Erang "Our Dreams Are Made Of Dragons" (2016)

With little surprise a second Erang album hits us this year from the one man band who has pumped out twelve records in just four years. This installment in the ongoing journey revisits the origins, the "Tome" era where Erang's sound was distinctly more primitive, spooky and eerie. Over time his compositions have become more layered and visual, the vibe shifted into fantasy but still holding onto the Dungeon Synth ideals. With this new record Erang revisits the "Tome" era with a wealth of knowledge and inspiration from his musical journey to enrich an old sound which has been shadowed by such records as "We Are The Past".

From the first, through all the many listens Ive given this record the magic flows effortlessly through minimal compositions that inspire engrossing atmospheres. Dreams and dragons certainly come to mind as each of the songs spellbind us with eerie, mystical nostalgic wonder. You can travel deep into your imagination with these melodies which feel both human and of another world. Each melody and song offers its own tale but looking over the track listing these names further illuminate the experience with their suggestions for what might be taking place.

Like the older "Tome" records, a lot of these songs focus on two or three instruments dancing around one another with a lack of percussion. There's a select and complimentary pallet of instruments at work, all armed with subtle reverbs and are fine tuned to occupy the same spaces gracefully. No instruments clash or feel out of place, they compliment one another and more often than not a quiet underlying synth lays down soft notes, almost unnoticeable but deepening the atmosphere.

"The Saddest Witch" Is a brilliant, simple song that showcases these qualities. A gentle, foggy bell like lead creates the air of mystery and wonder before a counteracting saw synth comes in with a mischievous, curious melody that dances around the other. With a clash of cymbals the song elevates, the melodies switch instruments and a soft guitar takes place of the saw wave synth. Below them deep synths arise feeling buried in the reverb that washes away from the other instruments and cymbal clashes. "Children Of The Frozen Forest" is another song with a remarkable atmosphere through simplicity. In its opening stages a women's voice can be heard faint and distorted through the cold enchanted atmosphere. It starts to shift with eerie synths talking like voices and the sounds of winds bustling up slowly in the distance.

Much of the record follows simple principles, one or two melodies, shifts in tone and direction that never become extravagant. Its modest, direct and within that design and construct emerges inspired melodies, tunes and music that fires up the imagination. With such a large discography it can be tricky to picture where it rests in the frame. Revisiting some of the "Tome" records I hear the same spirit but with the instrument choices, use of reverb, composition and of course the music itself having matured vastly. "Our Dreams Are Made Of Dragons" is a quiet record, one that will creep up and charm you with its own realm of fantasy and imagination.

Favorite Tracks: The Saddest Witch, The Old Knight's Farewell, The Twins Troubadours Of Tadyar, Children Of The Frozen Forest

Rating: 8/10

Plini "The End Of Everything" (2015)

My introduction to Australian Guitarist Plini was via Sithu Aye who featured Plini on the "Invent The Universe" record. The pair have also released a four track split record, which I have yet to listen to. Although a one man band, Plini is a touring act too and so far has released a string of singles and three short EPs of which "The End Of Everything" is the latest. The band are currently touring as well as recording their full length debut, which after enjoying this I am looking forward too.

Much like Sithu, Plini is part of this post-Djent Progressive Metal scene and of a much more melodic persuasion and Jazz orientation. Every rush of energy and djenty grooves give way to lush soundscapes of instrumental subtleties, gracious lead guitars and dreamy synths. It can heat up somewhat with double pedal drums, chunky, metallic riffs but even in its heavier moments the sense of brightness and color that courses through never fades. The result is a very organic record that will shift gears without notice, one moment illuminated by the fire and the next acoustic guitars are playing lullabies over soft synths accompanied by lively Jazz percussion that dances around the kit softly. As an instrumental band Plini's dynamic guitar leads are the voice, forever an alluring force of adventure. No moment here drifts from the path and as a three track its only flaw is its length, clocking in at seventeen minutes it leaves much to be desired! I can't help but feel their debut could be something special.

Rating: 5/10

Contact "Zero Moment" (2016)

Part of a string of albums Ive discovered recently, the duo "Contact" are part of the electronic music scene in Pittsburgh Pennsylvania and on first listen you may not even be thinking "electronic music". Contact's sound and style is deeply rooted in Progressive Rock, specifically the likes of Sky and ELP. These bands made heavy use of organs and synths at the time and now in 2016 that's been revisited with modern electronic sounds while stripping back the Rock element. Essentially its progressive synth, the same sort of melodies and spirit but with the guitars as an occasional low hum in the mix which in this day and age brings a refreshing clarity to the styles of old.

After many listens I feel almost the same as my initial impression. This is so in tune with the prog sound that nothing was surprising, challenging or out of the ordinary. It felt more so like deja vu, as if you could hear the next note of every lead before it arrived. With pulsating buzz saws and soft marching baselines the atmosphere is set with steady rocking drum beats to let a lead or two dance in the spotlight, creating the theme and direction for the track. At times its almost cheesy, sounding like the theme song to an 80s cop drama but always too classy, its just a familiarity. Most of the songs build up slowly, generally introducing the instruments and letting the mood simmer before it finds its way to the main melody.

The opening two tracks are the best and as both reach their climax in the closing stages. I always felt as if the stage had been set for an epic to unravel but in a few bars the instruments drop out. I'm Probably to used to epic ten minutes plus songs. The rest of the song don't quite get back on the same level, exploring darker moods or more ambient tones, a couple of tracks feeling like they brush shoulders with VGM soundtracks. Its a great sounding record, an old musical style polished and revamped with modern instruments. I have to say thought the promise of the opening two tracks leaves the rest of the album feeling slightly disappointing in its shadow. It stirs up the atmosphere and emotion then drifts into a calmer setting. Either way its a very enjoyable instrumental record.

 Favorite Tracks: Zero Moment, Grand Detector, Sensorium

Rating: 7/10

Oscillotron "Cataclysm" (2016)

Here's a tip on how to find music you like, stalk people! No, joking aside the way I discovered this record was by reading a review of another record I recently enjoyed. I thought "this person knows what they are talking about" and decided to look at other albums they had talked about. Despite being vastly different I found a string of records from the Pittsburgh electronic scene and this peach from Stockholm Sweden that demanded my attention. David Johansson is the one man band Oscilotron, an electronic artist, who composed and recorded these spectacular 40 minutes in its entirity.

Much like its bleak, pale and near greyscale album cover, the music conveys a timeless sense of scale and atmosphere through somewhat colorless electronic instruments. With dense waveform synths and textural sounds they harmonize without melody, illuminating with a cold, lifeless and spacious vibe capturing the essence of the void. Its not all about the empty vastness, moments of this record perk up into life with adventurous, quirky melodies yearning a sense of exploration, journey and destination. In the track listening between each eventful musical moment there are slower, drawn out atmospheric pieces painting vivid soundscapes of the nebula. Its closing track is rather chilling, a brooding atmosphere of tension and unnerve that winds down with a sense of dimming light, creeping out while staring fate in the eyes.

It neither starts or ends in a "happy place" and for the most part doesn't convey much direct emotion. Listening to this record one will feel like an observer, watching over travelers who eventually meet there doom. Being disconnected from them directly we are treated to a dense and scenic atmosphere that will let your imagination run wild. For the most part a selection of luscious synths drone out their textures with subtle shifts and minimal melodies. These eventually lead to grander moments where the baselines pick up a rhythm, the drums cautiously take command and the synths will evolve into sturdy melodies along with the inclusion of a few other instruments, sometimes pianos, organs or event what sounds like an overdrive guitar in one song.

"Cataclysm" is an impressive record. So precise and focused it is an expression executed with vision. Every inch of sound feels perfected aesthetically and in terms of musical satisfaction it brilliantly drifts in and out of its ambience to strike with engrossing moments of magic. Exceptional record, one I feel will be with me for years to come!

Favorite Songs: Twlight, Mutation

Rating: 9/10

Death Grips "The Money Store" (2012)

Whatever curiosity lead you to this post I'd highly recommend opening a can of worms and giving this record a listen if your open minded with music. I became aware of Death Grips back in 2013 and despite initially not understanding the record I couldn't give it up thanks to the enthusiasm of music critic Anthony Fantano and this video which really helped me understand what the record is about. That video will say so much more about it than I ever could and so I thought id take personal reflection on what this record has done for me musically. Honestly music has never felt quite the same since, this one effected me so much Ive felt my horizons expand and my love of music grow ever since it cracked open for me. That didn't happen for at least ten listens or so, I would take a long walk every day dedicating my focus to it and slowly but surely it started to creak open and reveal its magic. I still find the experience strange as I'm accustom to abrasive, noisy music, perhaps not in the more electronically oriented style though.

In a nutshell Death Grips comes of as erratic, noisy, ugly and dissonant. Off kilt sampling and grizzly waveform rumbling baselines collide between solid percussive grooves with a lot of glitchy sounds splicing into the rhythm. Over the top of it MC Ride shout raps with a ferocity and unchained energy that makes up a huge part of the trios character. MC Ride may be one of the most exciting rappers of this generation, not for slick rhyming patterns or clever word play but for taking a different approach and pushing the boundaries of what is defined as raping. At many times he will sound more Punk than Rap has he shouts his way through songs. Lyrically its similar to Wu-Tang Clan's "free association" rhyme style where sentences don't often form a coherent line of thought but create an atmosphere or scene through its words, "Concussion blinding, not my fault, ankles tied to cinder blocks" for example. His delivery further expresses this artsy approach with free flowing spits that have a knack for a catchy hook yet break freely away from the beat or restriction of the beats tempo.

This knack for a hook is one of the remarkable things about the record, when peeling back the layers of its sound and slowly making sense of it all it becomes apparent that the songs are basically poppy, bouncy and catchy in nature. Loaded with lyrical hooks the accompanying instrumentals are strangely satisfying in their noisiness. The percussion is tight and banging, the core of the beat rocking but always feeling slightly obscured by experimental sampling and dense percussive noises that crop up in certain songs. Its melodic or tuneful value is twisted and distorted in this mess but they still carry the weight a good melody can.

From one song to the next it never lets up and each song here feels like an island, there is no formula or consistency to what can happen, each track is truly unique. "The Fever" and "I've Seen Footage" are the albums party tracks, toning down some of the eccentricities and giving the overall groove and hook more love. "Punk Weight" and "The Cage" get wild with noisy samples and electronic instruments going to extremes, unafraid of peaking the bass to extremes. Its remarkable, all thirteen tracks offer so much wild and eccentric delight to delve into, you could talk about them all endlessly as each track is loaded with oddities that culminate into wild, unchained, banging music. Death Grips are the most exciting band of the millennium and couldn't recommend this album more. Modern classic.

Rating: 10/10

Head Of David "Seed State" (1991)

Some bands, some records get buried by time and English Industrial Metal outfit "Head Of David" are one of those bands who have drifted into obscurity. In this Internet age its just about possible to find copies of their records and small discussions about the group. They often cite their relation to other important Industrial Metal groups, like Justin Broadrick of Godflesh who also played in Napalm Death (early) and Techno Animal. He was in the band before leaving in 89 to be replaced by a drum machine. Fear Factory's cover of their cult classic "Dog Day Sunrise" is about the most exposure the band ever received and it may just be their influence and contribution to the sound of that era has been vastly overlooked. Either way "Seed State" is the bands farewell record and not what the band have been praised for. Its an Industrial Rock record with Metal aesthetics that wasn't particularly well received at the time and has vastly been forgotten about, its videos on youtube only scraping a few hundred views per song.

So why this record? Its a personal favorite of mine for a handful of songs that catch a vibe I really dig. I picked it out last week after years since I last enjoyed it and felt like talking about it. The record is musically mediocre and its production is sloppy, muddy and unpolished. It only favors the lead guitar, my favorite aspect of the record. Through this muddy wash of Industrial noise the leads sing out with a gorgeous tone and reverb that lays some deeply nostalgic and epic 90s feels over a chunky, mechanical rhythm section. These leads are often short riffs played over and over, quite often with stereo shifting effects. Slightly noisy and often shifting into chords they burst out of the music with a freedom and wild energy that's reflecting the mood of the times.

The lead single "How Primitive Are You" is a fantastic is example of all that's wrong and right with this record. In one moment its a mechanical droning of thin guitars and grooving base guitar and drum rhythms and the next it bursts into life with the chorus lead guitar illuminating the songs atmosphere with two dense notes held for a moment before looping into a swift melody. It feels aimless and without progression, just simply existing in the moment and I adore that. Singer Burroughs's lyrics are simplistic, poppy and without depth, they come of like an attempt of something "catchy" for the charts in the case of this song. Asking over and over how primitive we are before stating we should go primitive. It comes of as trying to be clever without any real depth to the idea. This kind of cliched chart music lyrical style is prominent but it has its moments where it works, "Vulture Culture" for example is a catchy rhyme that in itself could say a lot to the listener.

The songs mostly compromise of short sequences played over as the verses between choruses, standard stuff but its constant repetition and lack of variety creates is the heart of the Industrial sound that pounds away and gives more life to the "breaks" which may simply come in the form of an extra vocal line or sound effect in a particular moment. Its balanced minimalism, its effect is reliant on the chemistry between drums and base guitar which sound very much like the works of Frank Klepacki on the Command & Conquer soundtrack from 1995. Big, bold baselines strutting short grooves between the rigid, pumping automatized drum machines. Its a niche of taste but I thoroughly love the moments of this record where it hits the mark, shame its not consistent throughout, some tracks are quite the lull.

Favorite Tracks: How Primitive Are You, Human Feel, Vulture Culture, Zen Walker

Rating: 8/10

Unlocking The Truth "Chaos" (2016)

"Chaos" is the much anticipated debut record of teenage band Unlocking The Truth from Brooklyn, New York. As three black males from the home of Hip Hop it is quite out of the ordinary they have found Metal but that's hardly whats remarkable about the trio. Established in 2007 the band weren't even teenagers when they got started out. Youtube is littered with videos of these three as kids playing on the streets of the famous time square in downtown New York. At a very young age front man Malcolm Brickhouse developed an admirable attitude for life, citing a strong work ethic and desire for following his dreams of making a success of his band. Considering the band have toured with Metallic at least one of those dreams has been fulfilled. For a debut record its a solid introduction to the band. In its best moments they show sparks of being a rather special act, however a fair few tracks drift into obscurity with underwhelming riffs fixed into standard song structures. The point though should be that their is much to get excited about, they show a ton of potential.

Pinpointing their specific sound and style isn't exactly easy but they do have a broad appeal about them. Its Metal that's not about extremities or some over encompassing theme or aesthetic. In Malcolm's guitar style can be heard hints of Slipknot, Metallica and Disturbed and in terms of style, Nu, Alternative, Groove, Heavy Metal and quite often Metalcore. Its a blender that gives the album quite a diverse set of riffs however the simplistic song structures tone down the differences on display. His singing style is also a strength for the band, laying down clean vocals with a force and grit to them that work great for the metallic tone. In moments he moves to screams but nothing menacing, on one or two tracks dropping in a slight growl. Lyrically the album is loaded with light digestible language, some of which is somewhat angsty and there are plenty of great chorus hooks that will get you singing along.

For a trio they sound full of power and strength on the record, the production gives the baselines a real thudding clunk and dense tone, the guitars fill out the space above with a welcoming, satisfying distortion tone that's got energy, spirit and aggression without over doing it. The drums sound fantastic, very roomy and authentic sounding symbols. The snare is sharp and the pedals sound fab, very deep and audible, the cutoff is fast but you can hear every kick so clear. Great mix for a reasonable record which does have a weak stretch between "A Tide" and "Numbing". These songs weren't quite to my taste however they did have some strong riffs. I think this debut really highlights their potential to do great and we certainly get a taste of what they are about.

Favorite Song: Monster, Made Of Stone, Ravens, Escape, Take Control

Rating: 6/10

Dimmu Borgir "Stormblåst MMV" (2005)

Nineteen years after the original record, Dimmu Borgir stepped into the studio to re-record the memorable "Stormblåst", stating it had always been their intention to produce the album with a similar, modernized aesthetic to "Enthrone Darkness Triumphant". The original is its own gem within the bands discography from the low fidelity era where their symphonic side really came to fruition. I remember not being optimistic at the time this was announced and upon its release Ive never cared for it much. Its enjoyable at least, I know these songs inside out but practically everything about the production value dispels the magic I remember so fondly.

Gone is the opening melody composed on strings and pianos, straight into the majestic cosmos we are hurtled and after the opening riff the shift to epic choral choir synths is rather persuasive but probably the records best moment as the following riff feels hollow with the synths dropping out and this is where its problems are first heard. Shagrath's scream despite being meatier and strong doesn't have the same charm. Much the same could be said of all his growling, guttural vocals. They have more oomph but that doesn't magnify anything about the Norwegian words being sung. The clean Norse chants however sound solid in comparison.

The production here is simply to much for the music, its charm was in its strangely soft and thin production which had a lot of magic extruding from instruments that sounded individually narrow and weak. On MMV the opposite is so, the drums are loud, powerful and the base pedals rattle away constantly under many riffs where they never reached such speeds previously. Theres more blast beats, the tom rolls and fills are much more dense and they become quite an intense part of the music. Between them and the loud polished synths the guitars get buried and smothered. The base guitar rumbles low and gone are its higher notes which stepped into the fore front. With all these changes much of the chemistry is dismantled by lacking subtleties, the synths implore rich dense tones in the mix, so loud they take a large focus of attention where once they complimented the other instruments.

The simplistic nature of the music is stretched by this high octane mix. There is so much oomph and energy in the instruments sound that any changes in tone, the coming and going of synth keys, sounds out of balance and disproportionate. This is literally what it is, music written for a vastly different aesthetic. The drumming is especially disappointing, Hellhammer is a legend and I mean no disrespect but his style is to fast and ferocious for this record. Everything is done with double pedals and feels twice as fast, its simply nauseating.

The origin of original track "Sorgens Kammer" means it was dropped for a newly written track "Dell II". This is possibly why the introduction melody for the record was dropped too. With that new track Shagrath and Silenoz also re-recorded a left over "Aumaktslave" which has one riff sounding nothing like what they were writing in that era. Maybe they filled in the gaps on an old demo. These two tracks are the only reason to listen to this record, everything else is vastly inferior to the original.

Favorite Tracks: Sorgens Kammer - Dell II, Aumaktslave

Rating: 4/10

Dimmu Borgir "Stormblåst" (1996)

In 1997 Dimmu Borgir released "Enthrone Darkness Triumphant" a defining record for the band, evolving their identity with a rich wall of sound production and writing music to captivate the more rhythm eccentric styles of metal, producing mosh friendly aggressive riffs and manic break down moments. Its symphonic component was to be praised too, with gorgeous synths deepening the wild and dark atmosphere the band created a vastly more appealing sound, only true in spirit and theme to Black Metal but ditching the low fidelity and anti-music aspects. Before it came this gem of a record which I adore, more so for the years of my youth I listened to it religiously than its actual merit. Twenty or so years later the band would go on to re-recorded it with a similar aesthetic to EDT. Musically though it is very different regardless of what aesthetic its wrapped in.

The original Stormblast shows the band maturing quickly from their flawed but spirited "For All Tid" debut. The songs are rather similar in stature, simplistic power chord progressions from the guitars, tuneful synths with atmospheric tones backing them and narrow rattling drums pattering without a lot of force or intensity. Previously their drummer, Shagrath steps up as the front man playing guitars and performing the vocals with a textural approach, stretching the gutturals and snarling at the listener from a safe distance. They don't have an oomph or immediacy about them, but simply growl and groan with throaty textures over the rest of the music in a why I quite like but could easily see how it would turn others off. Some of the vocals are clean, deep and bellowing with a medieval heathen tone and in Norwegian, something I always adored, it ads mystery and an ancient feel to the record which is mostly more uplifting then it is dark. Most of the songs find a way to shift gears between darker and lighter passageways, often controlled by the synths tone and guitar riffs direction.

The songs themselves are relatively simple affairs with multiple riffs, verses and choruses. As no spectacular fete of song structure they tend to drone at the same intensity for the most part. Each song has its moment of creativity "Antikrist" for example messing around vocal distortions and reverbs in its opening momentum shift. The symphonies mostly exist in the backdrop, adding a soft layer of atmosphere and in a few bright and uplifting occasions pianos come to the fore front and treat us with gracious melodies dancing over steady guitar riffs. For example, the title track "Stormblåst" climaxes at the end, its best riff rocking out over and over with a gorgeous piano flowing a soothing melody over the top of it. The album is opened with a string and key section, an enchanting melody playing over soft, sorrowful strings. "Sorgens Kammer" is the only solo track for keyboardist Stian Aarstad, its a memorable one that it was unfortunately discovered through the internet had been lifted from a computer game without the rest of the bands knowledge. It still fits perfectly into the record.

Picking this record out after a fair few years since my last listen it occurs to me that the production is rather narrow and thin. Each instrument alone is rather underwhelming, the bass guitar isn't very deep, the guitars fuzzy distortion is thin and tan, the drums lack punch, the pedals loose and overall it feels rather narrow. Its amazing how it comes together, the synths fill in a lot of lost space and in its individual inadequacies it finds a charming, spell bounding chemistry as a whole. Its a soft record, despite being Black Metal everything except the vocals don't feel particularly harsh of abrasive and something worthy of note are the base guitar riffs that on every other song or so find a moment to step up with a complimenting melody and given their lack of depth sound pleasant playing higher notes.

 Its a record of atmosphere and indulgence crafted through simplicity, the result an ancient realm of nostalgic wonder helped on by the Norwegian lyrics, something the band would ditch on their next record. This record represents a large portion of my youth and my love for it is bias but trying to take a more objective view whats fascinating to me now is how primitive this record is, you could argue the production is poor and the music not as wild or unchained but through all that the charm is undeniable for me. "Stormblast" is a one off, not a genre defining record or even worthy of mention when discussing Black Metal's history but a brief moment in Dimmu's history that does wonders for me personally.

Favorite Tracks: Broderskapets Ring, Sorgens Kammer, Stormblåst, Antikrist, Vinder Fra En Ensom Grav

Rating: 10/10

Emperor "Prometheus - The Discipline Of Fire And Demise" (2001)

I was never too keen on Emperor's fourth and final full length album "Prometheus" but now that Ive given it a proper listen in recent weeks I have certainty grown an appreciation and fondness for it. Its not quite the calamity I remembered it as, in fact its a rock solid album but one where we hear the character of the band stretched further from its initial identity. Its not to surprising that the group split after its release, the bar had been set so high in the past they could easily go through the motions releasing albums, never reaching that same caliber again. "IX Equilibrium" held onto that original direction but maybe at a cost with the second half lacking. This album however makes to attempt to keep that original spirit intact.

"Prometheus" scales back on the immersive qualities associated with the band and transforms into a frontal beast of forward aggression and direct guitar work which makes for a thick and versatile rhythm section. The drums no longer aesthetic as a wall of cascading noise and more so the structured backbone for the guitar work to mingle its way between. Gone is the power chord shredding and simple progressions that defined their first record, the dexterous intertwined guitar work on "Anthems To The Welkin At Dusk" is at full tilt here with practically every riff revolving around carefully worked overlapping guitars playing of one another. In the low end a lot of chug heavy and grooving picking rhythms define the albums crunchier side. Counter to that most riffs dance their way around the fret board with fast, noted leads and a lot of pinch harmonics, usually left to ring out over the next lick as the twin guitars work off one another in a back and forth manor. its chaotic, fast and wild but in a structured and expressive manor.

Around this aggressive whirl wind of lively guitars, varying degrees of symphonic synths jump in and out of the composition. They sound high fidelity, emulating real instruments rather genuinely. Like with the guitars they become an upfront part of the music, involved in and adding splashes of color and melody between the ever active guitars. Ihsahn's screams are decent, not much to marvel but have a decent tone to them, his clean vocals are particularly illuminating to the songs they grace, occasionally elevating to the King Diamond style seen on the last record.

It all adds up to a solid, memorable record with no particular stand out moments but a consistent adventure through the twists and turns in its fifty one minutes. The last track "Thorns On My Grave" is a step down production wise with awfully over compressed instruments playing at full intensity and continually peaking them mic. Clearly some sort of unnecessary demo track with an unlistenable quality blasting the music beneath into oblivion. A solid farewell from the band.

Favorite Songs: Depraved, Empty

Rating: 7/10

Cradle Of Filth "Dusk... And Her Embrace - The Original Sin" (2016)

What a surprise it was to see this release in my inbox. The original sin? When I saw the name I wondered, remix? remaster? This is actually a remastered release of the recordings made when the band where on the Cacophonous Records label. To my knowledge they recorded the album "Goetia" which had its master tapes erased due to the record label going bankrupt. It turns out they also recorded "Dusk... And Her Embrace" with the same band lineup as "The Principal Of Evil Made Flesh" and subsequently released "V Empire" instead to get out of that record contract. So now over twenty years later we get to hear what the bands magnum opus would of sounded like in 1995, unfortunately though this is remastered. It would of been far more interesting to hear it in its original state.

Musically almost everything is the same, the track listing includes "Nocturnal Supremacy", an alternative symphonic intro track, a few songs shuffled in the play order and "The Graveyard By Moonlight" is entirely different. A couple of song names are slightly different too and for the most part its the same beast, a lot rawer, rough around the edges but its biggest difference is in the synths, their tone and presence clearly indicate a different keyboard was used and for the most part they achieve the same atmosphere, however the tones are far less appealing and a little plastic and cheap in the mix. The overall chemistry in terms of production is nowhere near the 96 versions consistency in tone. That record gets all the subtleties right, where as here some instruments stick out like sore thumbs against others and in occasional moments the record fills a little thinned out when the keys are on their lonesome. On the flip side it has louder drums and a rocking bass guitar upfront in the mix, something the 96 release didn't have.

Lyrically and musically too there are quite a few moments to pick out that are slightly different, either with words, delivery or riffs. All of these seem better of changed however the bias of knowing its counterpart inside out highlights the subjective nature of music, these are still the same songs. Dani's vocals are between the two record as heard previously, still developing the trademark shrill scream and his growls still meatier and blunt. There are some additional guitar solo's that crop up too, sounding thrown in as an after thought, both musically and in terms of production, they feel stitched on to the songs and the ones that were dropped were rightly so, in this state they were quite lackluster. There's also a couple of "cringy" wolves howling samples thrown in too which were better left out.

Musing over all the differences it should also be said that sometimes the guitars sounded identical to the original and a lot of the gothic vocals, female and guest also didn't feel different in the slightest. Overall I think the fate which at the time may have felt cruel for the band, led them in the right direction. "The Original Sin" shows the bands best sound emerging from its embryonic state. It had found its inspiration in a gothic theme but had yet polished out the sound with the keyboards and in retrospect gained a lot from this polished and refined sound the band eventually came out with.

Rating: 5/10