Flying Lotus "You're Dead!" (2014)

American musician Steven Ellison, aka Flying Lotus is an acclaimed Experimental Hip Hop producer. This album, his fifth, is a primarily an instrumental and fleshed out collection of organic and exploratory beats. I caught wind of it back in 2014 when it was being heavily promoted via billboards and mainstream advertising, it received a lot of positive press but unfortunately I don't share in its praise, this album is great on paper but the listening experience is rather unfocused, lucid and wandering. Its a journey without a destination, unaware of itself. Perhaps that's its genius but as much as I enjoy wondering along through the experience it doesn't amount to anything emotional or memorable. Its just simply there one moment and the next its not.

Two records come to mind, DJ Shadow's "Endtroducing...", a record of care and craft that first explored Instrumental Hip Hop and The Future Sounds Of London's "Lifeforms", for its journey through sound that often steered clear of conventional song formats. "You're Dead!" starts of with a moment of structure and form with Jazz Hop beats and a feature from "Kendrick Lamar" but beyond that the album quickly strolls into psychedelic exploration as layered beats loosely guide the narrative provided by an eclectic array of samples often with something genuinely interesting at its focal point. The craft and attention to detail is ruthless. These beats don't loop, break or rarely create that sense of perpetual motion. They expand, contract and often organically flow through an ever changing landscape of sound. Its mellow, chilled and easily enjoyed but what it amounts to alludes me.

I feel no sense of brooding emotion or vision and without that it is an underwhelming listen. Everything worthy of notice is fleeting, momentary and directionless. Aesthetically gorgeous, musically empty, I couldn't find something to hold onto. I felt it could of done with more structure but as a listener If i can't hear the vision it doesn't really matter. I will certainly give Lotus some more of my time, maybe one of his other records will suit me more than this one.

Favorite Tracks: Never Catch Me, Decent Into Madness

Rating: 5/10

Schoolboy Q "Blank Face LP" (2016)

The "Black Face LP" is American rapper Schoolboy Q's forth full length and an ambitious one. Dark, mean and uncompromising Q brings a large group of producers together for a seventy two minute ride. Despite many banging beats, sharp production and musical creativity the albums stretch strolls through some weak points in the start and end. Between the psychedelic, laid back "Kno Ya Wrong" and the catchy, ghetto whistles of "Neva Change" a string of eight songs illuminate with strong verses, brilliant hooks and fleshed out production. Either side of these tracks things aren't as focused. The opening "TorcH" starts with a myriad of Q's voices over a warm bass guitar, with "Blank Face" the theme is returned to as if signaling the end of a lengthy listen. It winds down, fades out and is then followed by two more mediocre songs. Its nitpicking but as a whole these songs don't flow of one another well, the whole things feels a little disorganized.

The album gets rolling with two introductory tracks, slowly unfolding before Kanye West hops onto the albums first defining song "That Part". The mood is slow, dreary and gloomy. The hook plays over and over between broken down verses, Q stating his successes and the Independence of his "bitches". Then Kanye drops in with an unusual lively, contagious flow making timely use of his pitch and a squeaky "ugh" to add rhythmic gratification to his bizarre and unfocused verses. Its a big guest to have on and the song... Its memorable but maybe for just being different more so than banging. Another dark street song comes through "Groovy Tony" and another big name, Jadakiss, on the track. The song has a great break in the middle with violent vocal stabs and heightened drums, they transition into a powerful vocal moment before Q brings the track back.

And then a string of my favorite songs occur,  "Kno Ya Wrong" shifts through three organic, jazzy, psychedelic phases with a joyful sampling of Kool & The Gang's "Summer Madness". The constant tone shifting happens again as we dive into a ruthless gangster track with violent lyricism, dark groovy layered beats, machine hi hats and the sound of guns firing between the banging hook. Halfway through his verse Q hands the mic to Vince Staples who drops heavy verse that gets better with each line. Unsurprisingly we sway to a poppy, "accessible" tune with light trance synths and a sing along "dollar dollar be-als" hook, lots of great singing on this track.

"Dope Dealer" gets dark, really dark as Q paints an ugly picture of the gritty life doing the illegal to survive. The drums really bring the spacious, paranoid instrumental to life and its another killer hook. "John Muir" might be my favorite, something about this flow and beat reminds me of the 90s. "Big Body" jumps in as the albums romp track with the tightest beat, thudding bass pedals, slick claps and a melodic bell instead of hi-hats. Its crowned by a timely roll of hard and swift sub kicks. Tha Dogg Pound, friends of Snoop Dogg, also make a great feature. "Neva Change" gets a little pop once again with a friendly instrumental and brilliant vocals in the chorus, topped of by a G-Funk ghetto whistle its another subtle banger. And that's where the magic ends for me. the album strolls out with what feels like a pre-outro, "Black Thoughts" are spoken thoughts over an experimental instrumental reminiscent of DJ Shadow.

Production wise its fleshed out with many ideas. A lot of songs come with breaks, big variations and an organic sense of instrumentation. The records flow though is all over the place with a handful of distinctively different styles not meshing together well. The features were brilliant and Q was on the mark with his fiery flow, his words had bite and wasn't short of creativity when writing hooks. Its interesting because even the weaker tracks had something to offer, but in the grand scheme of things it just doesn't play well between some tracks. Very ambitious but unfocused, more like a compilation than album.

Favorite Tracks: Whateva U Want, Dope Dealer, John Muir, Big Body, Neva Change

Rating: 6/10

Batushka "Litourgiya" (2015)

First time around I didn't hear anything special in this record but given a prod in the side I decided to give it another try and after a couple of spins the magic became obvious. "Litourgiya" is the debut release of Polish Black Metal band Batushka, meaning "father" to a priest. They remain shrouded in mystery, choosing to not reveal their identities. Supposedly their a collective of eight musicians from other established bands and when playing live they take on a similar look to Ghost, cloaked in dark and mystic robes full of demonic symbols and signs. I can't help but feel its not just their image that's taken a big dose of inspiration from Ghost, the music too has thought and craft about it, the focus on clean apostolic vocals giving it a similar spirit of biblical damnation.

Aesthetically its not much of a stretch from traditional Black Metal. Its noisy, overwhelming but not low in fidelity. The guitars have a gorgeous tone range fit for shrill tremolo shredding and weighty down tuned low notes sounding almost Djent but without the technique. Around them a clunky bass strums away, its low end blending into the guitars and its high texture waddling its way into the creaks of space between other instruments. The drums batter wildly with timely blasts, a warm rounded snare, softened pedals and muted cymbals come together loosely with a rawness that musters up enough chemistry for an engrossing wall of unrelenting candlelight darkness.

Batushka distinguish themselves with an orthodox theme lining the songs with Gregorian chants, the pummeling, crushing music sets the tone of fearful Christian mysticism. One can envision clergy working over sacred scriptures locked within catacombs and church cellars. The shrill screams and throaty shouts aren't as prominent, taking a backseat to deep, bellowing ritualistic chants that don't set the tone alone. The accompanying music has a lot of mood and tempo shifts, most of the songs slow down the pace for temperate melodies before erupting with gleaming uproars of energy. The chants and "clean" vocals are quiet in the mix and occasionally slip deep into the background, just harmonizing with the guitars inconspicuously.

As an album it plays as a whole, the songs are rather similar to one another and tend to variate on the same ideas in different ways. There are moments of both ambience and intensity that come in many shades of dogmatic darkness and once you've caught the essence of the theme its effortless to enjoy. The sound and character is nailed but it isn't very expansive, so the stage is set for the band to do interesting things with their craft in the future. A very solid release worthy of listening to any Black Metal fan with a taste for twist on traditionalism.

Favorite Track: Yekteniya 2, Yekteniya 8

Rating: 8/10

Plini "Sweet Nothings" (2013)

Arriving at the second of three we find "Sweet Nothings" a four track, seventeen minute release that would be my favorite, however the choice is made difficult by "The End Of Everything" and its fan favorite, the eight minute epic "Paper Moon". "Sweet Nothing" feels like the bands most fluid flowing and settled sounding release. Each track has a flavor, a stylistic focus. The second track "Tarred & Feathered" introduces a Latin, Spanish guitar, played fast with metal techniques similar to Animals As Leaders and there "The Joy Of Motion" release. "Away" does a similar "metal on acoustic" with fast melodic picking rhythms and hammer ons. There's a fantastic break down riff in it that replaces the atypical metallic crushing guitars with heavy bass groove and accented melodics through low acoustic notes. Its only the last track that plugs in the distortion tone for some chord driven Metal.

 The opening tracks indulges us with subtle serine strings queuing the acoustics that pluck chords note by note in short repetitions and with a swift shift the tone changes and tranquil pianos take over, between them brief solos tease whats coming as the atmosphere of a warm moonlit night sets in. At the end we are treated to a guest guitar solo from Gru who produced one of my favorite Progressive Metal records "Cosmogenesis". Its nice to know he is still playing, would love to hear a new record from the talented guitarist.

Plini's sound is versatile but always lush, feeling dense with a wash of color and charm that can go in many directions. Its in the subtlety and ambience that the magic is brewed, the stirring of moods for his dynamic and inspired guitar shredding to take the stage. Although it takes much of the focus its the underlying strings, pianos and other instruments that set the perfect tone. The drumming also sounded a lot more settled and alive in this recording, again using a drum machine they rarely sounded like one, if at all. I will continue enjoying these records, perhaps listening to them back to back as an album, awaiting his first full length which I am very excited for now!

Favorite Track: Opening
Rating: 5/10

Yagya "Rigning" (2009)

When I started this music blog back in 2014, Yagya's "Sleepygirl" had recently been released just after a big phase I went through with this record. It solidified itself as a "go to" record for a particular mood, the need for calmness or distance, something similar to meditation. Yagya is an Icelandic electronic composer who dabbles in the ambience with this project which has taken several different approaches to Dub Techno, also known as Ambient Dub, and this is the best of them. It really captivated me with its simplicity and ease on the listener, however with that comes a depth of sound and richness that lets every listen feel like you will hear something new. Inspired by rain, every song is accompanied by the sound of raindrops and sometimes traffic or urban noises. It fits so perfectly.

The record plays like one giant song with ten different movements, however these movements do little to move apart from one another, no change of pace or dramatic progressions they all explore the different shades of an idea. Each song has a backbone of deep murmuring base like a heart beat, with a quiet snare, kick and hi-hats nestled in to create the rhythm which always remains consistent in pace with no fills, rolls or breaks. Around them light airy synths faintly set a calmness as deeper, brooding synths sweep in and out of focus with reverbs engineered for what I can only describe as the sounds of clouds drifting through the sky. Other soft leads will pop in to the songs with a slight sense of melody that seems inconsequential, simply existing in union without the need for attention.

Everything is calm, serene and the tone so beautiful it compliments its inspiration, the rain, which pours down in every song. Downtempo beats quietly shuffle along with plodding baselines and around it an enormous sense of atmosphere enriched by the layers of synths that feel endless yet come together so gently. There are all sorts of little details worked into these soundscapes, brief melodies, an inkling of vocals and sometimes the sounds of people in the distance, just buried under the deep sound. Its an impressive record for its inspiration, construct and execution and one you can go to time and time again. The only flaw I could give it is my attention span, at one hour it stretches, however its mood is rather intoxicating. In the beginning tracks I am completely sucked in and with a lack of progression or change from song to song that charm isn't as strong by the middle tracks. All ten songs are very similar but its a complete treat for those who get a kick from this engrossing form of ambience.

Favorite Track: Rigning Þrjú

Rating: 8/10

Majeure "Union Of Worlds" (2015)

Another discovery from within the Pittsburgh electronic scene, we have "Majeure", the pseudonym of composer A.E. Paterra who cites Vangelis, Steve Reich and Philip Glass as inspirations. Unfamiliar to me they will be the subjects of my research as once again Ive found another interesting record that dives into a side of electronics I'm very fond of, the Ambient, Minimalist and Sci-Fi oriented soundscapes that could set the tone for a movie, video game or your imagination. "Union Of Worlds" is a record of variety that holds the tone, mood and atmosphere intact as each of its six songs take a different approach with intensity, pallet and tempo.

The record doesn't play through in two halves, but of the six songs you could easily split them. Three tracks have percussive tracks with synthesizer hits, the other three are slow, minimalist ambient soundscapes. The albums opener "Overmind" goes gently through the motions with sweeping synthesizers coming in from the sides and its main melody drones indifferent to its surroundings throughout the track, similar to the style of Tangerine Dream. "Appalachian Winter Blues" is my favorite track by far, the strings sound gorgeous here, eerie, deep, mysterious and foreboding their slow progression creates a sense of danger and wonder that is to be remembered. Its linear and singular, on instrument that has maybe three or four separate instruments coming together to create a density to the sound. A fluttering noise accompanies it, like flocks of birds in the distance.

Of the percussive tracks "Physis" stands out for two reasons, firstly its lead instruments, a buzz saw wave, creates a sense of two tone melody through volume shifts as it continually attacks. Giving it a sense of pace and urgency the synth drums rapidly fire away without a groove. This is a machine like continual pounding that pitch and volume shifts for a sense of variation or change in its continual motion. "Posthuman" implores a slight sense of groove with more open space between each strike but again finds a machine like vibe that doesn't feel Industrial but simply inhuman with a strange Sci-Fi vibe. Its what I adored about this record, how well it tapped into a particular niche. I also loved how momentary these songs were, with very little overall progression, no direction shifts and just continual droning they brought out the essence of their vision effortlessly for me, the listener.

Favorite Tracks: Appalachian Winter Blues, Physis

Rating: 7/10

The Prodigy "The Night Is My Friend" (2015)

Last year British legends of Essex "The Prodigy" returned from the darkness for another record, something they do every six years or so since their most successful "Land Of The Fat" back in the 90s where they were much more active. I caught the promoting tour which was one heck of an atmosphere to take in, one big party with a crazy light show and Maxim Reality exploring the venue, singing while walking through the crowd. Hungry for a little more I picked up the counterpart EP that finishes the other half of the lyric from title track "The Day Is My Enemy".

It should be known EPs and singles can often be tidbit extras, scraps and left overs brought together to fit the norm. Unfortunately "The Night Is My Friend" falls right into that territory. The opening "Get Your Fight On" is a re-equalized track that wouldn't even get audiophiles excited. A shortened three minute edit of "Rhythm Bomb" is thrown in possibly for radio play. There is only one new song "AWOL" which is pretty banging, another big break-beat with a lot of texture, distortions and typical Prodigy noises. Its plays itself down and builds up that typical dance suspense with an increasing snare leading in the drop which is the hook heard at the opening. Its a short but sweet song.

Lastly there are two remixes, "Rebel Radio" gets chopped up, re arranged with a clanging, loud snare harping on through the track reminiscent of "St. Anger". Not appealing and Caspa's remix of "The Day Is My Enemy" isn't as bad but his shuffling Trap hi-hats and Dubstep wobbles don't really fit the sample material, Its mediocre at its best. With just one new song its quite the disappointment, not a release worthy of attachment to the main album in my opinion.

Favorite Track: AWOL (Strike One)

Rating: 2/10

Clockwork Indigo "Clockwork Indigo" (2014)

Clockwork Indigo, a play on Stanly Krubrick's classic movie, is the name of a collaborative effort between Flatbush Zombies and The Underachievers, also of Flatbush, Brooklyn, New York. This is the super group's only release, a short five track EP which to me sounds like an Underachievers release considering I am unfamiliar with the Flatbush Zombies. The project was created when the two groups decided to tour together. Rather than just tour they decided to take it to the studio and create this record to help promote the tour and vice versa.

So being unfamiliar with the Zombies it feels like a completely organic and natural exercise as their raps and contributions fit right along AK and Issa. With equally aggressive and boisterous raps it fits the tone, however with mostly violent, braggadocios and party raps, the occasional sprinkling of insightful or social conscious lyrics do little to stop my attention from shifting to the instrumentals. The opening "Butterfly Effect" graces seven minutes as each rapper gets passed the mic over a memorable beat with unnerving string samples looped over a rough, boom bap beat where you can hear the vinyl needle static in the capture, playing it over and over ads a little dirt to the beat. After the verses the song winds down with some speach samples before transitioning into warm and bright piano chords with a melody whistled, then played on the piano, then sung before snipping short segments of the samples again.

Its nice to hear an instrumental expand itself beyond the basic loop but the opener is the only one to do so, the other four just play out to the raps and so the best part of these songs are the hooks. "Ain't this what you want?" with its flamboyant delivery will stick in the mind. "Benefit Concert" has dampened group shouts calling out "Mosh. Mosh, Mosh. Mosh" in the chorus. Great hooks but not much lyrical substance beyond a few catchy lines. As a record it doesn't feel too indifferent from what id expect of The Underachievers. It doesn't wow but it ain't bad either.

Favorite Tracks: Butterfly Effect, Benefit Concert

Rating: 5/10

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