Meshuggah "obZen" (2008)

Pioneers of Djent, the Swedish Extreme Metal act Meshuggah found their crowning moment with 2005's "Catch 33" and bar the "Nothing Remake" their follow up "obZen" may have just reached technical ecstasy on the abrasive front. It and "Catch 33" are the bands best critically received records and in 2008 the band were at a peak of popularity and exposure that was just perfect for this, their sixth full length. At the time I wasn't terribly keen on it, It felt like they were retreading the Nothing / Chaosphere era after a big progressive shift. And that may just be true, in a way its a step back in time but executing old ideas to new extremes with a clinically brutal production aesthetic and crafting even more elasticated, neck snapping grooves out of odd time signatures and extreme musicianship.

The texture, tone and timing of these instruments is paramount to its brilliance. Here we will hear the precise firing of instruments through polyrhythms lapped against the 4/4 at fast and brittle speeds. This includes the mind numbing pedal performance by drummer Tomas Haake who plays a unfeasible fast poly groove on "Bleed". The guitar tone is typical devoid of color but brimming with metallic intensity as its texture squeezes into every crevice of audio space. The clarity is stunning and with the drums neatly fitted in around them Jens monotone screams glide over the top of a menacing and punishing sound to assault the listener with the bands unrivaled grooving nature.

Its rhythmic nature feels primal and infectious as one is compelled to bang along in a confused state induced by polymetered bliss as elasticated momentum propels back and forth in unequal measures. What "obZen" has that makes it so much more enjoyable as a record is variety. Each song seems to distinctly offer up a different flavour of chaos. "Combustion" opens the record with an acoustic riff to quickly transition us into inferno as fifty seconds later the snare is crashing down over a thunderous groove. "Electric Red" slows the temp down forging a dark atmosphere with drawn out discords. "Bleed" is the album's show off track, dragging us through riff after riff of mind melting precision of guitar picking and drum pedals. "Lethargica" is the mammoth track with lengthy bar spanning grooves leading to an almighty, unforgettable "heavier than hell" riff in the middle that will tears your ears off.

Past this point each track again offers up a different flavor, the band experiment with speed, tempo and chords. "Pravus" rattles away on the snare with unforgiving guitar riffs that push the abrasion to extremes before transiting to some swift technical grooves. Its unrelenting and that is the charm, "obZen" never lets up, the band execute their most sticking ideas at full tilt. Truly brilliant moment for the band, however I don't think it tops their more experimental and progressive "Catch 33".

Favorite Tracks: Combustion, Bleed, Lethargica, Dancers To A Discordant System

Rating: 9/10

Plini "Other Things" (2013)

Before the release of his debut full length I thought id head back and listen to the other two mini-records of the Australian one man band Plini. "Other Things" was the first of three and its first two songs bares little if any resemblance at all to the Metal label attached to this band. This the essences of cool, mellow and excitable Jazz Rock, adventurous instrumentation that has roomy pianos, jiving base and luscious guitar leads taking turns to step up and indulge us at their fancy.

With the records longest track "Selenium Forest" we are introduced to the metallic element and in its opening moments a gorgeous guitar solo plays to the previous mood before a distortion guitar creeps its way in and the mood and tone change greatly. Playing power chords and tremolo picking its quite different from the Djent sound you might associate them with. In this temperate and heavy moment it breaks down for fraction where the lead guitar can let the light in a little with more lush melodies.

The song progresses by looping back through this motion and steadily evolving the instrumentation around it with even steel drums. It sticks to this loop feeling in search of something, which never comes and although it may be a fan favorite, for me it pales in comparison to "Other Things", a lush track of classy melodic pleasures. The records production is fair, the drums noticeably programed when giving it your ear however comes of fairly organic with snare fills and shuffles playing like a breeze. Good listen, I find it interesting how this artists is associated with the Djent Progressive Metal scene, it leans even further into the Jazz and Jazz Fusion influences than Metal.

Favorite Track: Other Things

Rating: 4/10

Contact "First Contact" (2014)

Two years before "Zero Moment" the Pittsburgh based duo release this, their debut record, a shorter listen at twenty seven minutes between the four tracks its made of. Much like its successor a clean and animated assembly of synthesizer instruments play Progressive Rock with a VGM characteristic about it. Like in the first record the opening self titled track jumps right into the prog style with a bold, warm and thick synth lead that guides the song with an active melody. After this one the prog takes a back seat to a much calmer and ambient tone as the jovial leads give way to looping background melodies and accompanying strings. On "Terminal Point" a light Rock guitar fuzz's in with a fading overdrive in the opening moments and returns later to play a subdued solo with synths dancing between its breaks. It finds a terrific climax in the end as the guitar and drums continue to grow in volume.

"Distant Voices" slows the tempo down and lightens the percussion as we gently drift through a void of minimalism, with a quiet melody looping in the distance and various instruments taking the lead in a very subdued manor. Its executed brilliantly, creating a warm and friendly atmosphere that feels a little mysterious given the brooding baseline which pops in spaciously with its melody. Some light vocals creep in too, used to sound like another atmospheric synth.

"Icefall" builds up slow, starting with atmosphere its set the tone for another ambient track of subtly and slow progression. At the midway point it picks up pace with fast bustling synths and opens up into an epic setting that feels like reaching a destination. Each song is interesting in its own way and the band seem to sway between its Progressive Synth sound and what I could most accurately describe as VGM music with a hint of ambience. Both aspects are brilliant, even though they are executed well together I get a sense that something greater could come of their music. Either way its an enjoyable half hour of time spent.

Favorite Track: First Contact

Rating: 6/10

Oscillotron "Eclipse" (2012)

This record, Oscillotron's debut, is much like its successor, a synthesizer journey through the stars led by astral keys and stark minimalism, letting the waveform textures do the talking. Many of its songs mimic the same experience and feeling of observation, one has a sense of distance from events yet understands its magnitude as the record strolls through the cosmos. Overall its a little unpolished in comparison, fruity loop drum kits stick out to those who know them on "Oracle". The various synths achieve similar vibes but without as strong a chemistry to be truly engrossing like "Cataclysm" is.

These tones and key choices are a little louder, chirpier and focus less on subtlety and more so on the power of the alien melodies. There are moments where this clicks and the atmosphere is creaked further open. Mostly though the synths hammer away through spacey scales with a retro vibe similar to the early days of electronic music where it was more novelty. Its what makes the record different and that works well with a soft percussion track like at the later stage of "Assembly".

Another big similarity is the track "Terror", a slow and brooding song that builds up a menacing atmosphere of... you guessed it, terror! It progresses in a similar way to "Mutation" but doesn't find the same climax, it tends to fizzle out after a flat snare drum comes in. The watery sounds in the intro of "Eclipse" give a sense of confinement, as if in an underground cavern filled with water. The eerie background synth builds a sense of tension and the upfront buzz saws play out like a mischievous monster. Glitchy computer noises arise too and it gives off a confined vibe which was a nice shift from the otherwise distant nature. Its both a similar and different record but musically its aiming in the same direction but not pulling it off with the finesse its successor does.

Favorite Track: Eclipse

Rating: 6/10

Ill Bill "Septagram" (2016)

It's been a while since I heard the name but I'm glad I decided to pick up Ill Bill's forth and latest record. Brother of famed New York rapper Necro, Ill Bill has been on my radar for some time, 2008's "Hour Of Reprisal" was the last time I tuned in. "Septagram" is essentially what id expected but far easier to digest and to the point. At twenty seven minutes its a comfortable record of short songs that don't out stay their welcome, dropping a better selection of rhymes over samples and drum loop beats that don't have a lot of variation beside a generalized theme drawn together with audio snippets from some obscure horror movie featuring some form of evil villan.

Much like his brother Necro, Ill Bill's style revolves heavily around horror, violence, torture and gore. These guys are tapped into the same sort of subject matter you might hear in Extreme Metal music and that may be because these guys are also metalheads too, many of the lyrics drop references to Metal bands and musicians. With subjects along the lines of serial killers, Satan, murder and evil for fun its an entertaining listen if that's your thing. I like it but there isn't a lot of depth here. There's plenty of skin crawling lyricism and brutal lines with vivid descriptions but they rarely add up to much. "The Cycle" touches on a social conscious observation but the song is mostly led by Ill Bill's guests William Cooper & Trife Diesel. The beat behind this track is skeletal, not a lot of polish on the beat and to transition to its string section samples the audio cuts of completely. Not a complaint but an observation, for some reason it works pretty well. Ill Bill's energy and flow is lively and forceful as expected but a lot of the work falls on his guests who make up a large portion of the airtime. His guest Slane on the final track sounds and spits like a mid naughties Eminem, the similarity is uncanny.

None of tracks here particularly stick out, it generally flows with the same intensity and each beat brings a different flavor in a played out style that sounds like it could of been produced ten years ago. You'll have a better time with it if you like their Horror Rap niche but breaking it down its a pretty tame release from a rapper who's capable of much better.

Rating: 5/10

Revocation "Empire Of The Obscene" (2008)

With the band releasing their sixth full length in just a few days I thought it would be fitting to revisit the album where it all started, their debut. At the time I thought it was a godsend, a breath of new life that Metal music needed but around the time of their forth record my love for them started to fade. Its peculiar to loose interest but I reflect its when my interest in other forms for music really started to expand. Revocation are a balls to the wall Metal outfit with a modern style that unites the flame of old school Thrash Metal energy with a modern aesthetic and expanded song writing approach. I will always remember fondly discovering this record through music sharing blogspots on the day of its release. The cover screamed epic and what was inside was just what a fanatic metalhead like myself wanted at the time. All these years later its still fun but I am not expecting to be thrilled by their next record "Great Is Our Sin".

The album opens with a blast of energy, a vile angry scream roars out and the drums and guitar kick into a mean riff setting the tone for wild thrashing brutality. The second scream starts as a bree and transforms into a regular one before the song settles into itself at a fast pace. At the time it was to be expected, on reflection the hangover of bree's and squee's from the trending Deathcore scene sound stale and uninteresting. Its the records only downside, everything else still sounds as wild, energetic and fun as it did back then. The production should be merited for its clarity of all three instruments, the base has texture and is audible as a separate entity operating in the grooving realm below the guitars which as a lone force sounds mammoth in the rhythm riffs and with the backing of the bass still sound full on when playing out solos or leading the riffs into melodic phases. The drums sound crisp with a tight snappy snare and punchy kicks. There's lots of light hi hat cymbals rattling away, maybe only the crash and chine cymbals sound a little over loud at times.

Although a three-piece at the time, the band is essentially the brain child of guitarist David Davidson. As a classically trained musician his knowledge and ability to express shines through these songs which take a path from riff to riff and go through fantastic phases of tight, technical riffage with plenty of room for melodic leads and guitar solos to develop a grander scale. They feel without restraint and David fleshes his riffs and songs out with plenty of variation and progression that feels at times unnoticeable in there authenticity. Another aspect of this record I adore are the guitar solos. Almost every track has one and they are fantastic, a real throw back to the days where every song would feature a wild guitar solo. Whats best is that they are always relevant to the song, rather than being stitched in over a repeating riff, they often help the song get from a to b and more often than not in memorable style. These licks burst to life and erupt from the already energetic music. A personal favorite is "Exhumed Identity" where after a couple of illuminating solos have played out and the song is returning to its main theme, the instruments drop, a cry of "Guitar!" calls out and everything bust back into another wild solo to end the song with a classic attitude!

Reinforcing David's blinding guitar riffs the drums make a memorable show with a tight and precise performance. They are distinctly different in the way their groove and rhythm exudes from the fast shuffles and rapid pedal blasting that alternate restlessly through the songs. Lots of lighter cymbals are rustled with intricate patterns. Mini blast beats flick off and on like a light switch to create an overarching sense of groove. They are much like what you'd expect on a Technical Death Metal record and bring about a refreshing energy to the mostly Thrash sound at play. The chemistry of the three is crucial and for a debut this is a fantastic record to crash into the scene with, unfortunately for Revocation the critical response has been far ahead of their slowly growing fan base. I would of said it back then, I wouldn't of been surprised if this band would be grabbing main stage slots at festivals in 2016. Listening to it again Ive released in their development over the years this sound is now behind them and perhaps I never drifted away from it but from their newer material. Solid album without a moment of filler. Still exciting across the fifty five minutes all these years later.

Rating: 9/10

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