The Lion's Daughter "Future Cult" (2018)

With every listen Future Cult has crept deeper into the conscious, its harsh iterations of Extreme Metal and obvious synthetic experiments have yielded charm in their familiarity. What was initially a wretched experiment of clashing styles found its territory as the repetitions revealed the chemistry that's not so always apparent. The Missouri based Black Metal outfit jump the bandwagon and fuse elements of Synthwave and this surge of interest in Carpenter horror soundtrack aesthetics.

The band have a harsh aesthetic, readily reliant on the pummel of blast beats and angular discordant guitars, commanded by the flat and narrows shouts of singer Giordano. The best bits emerge from the moments between when intensities wavier and so its harshness serves as that root into extremity it frequently turns too as the music drops in and out of its anger. In these fluctuations the trio prime the atmosphere for the music to break to its more meaningful and progressive passageways which give most the songs here conclusive moments of dark illumination.

The retro synths would fit sweetly into a 80s horror soundtrack but not so much in the case of this mid paced metallic pounding. Instead of sacrificing their harsh and assaulting aesthetic and jagged music to fit the synths in, the three let them rub upside. The clash is obvious yet the charm is in progression, how the music finds its way to more cohesion, the brutality sways into chemistry and that is their sweet spot.

The introduction to The Gown highlights this chemistry as the dialed down guitar tones work with the synths through an initially percussion less instrumental in perfect tandem. The texture and atmosphere oozes over the warm, burly baseline. As the record stretches on a couple of tracks cop out of the experiment with the synths being pushed deep to layers of grit and fuzz heard in the creeks between thick distortion chords. The do however remain as solid songs in the run time.

There is definitely something to be done with these two styles. The Lion's Daughter have dipped their toes in and proved the waters warm. However my take away from this record is their musicianship, more so than the aesthetics that often feel rigid and raw. The synths could easily be swapped out for guitars and retain the same atmosphere as I felt their dark avenue is what shinned more so that the Carpenter accent. I hope they continue on this path and push the fusion further.

Favorite Tracks: Future Cult, Call The Midnight Animal, Die Into Us, The Gown, Grease Infant, Galaxy Ripper
Rating: 8/10

Logic "Under Pressure" (2014)

Released on the one and only Def Jam records, Maryland rapper Logic invests half a million into his breakout debut album. How do we know that? Under Pressure is a characteristically blunt, youthful set of songs with rather direct commentary from the "onboard assistant" and Logic himself who takes a raw and straight forward approach to his rhymes and story telling. At the end of the tracks the fourth wall is broken as the feminine electronic voice runs through facts and tidbits related to the albums creation, giving us an insight to the scenes and inspirations behind the music as Logic binges on Outkast, A Tribe Called Quest and Tarantino movies during its recording.

The instrumental side of the music takes on a rather traditional approach hailing back to the 90s with modern sounds far and few between. Soulful, jazzy sampling lays down warm, temperate moods and good, grounded vibes that tight, rugged beats back up with solid sequencing. These sounds and Logic's flow occasionally drifts into territory that fondly reminds me of To Pimp A Butterfly. Its got an organic quality hailing back to the pre-digital age of musicianship and that chemistry infrequently finds these illuminating grooves where it all clicks instrumentally speaking.

Its obvious that logic aims high and with his lyrics, painting a vivid introduction to himself and the city he came from. Its typically in the moment and he has no problem getting the stress and worries off his mind through the pressures of making it in the rap game. He mostly takes on a more palatable, generic flow letting the words come across with ease and oddly in moments of technical proficiency, pushing his swift snappy flows he lacks the same lyrical cohesion. It a raw, direction experience, tackling the topics head on with plainer language delivered through enjoyable lyrics.

For me the record plays without any stand-out moments. Or any duds considering the flip side. Its all feasible and achieved to a solid standard. It paints a picture without re framing anything, its sixty seven minutes can drag its feet with only a couple of features at the end to shake things up, Childish Gambino droping in, his voice a good match to bounce of Logic. Under Pressure is a fine effort, it lands where it aims and perhaps lacks a drive to go further as the chemistry here feels ripe for something special which doesn't manifest, however its a good listen.

Rating: 7/10

Teyana Taylor "K.T.S.E" (2018)

This year we've been spoiled, Kanye has brought us five hyper curated projects. The introspective and of the moment Ye, a brilliant psychedelic collaboration with Kid Cudi on Kids See Ghosts, an introduction to the highly articulate Pusha T and at bottom of the pile a disappointing production with Hip Hop legend Nas, the pairs styles just struggled to meet. The last of the five is again a highly curated seven track twenty two minute record, correction, eight tracks, an exception to the Wyoming sessions. Its actress and model Teyana Taylor second release and that's about all I know of her!

K.T.S.E is a record of two half, two tones that have moments of overlap. Its better half comprises of soft, smooth and luscious R&B licks lined with subtle, inspired hip hop beats and percussive grooves. Kanye lines up beautiful, soulful samples to let Teyana's singing swoon and sway with the warm and soulful, emotional music. Its use of instrumentation instead of synthetics adds a matured warmth and class that reminds me fondly of Black Messiah. When in these songs the record is classy, full of good moods and uplifting aura. Teyana sounds like she seeking the heights of the classics as her vocals soft inflections stir up a delicious, appetizing smoothness.

We are blessed with four or so songs that firmly move within that blueprint however hyper sexual themes of 3Way and WTP indifferently highlight and align with shifts in her singing and Kanye's production. Teyana also shifts gears with her voice, pushing the power of her voice towards the sterile and over inflected modern style Id associate with Beyonce, out of ignorance of course as R&B isn't music I delve into that often. It doesn't charm like her softer side and with indifferent lyrics and topics It can become quite the bore when before shes inches away from greatness.

 The production of WTP stands in contrast to all that came before it, an obnoxious, retro Dance tune with god awful 80s stabs and strikes repeated to insanity, a real turn off. It also plays up to some really odd laser zap sounds heard on Issues. Its such a bizarre sound given the instrumentals tone but somehow works as an interesting and unusual oddity. This is mostly a brilliant record mixed with some obnoxious production and unfavorable singing that strongly turns me off from what I was enjoying moments ago. I'm a bit fussy but every listen has been peaks, mostly peaks and valleys.

Favorite Tracks: No Manners, Gonna Love Me, Issues / Hold On

Rating: 6/10

Dance With The Dead "Loved To Death" (2018)

Right as I feel like I'm clued up on their sound and back catalog, Californian duo Dance With The Dead drop a brand spanking new record which I wasn't particularly in the mood for. At this point their sound is played out on a personal level. The 80s John Carpenter soundtrack nostalgia ride has been explored and so this new collection of tracks does little unexpected or even exciting at this point. The aesthetics sound unchanged if only refined and polished a fraction. Loved To Death doesn't deploy any distinct theme or spin a twist, its another ten straight tracks of dark, dense and melody rich Synthwave playing to its niche.

On occasions the music musters intrigue with some under utilized avenues, Red Moon introduces metallic rhythm guitar to the forefront for brief instances. War deploys some gargling synths that fluctuate like a Dubstep drop. Similar deep textural synths rumble on different wavelengths in bursts but beyond these brief glimpses of places for the sound to expand the music mostly sticks to its guns with the same digestible arrangements of pumping horror soundtrack boldness and neon lit nightlife adventure melodies.

When the music shows signs of something new its always limited to aesthetic and so the record drifts on by at the same pace. Its predictable, yet wonderfully executed. Hard to critique but all to palatable. I did enjoy the occasional cheesy 80s Hair Metal solo, it has a fitting place here but unfortunately none of the tracks stepped beyond what I expected of the band and so it just sounded routine and repetitive. Good music but desperately in need of a new direction.

Rating: 4/10

Alice In Chains "Rainier Fog" (2018)

There is so much that could be said of Alice In Chains and their history. To boil it down to some specifics, they are a a legendary band from the Grunge era with a metallic tint in guitar tone who lost the iconic voice of singer Layne Staley to extreme drug abuse. Reforming a few years after his death they somehow found a vocal harmonization with new singer William DuVall that resonated on the same frequency as Layne. It allowed them to continue along the same spiritual path laid out on prior records and after five years their return with their third album of this second stint for the band.

I have a strong fondness for their last two records, the five year wait has been worthwhile but Rainier Fog pulls no new tricks. It may explore some heavier guitar tones and grooves but very much plays like a band who are comfortable with their identity. They have taken the time to reach in deep and curate the very best of their inspirations and form a fine craft of songs that hold your attention and move your emotions for the steady fifty three minutes the ten tracks make up together. If it does offer any new spice, slower tempos hint at some Doom Metal influences but its a side of them that just seems more prominent for this project.

Its pace is sturdy, slow and soothing yet momentous and empowering. The atmosphere they conjure together is sun soaked with a streak of introspection bordering on melancholy. With a gorgeous production aesthetic Jerry and William weave their vocals around one another to constantly illuminate the music in electric tandem. The guitars relish this opertunity to flex in the directions Alice In Chains are known for, finding some laden, steady grooves and stretching to the slow and sombre acoustic epics with all manor of lead guitar breaks stitching in the details. Its a lively, animated record in the energetic moments they often leads too. When in a more subtle position it still retains these big and strong atmospheres that engulf the listener.

With each listen one comes to know the songs better and as each rotation revolves the character and identity of these songs really lights up, especially the second half of the record. This is the kind of curation that can make a known sound exciting however that may be this records only flaw. Its a fantastic set of songs but has no surprises or unexpected directions. The music in no way cries out for it however it makes me wonder if the band can keep making this well established sound work? They certainly have done this time around but you will know what your in for.

Rating: 7/10

Eminem "Kamikaze" (2018)

Kamikaze may just be the most fitting, self descriptive name for this surprise album. Dropped out of the blue a couple days back by the one and only legendary Eminem, it responds to the general disappointment and fallout of last years Revival. The shock and surprise of this mean, gritty record taking verbal aim at anyone nearby has Em painted like a wounded animal, lashing out as his frustrations with the changing landscape of Hip Hop pin him in the corner. His state of mind manifests before us into a Rap fest of disses and vocal prowess. He's like the deranged tyrant on the throne, no one can deny or challenge his position at the top, yet his verbal trajectory of insults is unlikely to harbor any new fans of friends.

Once again Eminem is stuck in his reactionary mindset. It was once the cutting edge back when he was public enemy one on the Marshall Mathers LP. His position has changed, reputation established and undeniable yet here he is lashing out at Mumble Rappers and artists with different styles. It paints a sour image of an aging artist, out of touch yet one can not deny how wonderful his flows and creative is. The record has its moments of pure brilliance, Em even takes on his despised triplet and choppy flows to flip them over, load them with lyrical substance and spit them back in the face of those he goes after. He does however drown in a plethora of tasteless slurs and swears that weigh down the genius behind the rhyme.

Breaking down the lyrics, which run deep, we find regards to Kendrick Lamar, Big Sean, Logic, J Cole, Joyner Lucas, who is featured on the track Lucky You. On the other end of the stick Em goes hard at so many rappers its hard to keep up. Machine Gun Kelly, Lil Pump, Lil Xan, Lil Yatchy, Earl Sweatshirt all get caught in the crossfire. He also takes aim at Tyler The Creator using the word faggot. Given these times and context it really does him no favors and comes off as poor taste. That was disappointing, yet "Not Alive" had me in hysterics as Eminem and Royce Da 5'9" mock the Migos Bad & Boujee flow, its hilarious but simply redundant. Drake also gets accused of relying on ghost writers and Em goes rather pointless into number comparisons, which he also extended to music critics making views off Revival.

Its really just petty, yet delivered through the lens of supreme talent. Behind the lyrics there is another layer of madness as some beats resemble the modern trends Em criticizes himself, however it may all just be playing into the mockery. One notable thing stand against this, Em constantly uses the Drake "Yuh" prompt before rhyming... Its so distinctly alike it just seems strange. Tracks like Nice Guy & the second half of Normal resurrect some classic Eminem vibes. Lucky You is dominated by its features and modern aesthetic, it barely sounds like his own track. To say the least the record tends to go all over the place as his sounds play around with new ideas too.

Beyond the attention grabbing tracks his lyrical content hits and misses with a variety of topics. Hearing him address the D12 situation and run through his thoughts was well executed yet not every song hits that grade. The content fluctuates as does Ems flows, dropping some excellent rhymes and patterns alongside some belly aching cringy lyrics and plain schemes. At other times it loads in so much its difficult to unpack. If one thing is consistent, its a lack of hooks, the best he musters is the Migos own Not Alike flow and groove, ironic of course. Em also lashes out at the new generation not respecting the old guard, his actions will do little to change this.

Ultimately, this record is as described, a kamikaze. Its hard to see Eminem reclaiming his place at the top again, even when working with Dr.Dre. Given his attitude to the state of Hip Hop he comes off like a sinking battleship landing missile strikes as it goes down. Its the best we have heard of him in years from a technical perspective yet when not striking out a fair bit of the topics arn't engaging and with a refusal to change with the times little excitement is stirred unless hes angry and viscous. I can't see him coming back from this unless he finds a new source of inspiration... Also I can't leave this blog without mentioning the Beastie Boys and License To Ill, there it is!

Favorite Tracks: The Ringer, Normal, Not Alike

Rating: 6/10

Old Tower "Stellary Wisdom" (2018)

Stellary Wisdom is another two track release from the Dutch Dungeon Synth composer Old Tower. Both of the songs that make up this release clock in at fifteen minutes, both traversing their individual phases with fade outs and blunt transitions yet this time they blur the lines as the mood is held firmly together in its couple of angular shifts. This release is distinctly different from the low-fi and dingy realm of Spectral Horizons. It deploys the same grandiose strikes of gongs and has a similar compositional attributes yet Its clearer production and aesthetics lets the wave forms of synthetic instruments strike their own mystery and intrigue with soft reverbs and sweeping transformations of oscillation in lengthy notes.

Its minimalism is far more obvious as much of the record is propped up on one or two synths. It always seems to have the right texture to evoke a much deeper atmosphere than one might presume. The first track closes its quarter hour duration with an oddly airy, knife like synth cutting through the silence with its bleak and metallic tone that whirls like a mechanized wind, yet created by no one. The value of craft is not to be understated as the aesthetics play a huge role.

A shift in tone is felt as the following title track opens with softer wave forms and light chorals. It finds its way to a lengthy passage of minimalism where once again just two instruments resonate of one another with a spiritual meditative state that embraces its bleak loneliness. One can envision themselves as a sole conscious entity, roaming the endless beauty of mother nature in the peril of this unending burden.

This is quite possibly my favorite Old Tower release, its spell seems to be far more encompassing and with every spin I find a meditative state in the wake of its softly droning synths and slow atmospheric brooding. It comes close to tapping into some of the minimalist magic I first heard by Burzum with his tracks Tomhet and Rundgang Um Die Transzendentale Saule Der Singularitat. Its a particular spell I rarely hear musicians come close to. They may have the charm of bonds formed with firsts and youthful freshness but I do hear creaks of that charm in the lengthy passageways of minimal construct on this record. That is a positive thing to say the least.

Rating: 7/10

Plini "Sunhead" (2018)

After the exuberant Handmade Cities released two years back, one of my favorite albums that year, Plini has captured my interest as one to watch, an astonishingly talented guitarist with a defined sound capable of mustering lasting wonder and inspiration in the wake of a constant melodic onslaught. Sunhead is the newest release, a four track mini album curating the best of his output in a short but sweet experience that lightly expands the aesthetic pallet with a couple of exotic instruments and obvious moments of inspired Jazz.

The xylophone, saxophone and expanded synths tones arrive on the back of a Jazz Fusion kick that makes itself known in the opening phase of Klind, the free form tangents of Flaneur and lead solos on title track Sunhead. They provide a welcome expansion but certainly not a necessary flavor to Plini's sound which shows no signs of exhaustion in its current form. The Jazz melds seamlessly into the flow of dazzling music that is ever evolving in its Progressive form.

The four tracks make a dense web of music, easy to enjoy on the surface and deep in its construct. Llayers of instruments weave gorgeous details both textural and tuneful into the ever unfolding songs that Plini sings over with the accent of his endless lead guitar playing. Despite it being defined and distinguished, there seems to be no lack of places to explore on the fret board. With him and the other instruments constantly unleashing such dexterity and joy not a second passes without awe.

The production is gorgeous, a warm, authentic and timeless tone graces the crisp, clear, modernized recording with character and meaning. The percussion is especially enjoyable on this project, Chris Allison manages to find a stunning flow of groove and fluidity in his decoration of the beat with exotic fills that run through almost every moment, loading the record with another layer of musicality to dive into.

In the records most ambitious moments two things emerge, the mastery of the Djent groove which moves seamlessly into the natural crescendos and peaks as a part of a bigger picture, rather than some forceful event of singular momentum. Its other big moments are in the gleaming melodies which rise into lead melodies and hit big notes with a touch of 80s cheese, something I can't quite put my finger on but is certainly their with fondness. Its a truly exceptional twenty minutes of excellence.

Rating: 9/10

At The Gates "To Drink From The Night Itself" (2018)

It doesn't feel right to start here. I have barely given the Swedish group a listen in the past, Ive heard the praise, recognize their album covers and am very much aware of their legacy within the broader Metal community. After a string of well regarded albums in the early nineties At The Gates split in 97 for over a decade long, returning with the original lineup many years later in this era of sustainability for bands given the increased wealth in music and large amount of festivals to support and give exposure to bands, especially old bands die-hards want to see again.

To Drink From The Night Itself is the bands second album after their reunion and the first proper listen Ive given then. Unfortunately it falls into the "generic" Melodic Death Metal camp but of the vein I can very much enjoy. That is only because I know this sound all to well, they may have once been at the forefront of this style but their is little fresh or new on this record, it is however very well written and strongly executed, making for a healthy dose of a sound and style I really enjoy.

The band put together songs without flash or flair, their consistent pounding pace and temperate approach to guitar riffing lets the mood and tone of the tracks eminate from steady and composed melodies hidden in the exterior of harsh distortion guitars. When they do break in tone an introduce acoustics its rather underwhelming in the wake of their steady Metal machine that drives ever forward at this consistent speed that feels simultaneously sluggish and hastened as the drums never swing into break downs or blast beats.

The production aids the music well, the instruments feel rounded and cushioned to share a space without piercing through one another and this is again reflected in temperate music that lets its self speak without aesthetic tricks. Vocalist Lindberg's dry screams play up the atmosphere of this drone as his flat and drawn screams brood in the dreary aggression that is only and rarely split by the timely introduction of simple and gleaming guitar solos, bursting to life but fitting sweetly into the direction.

It may be in the title but this is truly a recollection of the night time, the steadily aggressive and evolving guitars unleash darkly moods and tones that the music frequently unravels as its guitars wind and weave their way forward with melodic inflections between the grinding of subtle grooves and darkly tunefulness. Its a solid listen from front to back, a bold and consistent approach that has the record swiftly establish its realm and hold you there for the forty five minutes. Great record, I may have to go back and get through their classics now.

Favorite Tracks: Daggers Of Black Haze, In Nameless Sleep, The Colours Of The Beast

Rating: 7/10

Madball "For The Cause" (2018)

Kicking off with distortion guitar feedback fading in, the pounding drums ramp up the energy as the sticks make their way around the kit, striking the rising toms, signaling whats about to land. New York Hardcore legends Madball jump straight into the action with all the hallmarks, gang shouts, thrashing riffs and slamming grooves fit to get the crowds moving, spinning in circles, hardcore dancing and jumping of the stage. One can hear it all but that's because we have heard it all before. For The Cause is the bands ninth full length in their now thirty year career.

This blog will be short and sweet, their isn't too much to talk about from my perspective because the record does so little wrong yet so little new. The band pull together with a tight set of songs that deploy all the same riffs, techniques and cliches a Hardcore fan could want. Its got energy, attitude and aggression the likes of which we have heard time and time again. The lyrics circle the same topics of pride, strength and integrity spun through different analogies and formed into hooks. Not even the presence of Ice-T makes much an impact in this straight forward record.

Once Id got my Hardcore kick from the record its repeated spins left little impact on me, a lack of experimentation or aiming beyond the scope leaves these songs feeling weak beyond the ability to hit that certain vibe, which it does well. The records biggest strength is production, everything is crisp, cutting, sharp and lean, with the right Hardcore flavor. The drums are especially snappy with a gorgeous clapping snare that hits hard without piercing through. Unfortunately my enjoyment of For The Cause was limited by the records own limitation within a sound the stick very strictly too.

Rating: 5/10

Old Tower "Spectral Horizons" (2016)

I'm growing rather fond of Old Tower's stellar approach to Dungeon Synth. The Dutch musician has a knack for composing in this mysterious, illusive realm. It calls from just beyond the horizon, always distant, out of reach, a seemingly calm and uneventful place yet its full of intrigue. The music lingers in its moment, you focus your gaze upon a frozen statue, its pose different with each lapse of attention. Subtlety is the power it yields. With its soft synth and dreary drones Spectral Horizons conjurers a gloomy, majestic atmosphere of time, place, culture and nature that is most likely a personal one for the listener, depending on where your imagination wanders too.

Its soft, elongated melodies and gleams of event in the form gong crashes and buried, pounding tribal drums calling from the deep create quite the sense of epic within this aesthetically meek setting. Its instruments play to their quiet selves, no conflicts arise as they do not compete for attention. Its a cushioned production where the sounds meld sweetly, allowing its most eventful passageways to pass a distracted listener yet suck in the attentive captivated by its shy spell. It has some awkward moments of wind whirling and rain transitioning the music but between them long stretches of yearning, ancient synths and archaic choral chants suck one in.

Like The Rise Of The Scepter, Spectral Horizons is split into two halves around twenty minutes in total and its songs have distinct shifts, clear breaks in its tone and instrumentation that could of been broken into smaller sections however it is not labeled in two parts. The nature of the music commands it to be enjoyed as a whole. With a shorter run time one feels the benefit of curation as these compositions hold well for their duration. They may not call for the most lavish of praises but within their own realm Old Tower is produces some unique magic with this project.

Rating: 5/10