Suspended Memories "Forgotten Gods" (1993)

Fancying another foray into the works of Steve Roach, a musician with too many records to count, I couldn't help but notice its popularity on Spotify alongside the pivotal works of Structures From Silence and Dreamtime Return. The latter leaves its legacy on Forgotten Gods with the consistent jabber of worldly, cultural and ancient percussive sounds. The construct, like before, is beautifully disjointed, deconstructed and abstract from the norms of groove and rhythm found in western music. Although in any moment its strikes and hits seem free and sporadic, its arch find a meditative pace, holding the atmosphere together with a steady, easy temperament.

Suspended Memories is the name for Roach's collaboration with fellow ambient artists Jorge Reyes of Mexico and Suso Saiz of Spain. A cultural tie to the Aztecs feels beyond relevant. With distant native chants and baking dusty echos, the musical pieces delve into the shamanic mystique the mysteries of lost civilizations can conjure. Both warm yet nightly, one can envision the blistering heat of desert sands, secrets laying in wait under weathered tombs. Equally, its drafty tone and dreamy presence has the cautious calm of night. Dangers lurk in the shadows yet the listener is always safe within the ambience. These contrasts co-exist, allowing one to hear their own adventure within the music. It may not be intentional but has been remarkable.

As the title Forgotten Gods hints, its theme evoke celestial wonders lost to the decay of time. As expected the record explores a variety of temperaments. Snake Song and Mutual Tribes appealed strongly to desert vibes I initially thought of as Egyptian but on further study, the inspiration was likely a historical middle American. Ritual Noise was the darkest track on offer, a lone song where a nefarious presence gets a little to close for comfort. Despite its devilishness, all the music is beautifully soothing and meditative. I've heard these sounds encroached on prior, yet the trio handle it so masterfully. This is absolutely another favorite for the ambient collection.

Rating: 8/10

Wu-Tang Clan "Iron Flag" (2001)

 

Picking up a fever, delving into the leaked Demo Tape & ODB's Return To The 36 Chambers, I thought id wrap up my cravings with Iron Flag. Released hot of the heels of The W, its commercial decline gave it a dire reputation at the time. Subsequently, I'd never given it a fair go and maybe I should of left it that way. The talent of these rappers is not in question, however the Wu mastermind RZA himself might be.

Iron Flag's instrumental tone is a frequent bore. The production of these beats hinge on short repetitive loops from front to back. With little in the way of variations and nothing to offer with song structures, the record is a grind. RZA turns to tighter constructs with clearer samples, often 70s Soul, crisp drums and synthetic instruments. Its a departure from the gritty, low fidelity musk that once defined them. Radioactive manages to capture that spirit but its a lone track among many.

A few others put their hands on beat creation but Mathematics and other guests simply fall inline with RZA's vision. Its one of hard hitting percussion with moody sampling housing brief, stabbing melodies on loop. With a tone that lacked any excitement, it was tough to get into the rhymes. Despite competent flows, the topicality felt like a group on auto pilot pumping out another record that lacked depth.

Rating: 4/10

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

Warpaint "Radiate Like This" (2022)

 If this title were literal, then one would glow. With radiance in abundance, a deep warmth, a crooning sway, Warpaint resonate sensuality with this casually persuading swoon of blissful songs. Its ten cuts ooze with luscious ease as dreamy aesthetics drift by. Captive to Emily Kokal's gentle endearing voice, she rides the soulful breeze her compassionate presence creates. This performance makes the record whole. For all the gorgeous instrumentation, vibeing in the lofty heat of an easy chemistry. She steps boldly into each song with a tender soul, soft in tone yet powerfully charming.

Once labeled as a Post-Punk band, its only the forward baselines, punching high notes on the fretboard that resemble the umbrella sound. With calming beats, loose grooves and shuffling hi-hat rattles, a subtle percussive performance houses all other instruments from a quiet yet foundational roll. The acoustic guitars, in dense washes of reverberation, gel with keys and electronics. Swept up in a swelling production, the atmosphere of each song punctuates a soulful, dreamy mood with stunning ease. Its tone is part Ethereal, part Dream Pop with a light touch of Shoegaze indulgence.

Radiate Like This is far from perfect however. Navigating all ebbs and flows, frequent detours into halve measures of the magic occur. Often when Kokal is withdrawn the spark is dulled. Despite this, the allure is ever present. A soothing persuasion pulls one in as simple melodic loops revel in the dense ambience they sink through with echos and reverb effects dialed to perfection. The aesthetics and textures are stunningly captured by the group who self produced the record. Its a triumph, as the best cuts, again championed by Kokal, hit the sweetest groove after every repetition.

Rating: 8/10

Tiamat "Wildhoney" (1994)

 

Upon reading comments and critiques on Almost A Dance lay proclamations of a broader movement in Metal at the time, one that promised more of that niche, early The Gathering sound. If Wildhoney is anything to go on, it seems these musicians were expanding on the slow brooding gloom of Doom Metal with a contrasting lushness through symphonic melancholy. With a tinge of Gothic mystique, it seems between the crevasse of Metal's many sub genres, lies another calling my name. Hailing from Sweden at a time when the Melodic Death Metal scene was blossoming, Tiamat developed their initially Doom and Death Metal sound in this renewed Gothic, Symphonic direction. Wildhoney being their commercial peak and my entry point.

Delivering on exactly what I was looking for, the opening tracks lunge forth with broody grooves in slow tempos haunted by darkly effeminate vocals. Drawn out power chords lay foundations for the keys to chime and adorn the mysterious chemistry that once spellbound me on Always... . Soundscape alike tangents gets the imagination turning with shadowy horrors early on. A curiosity in Johan Edlund's challenging vocals hint at something more. His sway between wretched doom gutturals and earthly heathen "cleans" show an artsy side to the music. It gets its moment later on after a string of big atmospheric songs, sailing deep emotions, a swelling mix of loss and beauty.

After the rocking sway and colorful gleam of Visionaire, the music descends from peak to valley as interlude Kaleidoscope puts the break on all momentum and sets a new tone for its final songs. What wordings come by feel more poetic, performative, so to say. Do You Dream Of Me? leans into European cultural sounds. Planets dwells on mystery, pivoting from loneliness to wonder in its progression. Then we have A Pocket Size Sun. Performed as a tender poem on the loss of innocence, its whole framing feels so profoundly different from all that came before. The exchanges with an effeminate being highlights charm well but again, feels like a complete departure.

With every spin this record has always felt like it had more to offer. A third of the record is its final four songs and although they are instrumentally wondrous, the obvious shift leaves one feeling like not enough was explored early on. Perhaps that is just a burden of slow, doomy music. Tiamat navigate something beautiful here, finding the sweet spot between its dark gloomy distortion guitars and all the lush keys gathering around. On the journey, there is much to marvel at. Its ending though, somewhat derailed. If this style of Metal is your cup of tea, as I have discovered its mine, then Wildhoney is a gem to be adored! This one can only grow on me, I'm sure!

Rating: 8/10

Carpenter Brut "Leather Teeth" (2018)

After a lengthy deep dive through the dark powerhouse known as Trilogy, Carpenter Brut returns with an upbeat, energized vision of Synthwave. Its packaged into a lean eight tracks and Leather Teeth plays like a movie. Its pacing has one song racing to the next, always on the run, changing up location and drenching the listener in a glorious synth overload! Dripping with nostalgia, Brut nails the best of 80s ideas, bringing them to life again through this high octane drive of dance-able songs. Continuously pounding the bass lines, the keys over top rattle off with a consistent buzz, as fast, animated melodies overlap to create a powerful wall of sound.

Along the way a few breaks in tone are discovered. Ironically mentioned in my musings on Trilogy, the man from Ulver himself, Kristoffer Rygg, lends his voice for a track. The combination is perfect! Cheerleader Effect gets treated to his soft power over a thinner instrumental. It gives room for his words to breathe and sets up a couple of mellower tracks to follow. They have 80s jam session vibes with some vibrant lead solos. In these moments a touch of Genesis of that era can be heard. The vocals return again later on, this time with Mat McNerny. His opening Ian Curtis impression stands a little stark and broody but as he gets into it, the music gels well.

Leather Teeth is one of the best Synthwave records I've heard. It surpasses any tropes with the stunning musicianship. It seems that song writing is the core and everything aesthetic just falls into place around it. My favorite moments stem from the lead instruments. Synths solos and Metal guitars really open up the musics dynamics as the arsenal of keys have to lay of the repetition. Its sways from dance to Progressive are well managed and both sides are performed so well. There is little I can fault here but it sounds is if there is many directions this could all be taken in. After all, this has progressed from quite a dark place to something still in rapture but upbeat, casual and groovy with fun vibes emanating. I'm excited for whats next!

Rating: 8/10

Kyros "Four Of Fear" (2020)

 

Home to a new "song of obsession" of mine, this four track EP has night not been quite as enigmatic as ResetRewind, a six minute epic that immediately caught my attention when cycling through Spotify's automated playlists. Kyros are a Progressive Rock/Metal/Synth outfit from London who's sound is a bit "all over the place" and wild, if not unified by its Progressive inspired framework delving mostly in synth tones.

ResetRewind itself is a flawed track, seemingly hinged on its one main music hook, a stellar synth melody dancing in its own gallop. Shelby Warne ascended the mood with a post-apocalyptic uplift, lyrics soaring on natures reclaiming of animal lives, as everyone dies. The song is an odd ball, wedging in a couple Skrillex era Dubstep breakdowns that just about work. It has a few other exercises between its chorus, a sinister vampyric melody in its closing frame is a niche touch. Nothing quite links directly with the main theme and despite its stitched together nature, the song rocks.

The other three songs don't find the same stride. Kyros's temperament is highly involved and dramatic. All ideas and melodies get played up, over performed and aesthetically over emphasized. Quite often this is fun as its backed by terrific, well written melodies. Ace's Middle not so much, its quirky personality shuffles and jitters all over the place with big theatrics that has no foundation. When slowing down for a broody atmosphere epic with Stop Motion. The concept holds back the over animated nature they usually express. Its class is one to revel in as guitar solos make waves.

 My overall impression is one of a band oozing in talent that;s lacking focus and direction. Their sound is a little overdone in multiple dimensions. The music always has a lot going on. What makes it tick is often the simple chemistry between its lead melodies and vocals. I could hear a record producer like Rick Ruben stepping in and stripping out the all the progressive fuss around the core of their songs. That's where the best of this short record is to be heard in my humble opinion.

Rating: 5/10

Blut Aus Nord "Disharmonium - Undreamable Abysses" (2022)

Not every band has to bring something new to the table, especially when in a stride most appetizing to the listener. Blut Aus Nord's latest rapture of nefarious psychedelic hallucinations was initially intoxicating but in the shadows of unflinching familiarity, tit turned into a moody slog of unruly madness, churning away in the background. That's not to be dismissive of Disharmonium, its charm simply wore off rather swiftly.

If not familiar with this sound however, it would be a welcome invitation to the maniacal delirium these French veterans conjure. Far evolved from the fundamentals of Black Metal, the duo compose unraveling sways of reality shattering sounds. Their unsettled atmospheres brood through melodies that slip through the fingers, melting away through pitch shifts as if physical reality is falling apart. Its a few keen ideas that foster this rich, dense tapestry of mental mood, always on an unpredictable move.

Slow and meandering, ever shifting direction, the percussion rarely holds down a groove or pattern for long. It too sways in stuttering intensity, following the cues signaled by its bleeding, oozing wash of melody. The duality is wondrous as the dark unrevealing of damaged consciousness is explored within bleak walls. Despite the record having a rather consistent aesthetic and tempo, the ideas explored are so well executed that its seven songs serve one continual plunge into the abyss of the mind.

I'd struggle to pick out a favored song, or even moment. It feels as if everything has been crafted to offer no anchor or reference points. You are always in the perpetual motion as demonic voices call from the depths of its lofty tone. So to do swells of high guitar notation sometimes puncture through, however its no bright guitar solo but often a breakout expression that is swiftly engulfed. I love the maniacal madness this pair have created, this one was fun but as described quickly lulled in its familiarity.

Rating: 6/10

Kendrick Lamar "Mr.Morale & The Big Steppers" (2022)

 

 Spoiled by the swift succession of Damn from To Pimp a Butterfly, A patient five year wait returns this generations goat on yet another artistic stride, an expressive streak manifesting into a lengthy double LP. With no doubts to his genius, Kendrick navigates his life through introspective expression whilst drawing a broader through-line with societal issues. That seems to be the key structure with Mr.Morale, many difficult issues are tackled. From racism to transphobia, child abuse and molestation, Kendrick takes on hard topics, often putting himself front and center. Relating from his own life experiences to society at large, he candidly displays both the good and bad of himself in a morale challenging framework. Hence the name, Mr.Morale, examines it all.

With a meaty seventy five minute sequence through eighteen tracks, reoccurring themes and melodic jingles tie together a broad depth of topics. As described, they seem to resurface flipping between the two perspectives, personal and external. With his lyricism refined for substance, it rarely passes by without food for thought. Each listener will find their own moments of both tension and insight across its spectrum.

Production wise, this is a tight craft of snappy beats that lean on a talented array of musicians. It keeps the music organic and expressive while still retaining a percussive Rap energy for Kendrick and his guests to lay down fiery verses where apt. Woven between, the music ebbs and flows into cinematic calms and dramatic tensions ushered in by classic instrumentation. Scenic emotive strings and pianos brake out with their own voice. It sways from the repetition of beats with expansive interludes.

Some personal highlights include the excessive cursing of We Cry Together. A blunt exploration of relationship and communication skills that life's struggles wear thin between couples. The piano loop brilliantly expounds its brittle, hostile energy as it releases tension in the songs pivoting conclusion. Auntie Diaries is an honest exploration of gender identity within his own family. The warmth Kendrick emanates is endearing, getting across his simple, compassionate acceptance for others.

On the flip side, the "reverse racism" of Worldwide Steppers is a contentious eyebrow raiser deserving of deeper examination. That alongside his addressing of an incident shared with a white female fan on stage seem less clear and vague. I haven't studied the lyrics but they are certainly packaged for shock value in their striking delivery. Again he grapples with his actions and the backlash from media and fans alike.

In comparison to his previous albums, the length of Mr.Morale does feed into a broad range of experiences that become a little less distinct, more like a lengthy mood. Each listen has been enjoyable but with that less punchy, pointed tracks you can point to as the peaks. My ultimate takeaway? Kendrick is still sharp and keen, reveling in his expressive capability. We should be ready for more as his talent seems in-exhausted in this, his fifth full length. Not quite as high as he sailed before but certainly class.

Rating: 8/10

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Carpenter Brut "Trilogy" (2015)

 

Stead and with patience, Ive been enjoying this lengthy eight minute juggernaut known as Trilogy for some months now. When first recommended the debut album by Carpenter Brut, surely a nod to John Carpenter? I was taken aback by the sheer volume of listeners visible on Spotify. To my limited knowledge, this might just be the biggest artist in the retroactive world of Synthwave? That was excuse alone to invite me in. My caution however, came as a result of fatigue. The genre had established its identity swiftly and now an army of adoring clones has been ushered in, emulating the sound and its tropes to a point where the music can feel stale. At least to this listener.

It took time, but with repetition, then familiarity, the class of these compositions emerged with gleam. Frankly, there is a thematic horror on offer that goes beyond the typical synth tones and nostalgic electricity of Synthwave. Energized baselines prop up steady dance floor grooves for a body moveable warmth to be found in every track, as excursions into the nightly mystique unravel. Often spearheaded by its more extravagant and experiment worbling synths, Brut cracks open whats possible with these dense oscillations on more than one occasion. These moments expand on the mood, with theatrics and noise manipulation turning tunes with twisted expressions.

After a handful of tracks, starting specifically with Roller Mobster, intensity amplifies and the execution tightens up. Although the following music explores temperaments and scenic passages more chilled and cautious, its synthetic instruments arrive with gloss and glaze, a slick polish for its liveliness. The density and weight is stunning as rapid pulses of jittering melodies dance macabre atop its dark thumping percussion. Many instruments interchange, taking center stage , giving voice to the cyber dystopian atmospheres conjured. Trilogy is truly is a wild ride through the neon lit night life of cities but Brut's music takes us much further than the established tropes.

A sense of horror and spectacle permeates as each song finds its avenue. To be fair, they are not to distant from one another but they find a character. At its end, Anarchy Road introduces a one of vocal performance to lukewarm reception. I'm uncertain of Brut's singing. Neither good or bad, the voice is simply present with little in the way of power or persuasion. He sounds like a softer Ulver, waging in meekly. The music so works so well its hard to imagine a voice bringing much more to the table but that wasn't it. Anyways, my conclusion? One of the classiest Synthwave records I've heard. Trilogy is solid front to back and surpasses any tiring that clones brought along.

Rating: 8/10

Ovlov "Buds" (2021)

Accepting an algorithmically generation suggestion from Spotify, I was pleasantly surprised. American Indie Rock outfit Ovlov's third album is a brief one, only clocking in at twenty four minutes. Its eight cuts all inhabit a shared culture. Humble tones, a rural breeze, simplicity and humility scales into roars of lively dissonance. The group compose human, Folk like songs, driven by warm acoustic shimmering and earnest voices. It all gets whisked into dense frenzies. With a sense of routine, over-driven guitars explode, expanding dynamics and shelling the warmth with swells of fuzz and grit. The frothy distortions challenge the listener with harsh, muddy textures that somehow ooze into the gentle foundations with a thick hazy glow.

Its got charm, a sound that sucks one in! On closer examination, its clearly simplicity in writing that is the winning approach. Much of the esoteric and unusual chemistry is derived from the jagged shoe-gazing textures. They cast a magical spell but underneath, the simplistic short riffs and chord plucking loops are what the songs hinge on with just a few simple constructs at there core. The human, raw, personal feelings emanate from superb vocal harmonizations, conveying emotion with a blunt tunefulness that is never overstated or over engineered. Just the tones alone.

One pointed component that mostly lands are the scratchy, harsh guitar solos. Brief and to the point they rattle off like a flair, grabbing your attention and swiftly fizzling out. With an ear for the noisy and unusual, speedy wild fretboard manipulations rattle off at apt times. Its the lens of texture that they push the limits, peaking the audio and inviting the harshest of sounds. Sometimes they inhabit melody and offer times its an exploration of noise. I mostly enjoyed it but the dissonance wasn't always potent.

Not one considering myself to be "into" Indie Rock, this has certainly challenged my notions. The parts of that genre most recognizable are enjoyable alongside its explorations of Shoegazing and Noise Rock. I'd certainly enjoy more on this track. Not entirely original of groundbreaking, its the execution and earnest, humbling inspiration that makes this music glow. An interesting find! I may explore further.

Rating: 7/10