Eternal Lord "Split With Azriel" (2006)

Having written about Eternal Lord's self titled debut, I was reminded of their follow up split record with English Metalcore outfit "Azriel", released the same year. Foolishly I never gave it much of a listen at the time and for this blog we are going to focus on the two of four songs this band contributed to the record. Its a step up in production fidelity and a few things become apparent quickly. Vocalist Rickett sounds far deeper, lower, looser in delivery but with the same tonal distinctions. The group also incorporate symphonic sounds, piano and strings, into their second track, much in the vein of Symphonic Black Metal. Very reminiscent of what Abigail Williams would do in the years to come, however the metallic instruments remained rooted in their Metalcore origins.

"Destiny" is the first of two and wouldn't sound out of place on their debut. The productions fidelity removes the organic, sludgy feel they once had and showcases the technical prowess of the riffing. For this it shows its Metalcore side more and when the breakdown hits it sounds far more generic without the sludgy, looser production to give it charm. On the flip side the tighter sound gives the guitars more room to express themselves and the drums blitz away through a clicky ecstasy.

"The Harp And Hellfire" is the ambitious track. Its piano led symphonic intro and light use of strings work well with the momentous nature of the opening riffs. Surprisingly the sounds mix, however the dark symphony is at first paired with drawn out power chords and a tremolo riff accompanied by blast beats. Very akin to Black Metal but swiftly the song finds its break back to the Metalcore vein. Another reasonable breakdown is followed unexpectedly a guitar solo with light strings. The song then reaches a climax with a groove, repeating over and over, steadily fading out to let a matching symphony overtake and see off the record.

This transition is an interesting one as the band effortlessly incorporated a different sound without compromising their own. However on closer examination the shifts between styles are rigid and obvious, yet it feels completely organic in the moment. This may have been their calling but unfortunately this period was short lived with a big stylistic shift in their 2007 demo.

Favorite Song: The Harp And Hellfire

Rating: 4/10

Emperor "Anthems To The Welkin At Dusk" (1997)

Riding the trail of illuminated stardust we descend from the cosmos into the deep majestic, endless forests of eternal darkness and enchanted beasts on the journey of our mortal souls. If ever the wonders of imagination evoked by natural beauty at night had a home, it is this. An inspired and truly astonishing feet of work that took Emperor's sound established on "In The Nightside Eclipse" to new heights. Epic, if ever truer a definition, its compass and wonder is its nature, one can only marvel in the shadow of music that so elegantly takes the extremities to the cutting edge of vision and composition. Skirmishing drums, razor blade guitars, devilish screams and shadowy symphonies meet on the battlefield to capture us with their imposing presence as we fill mercy to their persuasion.

"Anthems To The Welkin At Dusk" is Emporer's second full length and a hard one to follow with considering the widespread acclaim of their debut. With their drummer jailed and a bassist short Ihsahn and Samoth rejoined to write what is undoubtedly a masterful record that plays like a symphony, full of movements, progressions and climaxes. Every moment inspired and visionary the instruments fire on all cylinders as two guitars, drums, bass, vocals and multiple key lines show there prowess and technicality. At almost every point playing a unique lead, melody, tune, whatever you want to call the notation its a complex and genius arrangement of harmonization, uniting the instruments with the sparks of a darkest magic. It breathes and burgeons with a ferocious energy, barely containing its magic. The wall of sound bursting at the seams, every measurable noise ready to burst with light.

The mysterious record cover says a lot for the music. An amalgamation of dark castle spires deep in the forest, Gustave Dore's "Paradise Lost" angels sounding their trumpets for battle and the majestic shades of green, natures color. The fantasy, wonder and depths of the imagination this image might conjure is purely an extension of the musics inclination to that realm of fantasy. One which most likely takes a certain type of person to connect with.

So the record starts with a calming and soothing piece, steadily growing in intensity, always with a dark, mysterious undercurrent. One by one instruments chime and Ihsahn lures us in with ghostly whispers. They grow into shouts and bring us to an empiric horn section as if the dawn of battle has begun and in a swift track switch we are plunged in to the whirlwind of chaos and rattling blast beats and the almighty guitar riffage hits us with this full intensity. From here the pandemonium unravels itself with a frenzy of blazing fast paced guitars and rich symphonic bliss as this track and many others worm there way through the dark and black while lavishing us in melodic wonder through it thick sound. Its swiftness is intoxicating, a momentous weight of motion is unleashed as soaring riffs revel in their moment. Almost every song has its calm in the storm, a break to let the guitars and listener breath while the keys can drop in to take charge of a moment, replacing the aggression with awe.

The albums production clearly plays an important role in why this record works. Stepping away from the low-fidelity principles of their debut, Emperor exploit clarity to execute a denser complexity. The synths no longer an atmospheric accompaniment but a full partner in the musics direction. Within the expanded dimension Emperor cram all their musical might and it is pummeled together with a monstrously noisy drum kit which I think conjures a low-fi charm. I once thought the drums were poorly mixed, the pedals slap at high speeds and the ride cymbal cuts through the instruments. Over time I released the frantic energy the drums exude gives many of the albums moments its intensity.

The eight tracks make their mark, all of them offering a unique, captivating experience that peers deeper into the wonder. For the average listener a whirl of noise, for the seasoned Metal fan the atmosphere is as vivid and indulgent as it gets. Every time I revisit this record I find my catharsis again. It is so powerful and riveting it gives me goosebumps and refuels my energy for extreme music. Emperor undoubtedly solidified there status as Black Metal's greatest with this one but I think it is truly underappreciated in comparison. This is probably my second favorite record to grace my ears so far.

Favorite Songs: Ensorcelled By Khaos, The Loss And Curse Of Reverence, The Acclamation Of Bonds, With Strength I Burn

Rating: 10/10

Cradle Of Filth "Hammer Of The Witches" (2015)

Its been hailed as the "return of cradle". A fan pleaser, well received by critics and the bands 11th full length in a string of records releasing every two years on average. For some, myself included, the band lost their way back at the turn of the millennium with 2000s "Midian" which made a significant shift in sound. I haven't kept up with the band over the last decade and so this slipped into my playlist with ease, for the most part it resembles the traditional Cradle style I'm very fond of. With another major lineup change Dani has found the chemistry to spark the glory days. Two new guitarists, a change on keyboards and female vocals, and only another two who were present no further than the last record "Midnight In The Labyrinth".

"Hammer Of The Witches" best tracks would sound right at home in a set-list alongside Cradle's hallmark songs. The rest fall a touch further from the tree. Although writing some fantastic songs, the vast majority of it comes from the same principles, techniques and songwriting that worked so well on "V Empire" & "Dusk... And Her Embrace". It lingers in a balance between inspiration and calculation where sometimes the melodies persuasion is engulfing and other times the reminiscent becomes a reminder of what song or riff its akin too. The lead guitarist brings unfamiliar electric guitar solos into the earlier parts of the record, lacking in cohesion they dictate shifts and climaxes in the song while simultaneously feeling out of place in Cradle's dark and gothic sound. For the most part they nail the style and vibe but on this instance gave it an unnecessary weak point. In front of the lush orchestrated Extreme Metal is Dani's voice who's age can be heard. Its far from a concern but the signs are there. The lower guttural ranges coming across slightly gruff and lose. His shrill high pitched scream still powerful but shy on its intensity. He holds it together for the whole record well with the usual styles and same timing on delivery. It makes me wonder how much longer he can keep at it.

Not much unexpected happens across the course of the record, a decent collection of songs to entertain, what is most surprising is how inspired a handful of them feel. With more consistency at that peak this could of been quite a special record, however it is not. Production wise its squeaky clean, well balanced with just enough noise in there to keep a vibrancy going. Guitars are very crisp and clear, allowing them to master a range of riff styles audibly. Strings and keyboards use lush high end tones that gracefully fit in and only the drums pedals sound a little clinical and sterile at high speeds. Its another brick in the wall for Cradle's catalog and I am left feeling they should of taken more time to pursue the magic they sparked on a couple of tracks.

Favorite Songs: Deflowering The Maidenhead Displeasuring The Goddess, Blackest Magick In Practice

Rating: 7/10

Dream Theater "The Astonishing" (2016)

"The Astonishing" might be a name to reflect the bands ambitions on this humongous record spanning over two hours in length. Its a theatrical piece, a Metal musical, an opera that will test the short attention spans of many listeners. Dream Theater are the kings of Progressive Metal, fusing Prog Rock with Metal at the end of the 80s they have released a string of well received records over the years, now spanning over 30 for the American band. "The Astonishing" is a bold and audacious endeavor, throwing all caution to the wind and defying convention by loading a truly lengthy record with a meticulous story line to inspire illustrious, expansive music. Unfortunately its issue is indeed the audience of whom many may struggle to endure a record so lengthy and too I fell to this struggle. Its hard to get through 130 minutes of music without interruption and so experiencing the full might of the groups intention is difficult, yet they cannot be criticized for aiming high and to do something truly different from expectation.

So this grandiose story is set in the future where humans no longer make music and machines make noise. There is a royal family who rule over the lands and in a far away town a peasant, or commoner, posses the gift to compose and play music. The family travel to see the man play and the Princess falls in love with him. From there its a blur of ups and downs, triumphs and betrayals where my ability to follow the lyrics like reading a book lets me down. You can feel it in the music though, the progression and mood lets you know where the setting however the last thirty minutes of the record seems to consist of song after song with climatic endings that feel like the curtain close... and then it goes into another track. It has its moments, the fight for a cause, talks of revolution and a savior who brings gifts however it is much easier to understand reading the online synopsis than through the music.

The record is far less metallic than you'd expect, there is far more acoustics and a greater involvement from the pianos which seem ever present winding around the guitars lead. The amount of electric guitars leads and ever progressing melodies is quite remarkable, the band flesh out every moment without repeating themselves and it comes in a healthy dose layered compositions only such experienced musicians can pull off. Aside from the rather broad theme a few twists and turns pop up in the form of cultural and genre styles. Imperial marching music, swing, big band and trumpets and horns explode into life in their moments and of course there are a fair few ballads as one might expect. In between the main run of music a few short industrial, electronic, noise oriented sounds play in what I believe represents the noise machines, the final "Power Down" makes this kinda obvious, its a nice accompaniment.

In conclusion such a large piece defies understanding as even somehow having listened to this five or more times it is still a bit vague and at the mercy of the musics flow. And that's not a bad thing, if in the mood for following along the bands musicianship holds up, however to connect on a deeper level that familiarity and understanding alludes me. Its a double edged sword to create such an ambitious feet of work, however that's only if the listeners expectation is your concern.

Rating: 7/10

Eternal Lord "Eternal Lord" (2006)

I've been looking forward to the day Id talk about this short five track EP since I first started this blog! Eternal Lord are a short lived English Deathcore band who dropped this self titled in the prime of the scenes uprising. Its a real gem, one that never gets old for me and unfortunately rapid line up changes and shifts in sound meant they would never revisit the unusual breed of metal they conjured up in the twenty minutes the record lasts. The band would release a split record with Azirel in a similar vein but their first full length left much to be desired and so led to the band splitting in 2009.

The record opens up with "Upon Thy Icy Waves" and its Deathcore style isn't immediately apparent. Sludgy, slightly dissonant guitars chug and churn under a rattling drum kit and in the chords a strange tinge of harmony protrudes. As the song progresses through a drum solo into its first phase the snarling throaty screams drop in with a covering range of texture, raspy and loose. Under them the guitars hammer out atypical Metalcore riffs, melodies spliced between muted open strings, yet despite the similar technique a distinct and unique sound is very apparent. It progresses through the motions and ends with some bright a colorful leads to climax the song.

 At many intervals in these songs the band tread into the breakdown territory with sometimes bold and obvious approaches, letting the steady china cymbal bridge the space between the occasionally chugged guitars and the beastly vocal growls. In other moments the band have the sensibility to hold back the obvious nature of the breakdown and simply remove a few elements from the currently played guitar riff and amplify the groove on the drum kit. Its fantastic, giving constant refreshment of head banging energy to the flow of these songs which never let up on intensity.

In an untypical fashion for the genre, the band sounds somewhat mystic and a little drawn to some of the grander epic themes found in majestic Black Metal. Its a very indirect subtlety but the guitars have a darker charm to them and vocalist Rickett through his slack and gruff delivery enhances a nature vibe with animistic and beastly vocals that sound like a fantasy creature of the night. The song titles would also indicate these themes may have been an intention, rather than something I've found for myself, however some tremolo riffs wouldn't sound out of place on a Black Metal record.

 Aesthetically the production is a touch raw and blunt within reason. The drums batter and clatter away with a cutting intensity in the mix, the pedals have a rather clicking presence. The cymbals have a rather stark and crashing existence in the mix. Along with the loud and "in the front" mixing of the vocals the bass gets a little lost behind the guitars with their own serpentine texture, often enhanced by the syncopation with the pedals. All five tracks are distinct and firing on all cylinders with no weak spots, maybe room for preference or favoritism. Its been around ten years and it still sounds fantastic. A very overlooked record that I think particular types of Metalheads would get a real kick from. I'm kicking myself though as I never got to see them perform live.

Favorite Songs: Fields And Failure, Deeds To The Throne

Rating: 8/10

Cradle Of Filth "The Principal Of Evil Made Flesh" (1994)

Going back to their debut, Extreme Metal band Cradle Of Filth's distinct style arrives in an embryonic and unrefined form. I am guilty of never giving this one much time back in my youth when I was a big fan and going to it now their isn't a lot that's unfamiliar. Many of the songs have been re-recorded, re-written and adapted for use in future releases, always to sound superior. Something to keep in mind is this isn't the band's planned debut and whatever was on 93's Goetia this is a big shift in sound from the "Total Fucking Darkness" demo of the same year, where the group first distanced themselves from their Death Metal roots.

A lot of the musics spirit finds itself slightly buried in the poor production quality and although the ears adapt it doesn't have the same immersion a rich production would bring. The guitars, drums and bass are all in the typical cradle style but it is Dani and the keyboards that are noticeably a step behind. There are moments throughout where the power of the keys and there sounds lack the oomph and direction to be fully involved. Often sounding like an underwhelming accessory it is remarkable to hear how much the choice of instrument tone can impact its roll in the song. On this record though the keys are stiff and rigid, the quality is low and it shows. At regular intervals a short two minute keyboard instrumental pops up, throwing off the momentum and energy of the main songs and on one track a one second loop of flowing water plays under glistening, sparkly noises that get repetitive so quickly. It has charm but exposes the lack of budget a record of this ambition needs.

Secondly Dani hasn't quite found his voice, the surreal shrill scream makes its debut in a raw and powerful form but the regular guttural and throaty screams are a touch raspy, thin and tame in comparison. Its the problem with retrospect, you know whats to come and at the time this was probably a very exciting record to get your hands on, a new and wild sound emerging from the aftermath of Norwegian Black Metal and one of the first to embrace the possibilities of at least prototype Symphonies in Metal music.

The track "A Dream Of Wolves In The Snow" gives a sense of a rushed writing process, a short two minute piece with an epic intro that seems to quickly fizzle out on itself. It is without the epic riff that sparks the madness which it would become when re-written as "Queen Of Winter, Throned". Its a heavily flawed debut which still manages to showcase their creativity and vision. The production.. lackluster, wobbly with volume inconsistencies and an awful, sloppy sounding double pedal capture. Flawed, far from perfect it still made for a fun listen. Not one to start with if you are new to this band.

Rating: 6/10

Hot Dad "Wrestle" (2016)

Comedy and music don't always mix for me but when it works it can be pretty spectacular, which is what this record is in terms of putting a smile on your face and having a good time. Hot Dad is a one man band from America who's music focuses around a quirky and crude sense of humor. What he does so well on this release is parody with sparkly, colorful harmonized music that's lighthearted, simple yet executed with a sense of excellence that lets the underlying joke prevail, as opposed the mocking a genre with poor instrumentals, something Ive heard done to often.

So these songs are about wrestlers but they could simply be parodies of entrance songs with each track singing praises to the wrestler in question. All the tracks are about 90 seconds or less which is fantastic, the joke doesn't get stale and we swiftly move from one to the next. Each of the tracks have a distinctly 80's pop vibe about them but in an odd way, one that lacks the sense of cheese that came from the era's excessive use of electronic instruments that didn't have quite the polish they needed. Thanks to much care in composition and quality these melodies and hooks feel rather charming and the cheese simply reinforces the jokes which get increasingly crude and explicit as the record draws on.

The record starts with its best and perhaps the joke tires as the record draws on but it genuinely feels like the first twelve or so are considerably better than the rest. Hot Dad's light, fresh and poppy voice are a constant source of joy, dropping in higher ranged notes with typically pop vocal hooks and catches that again go for quality to reinforce the joke. There's a fair few songs that feel very familiar, "The Rock" reminds me of Thin Lizzy. It could be that these songs are also covers however radio pop music has never my strong point. Its a terrific record that's worth a listen if you want a chuckle, after a fair few listens the joke still holds on but the weaker tracks show themselves.

Rating: 6/10

School Of Seven Bells "SVIIB" (2016)

In the mood for something a little more upbeat and poppy I found my way to the "School of Seven Bells" fourth and final record. This NYC based Dream Pop trio consist of twin sisters Claudia and Alejandra who grace us with their voices as well as handling keyboards and guitars, alongside them multi instrumentalist Benjamin Curtis who sadly passed away in 2013. The record was mostly written in 2012 before Benjamin's death and revolves around how the group first met. To what extent it was "finished" with his involvement is unknown to me, however its irrelevant considering this the first of theirs I have listened to.

Opening up with a simple popping 4/4 beat and a breathy, wordless vocal hook the album quickly establishes its tone with bright and simplistic musical arrangements. In the chorus two vocal lines harmonize and swim around one another while the strings, blinking synthesizers, distant guitars and bold pumping bass melt into a dreamy wall of sound. Its borders the Ethereal but no distinct sombre or dark tones are to be found. "SVIIB" is upbeat yet sleepy, its bright energy slightly contained behind a slower, measured pace. Each song brings a different twist to a very settled sound, most of the creative variety focuses around vocal hooks and delivery between a rather stale verse chorus structure. The band conjure some great arrangements drifting towards ambience and ranging up to epic climatic poppy moments with layered synths and fuzzy, energetic guitars crashing into the fold, usually with a few shimmering melodic notes above the golden haze. 

Given the records setting and history the lyrical context probably plays an important role however, as I often am with words, they went in one ear and out the other. Their voices however are soft and easy on the ears, the entire sound of the record is lush, easily indulgent and full of dreamy reverbs finely mixed in a glossy sound. Where the record falters is at its core, the simplistic and poppy nature leaves much to be desired musically. Just after a couple of listens the songs feel a little worn as it doesn't take long to pick up the compositions which are generally short and played out through verse chorus structures. There's no progression in mood, structure or even melody, rarely even a repeated segment undergoing a key shift or additional instrumentation. However these are complaints of preference.

The album does wrap up with its better songs, "Confusion" breaking into a deep peaceful atmosphere, very reminiscent of the soothing ambience in Julee Cruise's "Floating Into The Night". Following is a rather atypical track, however its execution and charm a lot stronger than the rest of the record. The chorus has a memorable synth lead that soars and shimmers in the fading reverb. Great moment but unfortunately this record was a little sparse of substance which became apparent after just a handful of listens through.

Favorite Tracks: Confusion, This Is Our Time

Rating: 5/10

Cradle Of Filth "V Empire" (1996)

"V Empire", or "Dark Faerytales In Phallustein" was once to me a somewhat mysterious release from the English Extreme Metal band. A record with two names, sometimes listed as an EP and released instead of a "lost" record. Luckily now the Internet is a wealth of knowledge and the story is clear. Before their debut, which I am actually not familiar with, they recorded a full length known as "Goetia" in 93. Unfortunately the record label couldn't pay the studio bills and the recordings were wiped. Hastily signing with Cacophonous Records the group got a bad deal which led them to quickly write and record "V Empire" before jumping ship to Music for Nations. Recorded in 95 and released earlier in the year to their magnum opus "Dusk... And Her Embrace", it has only six tracks, but with a couple of lengthy tracks makes for an album experience.

Despite its rushed production Vempire, as its often referred to, has some of the bands finest moments, the opening three tracks a staple mark of any live show. Its a rawer experience with a lack of polish that translates into a wild energy that becomes refined and focused on its follow up. Its very much in the same moment, however Dani's unique and shrill howls are at their peak with a blinding intensity and haunting magnitude. Alongside them his deep, bellowing gothic spoken words, drenched in reverb fuel the fantasy worlds these songs take us too. In some of his most intense moments he sounds like Varg Vikerness and his animistic barks of agony. The rawer attitude of this record gives the extreme angle of their sound more freedom and the result is a faster, aggressive beast. The melodies and riffs create a vivid atmosphere and make for their most memorable material, especially the ten minute epic "Queen Of Winter, Throned", full of dramatic intensity, mood shifts and lightning screams its topped off with an almost cheesy moment of vampiric masturbation leading into the songs climax and conclusion.

Having revisited this one Ive really got a fuller sense of where it lies in Cradle's history and subsequently has become a fascination and curiosity. What could this have been under different circumstances? It feels like Cradle rushed their most inspired moment. In the flurry of a dash to escape a contract they managed to find a brilliant balance in production of rawness and power that would never be the same again. If this was strengthened by a few more decent tracks it could of easily been their ten out of ten. Fantastic record!

Favorite Songs: Ebony Dressed For Sunset, The Forest Whispers My Name, Queen Of Winter, Throned
Rating: 9/10

The Future Sound Of London "Lifeforms" (1994)

Sent to me from a twitter follower I fired up this record on youtube and ever so swiftly did this one reveal its brilliance. As on the first listen and many follow ups I was captivated by such an organic and spiritual musical experience. "Lifeforms" is a gem, a strange oddity of experimentation that abstracts the norm and unites the beyond with the now as if on a psychedelic drug trip, reaching into the limits of the mind. Perhaps its not totally "out there", or anything to blow your mind but given the context of 1994 this record is well ahead of its time, mixing all sorts of sounds into a fluid unravel of imaginative beauty for your soul to explore.

This is one of those records to experience yourself. There are some steadier moments where chilled out, down tempo beats providing a familiar rhythmic setting to nod along to, however its charm lies in a continually evolving tapestry of unusual samples and wandering instruments that find a mesmerizing chemistry in unusual places. Even room for a lofty, dreamy sample of "Cannon In D Major" to drift into the subconscious. At 90 minutes it doesn't outstay its welcome, but continually finds new territory and sound to move through, it could of easily gone on for longer.

Almost every moment on this record is fantastic and there are two moments in particular I'm fond of. As one might guess there is black and harrowing track that delves into dark down tempo ambience with shadowy shimmering synths, cryptic distorted voices and rippling sirens in the distances. It evolves into a short lived steady beat that grooves with an evil menace. In contrast "Dead Skin Cells" brightens the mood with with unusual alien sounds juxtaposed against birds tweeting in the distance while a laid back beat drifts on by. Much of the record ebbs and flows at its own pace, through one oddity after another. A truly riveting experience, one I will continue to dive into as time goes by.

Favorite Songs: Dead Skin Cells, Domain, Spineless Jelly, Vertical Pig

Rating: 8/10

Kendrick Lamar "Untitled Unmastered" (2016)

Where does an artist like Kendrick go after the monumental "To Pimp A Butterfly"? Well playing it down with a "bonus material" type of record is a smart move, calm the hype and feed hungry fans some material that didn't make it to TPAB, you can't go wrong... well, you could but thankfully these leftovers are interesting, rich with ideas and quality execution (at times) that gives me a greater respect for TPAB. Its grown on me over the year, at first I saw its brilliance but It wasn't clicking, however as the year grew those songs would resurface in my mind. What I realized about the music is how much Kendrick pushed the instrumentals in favor of its Funk, Soul and Jazz influences. Often the Hip Hop ideal dominates over a selection of samples, however with hired musicians he steered the ship to a far more neutral territory, "Untitled Unmastered" further highlights this artistic balance. For a group of outtakes that are simply dated, rather than named, we get an unsurprisingly unfocused experience but those 34 minutes flow by smoothly. For this one we will break it down track by track.

First we have a darker, grittier instrumental reminiscent of the RZA production style from early Wu-Tang records. Low-fi strings and soft piano samples over dingy, grimy beats. Kendrick spits with a lot of energy on this one. Second we move into a moodier atmosphere with spacious beats and deep brooding baselines, Kendrick playing with his softer voice and dropping in infectious rhythmic delivery. Third song we get a fruitier, upbeat, almost tropical track with fantastic instrumentation, a rigid organ sound comes into the track later on which didn't quite charm. Fourth song Kendrick starts off with a harmonized duet, whispering questions the two reply two in voice. Has potential but the song fizzles out.

Track five reminds me so fondly of DJ Shadow's "What Does You Soul Look Like", a hefty warm baseline plodding under a crashing ride cymbal. Six has a faster vibe and is the records most TPAB track, sounding like it could slip itself into the track listing. Seven, the longest at eight minutes, plays with the gangster side, dizzying trap instrumentals and provocative lyrics lead into a couple of half baked ideas that end in Kendrick taking the mick out of Michael Jackson's "Don't Stop Till You Get Enough". Eight has a strong disco dance vibe with a snappy clap in the beat and unusual synth lines grooving around between the deep swooning bass grooves.

Its easy to see why some of these songs didn't make the final cut, they are not quite on the same wavelength, but that's not say they couldn't of become something great, they just don't quite line up with the mood of TPAB. This record is fantastic and an glimpse into the depth of inspiration Kendrick brought to his record. Whatever direction he chooses to go in next there is no doubt he could make another fine record with these musicians at his side.

Rating: 7/10

Arcadia "So Red The Rose" (1985)

"So Red The Rose" is a one off 80s Synthpop record, an off shoot of Duran Duran. With the band on a short hiatus the group split in two to focus on other projects and three of the five, including singer Simon LeBon, put together this record together which could arguably be my first Duran Duran record as I am quite unfamiliar with their music, however very aware of their success and acclaim. Synthpop itself isn't a genre I'm particularly fond of however Depeche Mode's "Black Celebration" really won me over. It has an appealing framework but often the direction isn't my forte.

With Arcadia the opposite might just be so. I found myself in tune with the spirit of the record and its direction however the arrangements of bright, crisp and upfront instruments tend to get on the excessive side at times. It is apparent now that the "space", between instruments, in the music is probably due to being so fond of Metal and a constant onslaught of sound that the burst and chop nature of the instruments becomes a delicate balance. Simple drum beats, mild temperate baselines, soft backdrop synth lines and LeBon's romanticized vocals are the consistent element. Around them dance jovial synth stabs, momentary flange guitars chords and various layers of mildly percussive sounds as well as swarms of noisy synth effects that burst out and frazzle quickly. These arrangements revolve around straight forward time signatures with a decent sense of groove but its a few instrumental choices that don't line up for me. Vivacious and bold, these instruments have to much oomph for what should be a calmer spirit in comparison to LeBon's voice. Especially the stabs, they border what might be described as "cheesy". Although a little wild and over enthusiastic the songs have spirit, inspiration and a great sense of melody within a shorter, catchy context.

At this point the record is doing just enough but after a couple of interludes the final three tracks really pick up with the aforementioned niggles removed entirely. They follow the tone of LeBon and build slower atmospheres around him with no dramatic synth noises or abrasive stabs, Its the part I'm most fond of. It wasn't something I noticed, but the record also features David Gilmore of Pink Floyd, Sting & Herbie Hancock on various tracks. I really enjoyed this record for a while but it has tired a little. Ive seen Synthpop as a hit or miss for me but here we find something hung in the balance, that definitely leans into the light.

Favorite Songs: The Promise, El Diablo, Lady Ice

Rating: 6/10

Dan Terminus "Stratospheric Cannon Symphony" (2014)

Although there is another record to devour in Dan Terminus's discography, this will be the last from me for now. Its his second full length and despite a lack of aesthetic difference it has a distinctly more EDM vibe than the previous leanings to the dark side. As much as I have enjoyed these records, there is something that just doesn't click quite like other musicians have done for me. Like on "The Wrath Of Code" its a warm and enjoyable listening experience, yet I walk away each time without an echo or melody stuck in the mind. 

Much like the albums cover, we tread into the lighter regions of dark music with a record that tingles with a cool frosty breeze as warm and inviting melodies play from the thick and chunky waveform electronic instruments which stack up in varying layers. As if on a drifting glacier, we warm ourselves in the sun of an otherwise frozen hell. As mentioned already, these melodies and leads rarely do much to forge a remarkable moment but simply dance around the broad, deep buzz saws and punchy drum kits that form the songs. "No Escape..." breaths some some life into the record with electronically distorted vocals and cleanly sung lines from two guest vocalists. Even then they are sparingly used on what is primarily instrumental music, something that could perhaps hold it back.

So I don't have too much more to say, some records are like this, its enjoyable in its moment but I don't feel anything deeper emanating from it. Perhaps there is too much reliance on the aesthetics of the instruments, which do set a vivid atmosphere, it is not backed by inspired melodies or musical direction. Instead what does occur seems to plod around in a moment moving aimlessly but looking pretty non the less.

Favorite Track: One Million Dead In 2.7 Seconds

Rating: 5/10

Irreversible Mechanism "Infinite Fields" (2015)

There is a reason Ive waited a while to talk about this record, It reminded me so fondly at the time of Dimmu Borgir's "Puritanical Euthoric Misanthropia", I wanted to write about that one first. PEM is the sort of record that paths the way for these high octane, Extreme Metal and Symphonic hybrids. In the time thats passed Ive paid more attention to the bands Death Metal traits and perhaps it bares more of a resemblance to a band like Aeons Confer but whatever similarities it has, It's part of a musical niche I adore. I spotted this on Blood Music's bandcamp page, the same place I discovered Kauan, instantly I knew it was for me. Irreversible Mechanism are a duo from Minsk, Belarus. The first music from this country I am proud to add to my archive, which is organized by country. "Infinite Fields" is their debut dropped last year.

Much like the aforementioned bands, this one exists in the technical ecstasy of high precision, energetic performances of tight, sturdy musicianship and guitar shredding that requires much skill, dexterity and musical understanding to execute. There's not to much to distinguish them from the genres expectations, they have a more Death Metal leaning and don't over emphasize any instruments but what is apparent is the level of excellence that never lets up from start to end. Its experience is pragmatically dark and sinister, with a tinge of that astral charm where choral synths bring a sense of vastness only known in space and time. The flow is consistent and rarely breaks for any form of tangent, the guitars however often drop out to let composed symphonies to shine through, which are ever present, but sometimes out shined and drowned out by the metallic intensity.

Over soft lush strings beautiful pianos chime in the moments between the blistering guitars and the record has a stunning production of which the snare drum has a punchy, cutting chop that slices through stunningly on many of the blast beats the records drummer turns to in between a continual barrage of fast, interchanging technical beats, fills and rolls. It is quite the onslaught with all instruments firing on all cylinders with detailed levels of instrumentation. It all finds its place in the balance to make remarkable atmospheres perfect for a fan of this particular type of Extreme Symphonic Metal!

Rating: 7/10

Bohren & Der Club Of Gore "Sunset Mission" (2000)

 If ever there has a case of instant appeal, then Bohren and his "Club Of Gore" are a prime example of a sound Ive been waiting to hear, as soon as it graced my ears it all made sense. Known as Doom Jazz or Noir Jazz, a far more suitable name in my opinion, the sophisticated atmosphere of Jazz is taken to the dark side with a seductive persuasion that lures you in with its passive presence, soothing, gentle yet drenched in night time blues. The band are a four piece group from Germany who have been active since the early 90s and "Sunset Mission" is their third full length.

The setting for the groups music is quite simple, soft choral synths lightly grace the backdrop as deep baselines plod and blunder in the distance, the slow ride cymbal sets a crawling pace as it softly strikes and shimmers the tempo into existence. Variations of these set the atmospheres on each track for the saxophone, organ and rhodes keys to lead us through a tangent with their dark and brooding leads. It warms to the eerie and mystical but is rooted in an urban environment. Danger is always near, as if you walk the smokey alleyways of a crime smothered city where the sun never shines, a murder detective, who in a search for justice is burdened by the weight of the horrors they see. Its the soundtrack to a romanticized crime novel of dirty streets, shady criminals and alcohol addiction.

The record stretches on for 73 minutes and is more about atmosphere and tone than making an impact with any particular moment. On "Pain-Less Street Angels" there is a fiery level of emotion from the sax but asides from one standout moment much of this records charm resides in its ability to hold the mood without any visible intensity. There's a fair few peaks and distortions felt in the mix, nothing much to bother but its far from a remarkable production. It does enough to let the music do what it does so well.

Rating: 7/10

Dimmu Borgir "Puritanical Euphoric Misanthropia" (2001)

With a recent revitalization and hunger for the music of my favorite band we come to the third in a string of records, Enthrone Darkness Triumphant, Spiritual Black Dimensions, at the bands creative peak. Playing on the three word album titles, PEM is another unique experience that takes Black Metal to a blistering, hate fueled peak of orchestral symphony and octane instrumentation firing on all cylinders. Its an anti-humanity hate vehicle on a mission to dissect and dismantle the human condition, exposing the worst of our traits that still manifest into the power structures of our 21st century modern society. As always with loud, aggressive, heavy music it is that exposure of evil that brings the strengths of inspiration to create intense and wonderful music.

Stylistically PEM defines itself in the absence of low fidelity, traditional values, focuses on highly energetic and pristine instruments. The keyboards push into new territories with ever a truer sounding symphony comprising of a fuller range of orchestral instruments composed by Mustiis. Of course the band would later go on to record with a live orchestra. With a personal change the band acquire long time fan Galder from Old Mans Child, his band who have followed a similar journey in sound to that of Borgir. With his arrival comes fiercely sharp guitars and heavy chugging riffs syncopated to the machine gun firing pedals of drummer Nick Barker's, formally of Cradle Of Filth. The album is once again blessed by the voice of bassist ICS Vortex who gives and infectious dose of clean, manly vocals into one of the latter tracks.

The records chemistry is ferocious, continually pummeling the listener with an onslaught of rip roaring instrumentation. Behind its aesthetic charm, calculated, yet adventurous music takes the listener through inspired melodic leads, head banging riffage and evil symphonies that do more than compliment the guitars but become fully involved in a songs direction, queuing the shifts in tone and occasionally taking the lead. "Architecture Of A Genocidal Nature" plunges into an mysterious astral soundscape with deep warping synths that break into bells playing eerie melodies with the sound of glimmering stars. The slow, brooding breakdown at the end of "Absolute Sole Right" also forging atmospheres of the cosmic nebular. Its counterpart, a more expected orchestral sound, can be heard throughout but is so brilliantly executed on the records opener "Fear And Wonder" which so immaculately glides through a gorgeous, glorious ride between the opposing forces of good and evil. A true symphony to paint a picture.

It ends where "Blessings Upon The Throne Of Tyranny" opens up, throwing us into the pits of hell with a blazing blast beat and menacing guitars riffs to set the bar high for this record that doesn't disappoint. From song to song so many identities are formed for songs that take this genius sound to the many corners of hell. Beyond its musical veneer, Shagrath solidifies the albums theme with his remarkable use of the English language. As a Norwegian his construction of words can seem blunt, or unrefined for a non-native speaker. At the same time his extensive vocabulary and imagination for the language may just be a stroke of genius. There are many deep and extensive lyrics regarding many aspects of human behavior, especially in group dynamics and power systems. Of course the church finds itself under constant criticism. "Inconceivable moral priest, hides in preferable dress, invite to another pleasured feast, the concealment of joyful laughter". The record is smothered with cryptic musings to ponder and may take a while to get your head around, or perhaps find your own meaning within. "Peace means a reloading your guns" comes to mind as one of the lyrics less poetic, yet most striking and meaningful lines on the record.

The record might find a weak spot where the flow disrupts for a dropped tuning, short and more "accessible" track "Puritania". Its a great track but definitely operates with a different energy. The production is at its finest, all instruments sound crisp and clear, with lots of volume and punch, finding a stunning balance where they don't crowd each other. It has less of an immersive or atmospheric quality compared to the previous direction however Dimmu really home in on something sharp and tangible here that suits the listener who needs to get fired up, or let of some steam. Along with the other two these are my three favorite records by the band and I'm keen to talk about more in the future.

Rating: 10/10

The Contortionist "Language" (2014)

What I remember of American Metal band "The Contortionist" is a Deathcore group trying to push the genres "heaviness" with tinges of Djent and Technical Death Metal. That sound is a distant memory with the band bringing a keyboard player into the lineup and replacing their vocalist with Michael Lessard who has a fine singing voice outside of the rugged screams and growls. Going in a new, progressive direction "Language" steps into a world of color and melody, an illumination of inspiration.

Flowing organically these songs drift through a free form of momentum that unravels in its own direction, shifting, amplifying and switching tune at many points. Drawn between two forces we are graciously swooned by the sunny and delicate passages of temperate drum grooves, soft distortion chords, serene synthesizers and Lessard's tender tone. In turn, force and aggression emerges from within as instances of instrumental intensity amplifies, their focus turning to aggression and Lessard curling throaty grows and snarls over the emergent change of mood.

Most of the records charm comes from this shifting between sides both in tone and texture. Its as if all instruments have a dial and a puppet master turns them. The guitars can lavish with warm distortion and fire up with rhythmic djents. The synthesizers often taken the more subtle approach also intensifying their potency with volume and depth. Through the course of these songs many balance shifts occur and its as if many combination and ideas are explored through inspiration.

On first listen this could feel like progressive for progressive's sake but with each listen you chip away at the framework, understanding its cause and purpose piece by piece. As I write this now its time to move through my playlist but I feel there is more to discover. A break will undoubtedly reveal more. On a final note this record is lush, smooth with its lighter, harmonious side. Its a little coarse and brash with its heavier distortions, something that could be dispelling at times. It sounds bright and clear from a technical perspective. Well worth picking up if your a Progressive Metal fan.

Favorite Songs: Integration, Ebb & Flow
Rating: 8/10

Cradle Of Filth "Dusk... And Her Embrace" (1996)

Cradle Of Filth, a band that polarizes opinions and attracts hate within the Metal community, are an English Gothic / Extreme Metal band led by front man Danni Filth who, over the years, has chopped and churned through many musicians and led the band into criticism for supposedly attempting to popularize the bands sound and image. Whatever your opinion is, there should be no denying that for a brief period in the 90s they put together some brilliant music that sounded unlike anything else. Dusk is the bands second, technically third due to a scrapped record, and undoubtedly their finest. One that any fan of Extreme Metal should check out.

Firstly Cradle are not to be confused with Black Metal, despite many similarities in evil themes, distortion guitars and shrill vocals, the musics core is drenched in romanticized gothic vampiric mysticism, dominating and guiding all aspects of their sound to create lavish fantasies of ancient blood soaked nostalgia. Their songs unfold through a series of repeated segments that move from one riff to the next with vision and variety, shifting between aggressive blast beats and slower doom tempos with all sorts of dark symphonic wonder in between. Evolving from start to end they mostly feel like journeys and stories.

One of the records defining qualities is the sense of lead and harmony that existence between the guitars and synths, feeding of one another and cultivating a shared vision. When they drop backwards with power chords the synths will step up with simple and inspired melodies. In turn the guitars do the same but with a style that reminds me fondly of Iron Maiden, fast commanding dual leads that have force, groove and a great sense of harmonized melody. With power chords and melodic leads the guitars can also turn to some metallic head banging grooves at times that work to great effect, amplifying the momentum of otherwise theme oriented music.

Cradle's trademark, Danni Filth's vocals, are at their finest here. His fierce, deadly, high pitched shrill screams turn many off, but for a fan his tone and delivery is spot on here and rightly so is used sparingly. More traditional screams and deep guttural spoken words reinforce the gothic theme and keep things ticking over until Danni will burst in with his surreal range. It reinforces the fantasy this record offers, sounding almost inhuman or beastly. Alongside him is Sarah Jezebel Deva's strong, evil, enchantress vocals playing on the romanticized themes. As well as having a stunning gothic voice she was one of the bands longest consistent members for fourteen years and has worked with a lot of other reputable Extreme Metal bands who often lean on the gothic tinge.

Dusk is spell bounding, vivid and dream like. Its atmospheres are haunting, chilling, ghostly and mysterious. Danni takes us on a ride through his twisted fantasies, the lyrics are poetical affairs with seductive temptresses of nocturnal persuasion. I can only sing this records praises. Further pondering on its strengths the albums production is very strong for 96. Its not pristine, the instruments are not perfectly crisp and without flaws but the balance between instruments is spot on and lets them find their chemistry for us to enjoy. Writing this I realize how fond of this record I am. Ive also heard their latest record is "return to form". Something I would love to hear this band do again.

Rating: 9/10

December Moon "Source Of Origin" (1996)

 December Moon were a short lived English duo from Ipswich who had both been member's of Extreme Metal band Cradle Of Filth. Drummer Sarginson for a brief moment in 99 and lead song writer "Robin Graves", note the pun, through their best period in the early 90s. This was December Moon's only full length after a couple of tame demo's and its fair to say its the sort of record that gets lost in the waves of mediocre releases following the explosive controversies in 94 that brought this style of music to a wider audience, inspiring many musicians to form bands.

I found this album at a gig I attended recently, picking up a second hand record based on a recommendation from a chap who's band "Macabre Omen" impressed me greatly. Being so familiar with Black Metal, it doesn't take long to figure out a record like this. It doesn't have much to offer beyond a routine set of rugged songs that wouldn't be half bad if it wasn't for some glaringly awful vocals in the later half of the record. The hallmarks are all here, low fidelity distortion guitars, snarly vocals, clattering blast beats and rigid symphonic keyboards to add a raw spice into the flavor.

There's quite a few strong leads, temperate riffs, evil melodies and sinister themes at work, notably with a similar Gothic tinge in the vein of Cradle. It doesn't rub of as dark or particularly heavy to a seasoned listener and with a good sense of atmosphere the records knows when to give itself a bit of breathing room to let the distortions soak up the air. After three tracks the record shifts gears with a cold, and ancient synth track, then continues with another more crude and primitive Dungeon Synth instrumental accompanied by snarly, throaty screams that fail to charm. Its followed up by some hideous, shrill, howling vocals that dispel any magic on a sub par riff. Later it picks up with some, once again very Cradle like gothic female vocals which are subdued and muted in the mix, leaving what could of been a great moment feeling underwhelming.

The record trails of after that point with uninspired songs, leaving me with the air of disappointment. This one straddles the fine line and for a larger portion, drifts into obscurity. I'm reminded of "Diabolical Masquerade" with the snarly, distinguishable screams and upfront involved guitars but of course, falling short of that mark. The records production isn't much to marvel, fairly organizedwith a strong base presence, the drums at times can lack some oomph. Worth a listen if this era of Black Metal interests you, but there is better out there.

Favorite Songs: Exaltation Of Power, You Can't Bless The Damned, Nocturnal Trancendency

Rating: 4/10

Savages "Silence Yourself" (2013)

Taking a step back to their debut record we check out the UK based Post-Punk revival band Savages critically acclaimed arrival onto the music scene. With three years between it and the brilliant "Adore Life" the bands identity and defined sound remains as firmly in place as its successor with little evolution between the two. Its another riveting collection of brooding songs that shimmer in the darkness as grey, and cloudy aesthetics let a myriad of energy emanate from within through its grisly exterior.

With retrospect I hear a rawer expression at work, bolder, daring and noisy but with less craft for the subtleties and focused song writing on what was to follow. With that comes a few track that delve deeper into atmospheres of struggle and conflict and others that play fearlessly with lively, excessive noise. Beyond its differences a lot of these tracks feel interchangeable with "Adore Life" and stir up many similar feelings, thoughts and emotions.

I do feel that singer Jehnny Beth has more energy and strength in her performances, although singing with the same attitude one can feel more energy and passion for most these songs. Even in her softer moments she sounds more involved. The instrumentation and production is on par and I'm left with not much more to say about what isn't a wildly different record. I do feel the bands songs are a shell to be cracked, the sort that take time to fully appreciate. For the many times ill be enjoy their records in the future, I hope to understand the depths they clearly offer.

Favorite Tracks: Shut Up, She Will, No Face, Dear Marshall

Rating: 8/10

Killing Joke "Night Time" (1985)

Its the fifth record of our beloved Killing Joke, the niche Post-Punk, Industrial Rock band of the 80s and an expected return to form considering it produced two of their best songs. Following a duo of unfavorable records its great to hear the group back on track but this time in a new and refined direction. "Night Time" tones down the aggression and Industrial accent, dialing down the loud, smothering distortion guitars in favor of a more spacious sound that still retains distinctive qualities of the identity they created for themselves but with a more accessible sensibility.

Singer Jaz Coleman may be the one exception, shifting his style to a significantly softer, resonate delivery, melodic and bolder. He still retains his voice, but in moments sound like other singers of the era. Behind him the lightly distorted guitars emphasize on strung out chords plucked into atmospheric reverbs. They often drop out for quiet and thin synths to eerily drone in the distance. For the most part the drums and bass chime with one another, rhythmically clattering away through short jolting grooves that pound away, repeating over and over.

It works! And with better clarity from the production, the nosier moments don't cloud the listener. There is room to breathe and the bass's tone keeps it right in the front of the record, grooving away with a thick, vibrant tone. Song structures are nothing to marvel and if it wasn't for the two spectacular tracks there isn't to much going on. Its a record of moody vibes that sets its timbre and rolls with it through a soundtrack of cold concrete and rainy days. It elevates itself to inspired heights with "Love Like Blood" and the albums closer breaks to what feels like a different record altogether. With a different aesthetic, hard hitting drum pedal, "Eighties" ends on an upbeat note with a party, sing along track to pump your fist to.

Favorite Songs: Love Like Blood, Eighties

Rating: 7/10

Dimmu Borgir "Enthrone Darkness Triumphant" (1997)

Norwegian Symphonic Black Metal outfit Dimmu Borgir have been my absolute favorite band for many a year but with a recent inspired lust for their music I am reminded as to how remarkably well I know the ins and outs of this record and how much pleasure and joy can come from the depths of familiarity. Their music is my catharsis, an escape from any burden, a spiritual experience and the bands following record, "Spiritual Black Dimensions" is the greatest of musics to ever grace my ears. Of course music is subjective and personal and it is my personal experience that has solidified my love for them as waves of memories and nostalgia hit me with intensity listening to this one again. At a time when music sharing over the internet was in its infancy, songs like "Morning Palace" took me by storm with a flood of exhilarating noise that rocked my perceptions of music forever.

EDT is the bands most important record, taking a definitive step away from the low fidelity, traditional style of 96's "Stormblast", into the lush and lavish world of fine tuned, ear melting production that would bring their ambitious musical ideas to life in a new dimension. Refining their approach to songwriting and taking full advantage of a gorgeous production sound the band forge a masterful chemistry between guitar and symphony. Soaked in majesty, blasphemy and wonder these hellish dark anthems are engrossed in inspired melodies and harmonies that tunefully wist us into riveting musical worlds to paint the mind with an endless depth of emotion. Its significance and influence on the direction of the growing European metal scene is their to be seen. Taking Black Metal to a more accessible place, while expanding the possibilities with intelligent and thoughtful musicianship.

As mentioned, the chemistry of symphony and guitar is a key component in this records brilliance. The synths are thick, bold and shapely, carving distinct signatures that define the atmosphere. Beside them dense, burgeoning distortion guitars are tightly performed, oozing and melting into a shimmering harmonized wall of sound with the synths, and standing vibrantly on their own feet when commanded too. Behind them whirling blast beats and dizzying drums rattle away with precision force, joining the barrage into the glorious wall of sound. The bass is the think underlining to fill the dimension with a low warm boldness that has a few moments to inflect its own lines, but mostly acts as the dense undergrowth.

Leading the charge is vocalist Shagrath, who's praises I will sing from the highest mountain. His voice and scream is one so familiar the nuances are all known to me. Its in the finer scrutiny of his tone, snarl and delivery that a true charm can be heard through passionate delivery that has a fair few moments on this record where the words and meaning move through him. "Relinquishment Of Spirit And Flesh" for example, the growls and guttural screams through the songs mid section bellow, roar and howl with dimensions other screamers just can't reach. Its a moment of true inspiration and his voice surpasses the mortal realm, lunging us deeper into these devilish songs of eternal darkness.

The records theme, as you might of guessed, is of evil and darkness, however its forged through bright and intelligent melodies that make for memorable hooks and endless unforgettable riffs, harmonies and moments. The song structuring is smart, mixing the basic elements with some unraveling passages that make for continually exciting and easy to comprehend music. It can be a little rigid with section repetitions but not to a flaw. If this record does have a criticism it might just be the track "Entrance" which despite being a damn good song is overly simplistic in structure and feels somewhat like a rehash of "In Death Embrace" echoing a similar vibe between guitar and bright pianos.

Ive listened to this record well over a couple hundred times. Its an insatiable and riveting experience ripe with luxurious synths, rocking aggression from the guitars and that pummeling swell of darkness from Shagrath's evil screams and the menacing blast beats that have plenty a moment. The vivid atmospheres conjured have been endlessly inspiring and just hit me on that indescribable level. Its been an absolute pleasure to have enjoyed this music for so many years and I will continue to do so for the rest of my time!

Rating: 10/10

UGK "Ridin' Dirty" (1996)

The Underground Kings, abbreviated UGK, are a southern Hip Hop duo from Texas, America. Released in 96 "Ridin' Dirty" is considered a classic and remarkably sold shy of platinum with no official singles released. On my first spin I recognized a few tracks from various movie soundtracks and shows Ive watched, its like another piece of the puzzle falling into place with lyrical references lining up, like Jay-Z's "We like underground kings, riding dirty" from "The Blueprint". This wasn't as distinctly southern as I was expecting. With tinges of Outkast's debut vibe, UGK find the best of the east's sampling and the west's programmed beats, it amounted to a very defined and accessible record.

The two both have strong, clear and steady flows with a keen ear from rhymes and hooks, Bun B with the deeper tone and Pimp C a sharper, aggressive delivery that compliment each other. It makes for great listening but on a deeper level there isn't to much to delve into lyrically beyond the gangster lifestyle. Its about the mood and moment, telling it through slick rhymes for the listener, UGK ain't trying to make a point or reflect on their lifestyles but just tell it how it is. With a blunt approach and unapologetic story telling there's plenty of disagreeable misogyny and glorified violence on display.

Where the record works for me is the beats and production. Most these instrumentals are simple, to the point and can be deconstructed with ease as they don't over complicate. Its a fine line to tread but "No Joe" and the two rappers handle the production with a keen ear for samples, mixing some Funk and Soul sounds with sharp kits playing out tidy grooves. At around an hour it shows its consistency without a weak track. It couldn't be done by the instrumentals alone which are often small sections on repeat with a few breaks. Although there wasn't much food for thought the duos rhyme styles carry weight and keep one entertained for the duration of what I can agree is a classic record for its time.

Favorite Songs: Pinky Ring, 3 In The Mornin', Good Stuff

Rating: 7/10

Kauan "Lumikuuro" (2007)

Following up on the spectacular "Sorni Nai", an album which really blew me away, I find myself at the Estonian bands roots, their debut dropped eight years earlier. It caught my attention for possibly the wrong reasons, a song "Savu" containing a slower tempo moment of Dimmu Borgir's classic "Relinquishment Of Spirit And Flesh", a near carbon copy pulled of in a different context. Not accusing the band of anything, it simply caught my attention and sucked me into what is a light, easy and enjoyable record with a unique chemistry between the dark and light elements of its design.

The experience is defined by a distance between its lush melodious bells, graciously dancing over soothing strings and the dark, narrow, dense distortion guitars that chop and churn under snarly, grim screams. Some acoustic guitars and softer electric leads bridge the gaps with harmonious folk singing but its the disparity that creates an unusual chemistry where the bells and strings guide us through ethereal like, atmospheric moods as the linear distortion guitars chisel and drone away in the distance. Its moody and the slow tempo influences of Doom Metal can be felt throughout. The writing can be both graceful, sudden and blunt as instruments interchange focus around one another and it is often where the guitar takes lead that the magic can be dispelled.

For eight years and five records, "Lumikuuro" isn't to far behind "Sorni Nai" in terms of identity and aesthetic. Some of the bands defining characteristics are here and even a few comparable moments. Its overall direction feels a little murky when chunky, groove oriented riffing crops into an otherwise atmospheric experience where the guitars are a distant fuzz. The record can also swiftly shift from one moment to the next and it isn't always pulled of with the agility they would later find. I'm fond of this record, its flawed and rather unusual in its own identifiable way.

Favorite Song: Savu,

Rating: 6/10

Liam Looper "Mental Projections" (2016)

This young Australian rapper is a Patreon of mine who sent me a link to his debut record that took over a year to make. With an obvious passion for rapping Liam has been at it for eight years, now only just fifteen years old. Not knowing what to expect I was pleasantly surprised with the tone and vibe of this record. Laid back, introspective and thoughtful rhymes over jazzy beats is my cup of tea. The closing track was also produced by Birocratic who's music we have discussed here before. Its interesting to hear rhymes over beats so solidified in familiarity without theme. I must say it was the other producers worked with that made the record shine.

Mental Projections is an honest and personal record from a young man working through his issues with words and rhymes whos rapping ambitions have become a part of his internal struggles. Its raw, intimate, heart-felt and authentic. This record might have not charmed me as much if it wasn't for the instrumentals which fit snugly into the sort of beats I like. Their are moments where the vocal experimentation and flow don't quite come off but on the flip side plenty of captivating rhymes, word play and the easy going style of rhymes makes it effortless to follow along with the train of thoughts. Its not often I hear an Australian rapper and I felt initially, and still with familiarity, that the accent works well in the flows where it naturally dominates the pronunciation but there are weaker moments where the influences of American rappers can be heard and it comes off jumbled between the two tongues.

 The production behind the rhymes are solid and come in a variety of themes, generally on a moodier, introspective scale but always, melodic, colorful and jazzy. An easy record to chill out and vibe with. "Bonethebeathead" provides a couple of tracks reminiscent of Down To Erf and "Tom Misch" steals the show with loving warm piano samples and the records best moment on "Home" where Liam's emotional struggles climax through dramatic rhymes amplified by a gorgeous guitar solo which breezes with the beat. For a young person I was surprised to hear such thoughtful lyrics and ideas articulated on a concrete level. His ambitions are clear and shows a wealth of potential to make something of his dreams. A charming record!

Favorite Tracks: Hello, Rain, Vote

Rating: 6/10

2Pac "Strictly 4 My N.I.G.G.A.Z" (1993)

The late American rapper Tupac Shakur is undoubtedly Rap and Hip Hop's most acclaimed, celebrated and mourned artist. Shot several times and fatally wounded in 96 at the peak of his career the man has a legendary status in music with a body of widely influential work including a plethora of posthumous records created by other musicians who strived to keep his name alive and relevant in the post 2Pac world. In popular culture his "All Eyez On Me" and Death Row era is the most celebrated but for me its his first two, often overlooked, that mean the most. On "2Pacalypse Now" a young teenage Tupac charmed us with his social conscious, intelligent, intrepid flow and weightless articulation. The talent was raw, untouched and full of promise but the events that would follow would set him on a wild journey through the pressures of being a person of national interest.

Following a violent police beating and public criticism on his music from senator Dan Quayle, Tupac arrives at the microphone with the anger and frustration frothing at the mouth and with his unrivaled talent focuses it all into his words with an endless onslaught of rage induced rhymes to strike back. These where times when Rap music was shining a light on the systematic racial impoverishment in American society and being targeted for shining that light Tupac strikes back "And now I'm like a major threat, cause I remind you of the things you were made to forget". The record is loaded with sharp and concise rhymes like this which convey so much weight and meaning when you understand there context. Given the recent attention to racist police brutality and the outcry in response its as relevant as ever. "So we live like caged beasts, waiting for the day to let the rage free".

Head locked with the political system, Tupac's once observational lyricism heats up as he steps inside the minds of the characters he speaks for, taking things to the next level as he tells the struggles of ghetto life. It can easily come across as glorifying violence and is often misunderstood as such. Tupac see's criminals as what they are, people, and gets us inside the mind to understand the social and economic environments that create criminality in his neighborhood. He gives them a voice and does so with the help of legends Ice Cube and Ice T, as well as Treach of Naught By Nature for some brilliant and would be classic collaborations.

Behind an arsenal of eye opening lyricism the production is one to remember for being vibrant, aggressive, noisy and obviously flawed. Through its shortcomings it triumphs in making a memorable and firey backing to Tupac's inspired attitude. The beats are chaotic, layers of samples stacked noisily and at times incoherent. Theres similarities to Public Enemy's Bomb Squad style, and underneath deep sub bass lines groove in an unsettled and restless set of beats. The consistency is varied, some tracks sound like they are from the previous record and others, mainly the records closer have a Naughty By Nature vibe. It rough, raw and ambitious, with more polish it could of easily been a classic but feels rushed and results with an easily aged character to it.

This was the first Tupac record I brought, must of been over fifteen years ago and it was the wild fiery, red and green album cover that sold it for me. At the time I enjoyed it but it was many years later that my appreciation grew as I understood its context more. Interestingly, I can draw some comparisons to the southern Hip Hop style with the cover art, years before it became popular in the south. One other thing I adore about this record is the use of deep pitch shifted vocals like on "Something To Die 4". Its fantastic but hardly ever utilized, although Killer Mike's recent "Rap Music" does it to great effect. On another note, Tupac's most known track "Changes" is actually a leftover from this record. Having collected all the outtakes I can hear why, the beat just isn't on the same level as Tupac. Anyway, there's my thoughts, I adore early Tupac and this record gets me fired up and angry when I need it.

Favorite Tracks: Holler Ya Hear Me, Point The Finger, Something 2 Die 4, Last Wordz, Souljah's Revenge, Strugglin', Guess Who's Back, Keep Ya Head Up, Strictly 4 My N.I.G.G.A.Z, The Streets R Deathrow, Deadly Venomz

Rating: 9/10

Slowdive "Blue Day" (1992)

Digging into the wealth of knowledge the Internet has to offer, I found my way into the pre-Britpop Dream Pop / Shoegazing scene of now somewhat forgotten bands that had their moment in the early nineties. Slowdive's "Blue Day" had a familiarity and touch of Ethereal that sucked me in to this short, breezy dream of a record. Like a fair few bands of this scene their time was short lived, forming in 89 and disbanding in 95 however they have recently reformed with no new material. This record is a compilation of three EPs released before their debut in 91 and it doesn't feel like one. In fact the production and theme of the record is very consistent across the six tracks.

In many moments, they are most reminiscent of Lycia's dark, baron and freezing sound, however Slowdive have a warmth exuding through the soft, sleepy wall of sound that engrosses the listener. The guitars shimmer in the distance, illuminated through odd, layered guitar effects and distortions that despite seeming harsh in an analytical sense, are inviting, soft and hazy as they drift through their own web of reverb and echo in a mesmerizing persuasion. A warm and thick baseline holds a steady progression under the atmospheric soundscape and the drums work up some energetic beats that get displaced in the best of ways under a wall of sleepy noise. They are buried and muted to great effect. With two vocalists there are some double tracked moments where the duos excellent chemistry comes across almost as a singular voice soaked in reverb. The two both have a soft lucidity that gives a very welcoming human touch to the music. Underneath it all some low, foggy synths brood and moan, soaking into the dense atmosphere with a powerful subtly.

For all that's fair this record suffers a little from its production, which on the flip side is a massive part of the positives in the bands sound. In all the haze and drone the clarity of most instruments feels a little lost and is without some oomph to reinforce itself. The mix is narrow as only the snare and hi hat breaks into a large portion of the high frequency ranges, it can be felt at all times. This could all be for the best though, this record has some fantastic moments with vast reverbs growing into an engrossing wall of sound that almost losses itself. "Shine" reminds me fondly of Autumn's Grey Solace and a few track are a touch mediocre but there is magic hear to loose yourself in here.

Favorite Track: Morningrise, She Calls, Shine

Rating: 6/10