Erang "Tome X" (2015)

That time has come again when out of nowhere the day is illuminated by the arrival of a new record from French musician Erang, the one man band and composer of nostalgic, atmospheric Dungeon Synth, the microcosm genre that has flourished in recent years. Following the progression of this project has been enjoyable but with the last few records Erang has really come into his own, mastering his vision and elevating his compositions to the next level. "Tomb X" is the 10th full length and forth with the mysterious Tomb name. At first glance I thought this might be a trip back to the roots and on some levels it is, however much of what has developed on recent records is to be found here again.

Its no surprise to find a wondrous collection of melodies that spark the imagination, visions of rich fantasy realms lost in nostalgia come to mind with every passing song. Each song has its own moment, memory, story to tell and establishes its presence quickly for short and indulging tunes which rarely break the themes they define themselves with through a diverse set of lush and charismatic instruments mixed with grace and care. There is a constant duality of string and lead that has one or two melodies dancing over deep, atmospheric choirs and strings that fill up much of the void the simplistic nature of these songs could so easily leave unfilled.

This is possibly the best sounding Erang record to date, however with nine full lengths to compete with many of the songs do wash up into a haze of similarity. The atmospheric nature of this record is fantastic for setting a mood and indulging oneself, but flicking through the tracks reminded me there aren't to many sparks that jump out in the track listing, though there is a strong group of adventurous songs in the mid section. Another great chapter in the tale of Erang, as always I'm left with an appetite for more.

Favorite Tracks: The Crocodile Fairies Of The Mayoo Wood, Lord Phantom, Ghouls Grotto, The Infinite Steppes Of Kolm

Rating: 7/10

King Crimson "In The Court Of The Crimson King" (1969)

I was pleasantly surprised by how swiftly I found my way into this record. Hailed as a classic of an era gone by I was a little hesitant this might be out of my reach. Ive always had a soft spot for Progressive Rock and this record is often considered the birth of the genre, turning away from the Blues roots in Rock and inspiring Classical influences into the scope of their songwriting. What I found though was a luscious warm record that felt like the precursor to much of the lullaby like themes found in early Genesis records. King Crimson are the credited creates of Prog Rock and have been going at it for 45 years with plenty of lineup changes a many intervals of hiatuses.

"In the Court..." is their debut release, a varied record with a lot to offer. "21st Century Schizoid Man" the slightly mad, energetic free jazz swings coupled with a traditional Metal attitude that starts the record of with a bang of announcing trumpets and a wild improvisational mid section of madness. "I Talk To The Wind" takes a u-turn in tone and pace, setting us on a soothing lullaby of innocent, gentle melodies climaxed by a gorgeous flute solo at the end. "Epitaph" brings a somber tone in as we sail to an epic swan song that's illuminated by a dreamy string section and dramatic, haunted synths. 

"Moonchild" mostly consists of a lengthy ambient jam of quiet mustering on the drum kit and sporadic improves on the lightly played guitars and keys. The jam doesn't lead anywhere much and conjurers up images of the band roasted on drugs, lying around tapping on their instruments. The record ends with the title track which is a rather similar sounding song to "Epitah" and delivors some lush vocals harmonies over the ever enigmatic synth and string section.

The records over 45 years old and sounds fantastic today. The drums have a narrow dimension, but the other instruments sound big, bright and free. I especially liked the keys string sound which had a slightly harsh tone yet came across so smoothly with a lot of energy, it reminded me of Genesis's "Watcher Of The Skies". Another band this reminded me off was Messenger, their album "Illusory Blues" one of my favorite from 2014. Definitely heard a lot of the influence that inspired that sound here. Solid record, can hear why its held in such high regard.

Favorite Songs: I Talk To The Wind, Epitaph

Rating: 9/10

Farmer Boys "Countrified" (1996)

Farmer Boys are a German Metal band from Stuttgart who are still technically together despite years of silence and no studio record since their forth in 2004. With little chart success or renounced acclaim it was quite fortunate to stumble across this small band that play a breed of Metal perfectly suited to my taste. Had I found this in my youth I'm sure I would of lapped it up. I can hear that energy, but these days it doesn't have quite the same effect one me. There's also an interesting "Depeche Mode" cover in there, with Anneke of "The Gathering". Which is how I found my way to this group.

Their sound was immediately identifiable. Big crunchy distortion guitars, angrily shouted vocals and subtle symphonic elements to break up the metal assault. Initially I heard tinges of Industrial with a "Die Krupps" feel to their style, especially in the dense, chunky guitar tone. That might be a regional thing but as I got to know these songs all the influences became apparent. Forces of Groove, Thrash and Nu Metal converge through the riffage with a Doom and Gothic tinge amplified through the acoustic moments and subtle strings that sit quietly under the guitars while choir aah's covertly grow and creep into the songs.

The album drives through a straight forward arrangement of songs that work through the motions, playing out aggressive riffs, broken up by mood shifts led by Matthias Sayer's gloomy, sorrowful clean vocals. As the album gets deeper some very obvious sounds surface with "Pantera" blunt force style riffs and grooves emulating "Machine Heads" classic pinch harmonic groove. For 96 its a great sounding record and the group sound relatively original in the Doom Metal moments of their songs but they do sound a little drawn between styles. Either way they define themselves and despite a very decipherable style, the album flows effortlessly and the songs are really enjoyable. As I said in the beginning, ten years ago me would of lapped this up.

 Favorite Songs: Farm Sweet Farm, When A Chicken Cries For Love, In A Distance To God, Call Me A Hog, Countrified

Rating: 5/10

E. Jacobs "E Q U I N O X" (2015)

The equinox is the debut instrumental Hip Hop EP or "Beat tape" of Colorado based producer "E. Jacobs". Having followed Jacobs and his regular instrumentals on youtube for over a year I've been looking forward to a record release for sometime. The record doesn't break ground or steer much from Jacobs traditional style, but does hold together a chilled introspective vibe that flows through each of the tracks.

As always the same two thoughts come to mind. On one hand Jacobs has a flair for composition, finding unique samples to mix with well crafted beats that catch the 90s feel yet with modern trap influences as intricate high hat patterns shuffle back and forth on most of these songs. On the other hand the production is amateur and lacks balance. Often the different samples overpower each other sometimes bury the drums as they compete for volume. On occasions its worked to effect, on this short EP its often disrupting the clarity of what are essentially laid back, calmer beats.

When it comes to the instrumental aspect these beats are very much constructed for verses with repetitive loops that don't offer much variety. The better beats carry themselves with an indulgence but others tire a little from the repetition and could do with some flair to spice them up. The beats on show here may not be Jacobs best work, but how they flow together and set a tone certainly elevates this short 20 minute record.

Rating: 4/10

Favorite Songs: Vernal, Atlantis

Travis Scott "Rodeo" (2015)

"Rodeo" is the debut full length of young Hip Hop producer Travis Scott who's named I'd not heard of before but has some hype around him being signed to Kanye's Good Music label. I decided to give this one a whirl after hearing good things and found a bi-polarizing record that gave me a lot to think about. "Rodeo" brings both the best and the worst of "Hip Hop"s almost unrecognizable current trap influenced direction, and pushes them into new territory id not heard before.

The record starts up with cold urban, spacious beats and an ethereal edge through excessive reverbs and echoing vocals. It takes a fair few songs to get to a decent rap as the balance plunges overboard in favor of style and texture. Boisterous showboating lyrics with one word rhymes bang out over and over with a lack of emotional context or any point other than enforcing attitude, wealth and excessive lifestyles. Its all about the delivery and production that treats the vocals like instruments, auto-tuning on overdrive and turning the "raps" into textural lavishes that tie tightly with the instruments and make use of many reverbs, pitch shifts and stylish distortions.

As the album develops it really comes into its own at the mid point with tracks like "Night Call", its big atmospheric nightclub sound dripping in deep base and ethereal chords buried under layers of synth, kits and echos. Its a prime example of whats great on this record, the production has an ambition and idea that's realized and reached in these dreamy "lose yourself" tracks. Despite feeling spacious and open, most the songs have many intricate noises detailing the backdrop and adding up to a bigger picture. The percussion takes a laid back roll often dropping out of focus and minimizing its roll in maintaining the pace, yet even in minimal moments its the backbone.

On one side of "Rodeo" we have unique, ethereal beats and the other a complete absence of lyrical substance. In between the two an overdose of auto-tune that tests my tolerance every time. I have to give credit through, auto-tune is not to my taste but its execution is creative and interesting at all times. This album could of been so much more to me with some rhymes and messages but instead the lyrical context and showboating tires and bores me.

Favorite Tracks: Wasted, Pray 4 Love, Night Call, Antidote, Flying High

Rating: 5/10

Slayer "Repentless" (2015)

As Henry Rollins once so elegantly put it, Slayer are like a band frozen in ice, every few years they are taken from hibernation to write a record and they sound as angry and ferocious as in their youth. That is very much true of Repentless, the first slayer record I've given a proper listen since 2001's "God Hates Us All".  Its their first without legendary guitarist Jeff Hannerman who contracted a flesh eating disease which seriously affected his health before passing from liver failure two years ago.

Of what little I heard from "Christ Illusion" and "World Painted Blood" I was only expecting disappointment from a band well beyond there peak. But Repentless is an accessible and anger fueled record with the speed and aggression of past heard through a weighted production that makes light of tightly rounded, dense distortion tones and a hammering drum kit that pounds away endlessly. Its heavy, hard hitting yet a very warm and open sound that's about as audible as Slayer can get.

Unfortunately the songwriting isn't on the same level and the record opens up with some promising songs that get the blood pumping with those classic circle pit riffs, pummeling snare beats and erratic guitar solos, but after a few tracks the album drifts into a lull of slower power chord led songs that wouldn't be so bad if it wasn't for the lack of progression or direction these songs showed. Just some temperate riffage and angry vocals. The songs had a distinct lack of spark to fuel the energy and define the songs. A break out moment or interlude moment, like "Angel Of Death", could of added so much to these tracks but instead they settle for linear songwriting.

On the vocal front Tom is his usual self with the typical Slayer approach and for the most part its great. At times it gets a little starch and off key from the music and the lyrical content is blunt and unapologetic with the usual range of murderous, satanic, misanthropic themes coming across very direct and without poetry or much to dilute the point. Relentless has there best sound ever, but the songwriting is far behind, with a touch more inspiration and creativity this record could of been something great.

Favorite Tracks: Repentless, Vices, Cast The First Stone, You Against You
Rating: 5/10

August Burns Red "Found In Far Away Places" (2015)

 August Burns Red are an American Metalcore five-piece band from Pennsylvania USA who have gained considerable momentum and praise in recent years among the various Metal scenes. The band formed out of high school in 2003 and have been consistently releasing records and developing their sound since 2006 of which this is their sixth full length release. I'll admit from the get go that I've not been in the mood for Metalcore but I couldn't deny the level of quality this record produced.

Working with the finest production the band has received yet we have an inspired and crafted record where the two guitarists make a mark with an endless flow of tight, chompy groove riffs and energetic rhythms interchanging with dynamic leads that guide the songs. There's many techniques, approaches and ideas at work in the rhythm guitar and they meld effortlessly with the leads that constantly light the path with a fluid energy and enigmatic tone that doesn't falter, continually progressing the music from one step to the next.

Breaking up the heavy and sometimes relentless aggression comes in some acoustic, folk moments that have a tinge of Kentucky about them, reminding me of Panopticon's "Roads To The North". At times the music subtly transitions into these calmer moments with gentle guitar leads and jiving base. In others can be rigid and hard cut but always sounding fantastic, adding an effortless dimension that's quite bipolar compared to the anger fueled chugging moments, yet we can be led so easily between the two. In those generic breakdown moments the band do a fantastic job defining there own style with tight choppy grooves that don't stray to far from the winning formula.

The guitar work stole the show, and beside them big bold baselines and brutally precise drums hammered away reinforcing the tightly woven aggression they led. I couldn't say too much for the vocals, I didn't find the tone and delivery anything special, but there was no harm done it was just a adequate performance that didn't have a spark. At the same time the Metalcore vocal style has never been a favorite of mine. Its a brilliant record from a band maturing well in their peak.

Rating: 6/10

Digable Planets "Reachin' (A New Refutation Of Time And Space)" (1993)

Reading a top 90s Hip Hop songs list cropped up an unheard of group at number two. Its somewhat of an oddity to find groups from this era that escaped my radar, but lo and behold here was Digable Planets and the super slick track "Cool Like That" with its big groove baseline and the Jazz Hop vibes similar to "A Tribe Called Quest" and the Native Tongues. They are a trio of Rappers from Brooklyn who signed to Pendulum in 92 and this is their debut, which had the hit single from the list.

The record's a smooth, gentle breeze of laid back jazzy vibes blowing in the wind as the trio deliver soft, warm and welcoming raps of expanded consciousness and social political awareness. The trio all have such friendly and polite tones with chilled flows that make for the most inoffensive rapping I may of ever heard. Lyrically its a little inconsistent, in some moments they nail the vibe with memorable lines "We be to rap what keys be to locks", smart and intelligent lines but often it doesn't come of with the same finesse. With a lot of witty lines to burn through it does tire a little as the record draws on.

The beats have a spark of magic, the epitome of the classic 90s sound with a current of cool jazz struck a nerve. Undoubtedly some of my favorite beats Ive heard this year, especially "Jimmi Diggin' Cats" sampling of Kool And The Gang's "Summer Madness", a song that's in two other I love, Ice Cube's "You Know How We Do It" and DJ Jazzy Jeff And The Fresh Prince's "Summertime". There's many terrific uplifting samples and a great selection of beats that aren't to overbearing. Unfortunately I felt the final tracks on the record drifted in mood and didn't have the same spark. My overall impression is that of a flawed classic. There's so much good to praise, but its also inconsistent and patchy too.

Favorite Tracks: Pacifics, Where I'm From, Rebirth Of Slick, Jimmi Diggin' Cats

Rating: 7/10

Gnaw Their Tongues "Abyss Of Longing Throats" (2015)

Its been a while since Ive delved into the hell hole of depravity that is Gnaw Their Tongues, one man band of Dutch musician Mories. I discovered this project back in 2009 and it has remained as one the most haunting and bone chilling sounds Ive ever heard. Its a noisy, claustrophobic and harrowing musical experience with an unrelenting apatite for discomfort in the exploration of perverse corruption in humanities darkest corners. With a large, patchy discography littered with EPs and limited releases in between its hard to stomach it all, but of what filth I've wadded through there is plenty of quality compositions to be found in the full lengths, including this one, his eighth in nine years of the project.

In the earlier days Morries's music was a catastrophe of symphonies colliding in a haze drenched with thunderous crashing symbols and tormented screams. Over time inklings of structure and Black Metal crept into the fold and made "Abyss Of Longing Throats" a vastly more approachable listen than I previous remember. The constant ticking of buried drums and their alterations helped guide the listener through the shifts of tone and direction under the constant haze of evil and discernible noise. Erie distortions, muffled screams, bellowing baselines, distant bells and howling winds. There's an endless list of what might be happening in the frenzy of noise these songs concoct.

The opening track is by far the records best. A discordant fuzz of guitar sets an instantly unwelcoming tone as the screams of restless spirits drag us below into the sound track of hate, pummeling crashes and strikes of metal. The nefarious choir chants build a dreading atmosphere that continually shifts one to the next before reaching an interesting conclusion in the endgame of the track as buried horns cry out from an industrious soundscape of grueling mechanical construction. The guttural vocals and lighter atmosphere on the following track also made a mark but beyond that the record descends into an expected trail of endless noise that fails to spark a memory. I'll always be interested in this project, however I find it no longer has the capacity to be unexpected or as mesmerizing as when first discovering such godless music.

Rating: 4/10

Dead Kennedys "Frankenchrist" (1985)

The Dead Kennedys are a legendary American Hardcore Punk group from California who developed a large underground following in the 80s. They had a short lived life-span, forming in 78 and disbanding a year after this record having become disillusioned with their own music scene that no longer represented what they stood for. They were involved in a few controversies but time has served them well, their music and legacy often held in high regard. I was introduced to them around eight years ago and I knew one day It with click with me, and that's what happened! Listening to Black Flags "Damaged" got me in the mood for more Hardcore Punk and I picked out this record having recently learned about the HR Giger artwork controversy that took the band to court following Frankenchrist's release. I can't believe its taken me so long, but now I adore this band.

This record really sucked me in, Its got a lot of energy and quickly I found myself running and working out to it, making the most of the exuberant, youthful energy the music and lyrics filled me with. It didn't take long understand their sound, there are some very distinctive accents that flavor the Hardcore Punk sound. Slower tempos and guitars leads with a western flick vibe make there mark on the songs flirting with tinges of Surf Rock and Psychedelia in between its aggressive and angry Punk core. The creativity flows freely through a track listing of distinct songs with variety in plentiful amounts. Its either riffs, vocal hooks, guitar leads or Biafras politically and socially charged lyrics, each track has a distinct quality and from start to end the group roll out brilliant ideas one after another, even extending to interesting song structures.

The records production does a lot for it. The guitar leads have a raw and hazy tone that comes to life in a recording that fills the space with a big hall feel, creating a ton of atmosphere. The drums and vocals feel more contained and muted in comparison, but its a rocking chemistry and the bass is gorgeous, deep and tonal, rattling and pounding away, often leading the march and throughout the album its very audible, its texture contributing a thick backbone under the spacious guitars. Even some Mexican horns crop up in "MTV Get Of the Air" record, alongside the western guitars they fit right in. The following track "At My Job" drops the guitars for a big synthetic saw wave lead emphasizing the horror show circus vibe of the track. Again, it fits right in.

Whatever the Dead Kennedys set out to do its done with style and substance and the record is littered with inventive approaches, especially front man Jello Biafra who's charged and thought provoking lyrics come wrapped in a variety of deliveries that range from driving sing along hooks to moody theatric play acting. Everything about this record was a delight and I still can't get enough of it.

Favorite Tracks: This Could Be Anywhere, Chicken Farm, MTV Get Off The Air, At My Job, Stars And Stripes Of Corruption
Rating: 8/10

OverClocked ReMix "Doom II Delta-Q-Delta" (2008)

 Here's a record I almost passed over but curiosity got the better of me. "OverClocked ReMix" is an online community of musicians who re-imagine the soundtracks of computer games in their own vision. Despite hearing nothing but praise it didn't appeal to me much, but how foolish could I of been? I picked out the Doom soundtracks since its my favorite game and just after a couple of listens I was sucked in! The vibe and atmosphere was very fitting of the game, and the instrumentals had a level of craft and care similar to the C&C soundtracks composed by Frank Klepacki.

As a community driven record there are many musicians at work here, sometimes collaborating but mostly working on their own, each with a level song to rework. Despite a range of aesthetics and approaches, the record has a strong flow as the themes and mood shift through track to track. Even going from chirpy electronic led tunes to pounding on metallic guitars the record flows well with one exception, "31 Seconds" sounds out of place, its indie guitars, bright pianos leads, light drum kit and voice samples had me thinking I was listening to "Public Service Broadcasting". I thought id messed up my records playlist!

The atmosphere is ripe and the songs stroll through with an ambient quality that has subtle leads, chords and arrangements working around one another a typically soundtrack fashion, letting your attention focus to whatever is at hand while these songs steadily build and grow with a few distinctive melodies and moments cropping up in between. The whole soundtrack is a mash up of styles that has many dynamic components working together. You can hear elements of Metal, Noise, DnB and Big Beat around the predominantly Electronic and Industrial tracks.

The chemistry between these styles is executed with a vision and on "Icon Of Sinewave" we hear samples of our hero and the demons that create a dark and gruesome scene of the game before crashing into the main theme which amplifies the grueling intensity before breaking to an uplifting fast tempo beat that reminded me of being "in the zone" playing Doom. The samples could of featured more but it may have been overkill to do so. This is a fantastic soundtrack that produced a couple of real gems I will be returning to fore times to come.

Favorite Tracks: Westside Archvile, Crushing Headache, Silent Healer, Icon Of Sinewave, Ablaze

Rating: 7/10

Die Krupps "V - Metal Machine Music" (2015)

Die Krupps are a German Industrial Metal group known to some for their tribute record of five Metallica songs released in 92, and to others for their unique blend of EBM and Industrial Metal. In the 80s the group was making Electronic music Ive never given much of a listen. In the 90s they started incorporating distortion guitars and changing the mood of their sound to form a new identity which can be heard on the record "I", of which this is the fifth chapter. Despite a large sixteen year gap in their discography following the groups split and reunion, this record very much retains the identity from 97s "Paradise Now" and made for a familiar listening experience.

Metal Machine Music is a meaty grinder of a record that pounds and churns through aggressive tracks brim with attitude and aggression. Fronted with sharp, potent distortion guitars and front man Engler's shouty German accent the record conjures up a vision of post apocalyptic industrial mayhem much like the Mad Max world, exemplified by the track "Woad Rage Warriror". Serving as the backbone, deep chunky synths pound out buzz-saws and sine wave leads in front of a rather lost and muzzled baseline. They do a lot for the record as the guitar often cut out and let the electronics take lead with a grit and attitude that unifies the sound and gives it much needed flexibility that keeps the songs interesting given their rigid aesthetic that doesn't change up much through the listen. Its a great sounding record with audible instruments however the drum get a little lost and buried at times, overpowered by the guitars and synths which are so hard hitting and rhythmic oriented its almost like they are all pounding out the rhythm together. Its not a complaint but something I think actually worked really well.

Lyrically the "eyes open" anger comes across with apocalyptic end game lyrics citing capitalism's flaws with anti corporate messages, propaganda and double think musings that suit the theme well but do little to raise an eyebrow, however the song "Fly Martyrs Fly" caught my attention with risky lyrics singing from the perspective of the pilot of 4U9525 that crashed into the french alps in march. The song includes samples from TV reports and what its point is exactly I'm not sure but it makes for a good song with a catchy hook. "V" is a solid record and it was nice to get a dose of the Die Krupps sound again.

Favorite Songs: Fly Martyrs Fly, Road Rage Warrior, Branded

Rating: 5/10

The Gathering "Mandylion" (1995)

Casting my mind back across through all the years this record has been with me, time may have gotten the best of my memory. How I found this band is hazy but of the ten plus years Ive been listening to them this record has always been a real treasure. The Gathering are a Dutch band with a patchy history of style and direction that started with a Death / Doom Metal debut that would be short lived as the group progressed through different Metal sounds before switching to Progressive and Alternative Rock after this record. In their beginnings they had trouble securing the right front man before uniting with Anneke Van Giersbergen who's voice is a free spirit with a charming purity and spirited power.

Despite the line up changes and wandering direction, on their third record, Mandylion, The Gathering created a magical record complete in concept and bearing. Anneke is the star of the show, her voice glides freely over the music, dazzling and mesmerizing with every word she utters. She guides the emotional narrative of the songs through the lows and highs with an impeccable range that gets the feels running every time. So soft and pleasant yet powerful and moving, soaring at times. Even though shes the star, the instrumentals are on an elevated level too, captivating, inspired music which we have the pleasure of hearing them both firing on all cylinders with a unique vision and chemistry that creates a "place".

The instrumental compositions are deceptively simple, aiming for an easy to digest experience with an approach to riffing and symphonics that pieces together simple ideas, often repetitive in delivery but with quality in mind over fleshing the songs out with needless complexities. The gorgeous aesthetic of the mix and Anneke's voice chime together to create a spirited and organic sound with another world feel that strays far from its metallic roots. The guitars have a tight tonal distortion thats played for its texture as the riffs take a far from aggressive approach, focusing on simple drawn out chords and melodies. The dense symphonies intertwine and weave around one another, allowing the two to both guide the songs, either in turn or together and its a real treat when all three fire with Anneke's voice.

On the track "Mandylion" the electronic instruments strike up a rich atmosphere of tribalism cultures and natural spirit that evokes vivid images of a forgotten meaning of humanity and our ancestors. Its a powerful track, but this power is their throughout the record, working with the guitars and drums which sound big and commanding on this record, holding together the pacing like a sturdy strut. The snare has a sharp and dense tone that sounds great in the mix alongside some big and yet not overpowering symbols that crash away prominently. The bass guitar has a big and warm tone that gets plenty of exercise under the guitars, not always mirroring them and adding a rooted variety that doesn't have much impact, but sounds great when its noticed.

 Its a special record to me, one that gives me a ton of inspiration, especially Anneke's voice which always gives me goosebumps. Listening to it again reminds me of all the times I used to play my guitar along with it and the youtube videos of them playing live in the 90s with Anneke dancing on stage with a youthful innocent energy that would captivate the crowd. Its a real gem, a beautiful and unique blend of Symphonic Metal with a tinge of Gothic on the side that I've never heard anything quite alike. Can't praise this one enough, its as perfect as it gets.

Favorite Tracks: Strange Machines, Eleanor, Leaves, Mandylion

Rating: 10/10

Birocratic "Beets 3" (2015)

NYC based producer Biro is back again with the third installment of "Beets" and the longest yet, clocking in at thirty three minutes it delivered a better listening experience than the previous two which were a little to short for my taste. Beets 3 isn't quite the strive forward I was hoping for. The unique vocal cutting is less prominent however Biro shakes it up with new techniques and ideas too.

In general Biro lets the Jazz Hop vibe shine bright on this one, letting the jazzy pianos, classic strings and smooth samples take the lead. The tempo feels faster but the beats, sequenced or sampled, have a spice of energy to them that steers this one away from feeling like a Nujabes clone. Spliced vocals often feature buried between the layers adding to the composition which did have a feeling of depth to it the others didn't. I could play these beats over and over and pick up on little nuances each time.

Mid way into the record "Formula Fun" introduces a virtual instrument lead, a vibrant chirpy ghetto whistle like lead with a buzz-saw undertone that gives this one an urban edge. On the follow up "Favela Beat" Biro explores it further with a prominent lead that helps define a casual track into a memorable one. "Disembark" puts in an experimental lead sound, a mix between drills and bells that dispelled the chemistry with its harsh and abrupt aesthetic mixed to loud for effect.

The production was solid, however I noticed on this record more than before Biro was a little ruthless with the cuts which could be very rigid and choppy at times. Its the sort of thing you see and can't un-see. The way the samples and composition flowed wasn't the issue, its the rigid cuts that stuck out like a saw thumb on occasions. Other than that qualm this was a really enjoyable record.

Favorite Tracks: Hurry!, Garoto, Formula Fun, Jon Gordo

Rating: 6/10

Leviathan "A Silhouette In Splinters" (2005)

American one man band "Leviathan" is the project of Californian musician Jef Whitehead, often considered one of the finest "third wave" Black Metal musicians alongside Xasthur and Black Funeral. After the Norwegian scene's sound made its way across the Atlantic in the mid 90s the evolution was frighting. The Americans played down the satanic themes in favor of even darker spiritual ideas that coined the terms "Suicidal" and "Depressive" Black Metal. Although its heavily debated if there is a "third wave" there is an undeniable shift in sound and approach that separates this scene from the other. Having my curiosity sparked I went over my Leviathan collection and picked out this record which turned out to be a Black Ambient record, supposedly recorded in 2002 before the debut release of debut "The Tenth Sub Level Of Suicide".

Its dark, haunting and nervy backdrop music that starts of with fading guitar distortions that buzz and howl in and out of focus, creating a sinister setting that in its lack of intensity lures the listener in to a calm, serene mood as if staring into the abyss from safety. The guitars and distortion cautiously grow their anxieties as slow strum chords ring unsettling melodies. The danger grows nearer and ghostly rumbling vocals feature as the voice of undead spirits murmuring and groaning their pain through deep guttural talkings burred under lonely guitar leads. Into the later part of the forth track, the guitars start to fold into chilling rattle sounds that echo and brood in the deathly reverb before throwing us deep into the despairing black as the title track whips up a punishing desuetude of sound.

Howling winds morph and transform into eerie sounds of communication from beyond the grave. Alarm bells scream the oncoming dread before a calm leads us into ghostly whispers that swell in the ambiance of an atmosphere ever echoing a noise slowly collapsing in on itself. Its bone chilling audio horror painting vivid images of hell's hallways and demonic creatures of abomination. There's no climatic moment, we leave this place as if it was never there and the final track leads us home through a similar setting of mesmerizing distortions fading in and out of consciousness while acoustic guitars strum out eerie chords of warning.

"A Silhouette In Splinters" is a real audio trip for those minds that can envision the music. Its a vividly haunting and spellbound listen that can be both frighting and calming at times. Its construct and vision has both expression and design meeting on the plateau. For those interested in the technical details there are many spooky sounds that leave wonder pondering their creation, alongside some obvious guitar reverb tricks. Its a wondrous and unnerving experience that rewards the patient listener.

Favorite Track:A Silhouette In Splinters

Rating: 7/10

Big Tymers "I Got That Work" (2000)

Following up on B.G's "Chopper City In The Ghetto" this Cash Money release seemed like a great move forward. American rap duo "Mannie Fresh" and "Birdman" make up Big Tymers who featured on a few tracks from B.G's record. Mannie Fresh also handled production of both records however the style and theme of this record was understandably different. "I Got That Work" takes on a far more boisterous and bling bling vibe than I prefer. Much of the themes are of success and flaunting it as well as reminding you where they came from. After just a couple of listens my mind was made up on this record and not much has changed my mind since.

Mannie's production is working with a similar construct of sequencer compositions and midi controlled instruments that make for easy on the ear's Hip Hop that's effortlessly deciphered. There's plenty of guitars, horns and stab arrangements on top of the tight, rigid snappy drum kits, deep kicks and subdued funk base lines. It all adds up to a clean polished sound, but fairly mediocre experience with a lack of hooks or catchy moments. The album simply plays through beat after beat that you can't complain about, but does little to get stuck in the mind or drive home something unique. Mannie gets a touch creative with some snares shuffling through stereo or with varying volume levels and pitch shifts but it does so little for the tracks it features on.

Looking over the Cash Money discography and just how much Mannie produced at this time I did get a quantity over quality vibe and this one certainly backed up that impression. At seventy three minutes "I Got The Work" just pumps out mediocrity in droves that lost the excitement after the second play through. The same could be said of the raps which were uninteresting in general, again giving of a quantity over quality vibe with many of the crew dropping in average verses. Not a terrible record but it does little to bring me back.

Favorite Tracks: 10 Wayz, Rocky

Rating: 3/10

Lycia "A Line That Connects" (2015)

After a ten year absence, American Darkwave band Lycia returned from the dark with their ninth full length "Quiet Moments" in 2013. At that time I didn't give it much attention and its occurred to me I've never gotten into any of there records beyond 96s "Cold" which is a favorite of mine. When I saw "A Line That Connects" pop up in my inbox I decided to make sure I give this one a proper listen. Under the impression that they had moved on from the lonely, frosty ethereal ooze of "Cold" I was pleasantly surprised to a familiar moody, dark somber tone in this record.

Its gloomy, dreary and bleak but comes through a soft, melodic embracing melancholy of airy synths gently rolling through the background mist while the percussion draws out a reluctant beat stretching the tempo to sleepy lows as singer Tara Vanflower chimes sorrowful cries behind Mike Vanportfleet's soft and whispery spoken words. Between it all glistening guitars ooze and flow, unifying the song with pale, somber melodies drenched in reveb heavy effects. Its cold, snowy and dark, but has its own flair compared to "Cold". This one isn't quite as frozen or bleak, there's a glimmer of hope shining through a sorrowful, mourning record of solitude.

Not all of the record follows this vibe, about halfway through "The Rain" kicks things into life with a punchy, rocking track with a faster tempo, pumping beat and catchy guitar riffs. Mike brings a lot of energy to his voice as he delivers foreboding lyrics through a forceful deep tone that sounds fantastic. Its a track reminiscent of 80s Goth Rock and with the following tracks the album keeps the tempo and shift of mood up for a short while before drifting back into bleak, sleepy numbers.

The production is a big step up from "Cold" but that's no surprise, nineteen years of progression gives the sounds a richer texture and depth but it doesn't stretch what the music can do. This record was an approachable dose of the Lycia sound, however it very much plays the same game and offers nothing new or unexpected. Great record but more of the same, of which I can't complain.

Favorite Songs: Silver Leaf, A Trade Out, The Rain, Hiraeth

Rating: 6/10

DJ Shadow "Endtroducing..." (1996)

DJ Shadow is an American producer from California who's debut "Endtroducing..." has landed on many "top lists" in Hip Hop music. Credited for establishing Instrumental Hip Hop its often held in high regard as an important and influential record. Having not given it much attention beyond one or two listens in the past I decided to give this one a go again and after much time spent enjoying it I have to say retrospect has me at a disadvantage.

Being familiar with many of the characteristics this record may of helped to shape and inspire, there are a few traits its posses that I might take for granted. The instrumental aspect was a first at the time and many of the techniques used in production are so commonplace now you have to put yourself in the mindset of 96. DJ Shadow as a lot of unorthodox sample material throughout the record, even including Metallica's "Orion" on "The Number Song" and scaling back from the accompaniment of an MC he pushes for daring and unique sounds leaning towards Jazz, Soul and Psychedelia.

The sampling, cuts and arrangements are captivating and progressing lucidly with a free flow as DJ Shadow lets the sampling art-form do so much more than the stagnant repetition were used to. With many layers of samples each song can journey through an idea while changing form and evolving thanks to the intricate detailing of sounds and shifting between different samples which fade in and out of the tracks effortlessly, creating organics through traditional rigid music.

A quote from the record itself, something along the lines of "The music's coming through me" summarizes the record in a nutshell. Whats so remarkable is how lucid and organic the chemistry in the sampling is. Hip Hop has often sliced great moments, or reinvented them with new words and a new groove, but here on this record the original songs are barely reconcilable as the choice arrangement and reconstruction takes new forms that don't resemble the origin.

Despite now "getting it" I feel that the records diversity in theme creates some less favored vibes and moments. In the jazzy chilled out, laid back Trip Hop moments there are timeless tunes. In other songs the mood shifts rigidly into less engaging songs that break up the flow. Its a loaded gun with plenty to offer, but some of that just wasn't quite on my wavelength. Its also interesting to read about how well this record was received in the UK considering this record breaks down Hip Hop in similar ways to Trip Hop which was flourishing at the time. Anyway, terrific record which I can really appreciate, I'm hoping the less favored moments will grow on me with time.

Favorite Tracks: Changeling, What Does Your Soul Look Like, Midnight In A Perfect World

Rating: 7/10

Iwrestledabearonce "Hail Mary" (2015)

I'll be blunt, I went to skim over this record with low expectations. I skipped straight to the middle of the first track and the hooks sunk in immediately. Astonished and blown away, I had to double take, Is this really Iwrestledabearonce? To be fair it was their sound, the maniacal over the top noise shredding was present but this was a focused assault vehicle of grooving brutality breaking the speed limit. Iwrestledabearonce came out of the naughties Deathcore scene as a directionless mismatch of genre mashing thrown together with a thick slice of cheese. They produced a fantastic hit with "Tastes like kevin bacon" but from the get go showed a lack of vision and came across as a group simply in the moment, mixing ideas and bipolar sounds together while not taking themselves or the music seriously.

Fast forward to 2015 and the band have been through some lineup changes across the last six records and most noticeably the replacement of their singer with another female vocalist who drops in the occasional strong clean vocals and sounded very familiar to her predecessor, although its been some time since I'd last listened to this band. Initially the aesthetic change didn't feel that drastic with this record but going back over their previous releases the change is massive and the most distinguished characteristic that survived is the frantic noise oriented guitar shredding, no doubt the result of the only surviving member lead guitarist Steven Bradly.

"Hail Mary" opens up with the fade in of chaotic noise shredding before throwing us in the deep end with tight, choppy rhythmic drum blasting and discordant riffs, steadily transitioning into a bouncy groove riff that sets the tone for a vigorous session of furious noise militia hurtling toward the listener with plenty of coordinated grooves and mosher riffs in the design. Its these break out moments that give the record continuity and refreshment that makes the textural onslaught manageable alongside these head banger moments. The consistency runs from start to end with every track delivering something unique and interesting in comparison to one another, its a fruitful offering of which listen after listen is yet to tire on me. 

Breaking down the groups sound it becomes apparent it revolves around the guitars almost exclusively, with drums providing an accompanying punishing strike and singer LaPlante's screams becoming an inoffensive layer of rhythmic noise through her discernible screams. On "Wade In The Water" some strong electronic noises surface through which makes one wonder how much of the crazy frenetic noises are made with the guitar. Either way the textures are delightful on the riff fest that plays up tireless bizarre guitar squeaks and squeals at lightning pace between modern metallic riffage ranging a broader spectrum of grooves and styles that come into play between the colorful chaos.

Initially I felt the clean vocals were a little unnecessary, but after countless plays they have crafted some of the records best moments with LaPlante's best coming from her strong harmonious leads. My excitement for this record still hasn't died down after many listens and I have very little to criticize. This was a refreshing metal record of the "Math Metal" variety that doesn't let up, however the production despite being a modern craft of audacity doesn't quite sparkle as much as some other records Ive heard this year. A big surprise and if they can improve on this record then the future is very bright for them. This has definitely left me in anticipation of the next release.

Rating: 8/10

Ghost "Meliora" (2015)

Ghost have been one of the most impressive Metal bands I've heard in a long time and I'm not alone with this opinion. Critics and fans alike have been praising this band since there debut "Opus Eponymous" and the band has rapidly been growing their fan base and praise with striking stage theatrics and music to match. I discovered them not long before the release of their second "Infestissumam" and this new record "Meliora" has been my most anticipated record for some time.

Defining Ghost's sound with words may be relatively easy but you have to hear it for yourself to understand the level of execution these musicians are putting into their art. Side stepping from the atypical progression of Metal music Ghost pull influences from the earlier era's of Heavy Metal and satanic themes in music with a tasteful re-imagining of ideas portrayed by extreme bands of that era. There's hints of Doom Metal, Psychedelic and Hard Rock, even Progressive Rock at times and it all comes together with a focused vision of dark, satanic worship in the form of bright melodies and lush, inoffensive instrumentation. Further playing into the twisted vision the band remain anonymous as "Nameless Ghouls" and their singer "Papa Emeritus III" replacing the former with each record. The anonymity wasn't of much interest to me, however it is speculated that the Swedes are a "super-group" of sorts.

Meliora is a gorgeous sounding record that finds the group playing down some of the metallic, riff oriented elements of their sound in favor of melodies and instrumentation that will have you watering at the mouth. The production captures these instruments with color, clarity and a chemistry that lets the harmonies between instruments spread like butter. Behind the glorious aesthetics the familiar theme of satanic worship is dressed up and delivered through Papa Emeritus soft persuasive voice, often subtle and suggestive with his lyrics he delivers hooks and passionate sing along lyrics with an evil subversive undertone that gets stuck in the mind.

The instrumentation is the bands most diverse, ambitious and on point so far. Across the ten songs they hit a remarkable range of ideas, themes and variety that can be heard through a thicker range of sounds, from sparkling acoustic guitars to the luminous pianos, enchanted choral vocals and eerie organs, everything has its moment in the spotlight. The lead guitar rips dazzling solo's that let Progressive influences blaze the trail on "Mummy Dust" with an almost synthetic quality. The drumming marches along with the flow of the tracks and punches a lot of pedal kicks and cymbals together to mark the rhythmical hits in the notation. Even the bass guitar gets its moments to show off its snarling raw texture as it bounces and grooves with the lighter guitar distortions utilized.

The record flows from start to end without a dull moment, and although there may be some tracks a little more favorable, it will vary from person to person as every track has wonderful vision and execution. "He Is" was undoubtedly my favorite, an spirited worship song fitting for traditional christian song if it wasn't for the lyrics, on this track its Ghost at their absolute best and there's little this record could of done to be better, however I think we are still yet to see the best of this band who are quite simply killing it right now. Can't wait to see them live again, and already I'm excited for what the next record will bring, but far from done with this gem.

Favorite Track: He Is

Rating: 8/10

Adrian Von Ziegler "Vagabond" (2013)

Looking for the next record of Adrian Von Ziegler's to spin, I noticed "Vagabond" had a similar format to our recent enjoyment "Wanderer". Four tracks, each twenty minutes in length, this was another seasonally themed ambiance of indulgence mixing gentle scores with the winds, chirping of birds and even the waters washing up on the shoreline. Where "Wanderer" charmed with its balance of environmental ambiance and passing melodies, "Vagabond" find a much more direct approach with a stronger presences from the stringed instruments that give the record a symphonic vibe.

"Winter Breath" is the most striking song, a deep howling wind paints the night black, lead by echoing xylophones as the sounds of frozen caves and landscapes glisten in the spooky quiet beyond the twilight. It steadily builds into big theatrics with strings, choir aahs and dramatic leads that intensify gently before unraveling back into the snowy, dusk bound track led by the winds.

The other three tracks are not quite as impressive, however "Autumn Forest" has some big Celtic folk leads that feel as if they have been cherry picked from traditional folk songs. They come to dance in between quite moments which is what all the songs do here, drift between calm and climactic moments, intensifying in depth and volume. Its a great ambient record, but one that's more demanding of your attention than "Wanderer". Both make for great choices when in the particular mood.

Favorite Song: Winter Breath

Rating: 6/10

B.G. "Chopper City In The Ghetto" (1999)

Being a longtime big fan of West and East coast Hip Hop I've recently taken an interest in the southern scene which flourished in the late 90s through record labels like No Limit Records and Cash Money. "Outkast", "Killer Mike" and "Master P" have been great discoveries but I've struggled to find much beyond them that's appealed to me and learning about Cash Money and their history I was brought to this record, Chopper City In The Ghetto. The album cover stood out to me as being one of the better, and most atypical of the trend of that time created by Pen & Pixel Graphics. Now looking horribly dated this first wave of photoshop overkill had a lot of gnarly over effected microsoft word fonts and stitched together images, however this one strikes a fair balance and holds up well, but lets talk about the music.

My first impression of this record has held up play after play, this is a solid collection of instrumentals with a distinct style that has B.G's softer rapping presence accompanying them. Initially I felt B.G was tame, inoffensive and calm but quickly I saw this in a good light. His raps are delivered steady, with a soft tone and controlled energy that comes across as borderline spoken. As the lines, verses and hooks become familiar the subtitles come across as his raps hold up time and time again. There's a lot of street talk, bling bling and boasting and it lacks a meaningful depth at times but that's far from what its about. It enjoyable, fun and easy on the mind. There's an absence of technicality and "wow" moments the occasional overuse of one worded rhymes and over simplistic lines e.g "I go for a walk past the chalk, give me the fork for the pork" but B.G can write a hook and deliver it and his style is enough to make this record work.

The chemistry between beats and rhymes is on point, however the instrumentals get the merit with focused and consistent production from Mannie Fresh who delivers 67 minutes of balanced numbers that bring a distinct mood reminiscent of an espionage, undercover spy vibe to many of the tracks, "Play'n It Raw" reminding me of Goldeneye from Nintendo 64. The compositions show their strength through instruments that sound both dated and fantastic, reminding one techniques and limitation not heard so much anymore. The drum machines are cut hard with rigid kicks and snappy snares that lack reverb or any volume variation yet sound terrific. The accompanying midi controlled instruments, bass, synth, ghetto whistles and plucked leads are on the minimalist side with simplistic, to the point melodies that balance varying degrees of complexity (within simplicity) across a spread of sounds that quietly add up to crafted tunes with depth and a fair use of rhythmic instrument hits (Bling bling) to tie the instruments to the core rhythm.

I'm still very much enjoying this record and will continue too, the features of Big Tymers, Turk and Juvenile is warming me up to more southern artists, especially Lil Wayne who I formerly had a negative opinion of thanks to buying into the "Hes not real Hip Hop" comment's on Youtube video, without checking him out for myself. He's fantastic on this record on features on my favorite song "Niggaz In Trouble" which has an interesting song structure that flips between a bi-polarizing southern hitter and a oldskool rhythmic groove. As the album stretches on I personal enjoy the final tracks more and this one also features the classic "Bling Bling" song. Great record, very happy I found it.

 Favorite Songs: Trigga Play, Play'n It Raw, With Tha B.G, Knock Out, Real Niggaz, Dog Ass, Cash Money Roll, Niggaz In Trouble, Hard Times, Uptown My Home

Rating: 8/10

N.W.A "Straight Outta Compton" (1988)

Just about everything that can be said about this records immense impact on Rap and music has already been said. It set Hip Hop on a new path, put the west on the map and delivered us the phenomenal talents of "Dr. Dre" and "Ice Cube" while forcing Gangster Rap and reality raps into the mainstream. If you have never heard of this record you need to do yourself a favor and read about it, listen and love it. Along with Metallica's "Ride The Lightning" I found this record through VH1 at around thirteen years old and it forever changed my outlook and music direction, so for this blog I thought Id focus on how this record impacted me as a person.

Being a relatively angry and frustrated young person I was initially attracted to the aggression and attitude on display, but as I learned the words the message sunk in quick and I found myself envisioning a reality I would of otherwise never know about. The lyrics depicted the American ghettos riddled with poverty, gangs, police brutality and drug problems. It opened my eyes to reality, I had a fortunate upbringing and I was understanding that the world was a big place with many problems. "Fuck Tha Police" was the song that really blew my mind, I had never heard such anti-authoritarian anger and it taught me to question what the police were and to challenge what was wrong and right in the eyes of the law. From that point on I always gave second thought to my assumptions and it set me on a path to be an open and accepting person who looks for tolerance and compassion over prejudice and judgement.
 

I've never grown tired of this record, there's a ferocious energy of anger and rebellion that always comes across and Dre's beats are still rocking today despite some obviously dated aesthetics the core compositions are fantastic, breaking out of the mold thanks to Dre's attentive ear for sampling music. Its him and Cube that make the record for me, MC Ren holds is own and drops some great raps but its Cube lyrics, also ghost writing for Eazy and Dre, and tireless flow that delivers line after line of Hip Hop's most memorable verses. He's raw and unfiltered, and with time developed his word play, flow and delivery but he could never top the impact and relevance of his rhymes on Straight Outta Compton.

I always felt the best of the record was found on the first three tracks and "Express Yourself", although the rest of the record doesn't fire quite with the same intensity its practically impossible to write thirteen tracks of "Fuck Tha Police" but the reality is they overshadow the rest of the record that's full to the brim of unfiltered reality raps and story's not for the faint of heart. Its hard hitting substance of tough times and reckless attitudes that take it all the way to the final track before Dre and Yella's throw back to their DJing days. Its a classic, one that had a profound personal influence on me and if you've never heard it before you should do yourself a favor.

Favorite Tracks: Straight Outta Compton, Fuck Tha Police, Gangsta Gangsta, If It Ain't Ruff, Parental Discretion Is Advised, Express Yourself
Rating: 10/10

Anthemon "Kadavreski" (2005)

A while back I picked out "Dystopia", an all time favorite record of mine, to cover here on the blog. It occurred to me that Id never given their other records much attention. I picked out the follow up record, and subsequently their last, to listen too. It has a very familiar pallet with similar tones, the acoustic and distortion guitars, the operatic vocals and a wall of symphony through the electronics all feel very much of the same page, the only difference are some rougher guttural growls on the opener.

Consisting of four tracks the record opens up with an ambitious 23 minute piece that develops from a majestic traveler into a dark and hasty aggressor accompanied by vicious growls and hammering snare drums as the track unravels back and forth between somber acoustics and doom drenched crawlers crying out unsettled melodies over thick, symphonic chords plastered in distortion guitar. The progression is ever shifting in direction like schizophrenia, as if fighting between different parallels. At around fifteen minutes the song breaks its form with a lush, dreamy laden of piano sweeping in fast flowing, gorgeous form before confining itself to a simple melody that sets a tone for the final part of the track that fails to make sense, or climax the song with any meaning.

The lack of direction or cohesion gives this one an unusual taste, despite being a little erratic and shifting, whatever is taking place sounds great for the most part. The group deliver a similar taste of melody and mood to the predecessor, but not the song structure and emotional narrative. The following songs feel second fiddle to the colossal opener and feel easier to digest and understand in their small length, despite continual shifting mood, melody and tempo that turns in a heart beat. The final track "Weight Of The Feather" has the simplest of song structures present and from the mid point draws the record to a close with a big crunchy riff chugged over and over as the growing magnitude of symphony is cut short by the strike of a gong.

"Kadavreski" is a confusing record, one that's hard to form an opinion on. Its ambitious opener doesn't sit right with the other three songs and they all shift and turn a little to fast to follow. That being said at all times the record provides a lush dense wall of swallowing sound to get lost in, with moody brooding melodies leading the way.

Rating: 6/10

Public Service Broadcasting "Inform Educate Entertain" (2013)

 Thanks to Brady and his Youtube channel Objectivity I was introduced to this fantastic musical project that takes stock audio from national archives and uses it alongside instrumentals to create a retrospective peak into the past using music to guide the mood and narratives of times gone by. Behind the name are two English musicians, Willgoose and Wrigglesworth who have been playing together for five years now and have released an EP and two full lengths, of which this was their first.

An interesting observation to make clear from the get go is that nothing here feels "nostalgic". In the same way Kraftwerk envisioned aspects of society both in the past and future, PSB feels like it "takes you there" more than it does remember it. The electronic leads, dense atmospheric synths and brooding indie guitars build up rocking atmospheres dripped with developing leads that continually grow and interchange with one another in a big layered sound that balances its density carefully.

Each song revolves around a set of samples the instrumentals correlate with. For example "Signal 30" is the records most "aggressive" sound with big distortion indie leads taking charge of the track, strumming out burgeoning riffs while archive samples play out sounds of cars crashing and an aggressive chap who's annoyed at a motorist. It may not be the best example but the chemistry between the two works on every track. Despite this the instrumentals could easily stand on their own.

The record has fantastic production. Each track may start with a few gentler shades of sound, but quickly the melodies and layers build up and a flood of sound heads towards the listener, peaking the songs in the big moments that often end the songs. The initial attraction to this project was its concept, but the writing and composition has revealed itself to have much class and depth that can be enjoyed without the samples context. A strong record that will continue to grow on me I'm sure.

Favorite Songs: Inform - Educate - Entertain, Night Mail, Everest

Rating: 7/10

Commissioner "What Is Commissioner" (2011)

What is Commissioner? That's a reasonable question to ask, but unfortunately the answer is far from. Commissioner is a noisy hash of genre crossing ideas that could of had some chemistry if it wasn't for a horrid execution and lack of emotion. I found this record when researching Suicide Silence's "You Can't Stop Me" record released last year. It was their first without singer Mitch Lurker who participated in this project before his death in 2012. The project is a collaboration with California based producer "Big Chocolate", the man behind "Disfiguring The Goddess" and you can hear a lot of that blunt force trauma vocal production style on this short record.

In an attempt to crossover Deathcore and Dubstep the two create a sour lifeless curdling of blistering noise that lacks any excitement. A continual barrage of wordless, deafening screams play out over a colorless mix of electronics and guitars. The slightly djenty, tonal guitar bludgeons chord after chord without a grain of groove or feeling. The electronics batter away with ugly, awkward textures and alien, industrial noises that are often very unbalanced in the mix and have uninteresting wobbles and noises screeching over what little is going on in the background. Theres a lot of harsh chopping and glitching sounds thrown in too the already clustered and aimless songs, further dispelling any signs of music.

It's truly been an awful listening experience, of the few times I could bare to stomach this record I found nothing in these lifeless noise abuse tracks. On paper a lot of whats going on could work, however the execution seem to suck out all feeling. The heavy guitars could of easily added in a little groove and mosh, but the breakdowns where beyond lackluster and everything about this record just reeked. Its hard to be so critical but there was truly nothing to take away from this experience.

Rating: 0/10

Chelsea Wolfe "Abyss" (2015)

Discovering the music of American singer Chelsea Wolfe last year through her previous record "Pain Is Beauty" was a breath of fresh air. Another reminder that there seems to be an endless source of sound out their that can reach you in many different ways. Chelsea's cold, bleak and shadowy music plays off her sweet somber voice like a spirit calling out from dark and on "Abyss" she takes a big step thematically and musically into her darkest sound yet. Accompanied by several members of Russian Circles the album takes the big roaring Post-Metal sound the band play to new territory with monstrous guitar work plunging us into the abyss.

What I previously liked most about Chelsea's music was the juxtaposition between the brighter melodies and the dark, gloomy tones that played off one another. Abyss is stripped bare of anything uplifting and plunges deep into a wallowing despair of darkness as the Post-Metal apocalypse broods sludgy, gritty riffs of ambiguous noise under a rattling kit and Chelsea's lonely cries. Its a hefty, atmospheric sound, but one that wasn't quite as enthralling as its ambition. The riffage falls savage to its textural ambitions and doesn't make anything memorable with the notations.

This is much the tale of the first half of the record and with "After The Fall" the album picks up with a distinct shift in direction as the distortion guitars drop from the focal point. This second half has a lot more melody and driving moments that still focus on an unforgiving despair. "Crazy Love" utilizes a haunting string section that cascades and descends with a tone of horror and evil under Chelsea's soft vocal inflections. Across the album she reveals the dark and tormenting experiencing of the sleep paralysis she suffers from, which a part of this album deals with and contributes to its haunting theme as she shares with us the frozen wakeful state of shadowy figures and being trapped in oneself.

Abyss is an ambitious and focused effort that I cannot criticize, the production works together monstrous distortion and bleak sounds with a clarity that avoids feeling sterile and the music its captured has its direction but for the most part this particular strand of dark isn't as immersible for me as I would of liked. What I like most about her music is that chemistry where the darker sounds smother the brighter melodies within and the first half of the record was devoid of any of that. I'm hoping its just something I'm not in the mood for right now, as I can hear whats great about this one, but right now it hasn't clicked.

Favorite Tracks: After The Fall, Crazy Love, Simple Death

 Rating: 5/10

Birocratic "Beets 2" (2013)

Following up on the first "Beets" record I got exactly what I was hoping for. The first was short, too reminiscent of Nujabes and showed a spark of a unique sound which has blossomed on this record. NYC producer Biro has put together a second, short, installment of instrumentals clocking in at just seventeen minutes. "Frontusis" and "Ergo" two lush, melodic, sleepy Jazz Hop numbers that are decent but once again emulate the Nujabes style to the point of deception. They are great instrumentals, but the other six tracks all follow Biro's unique sound and further experiment with the vocal chops that made his tracks stand out on the first record.

Putting the best first, the record kicks off with two unforgettable beats, "Since You've Asked" flirts dangerously with compression as the baseline, kicks and vocal samples compete for volume, pushing one another back and forth, poised in an entrancing manor. Between the beat and bass two female vocal lines harmonize and play off one another as Biro chops and churns the lead vocals to end the audible lyrics with half cut words that play a charming melody with a quite genius touch to it. "Prismatic" follows with an upbeat moving track full of groove and jive with a zany melodic lead that hits hard like a hook. The song eventually breaks to a smooth, phased vocal cut that build the atmosphere up for one final kick of the zany lead before a seamless u-turn transition leads into "Round 1".

With the other tracks on this record Biro demonstrates more of his unique chemistry for matching chopped up vocals and samples. On "Herocratic" we get a taste of a break composed of chopped piano and synth to craft a new tune that sounds like a straight cut on first listen. These strengths are blossoming and Biro is showing much promise, the production was tight and consistent for a short collection of instrumentals showcasing his talent. Beets 3 is out, its longer and I'm now rather excited to hear what it has to offer!

Favorite Tracks: Since You've Asked, Prismatic, You Were

Rating: 5/10

Wayne Shorter "Speak No Evil" (1965)

 American Jazz saxophonist Wayne Shorter may not be as well remembered today but hes one of the music scenes most acclaimed with an astonishing ten Grammy's in his belt. Hes been at it since 59 and is still making records today with releases spanning a whooping seven decades. "Speak No Evil" is his sixth release and one of four in the year of 65. Seeking another Jazz record to enjoy, this comes from the recently discovered list of "Jazz Classics".

It starts of as a harder hitting album with an ambitious, striking saxophone singing out hooks over mellow, laid back piano and drums before delving into a typically improvisational avenue that lets the saxophone take lead with a variety of scales, usually drifting between flat and conventional melodies. Its atmospheric, chilled out but fairly uneventful. The album takes a while to get going with the title track brightening the mood with orchestrated leads that brings the piano to the forefront with the two dancing around one another in tandem in the songs opening construct. The last two tracks really pick up for me with milder moods and slow, steady leads that are much more telling than the first half. When coming at a steadier pace the words and feelings are in the saxophones voice. There's much sadness and sorrow in "Infant Eyes" with an observant tone, as if caught in the aftermath of tragedy with acceptance in mind.

Much of Jazz is hard for me to put into words. I enjoy it, as much as I enjoy whats mysterious and distant about it, the free flowing drums and soothing nature of their relation with the pianos create a pleasurable canvas for a lead to glide and pale through on its own accord but somewhere in that chemistry I feel rather at the mercy of my own ignorance. Despite listening to a lot of Jazz in recent years and very much enjoying the vibe it brings, I struggle to find the words as I did with this one and as I'm sure i will with another Ive been listening to frequently. Enjoyable record with a few "go to" tracks for that particular mood.

Favorite Tracks: Speak No Evil, Infant Eyes, Wild Flower

Rating: 6/10