Steak Number Eight "All Is Chaos" (2011)

Post Rock/Metal outfit Steak Number Eight are a four piece band from Belgium who released their debut EP in 2008 when the band members age was at an average of 16. Three years later these youngsters released their debut full length "All Is Chaos" in 2011 which I was recently turned onto by a friend. I enjoyed this record with no knowledge of their age, which shows it doesn't really matter when it comes to music.

Steak Number Eight have a big, epic, sludging sound. The group stroll their way through many varying degrees of heavy, melodic and grooving riffs that draw influences from Post-Rock and other styles of Metal that give each track its own flavor. These lengthy songs drone and brood rather than progress as moods and atmospheres intensify into bombastic moments littered with catchy riffs and absorbing climaxes. The album opens with "Dickhead", a catchy bouncy track that doesn't quite set the tone for what follows. Offensive lyrics and upfront riffing, the song climaxes with some almost Deftones-esque screams and guitar grooves that starts this one of with a head banger that the rest of the album doesn't quite follow suit with, offering much more moody atmospheres in the following tracks.

The album sounds decent, nothing spectacular but the guitar tones are the highlight, the production captures the best of the melodic guitars often soaked in blissful reverb. The distorted rhythm guitars texture and tone is sublime, capturing the right balance of distortion and fuzz, giving the guitar room to move in and out of the spotlight when providing the momentums grooves or backing for melodic leads. The drumming and bass is a little underwhelming, I don't recall any moments where the bass came to the forefront or the drum patterns were doing much more than guiding and accommodating the guitar department. Decent album with some great riffs but lacked icing on the cake.

Favorite Tracks: Dickhead, Stargazing

Rating: 5/10

Carcass "Surgical Remission / Surplus Steel" (2014)

Hailing from Liverpool, England, Carcass are a pioneering Extreme Metal group who's roots were originally in Grindcore before defining their trademark sound with 93's "Heartwork", an album thats originality and production has had a lasting influence on Metal music and could be considered a very important album and the beginning of Melodic Death Metal, a genre, that as the name suggests, brings tune and melody to the forefront of a brutal and dark aesthetic. Disbanding in 95 the group have reformed in recent years and taken their time to write a spiritual successor to Heartwork, "Surgical Steel", released in 2013. This EP contains 5 tracks from the same recording session that didn't make the final cut.

Despite being left overs from the album, this short listen retains the energy and level of quality Surgical Steel delivered. Any of these songs would sound great on the album, however none of them are stand out tracks with anything notably attention grabbing. These are typical Carcass songs, tightly performed Death Metal with melodic leads, tight grooves and a consistent creativity from the rhythm guitar, decorating these tracks with a diversity that keeps them fresh and appealing. These tracks did feel somewhat "lighter" with a focus on the rockable grooves and vocal hooks over any "all or nothing" heavy moments.

After a few listens I am left with a slight emptiness towards this record, these are fantastic songs that really deserve to be part of a full length and the nature of a short listen leaves me yearning for more. Great songs but the format falls a little short for a band like Carcass. On a final note, Heartwork is a special album, one that we will discuss soon.

Favorite Track: Livestock Marketplace

Rating: 5/10

Job For A Cowboy "Sun Eater" (2014)

Job For A Cowboy are an American Death Metal group who made a lot of noise in the Deathcore scene with their 2005 debut "Doom", an EP that personified some of the scenes best qualitys. It created a buzz around the group that quickly gained them momentous popularity. The release of their first full length "Genesis" in 2007 saw the group break into mainstream charts while simultaneously dropping the entirety of there Deathcore roots for a pure Death Metal sound. Speculation would lead me to believe this was probably the plan from day one, to use a trending scene to gain popularity and then write the music they wanted to. I don't think theres anything wrong with that, and their fan base has certainly not revolted because of the transition, but for me it was a disappointment to see one of the finer Deathcore bands turn into another unremarkable Death Metal act, similar to what happened with Annotations Of An Autopsy.

Sun Eater seemed intriguing and promising at first, Cowboy deliver a composed and more progressive sound tinged with a touch of Black Metal in the guitar chords. Favoring layered and detailed compositions over pounding brutality, the opening track "Eating The Visions Of God" set the tone for a lush sounding record where anything could happen. The production is outstanding, crisp, dense guitar tones. A balanced drum kit with a bass kick and snare mixed to perfection. The bass was the highlight of this album for me, sounding thick, bold and melodic it continuously came to the forefront, pounding out grooving progressions and high pitched notation that added an exciting dimension to their aural aesthetic.

As the album unfolded, and after several spins, it has become quite clear that this record isn't for me. As much as I enjoy and appreciate the technical aesthetics, the music itself is lacking. With the exception of maybe one track their was very little captivating or arousing. Track after track wandered through purposeless themes that pounded out all sorts of technical riffs, rhythms and solos that failed to spark my imagination, I am left with very little to say about "Sun Eater", my disappointment has left me wondering if this kind of music isn't doing it for me anymore.

Rating: 4/10

Devin Townsend Project "Dark Matters" (2014)

Its time to talk about the second half of the new Devin Townsend double album "Z²". In the build up to its release I was much more interested in the "Sky Blue" half, while most media outlets were focused on the return of our beloved coffee addicted alien friend Ziltoid! In 2007 Devin released the first Ziltoid record which mixed his unique blend of Metal with a comedic musical about an alien named Ziltoid who visits earth demanding their finest cup of coffee. The cult popularity of the album has set a high grade for this follow up, which I was expecting to be the less enjoyable half of Z², however I have myself pleasantly humbled by this straight forward and entertaining record.

From start to end this album engaged me with its glorious sound and tongue in cheek humor, combining the two effortlessly. Its no surprise this album has a similar production and aesthetic to Sky Blue, with Devin no longer working on his own the Ziltoid franchise benefits from the additional musicians who give this album much warmth and depth that "Ziltoid The Omniscient" lacked. From song to song the album unfolds its story through entertaining tracks that are exciting, integrating the characters and narratives with a touch of class. There wasn't a moment of filler and the story and music both climax together, ending the album on a high with the outstanding "Dimension Z".

In a nutshell, I felt Dark Matters took "Ziltoid The Omniscient" and stepped it up a notch, better production, no drum machine and more cohesion and consistency from song to song. The story and comedic narrative is obviously an important element, but being a silly tale about a coffee loving extra-terrestrial, this squeal didn't need more than some good laughs and humor to justify its relevance, and it did exactly that. Five years in the making, Devin has delivered a rock solid record of which every moment is satisfying. 

Favorite Songs: From Sleep To Awake, Ziltoid Goes Home, Dimension Z

Rating: 7/10

Machine Head "Bloodstone & Diamonds" (2014)

Machine Head are an American four piece Groove Metal band from California who over the 20 years since their first album "Burn My Eyes" have become one of Metal's most popular and celebrated heavier bands. In 2007 the group released their magnum opus "The Blackening", an album that showcased their musical maturity, ability to write captivating songs and their mastery of heavy, grooving riffs that saw song after song shred through neck snapping head banger after banger. It set the bar high for this band, their 2011 effort "Onto The Locust" underwhelmed me at the time. Thanks to this blog I have learned to be more patient with music, to give it more spins before giving my thoughts and opinions, and in the case of this record I was underwhelmed at first, but stuck at it and after a few listens I started to really enjoy this one.

Production wise this album sounds loud, bold and engaging, a step up from "The Blackening" with time doing providing progression as expected. Its a fantastic modern production that captures the character of the band without over doing the squeaky clean sound some modern Metal records suffer from, ie Slipknot's ".5: The Gray Chapter". With a great sound laid down all Machine Head need to do is deliver those slamming heavy riffs in captivating songs as they so often do. On the first few listens the "money riffs" were there, with no failure to excite, but the songs and themes didn't initially do much for me, feeling a little dull and dry at times. After several listens the familiarity helped me understand and appreciate what Machine Head were up to. For a band who may of passed their creative peak there was no shortage of ideas, song after song progressing with plenty of new ideas and interesting song structures that felt organic and epic, however these ideas would be a little expansive as the album drew on.

This is an album of two halves, from "Now We Die" to "Eyes Of The Dead" Machine Head sound their usual selfs with the exception of "Sail Into The Black", a moody, brooding track that gentle progresses, roars, and then fades back in the darkness. The second half finds each song sounding distinctly different from Machine Heads usual arsenal of sounds, "Beneath The Silt" brings some low sludgy Crowbar like grooves to the fold with Flynn showing the gentler side of his voice with dreamy leads. "In Comes The Flood" is a blatant social political commentary about America and capitalism that delivers all attention to the lyrics. "Damage Inside" has Flynn bringing a folk like solo vocal leads to some reverb soaked ambiance that builds up and dissipates a climatic moment. "Game Over" focuses its attention on a thrashier sounding rhythm than usual and "Imaginal Cells" bring more anti-system commentaries through sampled vocals over a quiet instrumental. The album ends on "Take Me Through The Fire" and like the ones before, something is a little differed. These songs are all decent, its great to hear the band expand their sound, but the track arrangement makes it very noticeable, and maybe with a more mixed line up I would not of noticed. But either way it doesn't change the fact that this album is loaded with good songs, and that Machine Head still know what their doing, the inclusion of the symphonic strings on a couple of tracks worked well and Bloodstone & Diamonds is another solid part of their discography.

Favorite Songs: Ghosts Will Haunt By Bones, Beneath The Silt, Take Me Through The Fire

Rating: 6/10

Fen "Dustwalker" (2013)

English Black Metal band Fen are a group who captivated my interest with their debut "The Malediction Fields" in 2009. Their sound stood them apart from other bands in the genre by incorporating some Post-Rock elements that gave them a range and diversity that was intriguing and progressive. The bands songs could span a range of moods and incorporate many heavy, or light and melodic moments with effortless fluency. Their sound is charactered by a strong theme of nature, the kind of cold unforgiving beauty the natural world can be without the comforts of the modern age. I saw this band live last year and was, to my surprise, rather disappointed, feeling their live show didn't capture what their recordings did.

Dustwalker failed to grab my attention at first. It wasn't until multiple listens later that I became more engaged with this record, what initially disappointed me is still quite apparent, it is fitting for the right mood, but in the wrong environment the music alone doesn't quite have the spark to captivate my attention. Sometimes it is hard to tell the difference between your own enjoyment of art, or the art itself. Maybe there is only the first, but on a long walk in the cold dark of night could this music reveal itself.

Rough around the edges, the albums production is straight forward and unpolished giving it a natural character, not low fidelity, but far from perfection. This plays great in melodic moments that get a hazy distortion from the instruments sharing the space together. The production sets the tone for this record that explores varied themes in long songs that progress through a dynamic range of heavy and melodic moments that are quite awe inspiring in the right mood. The vocals deliver an honest performance with clean leads that bleed the human element into these cold songs. Theres a few golden moments here and there but overall the songs do dull a little as they continually progress through mediocrity. Theres nothing terribly bad happening here, but it just falls short overall.

Favorite Tracks: Spectre, Reflections

Rating: 4/10

My Bloody Valentine "Loveless" (1991)

Scottish group My Bloody Valentine are a Shoegazing band who have been cited a major influence and pioneers of the genre which gets its name from the literal observation of gazing at ones shoes, a characteristic of the guitarists in the genre who would stare at their feet when playing. Having recently enjoyed some Shoegazing influences I felt compelled to check this album out after enjoying the opening and single track "Only Shallow".

The group have a low fidelity aesthetic, grungy guitars muddy there way through a wall of fuzzy distortion that consumes and blurs much of the instrumentation around them. Some strummed clean chords are slightly audible and the drumming is lost and buried under much of this hazy fuzz. The vocals the most captivating element, providing a gentle melody and relation through the noise of the guitars. With all that said the production and mixing is very inconsistent from track to track, with the opening drums having a clear and crisp yet slightly narrow sound to them, then in the next couple of tracks they are buried. The guitars also utilize the tremolo bar, distorting chords and pitch shifting them, giving them a sound like the audio had been recorded to old tape and stretched. Interesting at first, but becoming somewhat dull as the album progressed.

This album was a disappointment. Beyond the promise of the opening track the music failed to evoke much emotional response from me. The ideas and aesthetics from the opening track were quickly dulled as track after track meandered through low fidelity noise that didn't offer much in terms of imagination or progression. I understand and appreciate the influence a record like this can have, the experimentation with fidelity and aesthetics is interesting and captivating, however there was an apparent lack of substance behind these ideas as each song drifted by with no remarkable moments or much to talk about. 

Favorite Tracks: Only Shallow, When You Sleep

Rating: 4/10

As Blood Runs Black "Allegiance" (2006)

As Blood Runs Black are an American Deathcore band who formed in the early years of the Deathcore scene and dropped this, their debut album, at the peak of the genres popularity in 2006. After giving this one a spin during a work out today, I felt compelled to talk about it. This is one of the better sounds to emerge from the scene that would become plagued with mimicking bands and a flood of mediocre music.

The groups sound leans much closer to Metalcore and Hardcore than its Death Metal counterpart, what is "Death" about it is rather sonicly visceral and full on than anything remotely Death Metal, this is often true of many Deathcore bands that have an abrasive sound only similar in tone and aggression, not often in mood or substance. The heavy side of their sound comes from the aesthetic and songwriting where these typical Metalcore style songs break away into slamming, pummeling breakdowns with simplistic grooves and machine-like drumming that rattles away with exceptional precision, and lots of use of triggers, the end of "My Fears have Become Phobias" being an example. These slams and breaks are accompanied by a solid vocal presence ranging from snarled screams to forceful guttural rawrs, and the occasional gang shout.

Although they will be more noticeably be defined by these characteristics, the group write decent Metalcore leads, with memorable riffs making use of melodics and pinch harmonics that ads up to create exciting and aggressive music. My problem with this album is its lack of substance, after the first three songs the group change the mood with a gentle instrumental "Pouting Reign", a song that lacks any real progression or musical ideas, and from this point onwards the Metal tracks never really live up to the promise of the first few, recycling the same ideas, or trying things that just don't do it for me. Decent record, great sound, but a lack of depth in the songwriting department.

Favorite Tracks: In Dying Days, My Fears Have Become Phobias, Hester Prynne

Rating: 5/10

Sikth "The Trees Are Dead And Dried Out Wait For Something Wild" (2003)

Sikth are a UK based six piece Progressive Metal outfit who have grown a noteable reputation and audience since there hiatus in 2007 which came after the release of their second album. With the growing Math Metal and Djent scenes Sikth have often been cited as a major influence on these new bands, and thus their reputation has grown despite their inactivity. After capturing the final show of their reunion tour I felt compelled to write about this exceptional debut album where Sikth defined there brilliant and unusual sound and stood apart from everyone else at that time. 

Sikth's sound is a beautiful and creative mess of musical ideas expressed with a wild and excitable energy that can most notably be heard through the sporadic and jolty rhythm guitar, energetic, bouncy rhythms and riffs, organic and sporadic in nature, almost sounding polyrhythmic and mathematic yet being neither. Although the guitar tone isn't full Djent, Sikth bang out tightly performed rhythms, crunching the isolated notes in the low end, It's clear to hear the influence they have had. The guitar leads, at the time, had a refreshing approach with hammered on melodic leads the group would use diversely in frenetic moments and to build captivating atmospheres. In the drumming department Loord Foord ads another creative and detailed layer to Sikth's sound, never settling for anything simple, he consistently decorates these tracks with fantastic rhythms, fills, patterns and provides a solid backbone. Vocalists Mikee and Justin bring more energy to the mix with their charactered and diverse presence, offering some memorable sing along melodic leads on tracks like "Peep Show" as well as playing to the frenetic energy of the guitars with sharp gruff screams sounding like a mad man on the loose. The bass is solid throughout and occasionally comes to the fore front with some bold baselines like on the track "Hold My Finger" as the notes slide up and down behind a hammered on lead.

For all they do different, their end product is not Avant-Guard or Experimental. Despite having an unusual sound, Sikth are a group with a great sense for song writing and Rock sensibility who's unusual and experiment elements are executed to a perfection that allows the group to explore their selfs in these songs that are progressive and well structured. As well as their Metal sound, Sikth also have a great appreciation for ambiance and atmosphere which can be heard in the longer tracks "Tupelo" and "Can't We All Dream", two very different but absorbing songs. The production of this album is solid. So much so I don't think I have ever given it a second thought, which is testament to its quality. Far from a squeaky clean sound, but their is no muddiness or technical issues and at all times it captures everything this band is about. A stunning record, one that has stayed with me over the years and has never lost its charm.

Favorite Tracks: Scent Of The Obscene, Pussyfoot, Hold My Finger, Emmerson, Peep Show, Tupelo, Can't We All Dream

Rating: 9/10

Kraftwerk "The Man-Machine" (1978)

The world of Electronic music is one I'm fond of, but not well educated on its history and evolution. From my understanding it is Kraftwerk who are often hailed as the godfathers of all modern Electronic music. I've frequently heard about them in the highest of regards from enthusiasts who point to them as pioneers in the field who's influence is enormous and lasting. After enjoying the song "Robots" and its quirky music video on Youtube I have failed to listen to this record for too long.

It was impossible to listen to this record with out thinking about its context, era and what it would have meant for the music of the future, but this didn't effect my enjoyment of this record, what I found were 6 repetitive and minimalist songs that had a gentle, yet unusual soul about them. Kraftwerk's sound is powerful considering the lack of depth on hand. Songs mostly consisted of three to five layers of synthesizers, an electronic kit and vocoded vocals. The beauty of there music was in the expression, through limited options the four created catchy and memorable tunes with an unusual air about them, probably reflecting the new frontier they were sailing with Electronic music. It was this ingenuity to bring melodic sensibility and catchy notation to the electronic sound that I suspect is what has earned them their reputation. Previously I had heard synthesizers being used as evolving tangents of progressing sound on such a record as "Dark Side Of The Moon" or some Tangerine Dream of the same era.

As a whole the record sounds pristine, so much care was put into the mix and the texture of these synthesizers, at a time when production was not as advanced. With a fantastic sound the group craft absorbing songs that, despite the minimalism, feel rich with atmosphere and character. As the album progress the vocal content develops a little, but always sticking to a simplicity that expresses a non-human characteristic as vocoded vocals repeat words in an alien use of language. As the album sucked me in I felt the repetitive synth leads becoming more memorizing and absorbing, with a fantastic moment on "Neon Lights" as sweeping, glistening synths captivate and dance there way through half the duration of this track. Impressive album, even more so considering the era of time. That being said nothing here feels dated, Kraftwerk didn't just experiment or push boundaries, they created honest music as they did it.

Favorite Tracks: Metropolis, Neon Lights, The Man Machine

Rating: 9/10

Run The Jewels "Run The Jewels 2" (2014)

Run The Jewls is a project consisting of Hip Hop rappers Killer Mike & EL-P. The two got together in 2013 and released the first self titled album. After a great reception the two have come back quickly this year with the second album which is also receiving a lot of praise. I picked this album up on the premise of some dark, violent and aggressive Hip Hop. It certainly delivered on this front.

Killer Mike & EL-P are unforgiving on this album, delivering an onslaught of offensive lyrics and violent imagery in a ruthless fashion. Theres little socially conscious or thought provocative content here. The two bang our insult after insult as these songs explore paranoid, misogynist and anti-authority themes. Both rapper's, who I am new too on this record, have fantastic flows. They are creative, engaging and clearly spoken, which is enjoyable but for me the lyrical content lacked a point at times, with much of the offensive material feeling unnecessary or without cause. Despite this the rhyming was creative and at times a little cheesy with lines like "I'm so high your a hobbit" or "You can walk backwards through a field of dicks", however its a humorous flavor cheese.

Instrumentally this album is sharp, production is on form, the beats are grooving and charactered by dark and gritty sampling which can be estranged in places, creating dark and paranoid vibes to accompany the violent overtone of this record. Theres a dynamic relationship between the kits and samples as sturdy, constructed beats give narrative and structure to unusual sounds. On the track "Close Your Eyes" a vocal sample is manipulated to forge a jiving and unusal beat, it also features Zach De La Roach of RATM who delivers an unremarkable verse. I enjoyed this record a lot, the beats were refreshing, however for me the lyrical substance falls short of making it special.

Favorite Tracks: Oh My, All My Life, All Due Respect, Angel Duster

Rating: 7/10

Revocation "Deathless" (2014)

Revocation are a four piece (once three) Thrash Metal band from Boston USA. I had the pleasure of being one of their first international listeners. After building a small presence in the local Boston scene, Revocation unleashed their debut full length "Empire Of The Obscene" onto the Blogspots which I caught immediately. The album cover grabbed my attention, the name "Revocation" and its logo gave me a vibe, that this was a special Metal band, one that would stand apart from others. You can't judge a book by its cover, but I was right, I fell in love with this band immediately, disillusioned by the trending Deathcore scene they were everything I wanted to hear at the time, I've since supported them by attending shows, buying merch and CDs etc. I've watched them grow slowly, almost too slow, each album earning critical acclaim, yet not pushing them into the Metal Elite where they belong.

David Davidson's style is unique and refreshing. As the main songwriter, lead guitar and vocal presence he is the force behind this band. His style is energetic, passionate and creative, giving Revocation an edge to come up with new ideas within the confines of a well explored Metal genre. On their first three albums there was a constant onslaught of creativity that felt fresh and exciting. Riff after riff would deliver new ideas and techniques that stood this band apart. On their self titled and more so "Deathless" Revocation have become more defined by their previous efforts and sound like a well matured band thats sticking to their guns. This is fine, but for me it took the edge of the album, too much familiarity left me wanting more from a band I always expect to surprise me, however what I found was a very enjoyable record.

For a modern and cleanly produced album "Deathless" sounds gorgeous. The record has character and the guitar tones are powerful, yet soft and textured. The drums are captured and mixed well considering the frenetic nature of Phil's technical blasting, which on this record did feel a little tame and less spontaneous than previous records. Behind the sound is substance, the songwriting is class, more focused on the overall themes and progression than the more sporadic style of past, giving this album a solid feel with songs that are structured and mature. The overall theme is a little darker and slower with Revocation trading in many of the faster chaotic moments for progression and brooding moods. Its another great chapter in Revocation's discography, and an interesting one. I'm not sure if they moved one step closer, or away from achieving their Magnum Opus, a peak in their potential that hasn't been reached yet.

Favorite Tracks: A Debt Owed To The Grave, Madness Opus, Scorched Earth Policy, Witch Trails.

Rating: 5/10 

Devin Townsend Project "Sky Blue" (2014)

Canadian musician and producer Devin Townsend, once of Strapping Young Lad, has been in the game for over 20 years, during that time he has developed a cult following and favorable reputation for his unique style of Metal music thats been supported by his die hard fan base which I am proud to be part of. In recent years Devin has hit a musical niche after rediscovering his talent in a drug-free environment. Under the moniker "Devin Townsend Project" he scheduled 4 albums of material which he has continued onwards with. This is the sixth album, and is released as one half of Z², the other half being the second Ziltoid album.

Sky Blue is a lush sounding record, Devin's influential "wall of sound" production is warm and rounded here, the instruments have room to breath yet sound loud and powerful together. The drums are punchy, crisp and mixed to perfection, the guitars have a fantastic, distorted yet soft tone that gels so well with the synthetic keys. Their chemistry is key, giving Sky Blue its gorgeous and immersible overtone. The synths are diverse in there subtlety, sometimes letting the guitars take focus, and often oozing awe inspiring ethereal noise through the mix, filling in the gaps, acting as the glue for a beautiful lush sound. Devin & Anneke's voices are epic, powerful and soaring, ringing out some glorious and captivating leads, which are captured perfectly on these tracks. Devin knows exactly what he's doing when it comes to production and gives this album a gorgeous sound thats unfortunately not met by substance.

This album kicks off with Rejoice, a bouncy, colorful metalic track with pop sensibility and bold symphonic stabs that sets an upbeat tone for this album, its followed by some tracks that shift the focus to the more drawn out, epic synth driven sound that focus on melody and awe. There's a couple more energetic, metalic songs and some great poppy choruses and hooks that will get in your head, then comes Rain City, a lengthy track shifts the mood and looses the upbeat energy, from this point the last few tracks draw out a dull end to Sky Blue, a great sounding album which has some fantastic songs, but falls short of something special.

Favorite Tracks: A New Reign, Warrior, Sky Blue

Rating: 6/10

Depeche Mode "Black Celebration" (1986)

It feels a little strange to talk about music you know is hugely influential, yet know so little about. Over the years I've heard nothing but good things about Depeche Mode, their influence and legacy. Finally I have got around to giving them a listen. It took me a while to fully grasp this album and adjust to their sound, which is strange considering how clean and approachable they are. My memory of the first listen feels almost alien to how it sounds now, maybe this is the power of familiarity.

Depeche Mode compose powerful, intelligent music with a strong emotional narrative and direction thats guided by energetic, bold arrangements of synth notation and quirky noises layering these songs with detail. This absorbing sound is beautifully composed giving bright, colorful melodic leads room to shine and chime with Martin Gore's loving voice and swooning lyrics. The combination is powerful, creating a lasting impression as the two dance around each other and drive home moments you can't get out of your head.

Their genius is subtle, there is a brilliance to these compositions, the group build up suspense and narrative with detailed instrumentals that are ever so slightly contrasting to Gore's powerful soothing voice. Then at the perfect moment they shift the gears to let the melodic lead unfold and meld with the vocals to create those goosebump moments that last. Fantastic sounding album that has grown on me tremendously with each listen, now i understand what the fuss is about.

Favorite Songs: Fly On The Windscreen, A Question Of Time, Stripped, Here Is The House

Rating: 9/10

Techno Animal "Ghosts" (1991)

As an avid music fan, I consider music to be an experience, one that can go to many noisy extremes. Techno Animal is a project that many may turn their noses up, you might say its "noise" or not music, but to do so would miss the point. Music is sound that purposely provokes an emotional response, and that response is not always warm or positive. Music like this explores the dark side of life, through depraved torturous sounds and noises fit for the darkest of scenarios. It takes a certain mindset to embrace this exploration, and the enjoyment one can get from it is unusual and fascinating. On my map of dark and experimental music, this seems like a potentially progressive record given the pre-internet times, however its over a decade since Throbbing Gristle, an extremely important English group born out of the Punk movement who could be considered an early origin for Industiral music, and inspiring darker depraved styles. Techno Animal is a project composed of Justin Broadrick of Godflesh and Kevin Martin and "Ghosts" is their first release which notably is on Virgin Records who at the time may have been taking chances signing experimental and unconventional artists.

Ghosts is a hit and miss record for me, for this we are going to go through the track one by one. The album opens with "Burn", an ugly abrasive song with a snarling scream accompanied by a punchy drum kit and strange hits that builds an atmosphere I felt the drums were cutting through and spoiling what it had to offer. With "Walk Then Crawl" what sounds like a Godflesh outtake on an odd time signature is repeated over and over, as eerie, ghostly haunting screams and moans building up in a twisted progression that leads to an unusual climax. "White Dog" is another noisy exploration with another industrial kit punching through the songs atmosphere, for me the drum kits were too comfortable and familiar for the twisted experience the sampling bring. "Freak Fucker" is a gem, What sounds like a quote from a Nazi rally is repeated over and over. Distorted and twisted as horrid, slimy, scissoring sounds snake around in the background, it feels rather poetic, as if the twisted noise is the dark underbelly of Nazism. "The Dream Forger" is a pleasant break from the devilish onslaught, an unidentifiable wind like instrument hums a gentle, yet unsettling melody that eerily drifts into a warm haze of sound. "Tough Cop / Soft Cop" Gets dark and heavy, this time i left the drums nailed it. An uncompromising rhythm guides you through a wall of hateful screams and screeching saxophones and distant voices that feels like you're being dragged to hell, a grabbing listen. "God VS Flesh" brings 23 minutes of gentle spooky ambiance, building a immersible soundscape that is chilling and dangerous. It progress with craft, never feeling safe, but always moving towards a dramatic conclusion towards the end. "Spineless" is my favorite track, layers of distant screams, groans and whispers build a distressing intensity that broods menacingly, theres an occasional heart beat dropped into the track, creating an air of human fear, ending this one with a lasting impression.

Overall an immersible, unsettling listening experience that explores dark and depraved places. Only spoiled by a couple of tracks where the drums just ruined it for me, this is a great record for anyone looking to be confronted by what they don't want to hear.

 Favorite Tracks: Freak Fucker, The Dream Forger, God Vs Flesh, Spineless

Rating: 7/10

Alcest "Les Voyages De L'Âme" (2012)

"Les Voyages De L'Âme" is Alcests third album, a French band who bring Shoegazing, Black Metal & Post-Metal together to create dreamy, sombre music with captivating melodic leads and rich atmospheres that sing to the soul. Despite some moody tones this is feel good music, upbeat and expressive in a positive way. This record finds the band striking great balance between the harsh and gentle elements of their sound as the 8 songs carry you on a self absorbed journey through their immersible music.

Their sound is epic, soaring, both gentle and strong. The tremolo riffing brings pace and progression as these songs that race forward in such a calm manor. This is reflected in the contrast between the hazy distorted rhythm guitars and gorgeous melodic clean guitar. The reverb from these instruments melds together creating glorious atmospheres that are lifted up by the presence of some distant but beautiful and sombre vocal leads, creating awe inspiring moments, for example the climax of "Beings Of Light".

These songs are crafted with care, the progressions and structures are strong, from start to end there isn't a dull moment and each of the songs bring a different flavor to this colorful sound. From track to track there are different degrees of which sound the song leans to, with some drawing closer to the darker Black Metal, and others the cleaner, melodic side, but all sounding true to the artistic vision. With a beautiful immersible sound Alcest have delivered an expressive work of high quality that never feels dull, and always captivates the emotions of the listener.

Favorite Tracks: Autre Temps, Nous Sommes L'emeraude, Beings Of Light, Summer's Glory

Rating: 7/10

The Cool Kids "The Bake Sale" (2008)

The Cool Kids are a Hip Hop duo who both rap and produce all of the music. Hailing from Chicago, the duo gained some acclaim and recognition for their debut mixtape "Totally Flossed Out" and this EP which they dropped in 2008. After hearing good things about the pair, I decided to check this EP out which starts with an attentive track that sets the tone for the listener with a touch of class. The beat is constructed of vocal samples pronouncing the instruments name that have been pitch shifted and stretched to emulate the tone of said instrument. It gives the record its premise and a touch of humor that lets you know there is not much to be taken too seriously.

The two create a sound that is heavily influenced by the golden era of Hip Hop, recreating it with a modern twist that gives them a fresh and unique sound. Production wise the beats are crisp and audible, emulating the style and grove of those classic beats with a nice set of modern kits that give it some flavor and character as opposed to strait recreation. Across the 10 tracks they unload all the tricks, revisiting many different styles reminiscent of the era, including the classic big sound hits.

Vocally I didn't find the pair too exciting, they both have good tone and flows but a lack of energy and enthusiasm leaves the laid back style a little lackluster for my taste. Theres a few good lines here and there but most of the lyrical content failed to engage me, the raps are rarely serious or deep, and that lack of substance left me feeling like something was missing, however thats really not what this music is about, and in the right mood their fun and oldskool style can be enjoyable. The approach and execution of this retro themed EP was decent and served a fun listening experience but fell short of giving me something to return too.

Favorite Songs: 88, Basement Party

Rating: 3/10

The Smashing Pumpkins "Siamese Dream" (1993)

"Who wants, honey? As long as theres some money!" The Smashing Pumpkins sophomore album starts of with a bang! Cherub Rock is possibly their greatest song, it really encapsulates some of the groups best qualities. Siamese Dream starts where their debut "Gish" left off, this album saw the group break into the mainstream with the album penetrating several top 10s around the globe, it has since gone 4 times platinum in the USA, and deservingly so, this record is an experience. Building on Gish, the group fine tune their sound and deliver a gorgeous record rich with moving instrumentals, emotional lyrics and a resounding consistency that engages me as these 13 songs travel through many passages of their unique sound. 

The sound of this record is absorbing, the guitar tone is dense and inviting, with a warm buzz about it thats engaging and exciting as the pair bang out countless alluring riffs and fiery leads. The clean tones are somber, calm, with a lot of colour and personality about them. The drumming on this record is solid but isn't as adventurous as on the previous record, theres not many moments where they make a big impact on the song. The bass is steady, warm and colorful, giving their sound depth and consistency. The cohesion of the instruments is great, this is a sturdy sounding record that brings out the best of them. On the track "Disarm" the inclusion of strings works effortlessly to narrate another classic song 

The guitars and Corgan's voice give this album its character, the bass and drums guide them along their course, as broad, inventive riffs spark emotions that Corgan explores with his voice and words. Utilizing their unique guitar tone, this album cruises through many riffing styles and moments inter spliced with some grabbing emotional calmer moments where clean guitars gleam. Corgan's introspective presences is moving and deep, bringing his honesty and bearing all with an emotional performance delivered with some memorable creativity on occasions. This is a fine album, one with much mood and character and a depth of songs that come with just a hint of nostalgia. Classic!

Favorite Songs: All?

Rating: 9/10

Marilyn Manson "Mechanical Animals" (1998)

Having highly enjoyed Manson's breakthrough album "Antichrist Superstar" I was initially skeptical about their other releases which fell far behind the commercial success of Antichrist. I was quickly reminded that sales are no indication of the content as this album quickly grabbed my attention and took me on a ride, before i knew it i was hooked. My preconceptions were shattered and what initially struck me about this album has become very clear after several spins.

On this record the band as a whole move in a much more focused and expressive direction with Manson stepping up his game vocally, his presence is stronger and lyrically his poetry hits home hard with some deep messages and ideas. A couple of moments stuck in my mind, on the track "Coma White" he expresses a sorrowful message about self destructive personalities through an unforgeable chorus "A pill to make you numb, a pill to make you dumb...." its a dark realization delivered in a sing along format that ends the album on a emotional deep. On the track "Mechanical Animals" Manson chimes in beautifully with the soaring guitar riff in a heart in mouth moment. Across these songs his artistic expression is deep and meaningful, delivered with more sensibility.

Instrumentally the band are right behind him, moving the direction away from the metallic Industrial sound, more towards an Alternative Metal / Rock sound with the Industrial element paining intricate sounds and details along side the core instruments. At times the songwriting is pure class, forging charactered songs that compliment Manson well. For example "The Dope Show" has a brooding base line that builds a shady atmosphere with some unusual synthetic sounds, painting a vivid picture in the listeners mind. Theres a lot to talk about as many of these songs have great creativity in the instrumentals. Production wise everything sounds fantastic, in general i was blown away by this album and looking forward to Holy Wood.

Favorite Songs: The Dope Show, Mechanical Animals, Disassociative, User Friendly, Coma White

Rating: 7/10

Jotun "Learning To Live" (2014)

As if coincidence had a meaning, on the day i decided to review one of my favorite albums "Jotun" the next day Crow dropped a new release! After 18 months of silence Jotun is back with "Learn To Live" which pickups up where "Night" left off. The forth record "Surreal" brought a change to Jotun's sound, retaining the detailed notation and melodic values of the project, and moving in a Trance like direction with sawtooth synth leads and heavily oscillation becoming the focus, which is common place in Trance, House etc... electronic music.

On "Learning To Live" we are bombarded by a loud and abrasive sound as massive walls of textural synthetic leads drip over each other and paint vivid and energetic songs that are driven by a powerful, crushing drum kick and snappy snare. As always lively and free flowing melodic leads build the character of these songs. One of the first details i noticed on this record was the change in the drum kit. Much louder and more involved, this new kit really compliments the Trance direction, building a much welcomed danceable intensity underneath the surface. At time they even become a highlight in these songs. Across the album there is much variety and some great repetitive leads in moments which are not too far from feeling like hooks.

The downside to this great record is the mixing, although the songs benefit from the loud and intense nature of the instruments, they are also drowning one another as they compete for volume, for example the end of "Futile" there is a moment where two leads cross over in what would be a climactic moment of the song, but one overpowers the other in a muddy wave of noise. Another chaotic moment occurs in "The Chase" where the bass kick picks up speed and sound erratic underneath a smothering lead. Despite the negatives, its listen-able record and the musical content is solid, the main highlight for me was hearing Crow find some more trance oriented riffs to fuse with his style as the direction he has taken is maturing. Looking forward to more!

Favorite Songs: Gazing At The Sky, Introspection, Futile

Rating: 6/10

Love Spirals Downwards "Flux" (1998)

Love Spirals Downwards are an America duo from California who produce Ethereal Dream Pop. On this their forth album the duo incorporated Drum N Bass into their sound. What may have seemed an unusual move turned out to be a fruitful endeavor, a work that could be respected and enjoyed by fans of both geners. After writing about LTJ Bukem's "Logical Progression Level 1" I was reminded of this unique record I found a few years back and decided to give it another spin.

What may seem like an experimental fusion of styles turns out to be a dynamic and effortless relationship. Down tempo break loops and bold sub base lines bring an energy to liven up dreamy, Ethereal sound scapes painted by sweeping, jittery synthesizers and reverb soak guitars that compliment and work with Perry's dreamy voice. Her sister even appears on the track "Psyche" which for me was a highlight vocally. Warm synthesizers drift gently through these energetic break loops as slowly strum chords echo out in reverb soaked glory. The track "Sunset Bell" features a great vocal hook with an inaudible snippet of a word being sampled and pitch shifted in a jittery nature, a memorable moment for me.

Neither of the two styles are compromised on this record which has a sizable amount of variety. Each track utilizes different break loops, with the classic Amen Loop finding room for an appearance on "By Your Side" which is a bit out of step with the bass line and pace of the song. Production wise, its warm and charactered. A great balance is achieved as the sound finds its place for both styles to do their thing. The break loops are crisp and bass lines very bold and audible, the Ethereal synths and guitar leads have great cohesion as the reverb soaked instruments melt together under the warm voice of Perry. It just crossed my mind that on first listen this never felt like two styles were being fused together and that itself is testament to this record and a great note to end on.

Favorite Songs: City Moon, Nova, Sunset Bell

Rating: 7/10

LTJ Bukem "Logical Progression Level 1" (1996)

The world of Drum N Bass is one I am not too familiar with, however I am always keen to listen and explore this genre which is an important part of England's musical Heritage. DnB emerged in the early 90s alongside Trip Hop, Jungle & Breakbeat music from the southern parts of the UK where the Rave scene had hit and Electronic music was flourishing. The principle of DnB is in the name, high tempo break beat loops and loud baselines at the forefront of the music, this leaves a lot of room for diversity in style and mood. Following a recommendation from a friend I picked up this lengthy double album which I revisited today.

 This record explores the moodier, ambient side of what is possible. High tempo break loops contrast dreamy, melodic instrumentals, creating a unique energy where the intensity of fast, pulsating loops is fused into loungey, gentle instrumentals that have an almost Jazz Hop feel to them in moments. This transference of energy and bipolar nature is charming and very characteristic of this record which i do believe LTJ Bukem acts as a DJ mixing together his own tracks with others. Even though there is an array of musicians involved the album flows seamlessly from start to end.

The production is class, crisp clean drum loops have room to breath on top of deep moving baselines that groove gently in their own world underneath this bipolar relation between samples and loops. The calming nature of these songs and the high intensity of the break beats give this record room to fit for many moods and overall it feels like a classic record, however my ears are not as experienced in this line of music. On a note, the song "Pharaoh" is "Rings Around Saturn" from Photeks "Form & Function" released 2 years later. Bit of a mystery to me, but DnB is a place where the album is not the primary release format. Great album, loved all 2 hours of it.

Favorite Tracks: Links, Bringing Me Down, Horizons, Pharaoh

Rating: 7/10

Saor "Aura" (2014)

Saor is a one-man-band project inspired by the landscapes and cultural heritage of the Scottish highlands. This record immediately revealed itself upon my first listen, the rich atmosphere sets an immersible tone for the Celtic folk influences to shine through. Its not to often an album can be instantly appealing, but its always a pleasant surprise. Since my first listen everything that became apparent about this sound has been true of the record and i have thoroughly enjoyed "Aura" the bands second full length. 

The five songs that make up "Aura" are lengthy, passionate epics that don't progress as much as they immerse in theme and inspiration, often keeping your attention locked in. There is variety in pace, instrumentation and composition that keeps a steady mood with great maturity. The reoccurring flute leads are delightful and the instrumental writing is detailed, lots of care has been put into the drums which were a highlight for me, they are never boring, always finding fills and cymbals to color the demanding blast beat nature of Black Metal songs. Alongside the usual arsenal are strings, flutes, bagpipes & violins bringing home the Celtic heart of these songs, there presence in these songs is a work of art and beauty.

The production feels flawless, the mix finds the balance for each instrument to shine without anything feeling overpowered. The strings are both subtle and powerful, chiming in just under the guitars they have a powerful effect on these songs and sit in a place where they can be in or out of focus depending on what your listening to. They help guide the emotional narrative of these songs, where the guitars and drums build the atmosphere alongside them. The unity of all the instruments on this record is stunning, guttural growls and screams add the human element and on "The Awakening" distant cultural chants climax the song in awe. Altogether we have a very complete and defined record that creates a beautiful listening experience every time.

Favorite Songs: Aura, Farewell

Rating: 7/10

Marilyn Manson "Antichrist Superstar" (1996)

In my youth Manson was a popular and controversial figure who's music I never really gave a go. I'm unsure as to why his genius never appealed to me then, but having recently watched some documentaries about his music I've learned hes a very intelligent and articulate person. Understanding a little more about the person behind the peculiar self imagery has really opened the door for me and i decided to start with the album that transformed him into a sensation. This being the bands second full length rocketed into the charts upon its release and has remained as their best selling album by far.

The album as a whole has is an artistic and creative expression packaged into a metalic, rockable sound layered with an Industrial aesthetic that give this one a unique and instantly identifiable sound. Manson's presences in these songs is poetic, through his somewhat unexceptional voice hes engages my attention with many thought provoking lines delivered with emotion and intent. Manson is almost self prophetic, with many lyrics retaining to being a controversial figure of hate that he became on the albums release. These lyrical statements often reflect whats wrong with societal values and they are delivered with a cunning artistic expression. One of the more comical lines has stuck in my mind "I wasn't born with enough middle fingers", we have all had days like that. Theres a lot to relate to on this record if you have an alternative perspective of humanity and society.

Manson's poetic presence maybe stealing the show but the instrumentals are worthy of merit too, across the record theres a lot of variety in instrumentation and flavor as the songs drift from rock head bangers to moody movers. The instrumentals keep a strong feeling together despite offering some decent variety with electronic leads shifting focus with the crunchy guitar tones. Theres lots of detailed sounds and noises adding depth to all these tracks and the rhythm section is refreshing, offering some more inventive and unexpected patterns utilizing a large pallet of sounds from an industrial themed drum machine. It all comes together so well, this album is devoid of filler with most the tracks bringing memorable beats, riffs, melodies and lyrics. I now see what the fuss is about and I'm excited to listen to more!

Favorite Songs: Torniquiet, Little Horn, Deformography, Angel With The Scabbed Wings, The Reflecting God

Rating: 8/10

Killing Joke "Extremities, Dirt And Various Repressed Emotions" (1990)

I have been enjoying my recent foray into Industrial music, and Killing Joke was a group not so appealing at first, but i am glad i stuck with it as this album has grown on me tremendously. Killing Joke are a Post-Punk group from Noting Hill who through the 80's released many albums that incorporated some Gothic and New Wave elements to their sound. Extremities is the groups ninth album and one i chose to listen to for the cited Industrial influences the band had brought to their sound. With little experience of there previous works i got to listen to this record from a neutral perspective.

Extremities is drenched in nostalgia through guitars that bring forth a big sound, distortion characterized by flanged overtones mold a big presence in these tracks. The riffs, either simple or complex are given a big boost by this sound which remains a strong point for this record from start to end. Killing Joke utilize a variety of riffs across this one, often lending to progression and atmosphere but at times breaking out some rock sensibility and memorable riffage that stands out from the hazy flanged noise the guitars ooze. There presence feels paramount but there is more on offer.

The drumming is solid, nothing that stands out but it doesn't do any harm, its always in tune with the music. The bass is solid, its presence is strong on most tracks but occasionally gets a little lost under the big guitars, on occasions bringing a lovely overdriven tone I wish would have featured more often. The vocals being very British were a little stark on first listen and felt slightly contrasting, however with familiarity comes acceptance. Alongside these elements there is definitely some electronic presences with the occasion tracks brining in some subtle scratching sounds at extra details if you listen carefully. And some synth leads are there t0o, mixed to bleed with the guitars. Overall a great listen. Lots of good songs but I especially liked the mix, it has a lot of character and lets the instruments work together to build some noisy atmospheres.

Favorite Tracks: Money Is Not Our God, The Beautiful Dead, Solitude, North Of The Border

Rating: 5/10

Slipknot - ".5: The Gray Chapter" (2014)

Legendary 9-piece group Slipknot from Iowa broke into the mainstream in the early 00s in unorthodox fashion, wearing abominable masks and playing loud rampant, aggressive music they quickly built a large cult following of die hard fans as well as causing a lot of controversy, which of course only helped promote them. Over the years Slipknot have slowed down there creative output and gone through some understandable changes. They no longer write the wild anger-driven chaotic breed of metal from their first two major releases. They have retained their identity but the Slipknot sound has undergone much change.

On this album more so than ever Slipknot sound more like a typical metal outfit, there once unpredictable guitar style is almost non existent, with most of the riffs lacking that spontaneous emotion driven aggression they used to have. The drumming is vastly different from Joey Jordison's style and his absence was instantly noticeable, the drums felt predictable and not quite up to scratch with Joeys style. Despite this negativity, Slipknot do still hold their unique and indisputable sound and put together an enjoyable collection of songs. On "All Hope Is Good" Sid's input felt almost non existent and nice change on this record is his inclusion of scratching and unusual samples in many of the songs.

An issue for me listening to this record is the constant thoughts comparing it to their early works, but after a few listens through the songs started to show their charm. There's some great energy in these tracks, especially in those moments where the percussion pounds in primal repetition along with the money riffs. As for variety this album has plenty, the moods, tempos and themes explored have a balance as the songs bring some melodic overtones and atmosphere to the table, alongside the more aggressive moments. The production is pitch perfect, crystal clear and honestly a bore. Some bands benefit from muddier, lower fidelity, charactered recordings and Slipknot is one of them. They can't be frozen on ice, and there progression as a group is a positive one, but after everyone listen all i want to do is play Surfacing at full volume... you probably know what i mean.

Favorite Songs: The Devil In I, Skeptic, The Negative One

Rating: 5/10

Jotun "Jotun" (2012)

Having previously written about Crow's Lord Lovidicus album "Kyndill Og Steinn" it felt fitting to talk about another project of his, Jotun. I've had a unique experience of having another artists work attached my videos, "Sailing Clouds Of Night" being the intro to my Hermitcraft series it is a testament to Crow's musical genius when viewers cry out for the intro music when i have forgotten to include it. It has also been the soundtrack to many time lapses. Its fantastic music that fits well into the Minecraft universe, but it holds it own, this music is a pleasure to enjoy whatever the environment is.

From its inception Jotun has been complete package, a music concept that fully understands itself. It blurs the lines of definition, but a fair comparison would be to 8-bit FM synthesis from old consoles like the NES with chirpy synth sounds and a focus on the melodic content. With a modernized, crisp and tuneful sound set, Crow brings his musical ideas to life through a pallet of electronic oscillators, pianos and other simulated sounds layered together with substance to make lasting and meaningful songs. Through the nine tracks many musical ideas and themes are explored, on later albums Crow continues the exploration of themes, but from this first record the concept is perfect.

From start to end this record delivers fluent compositions with each song having several melodic leads that pull in and out of focus and on many songs layering on top of one another. This is one of Joton's biggest strengths, to build several memorable tunes and find the cohesion to bring them together in the same instance. The notation is varied and progressive and not shy of turning up the pace with some charging solo leads that grab your attention and leave you in we. Underneath the leads that steal the show there is a matured rhythmic presence with a lite pallet of drums adding a subtle element of groove to tracks. The bass and lower end synths are structured and hold the songs together well behind the leading presence in these songs. Everything this record offers is on point and fantastic. Theres not a dull moment, the only downside is maybe the album length, at just under 30 minutes it always leaves me wanting more, but that in itself maybe the charm.

Favorite Songs: A Quest, Sailing Clouds Of Night

Rating 8/10

Lord Lovidicus "Kyndill Og Steinn" (2013)

Lord Lovidicus is a project of Crow, one-man-band and multi instrumentalist, who i have had the pleasure of communicating with as I've followed him progressing as an artist. LL once represented the essence of Dungeon Synth, Crows vision beyond the genres restraints has allowed him to evolve the once low-fi, minimalist sound into a rich, textural construct with clean, approachable instruments, yet completely retaining the themes and style of Dungeon Synth. Across his discography you can follow the evolution, with never a  dull moment I have always been engrossed in LL, and this, his 12th release under the Lord Lovidicus moniker, i have chosen to write about as possibly the most accessible album for those of you reading.

The album opens with "The Madauding Passage" and quickly we are plunged into an ancient, feudal, sometimes mystic environment, with gradual pounding drums, crashing symbols and subtle buzz saw synth. As the lead introduces itself, its quickly overpowered by a roaring horn like sound thats again accompanied by more instrumentation. In this short moment the tone is set and we are immersed in a rich, expansive and layered sound. Across the course of the song the drums and crashing symbols pound as many instruments and sounds feature. This is a theme followed across the album and Crow utilizes an assortment of sounds that build the themes and topics as he explores the melodies of his inspiration.

One of Crows biggest strengths is his avoidance of hooks. There is rarely a moment that the instrumentation is simplified or given a "catchy" vibe. At all times the music is focused, the notation is rich and exploitative. This quality has a strange effect on me personally. I find myself unable to remember a lot of the melodies, however when listening they are thoroughly enjoyable, i have a similar experience with Classical, and it makes a lot of sense when you consider how layered these songs can be, and how they are great through the unison of the instruments, rather then a focus on just one. The only criticism I have is with the production, the instruments are loud and sometimes a bit shrill, they can often collide with one another and peak some frequencies. With this said i do wonder if this works in the records favor, it adds a touch of rough around the edges which sits well with the themes this album explores. As always a fine effort from Crow.

Favorite Songs: Crystalline Fountains Of Vitality, Ghost Wind Within The Mist

Rating 5/10

Ministry "The Land Of Rape And Honey" (1988)

Ministry are a big and influential Industrial Metal group who formed originally as a New Wave duo in the mid 80s, but found themselves quickly gearing towards the EBM & Industrial sound. This could be their most important album as it introduced the metallic rhythm guitar to their sound, a move that has had a resounding effect in Industrial Metal. I've been exploring their music after purchasing there first 5 industrial albums in a cheap package that proved to be an absolute bargain! I chose to write about this album for its significance and my personal gravitation towards it.

"The Land Of Rape And Honey" is a noisy, grisly beast of a record, creating dark, cold, devastating industrial soundscapes that take many shapes and forms across the 10 tracks. Songs like "Stigmata" & "Deity" have great rock sensibility with big riffs, catchy hooks and iconic lyrics "My favorite weapon, is the look in your eyes". Others like "Destruction" & "Flashback" forge unforgiving, industrious sound scapes that build tension and dread. A couple of tracks focus more on the EBM aspect of their sound, for example the title track and "Abortive". The variety and ability for the band to shift between the different elements that build their sound gives this album depth and plenty of replay value.

For the dark and Industrual sound Ministry forge, they also have an unsettling, eerie sound about them too. The synthesizers sound disenchanted, gritty and erroneous in texture and form, along with some processed vocals on particular tracks Ministry create a unique eeriness that i could only refer to Japanese cyber-punk movie "Tetsuo" as a similar vibe. Along with these unusual sounds, the mechanical groove of the drum machine and pulsating base lines give the oddities much needed structure and form that makes the album approachable. The guitars appearance on this album, despite its importance, is not missed on the tracks its not featured on. The ones it does are certainly classic but its a testament to their song writing abilities that all the tracks on this album offer something, regardless of what kits, sounds and guitars are used. Thoroughly enjoyable album, must of been something real special in 88, still sounds fantastic today.

Favorite Songs: Golden Dawn, Destruction, The Land Of Rape And Honey, You Know What You Are, I Pefer

Rating: 8/10

Kendrick Lamar "Good Kid, M.A.A.D City" (2012)

Compton rapper Kendrick Lamar didn't have to do anything to put Compton on the map, but he has certainly got his name on the map, and having finally got around to giving him a listen, i understand what the fuss is all about. This is album is an instant classic, a strong and diverse record bringing the best of old and new to the table. We hear a lot of talk about the state of Hip Hop, but with records like this there's nothing to worry about, we are in good hands.

Lets start with the instrumentals, theres a diverse range of style and creativity across these 12 tracks, with moodier introspective tracks, obnoxious party bangers and Hip Hop anthems. I find myself engrossed from start to end with the shifts in mood coming effortlessly. Theres great detail in the beats which offer more than a grooving loop, often bringing in extra hits and percussion that help direct and flow these tracks along there course. The sampling is choice, theres depth in quantity with many tracks bringing subtle layers of sounds and sample that add to the main focus. In general, theres just a lot of craft and care put into these instrumentals that you can really enjoy deconstructing them with your ears. 

Lamar's flow is gripping and slick, he doesn't drop the most memorable of lines, but keeps you engaged with colorful story telling. His choruses stand out as a strength with a craft for striking a balance between substance and thrills. With a lot of guest vocalists across the songs the variety and diversity keeps things fresh and exciting which is a nice change in a formula that can sometimes suffer from a lack of such. Theres some great double tracked vocals in a few tracks too and Dre's appearance on "Compton" is sublime, the man still has it, bursting onto the track like he's kicking down the door of rap. Overall this album offers substance and quality in quantity, with a large collection of memorable songs this is a classic Hip Hop album.

Favorite Tracks: Backstreet Freestyle, Poetic Justice, Good Kid, Swimming Pools, Sing About Me, Compton

Rating: 8/10

Darkspace "III I" (2014)

Three piece group Darkspace from Switzerland have produced a sound so terrifyingly dark and claustrophobic they would be an earful for many a Black Metal fan. Having found them through 2008's "III" i have been fascinated by their conceptual sound and output. Each album is titled in roman numerals and each song is simply "Dark x.y" x being album, y being song number. This unusual and minimalist approach ties well to there cosmic vibe, giving the songs little identity to attach to the bleak soundscapes. I initially thought this was an EP, having 3 tracks, being "III I" instead of "IV", but these tracks are long and this is a full length. One i have certainly been enjoying.

Six years since the last release the band have been frozen on ice, there is not much change to their cold, void-like, nihilistic sound. The mix is relatively similar to "III" where Darkspace found the sound that worked best for their atmospheric music. Condensing all instruments into a dense wall of colorless sound, it can be a little hard to get your ears around at first, but there is a genius where as your ears adjust you are surrounded and immersed in a rich sound that sucks you in. For a 27 minute song, and two 18s, these songs hold up well in a challenge to keep the listener engaged. The progression is key as these songs drift through long passages that build and build as the themes and depths explored intensify. 

The bands approach to song writing understands and appreciates their own immersible qualities, with many riffs and lead sections being drawn out across many minutes, sucking the listener in. There's a great range of cosmic synths, electro melodies and mystic, awe-inspiring sounds that provide these songs with much depth. The heavy rhythm guitar that bursts through the track returns on this record, and the drumming is precise and mechanical as ever, always providing fast paced blasting that sits subtly in the background. Everything is good with this record, but I would of hoped for more evolution with their sound, however the "III" formula is impeccable and perhaps why this one was named "III I".

Favorite Song: 4.19

Rating 7/10