interesting, atmospheric moments and the final track has to be the records best with a unique fusion of styles that offers some brilliance you wont find elsewhere. "Nuumite" lets reverb soaked acoustics moan out over oozing ethereal synths, like a cross between Ethereal Gothic Rock and Black Metal's "evil" quality. Its a stunning song, like a darker Lycia, lost in a swooning dark movement. Enjoyable but flawed record. I hope the final track defines a new sound for the next record, whenever it may be, but that is quite unlikely.

Favorite Song: Nuumite

Rating: 5/10

Hüsker Dü "New Day Rising" (1985)

 This record peaked my interest when reading through several "Top 500" album lists. I'd never heard of this American Hardcore group before but given my interest in the genre I gave it a try. I'll be blunt, this record was not for me, the reason behind its high praise and acclaim alludes me and I'm left with a record that I've given months too and every time I give it a spin, I full into a lull, failing to engage. You can't expect to like everything and that always feel like a loss to me, a missed experience.

The record opens with its striking guitar sound, a thin, flat, buzzed out distortion tone tinging with an inharmonious quality floods the air. Its an uncomfortable vibration piercing through solid baselines and a tight powerful drum sound. On occasion it finds a moment with some well constructed riffs but for the most part falls flat on indulgence, its comparable to primitive Black Metal distortion, but not as appealing for me. To make things worse the vocals screech and yell off key, a rawness I'd usually go for but in this instance it made for sore ears. Voice cracks and miss hit notes are littered through the record, its got passion but I can't vibe with it.

The records production is pretty rough and varied too, many songs sound like they are from different sessions and some serve the record much better than the opener. The albums second song is a mighty fine track, showing off the bands ability to write catchy pop songs, unfortunately the aesthetics and performances strip many of the tracks of what is inherently good song writing, great choruses and sing along hooks, although this could only be said for a handful of tracks in the opening half. As the record drones on the musical ideas get less and less interesting and the guitar tone gets tiring.

Favorite Song: Girl Who Lives On Heaven Hill

Rating: 3/10

Shabba Ranks "Greatest Hits" (2001)

Who is Shabba Ranks? For me he is the definitive voice of reggae music, said from a perspective of ignorance. Reggae is a genre Ive never dabbled with much but of what its name conjures is this mans voice. Deep, rugged and slick his steady flow swoons smoothly through a thick textural dialect of slang and lingo in his strong Jamaican accent. I wonder if he is actually the artist that populates my mind from where Ive heard this music before, either way the story of how i found him is mildly amusing for a music nerd like myself. Its from A$AP Ferg's "Trap Lord" "Shabba", "Two gold rings like I'm sha-shabba ranks, sha-sha-shabba ranks" and listening to my favorite A Tribe Called Quest record and a few others I caught wind that Shabba Ranks was not some trendy slang but a person. So I proceeded to youtube for a pleasant surprise and before long picked up this collection of his best songs.

Listening to an artist wildly different from my norms was a lot of fun and I picked up on a few stylish distinctions about Shabba's music. On the instrumental front the songs vary in degrees between Reggea and Dancehall but on occasions come with a Hip Hop production style of sampled beats or even a 90s Dance track in "Mr. Loverman". Although not a proper record it helped to keep the record moving and feeling fresh while showcasing the appeal of his vocal presence which could easily extend further than these styles alone. "Ting-A-Ling" was a shiner, a big spacious track with minimal sounds alongside an already bare percussive backbone that shuffles snare and hi-hat between deep base kicks that sparingly kick to emphases the the undying flow of Shabba's indecipherable word play. He notably won a Grammy for the record this lead single was from.

So who would I be kidding if I were to talk about the lyrical content? No one. It will take a fair amount of time before I learn to decode Mr. Ranks's lingual annunciations but in the mean time I am enjoying the persuasive nature of his sizable verbal presence. The shifts in delivery, pace tone don't come to often but as long as I don't leave it on repeat I can enjoy his voice and the instrumentals for the seventy minutes that make up an impressive highlight of his career in music, of which he's been silent with since.

Favorite Tracks: Mr. Loverman, Ting-A-Ling, Rough Life, Roots & Culture, Shine Eye Gal, Twice My Age

Rating: 6/10

Dead Can Dance "The Serpent's Egg" (1988)

Following up on the riveting "Aion" we take a step back to Australian duo Dead Can Dance's forth record released two years prior. The band are still in their recreational spirit, creating inspired, immersible atmospheres conjuring nostalgia of ancient civilizations and our mankind from a different time. The record plays in two halves and opens with a song that is surely their magnum opus. A low organ hums under Gerrard's voice pouring with emotion and strength, the quiet crashing of drums creeps in underneath and after a short pause we are whisked into an overwhelming moment of beauty and sorrow. Divine strings enter and illuminate her voice to another level, its a moment that resists all doubt.

Unfortunately this moment of genius overshadows what is an underwhelming record in comparison to "Aion". Having taken the time to listen to it again I find a portion of songs in this track listing fall flat of their ambition to captivate. Maybe a touch on the minimal side, or perhaps Ive just experienced my share of this medieval music, either way the songs not listed below didn't grab me like the ones that are. Its an album of two halves, in two different ways. On one hand theirs an inconsistency to reach the soaring height set by the opener, on the other a record with two distinct vibes.

The first five tracks have the familiar medieval theme ripe with biblical organs, bells and chants. The second half, starting with "Chant Of The Paladin" shifts gears to an exotic, Mediterranean sound. Starting a touch dry at first the last two songs invoke mesmerizing rhythmic melodies around eerie synths conjuring images of fire, sands and Arabian mysticism. "Ullyses" is an luminescent finale, treating us to swift melodies and linear emotional progressions led by Perry's sentimental vocal presence. As a whole it has some weak moments but also produces a few on the bands best songs, well and truly worth your time, for the opening track alone.

Favorite Songs: The Host Of Serphim, In The Kingdom Of The Blind The One-Eyed Are Kings, Mother Tounge, Ulyses

Rating: 6/10

Jan Amit "Hyms" (2015)

Inspired by "Flowertraces" and unimpressed with "Around And Above" I see Jan as an artist who's vision doesn't fall inline with the quirks of his unique identity that makes his music enjoyable for me. This short EP was a mixed bag of fruits not yielding into anything solid but showcasing a few ideas. The opener is a short atmospheric track of dark unsettling eeriness, a soundscape painting the aftermath of an oblivion event with electronic glitches devising the voices of alien insectoids. Its opening moments strangely reminiscent of Burzum's "Svarte Troner", a creepy dark ambient piece.

"Enter Faceless" follows and its an atypical track of Jan's style. Glitched out spacious beats hurtle over dark, illusive ambient noises that drift in and out of focus. It follows the darker theme and with a break for fresh air in the middle it drops back into itself for a second run that leads to no climatic or significant moment. The next track shakes up the formula with some strong House and Downtempo influences forging deep looping dance grooves and simplistic linear notation leads, droning over and over while featured artist Quork lists he hates through a morphed voice that gets buried into the groove on "Flaming Youth".

The records closer "Mass" tickles the ear drum with more alien sounds, wet slippery glitches slap and sway with a watery tone over a vanilla baseline before jumping into glitched out breaks over more void like ambient noises. Once again it feels like it doesn't amount to much, I'm left with what I expected, interest in the aesthetics, atmosphere and glitched approach in the rhythmic department but disappointed with the lack of progression or direction in the songs and their structures.

Rating: 4/10

Savages "Adore Life" (2016)

London based group Savages are Post-Punk four piece band who were put on my radar by Henry Rollins. Ive already heard reviews that this record isn't on par with their debut released three years ago but this is where I wanted to start. A fair few songs from this record were played at a concert I watched on youtube. That alone convinced me there was something special about this band who labeled as "Post-Punk revival" have the sound and spirit of that era coursing through all aspects of their music, with exception to the recording quality that makes no attempt to downgrade the fidelity.

This record comes across in tones of grey, deep dark blues and browns, muted colors that reflect the records pale and grim tone. Bleak and distant on the outside much energy, life and charisma rumbles within and flourishes through the dark, drab walls they are contained within. Its a unique chemistry of contrast and subversion, like a limbo or purgatory suspended between two states. This feeling runs through the entire record which is brimming with identity and originality as not a passing moment feel stale or repetitive. Its organic and in a state of perpetual growth.

The group approach their respective instruments like weapons of noise with whaling feedback loops used for atmosphere, crashing thunderous distortions and the sounds of pick sliding down the strings soaked in reverb paint dense atmospheres. A simple riff isn't enough and beside the guitars expanded sound the baselines rock hard with bold, rumbling, burgeoning lines that make there-self known at every moment. To often in music the base mirror guitars but not here where we get the fullest extent of the base holding its own ground and being a crucial part of how the songs come together.

The drums are equally in a creative air, each moment interesting and inventive. The kits sound lacks reverb which works well against the mammoth guitars and the snare compression gives the harder rolls some serious punch and power. In front of it all singer Jehnny Beth brings a subdued attitude through her soft voice with a delivery that doesn't strive for big notes or showoff theatrics but finds a poetic, artistic expression with the occasional scream buried under the other instruments. On "Surrender" she shows her range with a passionate delivery for a memorable hook on the records best song. "Adore Life" is stunning for its variety, consistency and characteristics that demand a full play through from the listener, which each song offering up something you cant pass on.

Favorite Song: Surrender

Rating: 8/10

Between The Buried And Me "Coma Ecliptic" (2015)

This post will be short and sweet.. Or short and bitter? Its been about a month or so since I last gave this one a listen and I still find myself emotionally distant from it and that's a real shame. Between The Buried And Me are an American Progressive Metal band from North Carolina who just under a decade ago transitioned from a generic Metalcore, Deathcore band to into a Progressive outfit that made waves with the release of 2007's "Colors". With shades of their Metalcore days lingering the band have been sharpening their tools over the years and producing better and better records, refining their sound. I was excited when the release of "Coma Ecliptic" was announced and its been quite the disappointment.

I could comment on the intricacies that make up the compositions, the details in the aesthetics and instruments but it would all be in vein as little of is inspired by the events that transpire through this seventy minute Prog fest. There's a plentiful amount of transitions between the chugging heavy guitars and lighter melody led leads with a a whole host of playful music ideas in between. They move from one to the next and between a couple of swooning moments there's very little to connect with. It all feels a touch uninspired, mediocre and like a band going through the motions. There's nothing to be found that's unexpected or jumping out of the speakers to grabs you. I don't know where the passion is, and often it drifted off into the distance, unable to hold my attention. There's nothing offensive here, plenty to nod along with but it left no lasting mark past one or two leads or vocals. Disappointed but I don't fault the band, I just couldn't connect with this one.

Rating: 4/10

Kauan "Sorni Nai" (2015)

Browsing the catalogs of record label Blood Music, which I found through Dan Terminus, I could not miss the praise that was being lavished onto this record. Having fallen in love with it, I can firmly say its justified and possibly the best record I'll hear this year. Doing a little research on the record today I have learned its based on the Dyatlov Pass incident, an unsolved, mysterious death for a group of seasoned snow hikers who lost their lives in Soviet Russia 1959 during the hike. Learning of the records inspiration has added a new sense of clarity to the events and moods the record drifts through. I could always hear its voice, but now I know of the tale it cry's. Unsurprisingly the band are Russian, however the bands name is Finnish for "A Long Time". It's their sixth full length and the bands maturity shines bright on this stunningly crafted piece of music.

Sorni Nai is a serene and lush journey to experience as these pale soundscapes calmly sway through inspired leads and indulging atmospheres of the beautiful cold. With the pace of Doom Metal and atmosphere of Post-Rock the record finds a blissful balance in slow suspended states for gorgeous musical moments to erupt and blossom from. Dense guitar tones meld and fade under sensuous choral synths the paint the winds with pale colors for melodies to dance through. The record can smoothly shift between its lighter moments and Black Metal inspired darkness with snarly, contained screams and ripening of distortion guitars when the times call for it. Every moment this record experiences us with is a continuation of the previous moment, even the tracks seamlessly transition, barely noticeable as another natural shift occurs, changing and turning through its deep inspiration.

And now for my favorite moment in the record. In "At" we hear the cries of a native spoken woman, her words carry much emotion under a beautiful piano melody and I now believe she represents the female hiker on the expedition. This slightly tragic moment leads us into the records dark and evil moment which now I know represents the unknown death these souls faced in freezing cold temperatures. The swaying hums and acoustic guitar fades into black as a crunching guitar penetrates the silence with its unwelcome presence, striking out with force. Hellish synths eerily descend with a menacing tone and before you know it the most theatrical moment paces into a melodic, unsettling limbo.

Its a brilliant moment that is also one of the most indifferent in what the album offers, but it summarizes the genius at work throughout. Its stunning, rich in atmosphere and littered with magic as we drift through the snowy, frozen mountains of mother Russia. Its inspiration could be felt through the music alone and I love it even more now I know the tale behind this brilliant record I have been enjoying continuously for weeks. Its hard to call a 10. It takes time, but I feel with age ill grow to love it more and more.

Favorite Track: Khot

Rating: 9.5/10

Incubus "Make Yourself" (1999)

Browsing through my collection a record caught my eye, one Ive maybe barely thought of in the last decade. In the midst of Nu-Metals rise Incubus dropped this fine record that brought the healthier traits of its sound to an inviting Alternative Metal style rich in a colorful tone with a plentiful helping of melodies and sing along vocals. It was American rocker's Incubus third full length and one I don't think I gave it enough praise at the time of its release. Its quite remarkable to spin this one again and find the words fresh in my mind, I found myself singing along with Boyd's infectious approach.

With tinges of Pop Rock and Punk Rock they almost come across like an atypical band of the time, however the constant waves of bright and colorful melodic accents give their music an inviting depth. Between the bouncy, heavy guitars that lead the way they drop in to fill the music with a gentle vibrance the distortion guitars don't offer. There's plenty of decent, mosh friendly, Nu Metal riffage, even some vinyl scratching thrown in over the break down moments but its counterpart is what makes the all difference in raising the bar. From a perspective of how this record has aged, its the dropped tuning guitar distortion and DJ scratching that feels tired, but the rest is brimming bright.

Aesthetics aside, where the record really finds itself is in its spirit, message and purpose. In retrospect there's a lot of deep and thoughtful substance to introspect. As the title says, "Make Yourself" and a lot of whats discussed through the lyrics are fantastic for a young person to engage with. Positive, considerate and critical, Boyd's lyrics avoid the teenage angst you might except in favor of strong, rational messages of introspection and using ones mind to think about whats going on. At a couple of moments he needless cuts the mood with some unnecessary swearing which I'm not opposed to but in this case it took the edge of the spirit in favor aggression. Listening back to these lyrics I wonder how much they impacted me as a lot of it feels quite relevant to me now.

Favorite Songs: Privilege, Nowhere Fast, Drive, Battlestar Scralatchtice, Pardon Me

Rating: 8/10

Deafheaven "New Bermuda" (2015)

American Black Metal or "Blackgaze" outfit Deafheaven from San-Fransisco have been both critically acclaimed and at the center of hate fueled controversy with Black Metal elitists and keyboard warriors of the web who believe the bands music taints the supposedly puritanical nature of Black Metal. Jokes aside I never find myself offended by music, which is what many comments, articles and online ramblings would suggest fans of traditional BM are when it comes to this band. Their breakout record "Sunbather" in 2013 was one I cared little for and despite its praise I found myself somewhat puzzled to what the "magic" was, however this time around its hit me like a firm slap across the face. I don't care much for the debate as to if this band is "true" or not, I came here to enjoy some filthy dark music.

The bands sound is somewhat deceptive, harsh, threatening screams penetrate the pummeling, rattling blast beats and menacing guitars that glaze through darkness at a racing speeds. In the bleak, cold and unforgiving sound there is a sense of something warmer that steadily emerges with each passing phase of the song, blossoming into a gorgeous Post-Metal soundscape of transcending serenity. This was my experience of the first song. In breaking it down I felt a lot was to be learned about what makes this record tick and much of the same can be said for the following four songs that make up the record.

Aesthetically the relentless drumming, dark distortion tone and vocalist Clarke's sharp, sinister screams create a harrowing black accent but the guitar work transforms them with Shoegaze and Post-Metal / Post-Rock ideas, techniques and song structures. They create quite the enigmatic experience as the dark and light are held in a unique, original balance. They toy between one another, stretching, elasticizing as songs themes move back and forth in a singular progressive motion. Not all the songs move on the same path. "Baby Blue" starts with acoustic guitars, shadowy blues in color and cuts rather immediately into its dark counterpart. I especially like the mysterious synth at the end with a woman making an announcement about the George Washington bridge. Its eerie and unsettling, seemingly because the message shouldn't be? Its odd and I like it.

The record sounds fantastic, the guitar tones are especially dense, magnetic and immersive. My only quarrel were the vocals, although fitting and powerful, the cut like a knife and never let up, sometimes it felt a little much with a singular delivery style. The five songs have zero filler and take us on a unique journey that fades out with a satisfying melodic climax. The heart of this music is traditional Black Metal and I see how it gets some fans up in arms but that attitude of elitism and "true" is only holding a listener back from an expanded experience. A stunning record which I've barely put down in recent days.

Rating: 9/10

Kate Tempest "Everybody Down" (2014)

This record was a gift I received at Christmas and that first, instantaneous impression was not flattering. Disjointed of-kilt beats droned underneath a monotone Londoner's voice talking the story of when Harry met Becky. Things u-turned quickly and within a couple of tracks the magic shone brightly through this brilliant sound like an epiphany. Unique, authentic and original within the context of what I've heard, Kate Tempest is an English poet, rapper from Brockley, London who has so brilliantly deconstructed the foundations of Hip Hop and rebuilt it poised between spoken word and poetry. Retaining the core elements of beats, rhymes and social commentary its spirit is in the same place yet it cannot help itself but come across as truly different.

Kate delivers her rhymes through a strongly spoken, casual tone accompanied by slightly sung lines for hooks or choruses and impersonating voices for the characters that crop up in her stories. A lot of the lines are rhymed but the casual spoken style lets them drift by as if they are unnecessary as we are locked into to the narrative Kate has us following with series of social stories. They link up through the course of the record, characters drift in and out of the songs before they all converge on the final track. These tales are told with a grit for reality and avoidance of glorification. Observational and blunt, Kate find room to inflect the emotional perspective between the events her characters go through as we follow them on their ark.

Behind her the soundtrack of suburban dystopia drones through moody, dinghy synths that glow like luminous lights through muffled aesthetics. The drums keep pace with unconventional beats that shuffle back and forth, paranoid, between sounds that resemble kicks, snares and cymbals. Off-kilt baselines wobble and groove under the two. It comes together without a big moment, phat groove or memorable melody, playing into a perfect subtlety that lets Kates stories stay in focus as these claustrophobic sounds and tempered beats build a grimy, paranoid atmosphere. The record has been a real experience, unique and original to my ears, defying expectation through a remarkable chemistry between beats and rhymes and a sharp, keen talent for engaging the listener.

Favorite Songs: Theme From Becky, Circles, Happy End

Rating: 8/10

Dan Terminus "The Wrath Of Code" (2015)

Browsing through upcoming releases for games on steam I came across NeuroVoider, a fast paced rouge-light top down shooter with a dark, atmospheric and synth heavy soundtrack. My ears immediately perked up and with a little research I found the soundtrack was made by one man band, French musician Dan Terminus. It was this record, "The Wrath Of Code" and if it was composed with the games soundtrack in mind? I am unsure but my impression is that this is another record, his third, in his discography that the developers picked up to use as a soundtrack for the game.

What was initially striking about Dan's music was a lack of predictability. Despite being relatively mild and traditional in composition style for modern music, I found myself mostly at the mercy of uncertainty to the direction it was heading. I found this experience extremely enjoyable and now after many listens I can put my finger on it. The "Dark" side of this music isn't what I'm used to, normally I gravitate to emotionally darker music, where minor, pentatonic and other such scales prevail. In this music we find a playful retro fantasy of dark cyber realms where the atmosphere create visions of movie-like heros adventuring through the electronic landscape.

The music itself is well realized with lush electronic tones oozing retro buzz saws and sine waves with a balance of harsh and softer tones that meld together in a smooth array of reverb. The atmosphere creeps through from behind with quiet ooh and aah choral synths playing in the distance and cueing the biggest moments between the the songs lead instruments. The drums are quite contrasting, with highly compressed, cutting snares and thudding kicks that lack reverb or cushion. They cut through the mix and it ends up serving as a key component in the records chemistry, the contrast in style holds the music in a unique balance.

Another notable distinction is the manipulation of dense snarly synths that roar and moan like demonic monsters, they crop up in some tracks and do wonders the further enforce the fantasy cyber world scenarios these songs conjure. I feel i should also mention this is an instrumental record, something I neglect to do as it feels irrelevant, it wasn't until writing this that it crossed my mind. "The Wrath Of Code" has been a fresh and entertaining listen however with familiarity it has lulled somewhat. It was nice to find something new, but despite being a well rounded record, there is a lack of gems or stand out moments to ascend this release into something great.

Favorite Song: The Chasm

Rating: 6/10

Redman "Dare Iz A Darkside" (1994)

Reggie Nobel, or Redman as he's known, is an American rapper who I was introduced to through his acting career, noticeably his lead in "How High" with Method Man of the Wu-Tang Clan. Although familiar with his hits, It occurred to me Ive never really given a record of his a proper listen. Noticing the album covers inspiration from Parliament's "Maggot Brain" I thought why not this one? Very quickly I found myself deciphering the albums chemistry and quirks while enjoying the bombastic, braggadocios battle rap style of Redman who track after track reaffirms his substance with an array of humors lines, crafty lyricism and hyped delivery.

Not long into my first listen it became very apparent this is the rapper who Craig Mack emulated his style from. When Mack dropped this flavor it felt rather lack luster and tame in spots, but Redman has the style in the balance, although too many spins it can get a little tiring which is understandable considering ninety percent of the content is about self affirming his flow and lyrical format. Its fun, playful and Redman is full of energy, spitting tight rhymes with a grooving flow that continually bounces off the energy of the instrumentals. He's light on his toes, throwing punch after punch, left hook, right hook, throwing forth the rhymes like a boxer. In between the steadier verses Redman brings the hype with some effective techniques, double tracking the rhyme words, using echos, reverbs and on occasions a love/hate pitch shifted Chipmunk like voice that's unmissable for its blunt presence.

Behind his voice a unique instrumental style plays, underwhelming in immediacy but genuinely grooving and unique for its loose feel. There can be much chaos between layers of samples and a lack of continuity gives the sound its mark. Sometimes the samples will clash a little and underneath most tracks on the record a deep baseline rocks out to its own accord. Its an unusual chemistry that gives itself a lot of leeway and flexibility and ultimately sounds atmospherically bombastic with a touch of boom bam in there too. Defining for Redman's style and a solid record with little to criticize, however apart from a couple of preferred tracks, like "Rockafella" sampling Snoop Doggy Dogg, there's no surprises or ground breaking raps, its a safe album that sticks with what works.

Favorite Songs: Rockafella, Basicly, Wuditlooklike, Sooperman Luva II

Rating: 7/10

Izioq "New Songs For Old Kids" (2016)

The new year has finally landed! Our first record of 2016 is none other than the wonderful Izioq who has been injecting a healthy dose of smiles into my time-lapses and livestreams with the playful and spirited music that plays tribute to the wonder of the childhoods of my generation. I was undoubtedly excited to see this record released and once again suffered from a little of first listen confusion. It is a curiosity to how first impressions can be telling for some and in the case of this record, misleading. Since the second listen I have be loving this one, another warm and welcome dose of soothing, delightful melodies to fill the soul with good vibes.

What this record has going for itself, compared to the previous two, is a current of continuity, a steadier sense of theme and mood which flows from track to track breezing with a calmer and settling vibe, reflected in the shorter track listing and an average of longer songs. The album doesn't encroach on many new ideas and sits firmly in the comfort zone of its predecessor "My Own Private Video Game", with the track "My Cereal Box Song" indulging us in a playful, mischievous throwback to the nostalgic 8-bit sounds of "Retro Life" although its "break" or transitional mid phase lavishes us in an ethereal wash of swirling synthesizers. 

It kicks off with a burst of energy and the cracking "Welcome To Izio Qlub" that delivers the charming, inspired melodies we love with a chirpy upbeat punch and chunky bass-line. Its followed by stunning and dramatic strings narrating the swiftly paced traveling song "Epic Grandpa". Not long after the record calms itself into the quieter, atmospheric songs the other half of Izioq's style explored much on the predecessor. It concludes with the songs most inventive track "Song For Robin Williams". A personal tribute that drifts through an unusual, lost dimension between sorrow and wonder. Its quite the emotion jerking song when you think about who its for.

This record came together well but fell a little short of expectations, a few brighter, energetic melody driven numbers in the latter half would have given it a familiar feel, drifting between two styles but the atmospheric numbers didn't have quite the same spark. That being said, this was a very enjoyable record, that fits right into my Izioq playlist and shows there is more to be enjoyed from this universe of music.

Favorite Songs: Welcome To Izio Qlub, Epic Grandpa, My Cereal Box Song, Song For Robin Williams

Rating: 6/10

Sikth "Opacities" (2015)

With the recent touring reunion of infamous English metal outfit Sikth, its no surprise to see this mini-record released after nine years of silence since their second full length in 2006. It consists of five songs and a brilliant acappella performance in the vein of 2003's "The Trees Are Dead And Dried Out..." weird and eccentric closing track "When will the forest speak?". It has been great to hear the group back together however nothing here stuck quite like the classics of their past but didn't stop it from being an exciting listen and a welcome return.

Opacities bares the signs of a band getting back into the groove of things, but not quite where you'd expect. What they have got right are the aesthetics. Their identity is intact, mostly in the vocal department with Mikee and Justin reuniting their distinctive chemistry, dynamic range from clean to guttural and theatric, playful performances, sounding as youthful as the decade gone by. The guitar tones are on point with many of the notable techniques, like hammer-ons, sounding the same as where they left off. The underlying music however doesn't follow the same flow as before and sounds somewhat more generalized of a modern Metal band.

Opening with a bombastic groove riff they quickly conform to more comfortable metallic styles unlike their previous unpredictable nature. Where they were once spectacular in the spectrum of unusual or unfamiliar musical ideas there are now echos of these ideas surfacing between the groove heavy poly chugs that take charge for most of this record. Given their track record and the sparks of excitement that crop up through the EP they sound like a band still reconnecting with their identity. 

It may sound a little gloomy but this is a band that have set high standards for themselves and Opacities is a charged, energetic ride of a record that never settles for a dull moment. Its ripe with enthusiasm and punch, plenty of atmospheric moments and inspiration to soak in, but its still just a sign of where they can go. If a full length is in their plans they have certainly shown the signs of getting back into their prime.

Favorite Song: Under The Weeping Moon

Rating: 6/10

Dead Can Dance "Aion" (1990)

Here's a fascinating record that was sent to me by a dear friend, I've had it on repeat often and have been looking forward to sharing this gem. Dead Can Dance are an Australian duo who formed in 1981 and have produced eight records under a myriad of musical styles and influences mostly from within the sounds that emerged from Post-Punk and Neoclassical. On this record we get a strong Medieval vibe that feels recreational and purist in spirit but lets a few modern musical ideas in to great effect. The records cover features a tiny snip-it from the Triptych "The Garden Of Earthly Delights" from the early Renaissance era.

In a truly recreation style the dramatic moments of this record follow the breath taking performances of Lisa Gerrard, who's vocals transform time and age with a stunningly powerful and spiritual performance that changes ones surroundings to the aged wood oak of church pews. You can feel the cold stone beneath your feet, the robes around ones body, the smell of candles drift by as we get a feeling of our ancestry through sublime Gregorian chants. Brendan Perry also gives enigmatic performances that are transforming as if from a man not of this time. Its truly remarkable and the backing vocalists that join them on a couple of tracks also give a spirited performance.

The record drifts between three types of song, some instrumentals composed though sounds of the era, vocally led numbers with minimal compliment, like an organ or bagpipes and songs that trip gently into modern ideas through the use of 4/4 drum beats. It's the use of rigid drum machines and sequenced electronic instruments that gives this record a point of interest. Not to tip the scale in either direction they are both recreational sounds and inventive elements. For example "Black Sun" has the most rigid and repetitive sounds looping from a sequencer and its atmosphere is less purist as a result, yet its also one of my favorites for its captivating atmosphere.

Its a mixed bag of nostalgic treats, all of which has been a joy to indulge in. Id like to hear more of this group, however it would appear that something different should be expected of each record in their discography, which in a way gives me more reasons to give them a chance considering the quality of this one. I'm left curious as to how often I'll get an inkling to return to this one.

Favorite Songs: The Song Of The Sibyl, Fortune Presents Gifts Not According To The Book, Black Sun

Rating: 8/10

Lard "The Last Temptation Of Reid" (1990)

Investigating some of Industrial legends Ministry's many side projects I stumbled into the abruptly named "Lard" that features Dead Kennedys singer Jello Biafra alongside the Ministry lineup of the time. Delightfully for me it retains a lot of the attitude and industrial aggression of the group at their peak, with Jello's vocals providing a slightly maniac dimension. The biggest point of contention would be the chemistry between the two. Having spotted Biafra in Ministry's "In Case You Didn't Feel Like Showing Up" live show VHS it wasn't quite a surprise to find the musicians from different scenes has struck up a friendship. Jello's theatrical and flamboyant style is a little soar against the rigid industrial sounds of drummer Ward's machine like timing and Jourgensen's mechanical guitar riffs. It grows with each listen but never finds the right cohesion.

The guitar work is undeniably in the same vein as Ministry at their best, the drums too, and much of whats on offer feels like it could be reworked and slipped into one of their classic records. At times some Hardcore Punk influences show their merit but the main separation is the inclusion other musical ideas, some punk, some more melodic, cropping up in-between the repetitive onslaught of the instrumental Industrial beast. Of what sounds best, is mostly of what that is most familiar, however the track "They're Coming To Take Me Away" steals the show with a dark, grizzly and haunting march through the sounds of mental insanity as a gritty baseline plugs away behind a military drum march that as the sounds of screams and cries filling the void between scary coo coo clocks. Jello gets his performance spot on with his creepy "Hee hee", "Ha Ha" and "Hoo Hoo"s. Its a dizzying track of metal darkness but makes its point splendidly. Great record for a Ministry fan, but nothing to spectacular taking place.

Favorite Song: They're Coming To Take Me Away

Rating: 6/10

Tycho "Dive" (2011)

Turning to something calm, upbeat and electronic I browsed my way to a record that really grabbed me a few years back. Its not a classic, it has its flaws but indulgences us in a unique style of electronic psychedelic and dreamy wet vibes delivered with a touch of accessibility. Tycho, or Scott Hansen, is an American electronic musician who's been actively releasing records under this moniker for over a decade and "Dive", his forth full length record, was the first of his music I heard.

The records style, substance and pallet establish itself immediately as the echoing, vibrato synths warm up into a pleasant and calm atmosphere. The down tempo beat comes in steadily with a hard, thudding kick and light snappy snare that feels as effortless as the breezy atmosphere that's growing. The song winds down a little before kicking back in with faster drums and growing layers of instruments and rich synths. A bold and calculated baseline grooves under airy synths that ooze and drift between the other sounds in an entrancing state. It washes over with an almost ethereal vibe, one that's much brighter and uplifting. At times these synths expand and contract to the beat of the bass drum, reinforcing a strangely organic vibe that creeps through electronic tapestry.

From the opening track alone you get a a vivid picture of what the rest of the record will offer. With such a lush and enigmatic sound Tycho fails to push the initial premise any further and the album can certainly lull if your not quite in the mood. But that's not what this record is about, its a moment of beauty, calm and serine, entrancing and psychedelic that stretches on and on. Although each song is great in its own right the lack of variety or imagination in the melodies has each song feeling like the one before it. The approach is the same each time and little is expanded on from the first track, which I feel could be a love or hate scenario. Maybe you want that one moment to stretch on, or maybe like me you need some spice and theater in a fifty minute record. Its brilliant, but flawed and on a final note I love the album art. Its simple but beautifully painted, and is a perfect fit for the sound inside.

Favorite Songs: A Walk, Dive, Melanine

Rating: 7/10

Agalloch "The White" (2008)

Browsing through my archives I stumbled into and old gem, a lost treasure, something that must be shared for its intrinsic beauty and deeply spiritual sound. Agalloch are a highly praised American Black and Folk Metal band who released this record between a string of noisier counterparts. Not being that familiar with anything else in their discography I remember it as a u-turn to the roots of their Folk influences, a tribal, pagan ethereal experience that places one at the heart of nature.

The record establishes its Pagan theme immediately opening with a sample of children chanting "We carry death out of the village" from the movie "The Wicker Man" about a Pagan community on an isolated island. Its followed by bright, infectious acoustic guitars, vivid and clean they swoon simple melodies and chords with a Folk charm. It reminds me of the acoustic moments present in Metallica's "Battery" and "To Live Is To Die", a similar tone but a loud and strongly plucked playing style.

Aside the core instrument, the guitar, there is a imaginative variety of sounds that give each track its own dimension, "Birch Black" has swirling synths falling from the sky, a crunchy theatrical baseline signaling the tribal drums that pound the way for a tremolo plucked lead to crash into and narrate the song from a soaring height. "Hollow Stone" plays with brooding ethereal noises that sound like soft winds with distant voices in a choir, morning a lost beauty. It paints a picture of great loss in the cold foggy moors of the countryside as night is setting in. "Sowilo Rune" has a warm, adventurous but tamed piano playing of a soothing chemistry between the ethereal synth and strummed guitar chords. Whispering voices and a deep base moog give it a touch of mystery and mysticism while remaining an upbeat and positive song.

The final song ends where it all started, with a sample from "The Wicker Man" and often it is my cue to return to track one and enjoy it all over again. Its a record of substance and inspiration, one could of wished for more but of the thirty two minutes, not one moment is wasted. Its a mesmerizing, spiritual record, isolated in a bands discography, unlikely to be returned to again. Either way its a treasure I've enjoyed countless times and will continue to as time races on-wards.

Rating: 9/10

C418 "148" (2015)

C418 returned late in 2015 with a lengthy, two hour epic record titled "148", the rearrangement of numbers slightly confusing. Initially cited as a "departure" from his traditional sound I found myself at a loss to what this departure was, with a big dose of new sounds and ideas there is certainly a freshness in the air but this record is about as C418 as It gets. Its starts at a strolling pace with a trilogy of down tempo sleepy numbers breezing in with the sentiment of "I don't need you to agree with me" on the opener. It concludes with a gradual climax as airy, dreamy synths grow around his vocals gently musing the lines along "life's illusion" before returning us to a familiar setting on the next song. C418 distinctive melody style and pallet comes into its own here as it does throughout, often shifting between his more traditional sounds and some of the new ideas this album plays with, which often revolves around the beat.

Its not long before the records longest and most delightful track "185" kicks in and sets us on an electronic dream world journey through a continually grooving baseline led dance groove that plays out like a drone. Unusual quirky synths slowly grow and transform alongside the other instruments while the groove hammers on and on in a trance like state. The following "Jimitention" plays around with sleepy lullaby melodies in the beginning before finding its way to a harder groove following the principles of its predecessor, transmuting and morphing around the core.

"Tsuki No Koibumi 2" brings in one of the albums brightest moments with some beautiful, unusual and softly sung vocal lines from Laura Shigihar and her charming foreign language. After "Friend" the record drifts into a string of House tracks that play out in the typical C418 manor, full of slow and sweeping transitions between steady thudding kicks leading the beat and unraveling synths that stealthily change. They are deep and atmospheric, lengthy, spectacular and having an entrancing quality that's calm and relaxed. The track listing gets broken up a little with some different songs, "Divide by four add seven" bringing some bright bells to the forefront to play a soothing melody directly and the remix of "Beta" an energetic transformation of the classic minecraft song.

Its long, lengthy and full of tracks that take their time and surprisingly it holds up across the two hours. Its the kind of album you can dive in and out of and although their is no overall theme or uniting concept it has a lot of continuity and flow. His traditional style is met with some stronger House and Drum n Bass influences but overall its still the same style and charm we are used to from C418, or Daniel. Looking forward to whatever is next.

Favorite Tracks: 185, Jimitention, Tsuki No Koibumi 2, Aria Economy, Divide By Four Add Seven

Rating: 7/10

Judas Priest "British Steel" (1980)

Pounding the world, like a battering ram! British Steel is English Heavy Metal band Judas Priest's sixth album released at the beginning of a new decade for the band, the 80s, and would be their most definitive and celebrated record. Having pioneered a heavier, unique and charismatic style in the 70s with records like "Killing Machine" it was this record that it all came together to produce an anthemic collection of songs that paraded the hard metal and leather niche of Heavy Metal they had created for themselves. I was lucky enough to have found this record at a young age around fifteen years ago and time and time again its been a go to record for getting the adrenaline pumping with Heavy Metal fever.

Singer Rob Halford's unrivaled vocal range leads the charge with a commanding and fearless attitude through a forceful strength in his voice which despite being relativity smooth and audible has the grit and clout to enhance the bands heavy attitude. Alongside him the guitars blaze a trail like the sirens of Heavy Metal, assaulting the listener with crisp, metallic tones, dynamic and powerful as they combine a sense of melody and rhythm together in a power chord led offensive of endless tunes to hum along to. The bass takes a tamer roll, often mirroring the guitars but sounding solid and bold. The drums have a mighty tone, a rounded, cutting snare and a thudding bass kick that arrives in the higher ranges gets a workout with double pedal techniques cropping up on occasions. Considerably heavy and progressive for the time and holding up as sturdy backbones for the songs.

Nearly every other song feels like an anthem, or one of importance. The radio hit "Breaking The Law" probably needs no introduction. "United" a true spirited sing along that combines the groove and grit of metal riffage with a shoulder to shoulder chorus of unity. "Red, White & Blue" sounds like an alternative, metallic version of the American anthem and was actually a popular live song when they toured there. Each song has its own reason to be great and my favorite might just be "The Rage" for its genre bender intro which could pass as a piece of Reggae or Dub before crashing in with a thunderous beast of a riff, excelling into a ferocious atmosphere led by Rob's vocal foray.

Its the moments where Rob unleashes the high end of his range that are truly riveting. The power, speed and pitch is mighty and unrivaled as he broods his way through songs, ready to unleash his climatic falsetto at the given moment. Even more impressive is the length he can hold these notes for, reaching mountainous heights and holding his breath longer than the listener. The guitar solos also leave a lasting mark on metal with a slightly chaotic flair that would influence bands like Slayer. They erupt and explode with an energy that illuminates with a frenetic momentum that could go in any direction. The whole thing is an absolute treasure and for its time you can't find a flaw with it. Its stood the test of time and as much as it did for them then, its still a Metal classic.

Favorite Songs: Grinder, United, You Don't Have To Be Old To Be Wise, The Rage

Rating: 10/10