Revocation "Great Is Our Sin" (2016)

They were once my shining beacon of hope for Metal music and as my taste expanded their impact on me faded. Disappointed by "Deathless" I wasn't going to get to excited over the Boston based outfits sixth full length record but from the first listen I knew this was something to get my teeth into. With the departure original drummer Dubois-Coyne the band were set to loose a key component of their sound, however replacement Ash Pearson from Canadian Metal band 3 Inches Of Blood does his service, providing the band with a technical backbone, armed to the teeth with tight rattling drums that bludgeon away between shuffles, rolls and blast beats. He does have a tenancy to dive into lengthy pedal rolls but the general intensity is spot on, if not toned down slightly from previous records, accommodating the guitars more so than firing aside them. With David showing no signs of losing inspiration "Great Is Our Sin" is ten tracks of dense, crafted Metal loosely themed around the woes of humanity repeating the failings of history.

With tinges of Black, Death and Thrash a thick and sprawling beast unravels from within the violence of aggressive music. With darkness, aggression and groove these songs take steadily progressing journeys through David's arsenal of lively riffs, never settling on a repetitive moment, as the band so traditionally do. On this record though the tint is darker and the moods of the songs jump around a little more with some of the more pummeling riffs against those with a less menacing demeanor. And then there's David's guitar solos bursting into life with purpose and intent, able to illuminate a song and as he so typically does, use a guitar solo to swiftly transform. The range of riffs are remarkable, never a dull moment and so distinctly Revocation it is a comforting listen to an old fan.

Moments like the instrumental "The Exaltation" are like flashbacks to the days I first discovered their "Empire Of The Obscene" debut. A song that bursts into classic Thrash between moody atmospheric riffs and a guitar solo reminiscent of Megadeth in their hay day. That excitement isn't as available on every track, some of which are more rooted in the dooming atmosphere of mankind's perils. Its in these slower, crushing moments that Revocations grip isn't as tight. As their sound progresses it has yet to stale but for me David's guitar work and style doesn't catch me out as often as it used to and with a more expansive interest the purist Metal intent is sometimes the less interesting choice to listen to.

"Great Is Our Sin" is a loaded gun of sharp guitar shredding, the trios chemistry sounding great on a sturdy production that I hear no faults in. Every moment is crisp, sharp and audible between each of the instruments. The bass is a little less adventurous than I remember with only a couple of memorable moments where it made an impact in the forefront of the song. David's vocals are biting, thick with anger and animosity, his range a little more defined and his scream packing more meat than I remember previously. He also flexes some cleaner vocals, deep bellows and sung lines fit perfectly into the albums theme. I think its a cracking album that's probably a fair few shades better than my enjoyment of it.

Favorite Tracks: Arbiters Of The Apocalypse, Crumbling Imperium, The Exaltation, Only The Spineless Survive, Cleaving Giants Of Ice

Rating: 7/10

Birocratic "Julien Solomita" (2016)

Back with another small release, American producer Biro is at it again crafting a few more beats in his particular flavor of easy going Jazz Hop. Lively sampled drum loops and soothing instrumentals come together for this short three track which has no surprises in store. The mid track continues the development of vocal eccentric sampling, chopping and pitch shifting a singers words into indecipherable snippets that make up warming melodies. The first and last songs are fairly straight forward beats with sampling of what sounds like a 40s singer, although I'm really unsure how to describe the source. The first tack "Burner" feels far more fleshed out with a gorgeous Spanish guitar lead shimmering as the focus of a beat with atmosphere and depth, the vocal sampling plays second fiddle in the background, coming of more like an instrument on a track that hits the mark.

The opening track has a bit of flair, otherwise its fairly mediocre. With his style established I'm hoping for a full length from Biro with flair and substance. For now its another micro record clocking in at six and a half minutes that doesn't satisfy the itch. The best track also seems a little unfinished with no break of progression and simply fading out before the two minute mark its all over a bit too quick.

Favorite Track: Burner

Rating: 2/10

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