Tuesday, 25 June 2019

Mare Cognitum "Phobos Monolith" (2014)

It was once the experience of a music lover to flick through crates of vinyl sleeves in a dusty record store, looking for something to land your attention and empty your wallet. In the digital age it is Bandcamp alone that has managed to recreate that market place feeling and so easily am I sucked in to browsing binges. If this illustrious artwork and the promise of "Cosmic Black Metal" isn't enough to lure me in then abandon awaits thee. Fortunately this music matches the class of this modern Black Metal act, a one man band from Portland Oregon. Its got all the shades of Progressive, Post and Shoegaze, not wondering far from the American blueprint, culminating in a sweet experience of darkly voyages into the symphonic abyss.

Two of its four tracks reside more so in the traditional lane. Entropic Hallucinations opens up with a devilish, infesting blast beat and snaky grinding guitar riff played with an allure aided from a sweep effect cruising past its hurtling rhythm like icy winds. Ephemeral Eternities, being the other, also has cunning execution of blast beats with rapid tom drum fire. Going through progressive structures that "follows ones nose" so to speak, they embark on arrangements of tremolo riffs, maniacal drumming and screams both guttural and shrill that check all the boxes of familiarity with inklings of particular bands as influences on this flavorful journey of scale.

The records production to be merited. Phobos Monolith for all its extremities is masterfully mixed to make cushioned and warm tones of all its instruments. They reside within reverberated spaces to amplify its cosmic, astral leaning in theme. The song writing is also champion, it can lock in your attention for fifty minutes as these songs twist, wind, soar and scale. Album opener Weaving The Thread Of Transcendence take a prize for the most progressive track, starting from mysterious embers it stokes a flame that turns into a roaring fire of color as the song blossoms with bright guitar leads and plundering unions with a hurtling momentum stoked by the drumming.

Noumenon rocks the shoegazing strand strongly on a warm and colorful track that almost sways into Alcest territory if it wasn't for snarling, viscous screams anchoring it to darkness. As mentioned before this record has many flavors and they come together sweetly. A very solid record, perhaps just shy of greatness, missing something exceptional. Its foundation is bedrock but never quite exceeds itself. Very impressive, I will be back to check out more of this band soon!

Friday, 21 June 2019

Future "Save Me" (2019)

The self titled Future was a fun record. I found it in the perfect mood for some fun Trap flavor. Fancying some more I went for this new EP but the seven track Save Me offers isn't quite that. Future experiments with a new direction while still operating within the Trap and Mumble Rap circle. The Atlanta rapper brings a host of producers onboard to create a sound very much following in the footsteps of Travis Scott. The result is hit and miss, mostly miss, on the production front. Future's braggadocio and excessively slurred and stylized wording leaves much to be desired but generally amplifies the beats that don't land as well with shallow lyrics. There is a loose theme of drug abuse and mental health but it drops off after the opening track, resurfacing vaguely in spots.

There is a lot of glossy reverb, auto tune and voicing at work. It has a soft Ethereal edge with its indulgent tone but can barely escape the grasp of its influences. Many bursts of vocal groans and discernible auto tune inflections reek of Rodeo, even arrangements and constructs have a uncanny blueprint. A merit is found with Shotgun, a poppy sung vocal hook reigns in the airy atmosphere at work. Its sunny, uplifting but with a belly of melancholy. Very catchy but little else of the record finds this chemistry and with a lack of engaging lyricism the Trap and Mumble tropes end up being rather irritating. Unfortunately its mostly forgettable.

Favorite Track: Shotgun
Rating: 3/10

Wednesday, 19 June 2019

Living Colour "Stain" (1993)

I may just close the book on this particular musical avenue. A staleness is setting in from a band in steady decline. Their sparkling debut Vivid was quite the experience but since then the re-arranging of influences isn't landing anywhere significant. This time around a tonal rawness and Industrial edge are introduced. Its crass production takes a step back again, the guitar tone has a loose, gritty tone, fit for Thrash and Hardcore riffs but lacking glue. Its on a separate plane from the bass guitar and the musical aesthetic has a sparseness Glover barely holds together with his singing.

His presence is warm in tone, smooth in delivery but the lyrics are handled bluntly. Ideals and topics are persuaded through plain language that sounds so of the time and frankly dated. Its socially and political oriented as you'd expect and the themes range from wealth guilt to sexuality and all of them are expressed with little room for reflection. Essentially I am listing points where this record doesn't resonate. Nothing here is truly awful but the record passes without any attention grabbing moments.

Vernon Reid does get to flash off his advantageous guitaring ability with wild, erupting, dazzling solos however they arise from mediocrity which dampens the impact. There is actually a fair arsenal of thrash and groove riffs in the mix but something in albums raw aesthetic dispels any magic. Auslander is a good example of a track set to bang. Its got a driving Industrial backbone and rowdy baseline yet the two don't gel and the song drifts into a monotone, lifeless drone that chops and churns its way by.

Leave It Alone is about the only song that really has something going for. The rest just gets by on a limb, then Wtff arrives with a turn table break beat jam and the record drops of completely for the remaining few songs. Its a strange record because its loaded with good riffs and interesting elements but none of it fuses and the whole thing is left stiff and stale. Its disappointing but not awful, worth a spin but no more.

Favorite Track: Leave It Alone
Rating: 4/10

Tuesday, 18 June 2019

Annotations Of An Autopsy "World Of Sludge" (2019)

Annotations Of An Autopsy... here is a band Id not thought of in some time! They were once the brief obsession of my friendship group back in the boom era of the emerging Deathcore music scene. It was mostly their utterly vile and misogynist lyrics that would grab attention. The music was equally disgusting, an ugly cesspit of pig squeals, Sludge, Death Metal and Slam that doesn't hold up well over a decade later.

I was initially excited upon seeing news of their return with a short five track EP. For some reason I thought the absense might yield a new matured perspective on their former "brutality". Unfortunately its as if they have been kept on ice, unleashing new music almost ignorant to anything that has happened in Extreme Metal over the last ten years. Even clocking in at under twenty minutes its an utter grind to endure.

This is mostly down to one element, the vocals. The instrumentals are competent in performance, dulled in creativity. Its a typical cramming of guitar chugs, snaky tremolo melodies and slam grooves, recycling the same stomp over and over. They chop up the drum measures to shift the pace and create plenty of alternating bounces and slams. None of the five tracks reach anything significant. Even the obvious "big moments" of the track seem to muster little more than a reiteration of the song so far.

At the musics forefront vocalist Regan throws out some meaty guttural shouts with gritty texture but this is where things slip up. His utterly wretched pig squeals sound like a joke. These squeals resemble a squawking crow being strangled to death. They are high pitched, ridiculous, shrill and irritating. Its hard to take seriously and the utterly valueless and immature lyrics drag it further into the gutter. It really dispels what little atmosphere is being mustered and puts a downer on the whole thing.

Rating: 2/10

Monday, 17 June 2019

My Weekend At Download Festival 2019

Going for both Saturday and Sunday this year I had some miraculous fortune being in the right places at the right time to miss out on the rain. There was no avoiding the mud though! Not a lick of grass insight, the arena was a mud bath but I got through it and had a fantastic time. Once again the festival delivers on a magic I manage to convince myself is going to run out as the years roll and this year was no exception, the headliners really delivered something special. This year I thought I'd right about the highlights, good and bad, despite catching many more acts over the two days!

Power Trip
I saw this band not so long ago opening for Napalm Death in a small club and they blew me away with their 80s Slayer-alike Thrash Metal. It was great to know they could grab the attention of the festival organizers but a main stage slot was unexpected however given what a mighty show they put on it is no surprise. There strong songwriting for a tried and tested formula really matched the crowd and the probably won over a lot of new fans with an explosive show!

It was my first time catching the Devilish legends Behemoth, their music was a strange translation to summer sunny skies on the main stage but impressive costume design and stage makeup made it work. The performance was engaging and tearing through some strong at utterly dark songs they really made quite the impression as a band I need to get more familiar with!

The Hu
 There was no way I was missing the opertunity to see a Mongolian Metal band! Squeezing into a rammed tent the crowd was electrified to see a really unique and almost drone like vibe emerge from the fusion of Metal and native Mongolian instruments. It went by in a flash! I had checked them out before but this live show really helped bridge a gap in their music.

Making their way onto my highlights list for all the wrong reasons. Russian Orthodoxy inspired Batushka had me dead excited for their notorious live show, however taking an age to to set up an elaborate stage of era furnishings and ornaments, their slow arrival to the stage became a drag. Going through some sort of slow candle lighting ceremony they took far to long, overplayed their set time and took more than five minutes between the three songs they churned though doing dull rituals of candle lighting and blessing books. It was a sham and they angered a lot of fans with the poor execution of their show. It did not translate to festival restraints.

Die Antwood
 Hear the booming bass from the Tent where Batushka were dampening spirits I was dead excited to catch the quirky South African Rave Rap duo! Unfortunately I only caught the trail end of their set however it was an absolute riot! The sound system was blaring and their energy on the stage was phenomenal. I couldn't help but move. Its really nice to have something break the flow of similar music being played around the festival. Would have loved to have seen more of it, shame about set overrun but these things happen.

 Prior to the show I had been feeling a little hesitant with Joey and now Fenn's departure. It was however a dynamite show from a band who seemed focused on giving us the absolute best. Corey Taylor was pitch perfect and ten years on from one of the greatest shows Id ever seen, the Knot proved they still have it! It was very emotional, strong memories of my social groups bonding over this band in our youth and that feeling of freedom when your inside the song, inside the moment, free of life's burdens. Only a few bands can do that and Slipknot is one of them, with deep cuts like Get This and Scissors it felt truly special.

Cane Hill
 With delays for fans entering the arena Cane Hill has to kick off Sunday to a small crowd however they gave it their all and a being at the front one could get a better appreciation of guitarists unique playing style and use of effects. As a band they have obvious influences from Korn and Nu-Metal however it made clear that they are bringing their own style and it rocked hard!

 Ive been waiting a fair few years for my opportunity to catch Alcest and they did not disappoint! Their serine music translated beautifully to the intimacy of the small stage and their enchanting singing was captivating. The sound was impeccable and these songs came to life on the stage! Wonderful set.

 Ive never gotten that deep into this Deathcore band however of the times I have seen them they have always been killer. Clearly oversold on the smallest stage, a rammed audience squeezed in and despite being at the back, barely able to see the stage the sound was impeccable. Their trio of baritone guitars were crushing and they soared through a brutal set of tracks. Perhaps this is an advantage of listening from next to the sound desk!

Smashing Pumpkins
 They feel somewhat like a recent discovery for me. Its always 90s bands that seem to get to my heart and I would have been thrilled for this show had I not seen them earlier in the year. It seems they are good friends with Amalie Bruun of Myrkur. They brought her out to do a Black Sabbath cover together which has a special atmosphere to it. Their show was reasonable, amazing set design but It feels like they have ambled through the last fifteen years missing out on the opertunity to establish themselves as a headline act. Billy's stage presence is left to be desired between songs but the performances themselves were fantastic.

Its farewell to the legendary Slayer from this side of the pond. I would of loved to see the whole show but the beginning was absolute fire and ever over thirty years into it they can still pull of their songs with a manic intensity. Tom sounded fierce and the live show is certainly not the reason they are calling it curtains. There was a huge fan turn out for the legends but I had to leave early to get my spot for Tool.

They have been my band of choice to "get into" this year. Many, many hours churning through their discography, which seemed so difficult to get at first. Having got through every record I made the drive north listening to Tool and really starting to connect with the music in anticipation. Live music always has this magic and I shouldn't of been surprised to have it unleashed again. At first the show felt a little underwhelming, no cameras on the band and nothing but trippy visuals plastered across the big screens. It didn't take long for me to realize how much the band wanted the show to be about the music. Their flawless executions of dense and difficult music became a beacon of light and all of a sudden I felt that "strangeness" around their music disappear. It made complete sense, I was converted to a die hard fan and blasted nothing but Tool on the late drive home too. An utterly amazing show to end the weekend on.

Friday, 14 June 2019

Windows96 "One Hundred Mornings" (2018)

I've always maintained a key interest in Vapourwave, the Internet's own truly international and border-less music scene. The unfortunate problem is quality. This is a genre plagued by low effort releases, often hinged around pitch shifted and time stretched re-sampling. It makes discovery hard but luckily Ive found this Brazilian musician who operates under the Windows96 pseudonym. They have the theming and aesthetics down and I'm happy to report the music is there too!

One Hundred Mornings gets off to a reasonable start with slightly off kilt drum arrangements and quirky synth tones taking up most of the focus. It builds atmosphere and steadily lures one into its particular vibe, a mesh of nostalgia tones and childish wonder. Its kitsch snippets of obscure cartoon sounds bouncing of the multiple layers of resonant synths has it start with its magic muffled somewhat.

As the song Visions I kicks in, the samples draw back and a lead instrument whirls around, dancing in the winds above its clunky drum groove and blocky baseline. Its here that the record gets into a stride, unleashing inspiring melodies and swelling with emotions. Its wobbly keyboards and murky low fidelity tricks find a warm cohesion where the aesthetic and music really start to compliment one another.

The pivot feels somewhat inspired by 80s Synthpop, the chord arrangements and notations of Bliss seeming almost like a Tears For Fears song re imagined through a new set of sounds. Its a very enjoyable record, warm uplifting mellow moods through the lens of nostalgia play, acting as if it resides in a infatuated past. The off kilt and sample oriented components don't hit home as hard but when the real musical composition comes through it shines bright in these lovely surges of swooning melody.

Favorite Tracks: Visions I, Bliss, Rituals
Rating: 7/10

Thursday, 13 June 2019

Hunt The Dinosaur "Dankosaurus" (2019)

Ive been anticipating this one and boy has it delivered! My recent discovery of this comical Extreme Metal outfit through youtube led me to their reasonable self titled EP. Five years on the group flourish on their promise with a refined approach to the music that is both fun, brutal, ridiculous and absurd. Their sound is a monstrosity in itself, a post-Deathcore Djent hybrid focused on unhinged and unconventional grooves, subverting expectations and further abstracting already outlandish ideas.

Its utterly ridiculous lyricism extends into the music as many Djent riffing styles and Deathcore Breakdowns are blown out of proportion to an amusing degree of delight. Its a well produced album with utterly slamming low end guitar texture and crisp punching drums that rock ear bleeding riffs alongside the mammoth screams and guttural howls. Its ultra slick union signifies a real intent to push these ideas further down the gutter and its fair to say they pull it off with an absolute roaring flair.

Vocalist Hunter Madison's raspy scream raps are an utter delight, totally deranged and unique, he sounds dangerously manic, unleashing throaty raps that hurl themselves at the listener. Its a textural treat of aesthetic and rapid flow but lyrically its a bankrupt self indulgence of excesses expressed through blunt and filthy language that has me thinking he may just be deadly serious at time. The record kicks off holding back the rap aspect and as the songs roll on we get more and more of it.

The instrumentals don't budge from the brutal formula. Sporadic use of screeching guitar noise and jarring electronics keep it flavorful and exciting but Hunter's rhymes seem to come across more and more like a mumble rapper words. Simplistic lyricism and excessive vulgarity, drug abuse and misogyny dominate the songs in the back end. As a comical parody they are amusing but as a serious earnest expression its somewhat foul. Despite that one hiccup based on my personal preference this is a solid debut from a band who are backing attention grabbing ideas with solid music.

Rating: 7/10

Monday, 10 June 2019

Arkhtinn "最初の災害" (2018)

Putting an end to their sequential roman numeral releases seems fitting as the French artist Arkhtinn dispels composition issues that often stunted the flow of the last few records. Its quite the feat to create fluid songs at twenty minutes of length and with this release we are treated to two full Metal tracks, the ambient half being ditched which is probably for the best given their mediocrity. The Japanese title translates "First Disaster" of which the two tracks are first and second. Its another plunge into the depths of darkness, hurtling through the nothingness on a roller coaster of intensity.

Once again the production advances with a crisper tone but one that is notably sharp and angular. I never felt like I quite adjusted to it and the muddiness that emerges in the wall of sound. It is however perfectly capable of birthing the cold astral void the music roars from beyond. Its main vocal component is a wretched howling shriek mixed slightly above the over instruments. Its cutting, a little grating, just two things that jerk the ears in an otherwise excellent musical experience. Both songs tend to elongate the process, where VI blitzed through its riffs and arrangements these two tracks stretch them out and pace the progression leading to many satisfying out bursts of conclusion after the intense pummeling. It should be said though this works far better as background music. When giving it your soul focus the cycling of sections can go on for minutes and the intense blast beats and guitar shredding feels like a drone.

That is mostly true of the first song though. On the second I only recall two moments of the Darkspace chug guitars stomping into the fold. It actually feels rather welcome after twenty five minutes of relentless fire. Its this song that has more experimental wonder to it. The glistening astral synths get to peak through a little more and some "evil riff" guitar work reminds me fondly of Puritanical Euphoric Misanthropia in places as it breaks up the blast beats and give the song some dynamism to its flow. The song has a greater range of peaks and really goes out on a high with its ascending cascading chord progressions in the final quarter. It is really this song along the makes the record special, the first pales in comparison. Can't wait to see whats next!

Favorite Track: 二番
Rating: 7/10

Sunday, 9 June 2019

Radiant Mind & Steve Roach "HelioSphere" (2019)

In need of indulgent ambiences and meditative music I turned to Steve Roach again, who has an large and extensive collection of records under his belt at now 64 years of age. Dreamtime Return had, excuse the pun, returned to my consciousness, setting a spiritual atmosphere for my yoga practice. Looking for a new flavor I picked out this collaboration with Radiant Mind. Eight tracks and sixty four minutes of calm and soothing, gentle streams of sound to evoke peace and reflection. Its all steady and linear, temporal music stripped of event and urgency. All chapters offer different pallets and arrangements of synths and reverberation conjuring safe and warm atmospheres that also feel a fraction of mystery as an astral component blesses the music. One can feel the stars graciously drifting by in the stillness it masters with its layers of yawning, hazy sound drifting in and out of focus, just a grasp away.

The seventh track takes a slight and welcome detour from this construct. Ironically similar to Yagya, who's new Stormur release I recently covered, it has a pulse from start to end, a subdued dub beat gently droning its monotone pulse through the spine of the song. It adds a little pace and movement to the track as a key instrument lingers around the attention it draws, coming in and out of focus like the breath. Like the other songs there is little progression to the sound design yet the beat gives it a sense of presences the others don't have. It stands in contrast but works in the overall run time which is less about a bigger picture and more about minutes in which to loose your thoughts to the persuasive calmness. Its a simple and effective formula executed well enough to reach that space and feeling of inner peace.

Rating: 6/10

Saturday, 8 June 2019

Old Tower "Finsterströmung" (2019)

From disappointment to delight, today we have a release Id been anticipating for some time. In the few days since its released Ive binged and enjoyed every moment of the mysterious and esoteric experience. It is the first new project from Old Tower this year and the second of the "grim alchemy trilogy"... Ill admit that made me chuckle for some time. The first chapter was Drachenblut and like it, three dark and meditative tracks are assembled for a short plunge into a conspiratorial loneliness of abandoned hallways and crumbling ruins where mischief lurks beyond the shadows.

There is a clearer sense of voicing than I remember, as the artist moves further away from the core styling of Dungeon Synth. Once again choral synths are woven in with deep reverberations and atmospheric vibrations. In the mix a monk like voice sounds lost in between layers of foggy sound on Saturn's Essence. It has a menacing pace as strikes of drums echoing from the deep create an unsettling presence lurking in the beyond, keeping one on edge. The following title track is my favorite, the construct is similar but a lighter tone dominates as bells and star like synth glisten with a dark magical energy. Given the trilogy name, it is this track I can most envision some musky robed magician hunched over a messy workbench of chemicals and jars of animal parts. Its not a striking image but it would suit the musics pallet.

Moonchamber sees out the short project on the most minimal of tracks. It builds slowly to the mid point where more voicing come into play as the monk returns. They are now cries from the depth lingering on a collapse into the darkness. The ambiguity here plays a fantastic roll in capturing a moment not fully immeresed in darkness and that is what I like most about Old Tower. How the evil in the music isn't overplayed, its used to explore a wider sense of mystery in darkness. This progression more towards Dark Ambient is fantastic and these three new songs are too, can't wait for the final chapter now!

Rating: 6/10

Friday, 7 June 2019

Yagya "Stormur" (2019)

Excitement and exception falls flat on its face as I rush to pick up a record without a pause to hear it first. Yagya has been a frequent "go to" for a particular mood, the steady pacing, ambient energy and dreamy atmospheres are blissful in the right setting, even calming. This time around the formula has changed, a pivot back towards roots in Dub, Techno and IDM music leaves us with a record more alike a Tangerine Dream album than Brian Eno. The opening couple of tracks have the distinctive soft and airy synths, cushioning the monotone beat and slowly melting into a dreamy atmosphere. It takes off where Sleepygirl left but not for long.

With each track the layer of warm and tranquil synths seem to slip out of focus as the underlying drive of Dub beats seem to become the main narrative. With an unhealthy amount of repetition the musics elongated moments seems to ploy around the microscopic details of the beat and its synths that latch closely. Inflection, tone and volume morphs and transmutes with the occasional kick removal offering up the only variety. Its at this point the songs drone on with that Tangerine Dream quality of winding meandering synths. Its dull, the record may possesses degrees of composure but its long strolls through winding beat manipulation suck out any magic it musters in brief moments. A real disappointment, not my cup of tea that is for sure.

Rating: 2/10

Thursday, 6 June 2019

Violet Cold "Magic Night" (2016)

Hailing from Azerbaijan and claiming to be an "AI simulated music project", this beautifully bleak and tranquil take on Atmospheric Black Metal doesn't gain any special quality from its claimed origins. The aesthetic no doubt is a work of human ear. The shrill tremolo guitar, gently cushioned by reverb, is mixed sweetly alongside deeply uplifting choral synths of awe and wonder. The drums push blast beats on occasion but mostly fall back on half paces with lots of pedal work, holding down a driving tempo for the synths and guitars to create a wash of astral, serene noise to indulge in. Accompanying pianos and glossy synthetic instruments cut through wall of buffering sound to add lead melodies and thematic progressions through rather minimal use of melody as the songs repeat many sections over and over.

Despite its highly repetitive nature and a lack of vocals to shape up passageways, its aesthetic construct is so luscious and intoxicating one will simply drift into the blissful existential beauty. Where does the AI come into this? I suspect that many melodies and drum patterns may have been generated through music tools and stitched together where appropriate. At its core this is very simple and repetitive music but its keen aesthetic design and concepts, like breaking up its wall of sound with piano, interludes keep the music interesting as that uplifting state is returned to after respites. For Amelie may be an exception, a classical piano piece reminding me of VNV Nation melodies and a hint of Chopin too, its hard to think of this song as composed by AI.

The record sustains this blissful construct throughout. Despite a lack of diversity in progression, its shifts in synth tone and varying assembly of the same formula work. The question for me now is how long does this hold up? And where do I find more? This has a similar tone to Saor and Kauan, it could even signal a sub-sub genre within Post-Black Metal. Superb record, almost meditative at times, toning back the aggression from the drums would probably serve it wells as its best passing moments are always on the half beats when the music mellows out and cruises along.

Favorite Tracks: Everything You Can Imagine Is Real, Sea, Silver Moon, Last Day On Earth
Rating: 7/10

Wednesday, 5 June 2019

Alice In Chains "Alice In Chains" (1995)

With a distinct shift in style from the likes of Dirt and Facelift, American Grunge and Metal outfit Alice In Chains throw a lot at the wall but little sticks. This self titled release has a clear artistic intention to not repeat themselves, however most of the differing ideas still feel experimental and without cohesion. Most of the music slips into a sludgier, gritty tone with a slow Doom Metal like tempo and atmosphere dominating the vibe. Its on these tracks like the opening Grind we hear a stylistic template that would stay with them to this day. The other half of songs unfortunately fall folly to this lack of glue in the experimentation as some ideas don't gel well.

Its Staley's last studio album with the band and he is somewhat subdued with a lack of those roaring hooks that would soar and sink into you like an infection. His voice is strong and capable but mostly matches the tone of these droning tracks. There are some clear experiments to reach new avenues with his singing, trying different inflections, Nothin' Song being a clear example of both lyric and execution feeling far from the grain. This also extends to Cantrell's riffing style too, mostly its temperate, slowed and washed out grooves creating slow sludgy grooves but these inflections of Country tang and Blues Rock feel off beat when they cut in suddenly.

There is a lot of good, slow moving and moody music here but the chemistry isn't ripe. If this were by another band I may have enjoyed it more however the bar had been set so high. There is also this linger feeling in the music that the band later nailed these sludgy concepts after finding DuVall. Its context given the year may yield it more significance in terms of originality but as we reach the end of this little revivalist journey I am left a little disappointed. It has its moments but at sixty five minutes you have to wade through lengthy songs winding around the main theme to find them.

Favorite Tracks: Brush Away, Head Creeps, God Am
Rating: 6/10

Sunday, 2 June 2019

My Friday At All Points East Festival

 It was Scarlord and Run The Jewels that lured me to Victoria Park for another day at a London Festival. Little did I know what an amazing day of music was awaiting for me among a handful of bands, mostly from the UK, that Id barely heard of before! Good weather and decent festival food made for a good outing that will have me picking up more records than I can listen to as per usual!

Arriving a little late for the opening act the day kicked off with a booming performance. Scarlxrd and his DJ have a crazy amount of energy on stage. The two went bonkers on stage, exhausting every drop of their youthful energy with wild antics. The DJ makes no mask of the fact he is simply hitting the play button most the time, leaving the decks to rock out with comical expression and a self aware humor that was enduring. Scar's scream raps were electrifying and the whole show felt like a bomb had gone off! I knew it would be special and it was.

Employed To Serve
 Tight UK Hardcore with a hint of Deathcore in the mix. These guys turned up and rocked out hard counter grooves, throw downs and slams with a fair degree of individuality. Not something to sweep you off your feet but they certainly put together a great show and kept the music rolling strong. Their new song Force Fed was killer!

Alice Glass
 With a brief listen on Youtube I thought I wouln't enjoy this so much but something about live music makes it easier to digest. Alice had a timid and lonely presence on stage that made mountains of sense to the tone of Her esoteric and ethereal take on noise, glitch and electronica. It had an engrossing atmosphere held firmly together by the driving beats of the drummer. Great show.

My engagement was a little subdued by chowing down on some hot food but standing at a distance I could really appreciate her voice. What initially seemed like fluffy Pop Rock turned out to have some subtlety diverse influences and quality composition that made for very enjoyable and inviting music with her voice being the main pull.

 Arriving a little late and looking for a spot in the shade to sit It didn't take long for IDLES to suck me in. Lead vocalist Joe Talbot grabs attention with his plain spoken style, deadpan sense of humor that sticks to his liberal political views that dominate crowd interaction between songs. As the songs delve into marching repetitions of percussion led Industrial Rock and Post-Punk grooves, he again brings forth thought and commentary that aligns with a somewhat frustrated overtone.

Sleeping With Sirens
Not exactly my cup of tea but live most things sound decent and this Pop Rock group were alright. From a distance I watched as they burned through bright and glossy rock songs with a tinge of Metal attitude in places. Lots of pretty melodic overtones akin to Metalcore too, was a good listen.

Nothing By Thieves
Possibly the most impressive show from the bands I knew not of. Brooding music, building its momentum to climactic outbursts resonated through the incredible voice of Conor Mason. You could really see the feeling in his performance, strong and emotional Rock music with an experimental edge in their slightly disjointed rhythm guitars. Great set.

While She Sleeps
As the sun came out in full force I found myself hanging back in the shades. Reasonable timing since I knew what I was in for, a banging Hardcore, Metalcore, Deathcore hybrid with strong melodic overtones. I'd seen them before and I wasn't pulled in any closer despite them having some strong moments in the set, it didn't appeal to me all that much.

Run The Jewels
I had waited all day for Run The Jewels, this would of been the forth time seeing them. The sound was garbage right at the front so I dropped back and the Hip Hop duo were phenomenal once again. Their music translates wonderfully live. I love how the set transitions from hard bangers into the deeper, moving and meaningful songs. They put a message to their performance and it went by in a flash. Best of the day by far!

 Chowing down on some hot Paella De Veduras I lurked at the back and once again Architects blew me away with an amazing live show. I still don't know how I'm yet to pick up a record of theirs, Ive seen them many times now and its always a fantastic performance. Really solid, booming Metalcore with plenty of blow away riffs. They sounded sharp as ever and really put on a show.

Bring Me The Horizon
Its probably a matter of time before the once hated, dirty Deathcore goons Bring Me The Horizon will headline Download Festival. Promoting new record Amo in front of a smaller crowd they proved themselves good for a headline show with adequate set design and costumes to match. They perhaps took a bit to much time between songs and with intervals but the crowd enjoyed the interactions from front man Oli Sykes with his crazy colored eye lenses. He brought out Danni Filth in full makeup too for a brief appearance and it was great to see such a strong response for their old music as Pray For Plagues fired up mosh pits. The new music sounds great too and I was a bit gutted to leave early, walking hastily out as the music went on. Great show and I am amazed how I never realized what " Your full of sugar, honey, ice and tea" meant till its anagram was plastered on the big screen.

Thursday, 30 May 2019

Beastmaker "Eye Of The Storm" (2019)

It feels like there may be a trend emerging in Metal, one of quality too. Since Ghost have risen to prominence, inklings of classic Metal ideas are resurfacing in the likes of Puppy, Green Lung & Baroness, the latter bearing a strong influence on this group. Beastmaker are a three piece outfit from California who off the back of two full lengths spent 2018 banging out ten four track EPs. That's a prolific output and this new four track is their first of the year, its also my introduction to the group. I'd also like to compliment the group on their awsum record artwork aesthetics, a sharpened revival of 60s satanic horror defined by high contrast and bold use of selected de-saturated colors. Its fantastic and a really alluring, eye grabbing style that brought me to them.

The bands music is a hybrid of "traditional" and Doom Metal. A raw, gristly distortion lays down temperate, forward moving chunks of rhythm and melody over equally gritty and fuzzing baselines. The two link up at times like a pair of rhythm guitars, gnarly in the deep end and smoothing out into the higher notes. It allows them to sound like a four piece when the solos light up like a rocket. They have all the makings of classic styles, taking off with an eruption to capture your attention and swoon with their colorful presence. The music also deploys timely bells and synth elements, not over played, sounding very natural. Its a little ugly with its power chords but as classic Iron Maiden like leads come to fruition it finds a magic driving through with its melody licks.

As said before its mainly on the singing style that Baroness have a influence on singer Church. Something about the inflections, timing of delivery and strains on his voice feels strikingly alike to Baizley. The trio have a vibe and with creepy, Horror and Occult inspired lyricism. It brews a fun, expressive stage of theatrics, very much contained within the musics setting. These songs play out with strong fundamentals. A good ear for riffs and linking them together in solid structures that often play into melodic breaks that evolve into solos or climaxes. Its pure Metal and they rock their niche well. I will have to have a poke around through their now extensive collection of records for something else of interest as I do very much enjoy this classic, revivalist sound!

Favorite Tracks: Eye Of The Storm, My Only Wish
Rating: 5/10

Tuesday, 28 May 2019

Tyler The Creator "Igor" (2019)

There is no doubt that Tyler is in an evolutionary stride as an artist. Two years off the back of the widely acclaimed Scum Fuck Flower Boy he returns with a similar tone and sense of theater that's channeled into a vulnerable, personal space. Its bold musical fun, flourishing with feeling, flowing with creativity and taking inspiration from classic Soul and R&B, the likes you might hear on Motown. These are just some specific moments though, it all comes through the filter of Tyler's quirky, synthetic world. Playful melodies and jiving percussive lines of intentional groove are a constant pleasure as we stroll into his oddball dreamworld of emotional pains.

The albums lyrical theme is bold and dominating. Relationships, breakups and the hardships of his love life surface through wording that feels fractions away from classic love songs. Its always shaded by these quirky compositions that imbued a playful, innocent, off-color harmony heard through its colorful instrumentation and singing. Sung wordings, talked raps or pitch shifted voices, Tyler vents his frustrations and heart aches with a raw authenticity, illuminating his organic and vivid backing tracks. The two just melt together effortlessly and make for a distinct experience.

This record does has two flavors to it. Many of the tracks play with bold, almost cheesy synths that lay bare strong melodies, often getting mini tangents, solos and plenty of expressive outlets to pull apart the repetitive nature of Hip Hop and let the music ooze. Deeper into the album we find more sample oriented songs with 70s Soul and R&B vibes. A Boy Is A Gun, Puppet & Gone Gone pivot on these oldskool vibes with the latter reminding me of a Jackson Five chorus. When Tyler pulls it together with vocals it finds its cohesion, more so when the bold synths drop in.

These vocal approaches are a point to talk on. Many half hit notes, lackadaisical singing and off key notes exploit this place quirky, playful place where it manifests as authenticity. It plays wonderfully into this highly stylish record that feels very rooted in reality. Its a bright and gleaming light of artistic creativity and expression flowing effortlessly. He is certainly excelling as a music producer and composer, Igor has magic moments in droves. Its not all golden but its a hard record to knock down. Every time Ive spun it, I found myself completely locked into its direction.

Favorite Tracks: Igor's Theme, New Magic Wand, What's Good, I Don't Love You Anymore
Rating: 8/10

Sunday, 26 May 2019

Alice In Chains "Jar Of Flies" (1994)

It seems that between albums Alice In Chains liked to release acoustic EPs, the former being Sap. I had actually gone into this thinking it was a direction change full length, with a mind for curation. Much like the current trend of short, high curated projects, Jar Of Flies has seven songs, a couple with distortion at just thirty minutes. Its all killer no filler and the emotionally wrenching magic it possess leaves one feeling like this should be seen as no side offering but some of the bands best music.

Once again the band let their Americana and Blues Rock influences flourish, mustering humid flows of steady paced and gorgeous, glistening acoustic toned instrumentals for Staley to take stage. He does as he does, pulling on your heart strings with a lonely despair and sorrow, bleeding his quiet suffering from a camouflaged voice. His delivery roars with a vulnerable power that lures you in with its catchy flow yet all that awaits is pain and darkness. The "My privacy is raped" line on Nutshell is particularly haunting. Its a line stuck in my mind for weeks.

Its the beautiful dichotomy of stunning, serine music and searing raw pain weaving this dazzling darkness again. The musicianship is sublime, tones of lucid arrangements oozing with inspiration as ripe guitar leads flow and complimentary instrumentation like the timely use of strings seem to arrive on time effortlessly in these songs. Its not without weak points however, from one to the other their is diversity in flavor and its last two tracks drop off from the path set beforehand.

Swing On This feels like a leftover idea from Dirt hashed together with some swashbuckling acoustics. Before it the soft and delicate Don't Follow with its Country tang guitars and harmonica doesn't quite resonate in the beginning with Cantrell's voice. The first five however are emphatic, Rotten Apple making a mark as their longest track to date. The whole project feels so deserving of a full length, the group nail this style almost as well as their grooving distortion songs.

Favorite Tracks: Rotten Apple, Nutshell, Whale & Wasp
Rating: 7/10

Friday, 24 May 2019

Rammstein "Rammstein" (2019)

With a ten year absence, German Industrial Metal titans Rammstein return on strong footing with a solid, bold slice of what they are best known for. My personal enjoyment of this untitled, or self titled record, may have been swayed by their lack of existence in my musical rotation over the last decade or so. Its long since the days of youth, when albums Sehnsucht and Mutter where binged frequently. These new songs set a path that doesn't attempt to recreate any former glory but aligns all the components of their distinct, trademarked identity, executing it sweetly on a welcome return to stir all the emotions and sounds they mustered in the past, as well as new ones.

The classic fist pumping, leg pounding stomp personified by brutish front man Till Lindermann's live antics can be felt from start to end. A sweet and sharp, snappy and cushioned snare drum maligns the songs with that charging industrial pounding. The guitars drop in with meaty chugs of palm muting and power chords played with cold rhythmic precision. They are slightly shy in the mix, at times feeling like an undercurrent, rather than the main focus. A string of songs from Puppe to Weit Weg sees the guitars play a more complimentary roll with plenty of absence and other instruments taking control. It works, adds flavor to the flow and yields a fantastic performance from Lindermann on Puppe who delivers intense and snarly shouts with a snatch of venom. It leads into a passageway blackened by nothing other than howling tremolo Black Metal guitars.

To my ears the songs movements and shifts are pivoted on chord progressions from the guitar department but its the electronics that are given ample space to texture and tone these songs. Often with simple and minimal components do they muster a strong sense of atmosphere and color. Their roll is so dynamic and swift at times it can almost feel unnoticed given the big industrial drive from its meatier instruments. The balance and diversity of these dynamics is a highlight. So is the brilliantly triumphant and enigmatic opening track. The German tongue sounding militant and mighty although I have no clue whats really being said. I prefer to leave the lyrical element a mystery, the music is far more intriguing this way. Overall I'm not left with a lot to say, this is a competent Rammstein sounding like they have little difficulty finding inspiration nearing twenty five years on their very robust formulae. It stands up well and has me excited to see them live again!

Favorite Tracks: Deutschland, Radio, Puppe, Tattoo
Rating: 7/10

Wednesday, 22 May 2019

Hunt The Dinosaur "Hunt The Dinosaur" (2014)

Ive had quite the chuckle with this little EP. These Texans have a new record looming around the corner, so I thought id warm myself up with this debut record. Hunt The Dinosaur are a not-so-serious Deathcore Djent band who will make little waves in the scene thanks to front man Hunter Madison's extraordinary guttural scream raps. It sounds unique, a fast flail of snarly, throaty gasps hurled at an impressive speed. Its toned, textural and well executed. His arsenal of other screaming styles are fully competent for the music too. If one strong influence comes to mind It is probably Corey Taylor of Slipknot who is known for blending rap rhythms into his screams.

The music behind is an impressive pull of self-awareness and comical in jokes. The tropes of breakdowns and excessive down tuned guitar tones are deployed in humorous extremes that do a fantastic job of balancing groove and landing an impact with its mocking nature. The lyrical depth also feels like a mockery, shallow topics are bolstered by plain and frank language that punctuates its bluntness in sync with the music, dropping its most abysmal lyrics at fitting times. Initially it musters a smirk but becomes rather monotonous as the joke grows old in its simplicity.

The big problem is the imposed limitations of a project that isn't to be taken seriously. In the right mood it will give you a smile but of the several listens Ive endured its joke tires quickly and the songs turn into a mechanical slog dragging their way towards little spurts of genuine interest that each song has in the form of a riff, screamed rap or punch line. Its been fun, a barrel of laughs to enjoy with friends and I look forward to their new album however I am hoping they can deploy some more substance with the music as a fair fraction of this record is rather lifeless beyond the gag.

Rating: 4/10

Monday, 20 May 2019

Arkhtinn "VI" (2018)

This sixth installment in the Arkhtinn series is another two halves of blisteringly nihilistic Black Metal and creepy ambiguous Dark Ambient noise. Chapters IV and V both steadily progressed in opening up the aesthetic clarity, or dampening the lack off it. VI follows in this trend, sounding a fraction clearer but most notably hits an impressive stride in its opening segment. Pummeling monotonous blast beats and astral synths play with the perpetual epic scaling foundational to the music. Its another race to the depths of the cold, lonely void and with a sweet succession of stake raising atmosphere through annihilating rapid pedal work, the track soars to new heights.

The pace thickens as slews of monstrous, howling screams of agony play up the inklings of melody and tune that crescendo this surging start. It then hits a pivot point with the typical Darkspace dominant guitar chug smothering the musics tone. From this point onward its a progressive maze of ideas with recurring themes. A hard hitting and sinister guitar riffs that take center stage at first, then shifts tone as hauntings of astral melodies fall into rotation. The song fails to lock back into a sense of linage, although some of the sections around the sixteen minute mark rescue a sense of direction and conclusion but it too falls to sudden shifts that feel unconnected.

Its Ambient counterpart has been the least interesting so far. Its a lengthy slog of ambiguous noises. Hums and drones of bells clatter in a dungeon like atmosphere. One can feel the fog drifting through unlit and dank corridors, chambers and rooms. Unsavory whispering voices can be heard rumbling under the fog and as the echos bounce around, the song slowly musters up intensity as groans turn into rumbling growls and screams build up into intense swells. It breaths and contracts but nether reaches a shift it tone or an event, it just drones on and on. Some progression and direction would of made it far more interesting, once you decipher whats going on that's about it. The track just lingers on its main idea. This chapter has some of their best but also suffers stagnating song design of perpetual shifts worse than before.

Rating: 6/10

Saturday, 18 May 2019

Little Simz "Grey Area" (2019)

Every year I aim to find fresh artists, new releases and so far just a measly thirteen records. Despite me failing to get in a discovery groove, it has yielded some fantastic albums. The Goat, Woodland Rites, Empath & Kill The Sun, all contenders for top lists. Now to throw in another contender in the mix, Grey Area blew me away with just the first listen alone. My ritualistic listening has since convinced me Little Simz is a talent to behold and this is my first encounter. Its her third full length and she certainly sounds experienced on the mic. With a light, firm and steady flow, soft, flat toned voicing and sparkling lyrical creativity, I am reminded of one the greats, Rakim, in a roundabout way. Simz style stands on its own, a plain faced, spoken word calmness with an urban London charm ready to slip into slick rhyming grooves and swift flows as your lured in by her calmness. Its gorgeous and has some of the best rhymes Ive heard in sometime! "I'm a boss in a fudging dress!"

Her technical proficiency wont take long to perk your ears but whats equally earnest and engrossing is the topicality and self reflection. With her words she locks you in to situations, trains of thoughts and introspection with a vivid intensity that manifests in witty, expressive and cultural claps of rhyme that rock and rattle when she gets into a flow. She comes across as a genuine character with sincerity and authenticity in abundance. Some of these songs open a door into her life as an artist, struggling and working hard to succeed while dealing with life's stresses. Its not on an every track basis but just about each song has a pull. A little braggadocio and chest pumping comes into play on the albums slickest song Venom. Its on the flip side and her boisterous style is marvelous, flows swell with sharp, smart and damn right mean lyricism, its venomous. Ok that pun was just plain awful! XD

You'd be no fool to see how talented she is but behind the words, these instrumentals pulled together are fresh, fun, classy and right on point for setting the tone. It kicks of from Offense with an Indie feeling executed with a Jazz Rock flair. The beats are stripped back, the instruments have a live feel, high fidelity and its not until the third song that a more traditional Jazz Hop vibe. Its peaked with beautiful singing from Cleo Sol. The production is utterly sweet, Grey Area is a short, compact and tight record that churns through its ten tracks with a variety of defined vibes that all sound purposeful. The chemistry is fire, I still jet through its thirty five minutes feeling flabbergasted. This is a example case of quality over quantity. There isn't a moment wasted on this superb record, I'm still engrossed within it but had to write!

Favorite Tracks: Boss, Selfish, Venom, Therapy
Rating: 9/10

Friday, 17 May 2019

Alice In Chains "Dirt" (1992)

Dirt is one heck of an iconic record. It kicks of with a frightening scream as an eruption of tempered guitar chugging kicks off their most famous song, Them Bones. It jumps straight into gear, a mastery of atonal riffing as the chilling lyrics about ending up as a big old pile of them bones rock the chorus with a morbid honesty. The grungy dark metallic tone is set and Staley will go on to haunt us with some despairing lyricism and chilling performances on this record. Released later in the same year as Sap, the Seattle grunge giants Alice In Chains return with more Metal inflection and a leaner iteration of their unique identity established on their debut Facelift.

After a lightning start the album rolls into a slick run of songs. Tight guitar grooves stitch together beautiful eruptions of Staley's infectious singing. He soars above with the albums best hooks in its opening numbers. He is illuminating but on inspection a lot of darkness emanates from his harrowing words. Getting past the aggressive riffing of Them Bones and Dam That River we start to slip into moodier atmospheres, culminating with the frankly depressing Down In A Hole. It is a beautifully sad and hopeless song. Sickman offers more wounded lyrical fragility as some choppy metallic riffing shuffles its way in and out of an eclectic song. Its defeatist, the "what's the difference ill die" lyric so disheartening given his demise. Its a theme throughout.

Just when you think it can't get much more interesting the album pivots to anthems as Rooster and Junkhead both play with the mastery of tingling build ups that erupt with iconic choruses. "Here comes the rooster!" and "Whats my drug of choice? Well what have you got?", still gives me goosebumps all these years later. I especially like the guitar solo on the later, a simple complimenting melody to peak the song. Its a classic lead you always find yourself singing along too. With title track Dirt more gut wrenching lyrics and electrifying music is bestowed up the listener. Jerry Cantrell has an absolute arsenal of riffing ideas that keep everything fresh and interesting from start to end as Staley drags us to the depths of his self loathing and despair.

Either side of the Black Sabbath Ironman skit track Ironglad, we have a two tracks you might say are a mediocre records gems. Even as songs you might put at the end of your favorite list they still deploy interesting and unique musical ideas to illuminate them in the presence of so many magnificent tracks. Angry Chair takes a darkened shadowy atmosphere and chops it up, shifting the music between different tones. The album keeps its intensity throughout and end on a soaring high with Would? It again just shows an amazing chemistry within these musicians and Staley once again steals the show with a gift to make is haunted words somehow catchy and infectious. Its monumental, an of the moment album that stands the test of time, bringing together the best of Grunge and Metal and making it their own.

Rating: 10/10

Thursday, 16 May 2019

Green Lung "Woodland Rites" (2019)

An unexpected pounce of musical might caught us off guard. Walking into a small London club to watch Puppy, we were captured by an immediately gratifying sound. Fellow English band Green Lung and their brew of Doom, Stoner, Psychedelic and Heavy Metal rocked the club. It was a performance of thunderous riff led groves, electric melodies and soaring vocals that had me buy this debut record after the show. It was worth every penny, however to my surprise the studio recordings are even more magical than the live show. Despite it engulfing my interest, the live show could perhaps do with some tightening as the record is far more ingrained in its own style.

With a helping of witchcraft and the occult, Green Lung offer up a esoteric theme to their sound which serves as icing on the cake, a fun gloss of topicality not to be taken too seriously. Its a mysterious front for the core of brilliant guitar work that marches forth with riffing intent. The rhythm guitar delivers a slew of extended grooves that spider around the fret board, sometimes into the upper reaches, merging with melody. The lead guitar has that in abundance and so often do the two work in tandem to deliver infectious hooks and steer the music into its progressive passageways of sequential riff jams and rising guitar solos. They also makes occasional use of a church organ synth. It rises like an ominous fog from the swamp. It greatly compliments the tone but is rarely deployed, would have been nice to hear more.

This fantastic poise of re-imagined music reminds me of Ghost. They seem to have brought about an emergence of bands who can spin new angles on fusions of old ideas. Much like Puppy have their influences yet feel entirely unique, one can draw parallels to Black Sabbath, Iron Maiden and other Heavy Metal bands yet it doesn't sound like a rip. Now that I think about it, their vocalist is similar to Ozzy Osbourne with that dense nasal strain. I would of said the singing here were good enough but despite not feeling over the moon about them, a lot of the lyrics have gotten wedged in my mind and I do like the way he fits into the musics flow, his voice soaring up like a beacon from the cesspit of sludging guitar groove. Great record, it has a string of stunning songs in its opening stretch that I adore, may have to grab their EP too!

Favorite Tracks: Woodland Rites, Let The Devil In, The Ritual Tree, Templar Dawn
Rating: 8/10

Wednesday, 15 May 2019

Tool "10,000 Days" (2006)

The time has come to draw the Tool journey to a close, however this wont last long as a thirteen year gap between albums will end with another record later this year! With 10,000 Days I have have taken the most time as once again the words to describe this music often alludes me. It has however been the easiest record to get into with many hallmarks of their sound now etched in my mind. The one most distinctive is the cyclical rhythm guitar work that needles in timing oriented jabs of chords and palm muted chugging. On paper it could almost play like a Djent record akin to Meshuggah but Tool take a typically artsy approach with their plastic and narrow guitar tone. One can then relish more so in the winding patterns without the crushing intensity.

The guitars temperament lets dense atmospheres brood as its habitual chugging becomes a current to flow with. Although its polyrhythms and time signature play is clear in this department, much of the bass, drums and second guitar too play into this mentality with the more common constructs dabbling with subtle shifts and oddities. Its a firm backbone for a stage of expressive, emotive and freeing tangents to emerge from, not only does Keenan rise from this foundation but both the lead guitar and even bass get involved in brewing these swells of musical delight. Danny Carey too will dazzle with his ambidextrous playing. It feels like a light can be shun on him at any moment within the record and something interesting will be taking place at his kit.

The records pacing is something of contention. After a steady opening fifteen minutes of chug and churn riffing and swells of expression, the music shifts for the next seventeen with two slow burns. The title track itself builds to an brief out poor of energy that is short lived and after The Pot it feels like the record never gets locked into a groove. Lost Keys has its melancholy guitar lick laying down a sadness that is amplified immensely by this howling guitar feedback that conjures a feeling of grief and punishing loss. It moves into heartbeats and a conversation with a doctor that makes the song feel like a soul has been clutched from the jaws of death.

Rosetta Stoned brings back the foundational guitar work and theme established. Its another epic brew of swelling music that takes its time mounting through itself but after that eleven minutes the album tends to loose my captivation as ponderous and crawling paces of subtle and tender atmospheres don't quite grab me as much as they did when the record was fresh. Its a strange criticism because the dynamic nature of this band is whats so interesting but as it draws on the magic of their pacing feels lost as the momentum keeps sinking back into the quiet. Its hard to say what record is their best but this certainly feels worthy of being considered alongside Lateralus.

Favorite Tracks: Jambi, The Pot, Lost Keys, Rosetta Stoned
Rating: 7/10