My Top 10 Music Discoverys In 2021

 As mentioned in yesterdays Top 10 Albums Of 2021 post, I've been in a rut! There is however a rather nice list of artists here, even if the short list was just as small. Three of these are a regular features on my Twitch streams too! So on that front I'd say its a success. I have decided however to be far more fussy when it comes to listening to the same bands still pedaling out the same old music. Its time to give a little more focus on whats fresh and new! I say this often but this time I have a plan of action that starts with reduction.


(10) Secret Stairways

The exploration of Dungeon Synth continues to be an interesting one. Its roots before the online explosion of Bandcamp records a decade ago seems to have fans unearthing lost relics. These newly surfaced cassettes have us enjoying a deceased musicians work from a time before there was much of an audience to enjoy it. An interesting sentiment but the music is good too!

(9) Tetrarch

Initially I wrote this band off for its formulaic creation of era inspired Nu-Metal. A lack of originality doesn't necessarily mean bad music. It can be a tough thing to look past but with time passing from my initial assessment, I've found myself really enjoying this record and getting those nostalgic youthful chills too!

(8) Chevelle

Very much of the Tool inspired camp, the reference point has helped me find a way in! Its a new breed of metal for me and with little else of familiarity, I've really enjoyed this bands take on the Progressive and Alternative Metal sound. Originality is not a strength but the whole approach is fun and exciting for me right now.

(7) Arcanist

Another Dungeon Synth record but this one is way more inline with what I'd like to hear. A new taken on the genre that infuses "Berlin School" synth ideals and paints an exciting soundscape with its progressive songs that move together on a journey. It was a short but sweet journey and is now very much one to look out for future releases.


(6) Cocteau Twins

Not a new discovery but an intentional deep dive into an artist I knew of two records already. Sadly, the plunge into both an extensive amount of EPs and albums went a bit sideways as fatigue quickly set in. I will pick up the journey again at some point. It was however a really nice experience to get a bigger picture of a band with timely influences felt in the decades that followed them. Treasure is still an all time favorite of mine but now I got to add a few more songs to the list.


(5) Pop Will Eat Itself

As a huge fan of Metal and Hip Hop it is practically an embarrassment to have never stumbled on this British act before. There 80s crossover of the two opposed sounds is just wonderful! A true moment in time capturing the energy, spirit and culture of that era like a musical time capsule. Its dated in the very best of ways!


(4) Gelure

Having had permissions to stream this artist, my love of the music really settled in as its relaxing ambience and warmness creates a wonderful relaxed state that comes along with waffling about whatever is on your chest for hours on end. It suited the experience so well my worry now is that I might listen too it too much. A good problem to have!

(3) Jim Kirkwood

Another from the streaming list, Jim has been on a "Dungeon Synth origins" list of mine for years. Finally pulling that trigger, I have now discovered wondrous world building music that has an ancient nostalgic charm, built on those classic keyboard tones without the steering into darkness that is all to common now. The Tolkien themes and general vibes of the music is very Dungeons and Dragons and that stream of imagination is my cup of tea!

(2) Lena Raine

To extend the simply enigmatic music of C418 and his Minecraft soundtracks would of once sounded like an impossible task yet Lena has stepped into that space wonderfully well. Reflecting many of the old ideals and injecting some of her own personality, it seemed likely her genius would extend beyond contributions to the soundtrack. That has certainly turned out to be true and I am now deadly excited to check out her debut album!

(1) The Alan Parsons Project

For all the Progressive Rock I was raised with, The Alan Parsons Project was not a part of that picture. It is however a perfect fit for that era and thus I've had the odd nostalgic experience of discovering new songs that remind me so fondly of my childhood music. Its as if I knew these songs already. A novel and rare experience that I've treasured working my way through the three records considered to be his best. I think I'll has a couple more to the playlist at some point next year!

My Top 10 Albums Of 2021

 
On reflection Its felt like a somewhat uneventful year musically. Now into the second year of this pandemic, the isolation and lack of normality has had me listening to less music and more podcasts. With seventy one records to pick from, it didn't take long for me to sus this list out with only thirteen or so making an impact. Thus the list reflects my taste with only two new artists of which one was more out of my comfort zone than the other. Its always my ambition to find new music each year but given the current circumstances I feel like I'm in a music rut of sorts, listening to to similar sounds.


(10) Hypocrisy "Worship" link

Speaking of similar sounds, its been far too long since I've had a dose of the Hypocrisy sound. Their return was a welcome one, delivering a class set of songs that riffed hard and recycled the vibes they are known for. I can't fault it, I've enjoyed Worship plenty of times since. I can only think of a missed opportunity for the paranoia themes to have more of a potency in our age of misinformation however It is more likely myself that has a different viewpoint from that of my youth when I found them.


(9) Malcom Horne "Infinity Volume II" link

Malcom's music was an instantaneous click for me. The first Infinity volume felt rather varied in focus and quality but had its mesmerizing moments too. This second installment has a focus, music for streamers! Now a regular feature on my own streams, the consistency of this larger basket of songs holds up well and continues to provide chilled classy vibes to relax with.


(8) Little Simz "Sometimes I Might Be Introvert" link

As a big, bold and ambitious record, Introvert has a few bumps in the journey that maybe held it back a little in terms of my personal taste. The good news is that I've enjoyed this one plenty since, which is the recurring point of this blog. The new and novel can often fade from ones conscious with time but this one held up! The rapid narratives and expressive excursions of thought she drives on with the opening songs is still a marvel!


(7) Billie Eilish "Happier Than Ever" link

A strong return for one of musics biggest starts. Happier Than Ever isn't quite as remarkable as When We Fall Asleep, however Billies strength of character and maturity is! Some of the lyrical themes here are so refreshing where Pop music it can often be fraught. I also think the stride for a little more musical diversity may have been a bit and miss but better to stride in new directions than stay in a comfort zone. Looking forward to more in the years to come!


(6) Turnstile "Glow On" link

I've been tempted to put their EP Turnstile Love Connection in this list. Its essentially the best cuts from Glow On, which in its strides to infuse Hardcore with some other influences, wobbled its way over the victory line. Its often the more Hardcore leaning cuts I enjoy as the vibrant energy they exude fades a little on the experimental cuts. One thing is for sure they are still swinging hard and one to keep a watch on.


(5) Spellling "The Turning Wheel" link

Spellling was quite the enthralling experience! A chemistry sounds reaching far in different directions and reassembling the influences like a breeze. On one had you can relax with the music and enjoy the wonderful songwriting. On the other you can get analytical and dissect, where a trove of interesting ideas is to be found both aesthetically and in the writing. Great record, sadly I didn't feel the same of Mazy Fly.


(4) Deafheaven "Infinite Granite" link

Of all the records on this list I must confess that Infinite Granite is one I have not returned to but its impression was a remarkable one. The reception was a bit mixed among fans but I was personally blown away as this engulfing musical experience unraveled. The cleaner vocals and 80s influences were a niche touch delivering an organic record with some intriguing extremes.


(3) Nas "King's Disease II" link

As one of Hip Hop's greatest, Nas has been exceedingly consistent in a genre often victim to high starts that trail off. With Illmatic he has a debut that could never be peaked but that hasn't stopped him from delivering quality and his inspirations has been stoked again thanks to fruitful collaborations with producer Hit-Boy. This second installment was a remarkable into some of his best rhymes in decades. Fantastic narratives and insightful expressions give it an endearing impression. I'd be keen to put this in his top three records and with a third installment on the way there will be more to enjoy but this chapter will be hard to top!


(2) Ministry "Moral Hygiene" link

Ministry have been a favorite "later discovery" of mine for some time now. The sort of band that would have fit perfectly into my youthful tastes. AmeriKKant was a welcome return at the time, now a little worn out, this new installment Moral Hygiene tackled the current social political climate again. This time around the mood and tone was class. Musically, it is more varied and interesting, wrapping with a stunning spectacle of an ending as the death toll keeps rising! I was blown away and am still this one!


(1) Lil Nas X "Montero" link

Never had picking my favorite record for a year been so easy. I was simply blown away by this record. Lil Nas X is an interesting artist, with much to say while captivating a mainstream audience in the process. Its not a place I'd expect to find so much musical maturity, yet here it is! A diverse record that balances popular light weight trap beats with a country tang primed to detour into experimental places that blossomed stunning songs. Its a remarkable record, setting a high bar for him, however the quality of songwriting here suggests this is no fluke. A follow up could be just as good!

Cranes "Self-Non-Self" (1989)

 

It would appear that once again I've been roped into another musical journey, spurred on by a spontaneous shuffle discovery. These always seem to be the best ways in. A captured curiosity is better than a forced one and turning back to this debuting, self released mini album, the intrigue has certainly grown. When reading up on this band, to my surprise the Industrial genre is rarely mentioned... How odd?

Perhaps it is my frame of reference at play here but the drive of jolted mechanical percussive rhythms and the cold pounding baseline noise give me strong Industrial feels. At this point Cranes also seem closer to Post-Punk, a pivotal musical period that would act as an umbrella term for many musical directions that sprung from it. Much like Wings Of Joy, Self-Non-Self toys with darkened atmospheres, journeyed by Shaw's innocent voice which on this occasion feels a little more mischievous.

 The songs are baron and bare. Its opening instrumental One From The Slum has a more upbeat pace with cheeky trumpet strikes chiming in. Swiftly tho the music crawls to the bleak with Beach Mover painting a hellish setting with mechanical whip cracks and deep metallic strikes of noise. Its a despairing soundscape from which the following music livens up in comparison. Cranes have their own niche of despair.

The darkness they explore is almost Gothic at times yet their approach currently reels them into their own space. The live recording of Reach is a highlight as the inclusion of shrill tremolo picked guitar leads over a lunging two power chord shift adds a mesmerizing quality to the atmosphere. Without it, the music would probably fit in a little more with the earlier tracks. So far I have enjoyed these songs but I am not sure it has much staying power in this form. I am however very curious to see where it all goes with that Dream Pop label hanging curiously overhead.

Rating: 5/10

Devin Townsend "The Puzzle" (2021)

 

Having heard the story of The Puzzle unfold through The Devin Townsend Podcast, this album is an expected disappointment. That's not to say the music here isn't to be enjoyed but It seems the activity at play hasn't produced anything special other than a meandering ambient detour. It groans and croaks with oddities between its often smoothed out exterior. It felt like this would be the case. Hit by last years lock-down woes, Devin set out to collaborate with his colleagues online, given the situation.

Stumbling into his own musical puzzle, Dev found himself intrigued by the task of assembling together all the pieces his fellow musicians sent him. As suspected, the curiosity of such an interesting and difficult task mostly remains with him alone. For this listener, the outlines of each piece are blurry and its final composition seems more like wedged pieces lining up to be stretched and twisted into shape than a picture.

The Ambient framework is a crutch that has an array of bold musical ideas punching through its pale tranquility. From whirls of machinery electronics, to guttural shouts and spoken word. Pan flute adventures, whispering vocals and choirs in unison. Dramatic pianos, animated drum fills and frenetic Saxophone leads. These wild variety of contributions never quite escape themselves, however which such a deep web of sounds, its hard to know where his contemporaries parts start and end.

With that though comes a fair helping of obvious offerings that get wedged in, feeling indifferent and out of step with the vibe and pace, mostly because it meanders and uses foggy washes of sound to transition and move in any direction. It all just feels a little meaningless and where Dev leans on his traditional stylings, they too emerge from the haze rather than setting structure and form which would off aided this greatly. As said, this was a expected disappointment. A difficult task for any musician. I didn't expect much other than a couple of curious listens and that is all I got.

Rating: 4/10

Arkhtinn "二度目の災害" (2021)

 

Translated as Second Disaster, this latest Arkhtinn installment was a typical blasting of exhilarated, ferocious Black Metal from the cosmic void. To break format with its often Dark Ambient counterpart, both halves, two meaty twenty plus minute songs, are comprised extreme music led in by the beeping of Morse Code. The second track always strikes me as the better of the pair. Its resounding thumps of chunky groove and slick pedal kicks haunted by ghastly screams brings about a rhythmic distinction to an otherwise endless romp of blast beats and deathly guitar shredding.

Before it reaches that all too common intensity, the song embellishes a little Burzum alike discordance, something I would liked to of heard more of. Instead the howling choirs of fallen angels aligns with its perpetual plunges into darkness, competing with itself in a race to the bottom. The song structure and writing feels more apparent. Perhaps this is the first occasion I feel as if its low fidelity aesthetic holds things back. I'm reminded a little of Dimmu Borgir's PEM record as its fantastical darkly synths paint quite the wondrous madness within its hellish onslaught of crushing sound. After a while, the theme and search of new peaks to scale does get a bit tiresome as its main ideas circle back on themselves for a conclusion.

The first track explores a similar dimension with plenty of whirling astral synths buried between instruments. It comes through with some strong Industrial rhythmic chops and plenty of breaks in the flow with ambient interludes and build ups that loose sight of the bigger structure in its lengthy stay. Again its residing in furious intensities can be a bit grinding and the shifts can feel a little sudden in execution, rather than natural and flowing. All in all, the music follows the path laid out and given this Darkspace inspired sound is still interesting to me, its was a fun experience, however as always, new ideas and progression for the sound would be most welcome.

Rating: 6/10

Cranes "Wings Of Joy" (1991)

 

For the past ten days or so I've stewed over this one with repetitious intent. Songs like Thursday, Sixth Of May & Adoration anchor its slumped, dreary atmosphere in a deceptively subdued yet morbid setting. They sway in a mesh of mesmerizing tracks as musical frictions arise. Surges of jolting, broody piano chords, stabbed with solemn pains. Gritty frazzled guitars deliver drives of dissonance. Patrolling, devious base lines stalk with a shivering intent. In the degrees its various components meld at, all are driven by a cold mechanical tempo, dragging the music forth like a death march.

My curiosity in this drab journey was fueled by a lack of perception. As a band dropped into my collection for discovery later on, I initially found them on Shoegazing and Dream Pop lists. Too my ears there is little of that here. Wings Of Joy is far more akin to the burdensome biblical sins of Children Of God in its darker alleys. That's only partial because there is uplift in sight as Alison Shaw sings with a childish innocence of soft tonality and fragile wordless inflections. Her tone reminds me of Grimes yet feels so very different in the pale darkly context. She is much like an innocent lost soul endlessly drifting, trapped in a world of horrors and demons they are blind too.

The production is also of merit too. Its spacious design keep the often stiff and repetitious instruments an eerie space to brood within. The guitars often swell up from underneath, leaving the dull marches festering with texture. It seems to be the common trick. Its initial simplicity seems cold and lifeless yet as the songs drone on, this curious enchanting atmosphere arises to engross the listener. And that's what it achieves from start to end without a weak spot. Wings Of Joy has something distinct to offer and revels in the space crafted for it, by the English band who are named after the visibility of many cranes present in the dockyards of London, their home.

Rating: 7/10

Devin Townsend "Snuggles" (2021)

Having followed along with the Devin Townsend Podcasts during the pandemic, the unfolding story of this particular record has loosened in my mind after several release delays. I remember its counterpart, The Puzzle, as a project revolving around distant creative collaborations in which Devin has to figure out how the pieces fit together. This additional, shorter companion piece, locks in thirty eight minutes of ambient indulgences which feel like a refractive lens cast over the last twelve years.

It starts with a shift in tone that began with The Devin Townsend Project. The various inflections of ambience and a gentler still side of his craft emerging, this endowed some of those albums with soft flushes and swells of a calmer, serine energy. Much of that is explored here again as echos of acoustic guitars, pan flutes and electronic leads are engulfed in a wash of dense reverberations that play to his thick wall of sound production style. Even in such a mellow, soothing setting does Devin conjure a dense mist of cloudy ambiguous sound for us, the listeners, to fall into. Its a welcoming wash of warm colors and dazzling sparkles, continuously moving without intent. A gushing of easy tonality with no hint of anything remotely negative. 

It serves mostly as a background experience with all its moments seemingly falling in and out of each other, structure and direction left a miss. Its purpose too feels somewhat vague too as its aesthetic crown seems more like a veil of sound design than song writing with a point. As a result the whole thing drifts by like a care-free dream. A pleasant experience but one thats a little shapeless and without a proper focus on closer inspection. The one recurring theme I picked up on were the words "Its thee ocean" which seem to drift in and out of consciousness on occasion as Snuggles drones its way through its definitely snugly and fuzzy atmosphere.

Rating: 5/10

Gelure "Into The Chesfern Wood" (2020)

Originally I passed over this debut album. The Candlelight Tomes was an interesting record, one with a promise of uniqueness that found me in my hearing recovery. Reaching out for usage permission on whim, Gelure has now become a regular rotation in my streaming diet of music. Into The Chesfern Wood has perhaps become the preferred of the two, its tone and mood more consistent with its charming meld of Dungeon Synth mood and Medieval Fantasy melodies feeling more whole together.

Its pallet of luscious plucked stringss and broody atmospheric synths has quite a dexterity only explored deeper in two of its tracks. With strikes of deep drums, Entrance To The Nekkethian Dwarves musters quite a force with its powering synths pushing towards abrasion. The track then pivots to an Electronic lead one might associate with Berlin School. A slightly Psychedelic moment to see out one of its more forceful songs. The following Tower Of The Wailing Moons sets sail softly with airy keys to cool the spirits. It eventually pivots to fear and wonder with nightly astral synths hinting at a forbidden darkness lurking nearby, a tone the album doesn't revisit.

From their its consistency returns with scenic castles and flushes natural beauty all wrapped in its typically nostalgic guise. The production is interesting, although likely to be all virtual instruments, the ambiguity that blurs edges has a slight sense of wobble in the pitch that could just be my imagination. A possible production technique that really aids the low-fidelity charm, as here it doesn't feel obvious yet the mood and atmosphere of the album embellishes the spirit of memories lost to time and decay.

Rating: 6/10

Cradle Of Filth "Existence Is Futile" (2021)

 

 

Stuck in a familiarity fatigue, my soft spot for Cradle Of Filth still yearned. Their recent revival of form through Hammer Of The Witches and Cryptoriana had me tuning me again. Despite all its competence and theatrics, sadly this latest length installment of their Gothic Extreme Metal didn't spark the thrills I was hoping for. All the cardinal sins are intact, Dani's shrill animal howls and deep burly voices narrate the vampiric and Lovecraft themes. Blast beats and lively percussion houses flexible distortion guitars and an array of timely gothic synthetic keyboard tones to orchestrate the night.

 

His current guitarists expand a little with a few less restrictive guitar chops and leads that have a mellower edge but its only a handful of moments among a meaty arsenal of tracks. For the most part they stick strictly to the classic CoF formulae. Its opening track Existential Terror, however, tackles pandemic parallels with tales of plague thrust through a very orchestral Abrahadabra tone. Its big symphonic strikes of melody and archaic choir singing hailing back to that particular Dimmu Borgir sound.

Its a niche that doesn't stick and swiftly do the band land on familiar footing, leading to a record that shows no noticeable blemishes yet failed to really get my blood pumping. There are instances of choppy thrash riffs that get a little tiring but some fiery spurts of aggression too. Aesthetically it gorgeous and full of lively instrumentation. A lack of originality is probably a fault at times. All arrangements rehash old ideas, the closing Unleash The Hellion very distinctly reminiscent of their Vempire era. I couldn't pick out a favorite track, I think I've just found myself in a spot of tiredness without a cure. I'll probably swing back to this one whenever I snap out of it, if ever I do!

Rating: 6/10

Hypocrisy "Worship" (2021)

 

Of all the familiarity fatigue I've endured of late, I was actually itching for an unchanged dose of Hypocrisy's alien paranoia breed of mid-tempo Atmospheric Death Metal. Led by a key figure in the Scandinavian Metal scene, producer Peter Tägtgren resurrects his passion project after an eight year absence to show the formula is still fun. Thematically, the conspiratorial inspirations are oddly relevant again,  finding some adaptations to fraught social topics of our pandemic age. Where they are less relevant is in the Metal scene itself. Despite Peter's many accolades, Hypocrisy have always been an underdog in my eyes. Spotting a shirt or jacket patch at a Metal festival can be a perils task despite their relative consistency over decades.

Worship is business as usual. The dynamic melding of its thrashing, pummeling rhythm guitars and the soaring gleam shining from tangled melodic leads tinged in astral inflections are the riveting experience I adored this band for. The pallet sways between its heavier riff led intensities and thematic melodic gloss that embellishes its perpetual sense of other worldly matters. Over top roars Peter with his earthly guttural shouts. They are dense growls but the slower cadence lets the words decipher and emanate a brutal forcefulness to intact his conspiratorial words. The percussion reinforces everything with timely patterns and grooves, playing a subtle roll as blast beats and even double pedals are a little less infrequent than one might expect for Death Metal but of course Hypocrisy's angle has always been an emphasis on atmosphere and scenic imagination. The drum grooves emphasis that sense of scale.

These tracks don't have much in the way of variety between them. With straight forward song structures the album rolls on with not a lot of flash in the pan. The songs mostly rely on trixy dazzling guitar licks and stomping grooves with the occasional intensity change ups leaving the guitars out for a baseline to rumble. They recycle their identity for the most part with We're The Walking Dead feeling like a rehash of many previous takes of slow brooding mood and atmosphere. In fact much of the record dives into compositions that feels very akin to previous songs you could cherry pick from their extensive discography. They Will Arrive does spring a surprise with its gritty low chord chugging groove setting off an alarming horn of some sort. It was something different of which Worship doesn't have much, however I turned up to hear Hypocrisy do what they do best. All of these songs are class without a weak link.

 

On the lyrical front its conspiratorial topicality and confrontation with our modern ills of disinformation and institutional distrust seems like a headache avoided. There is on claim of injecting two million people with HIV but otherwise its mostly the classic tinfoil hat tales of Illuminati and shadowy cabals of conspiring between alien demigods and corrupt elites. Essentially the traditional themes are tainted by modern polarization. However the third track Chemical Whore strikes right on the nerve of the still ongoing epidemic of dangerous pharmaceutical drugs peddled for profits by a increasingly dubious medical industry. To my ears its all a fair game of perspective and expression with nothing nefarious within. Worship is a solid delivery on exactly what I was in the mood for. A great band to check out if your a Metalhead who's not crossed them before. Their self titled album is my favorite, one I'm tempted to write up on soon.

Rating: 7/10

Can't Swim "Change Of Plans" (2021)

 

Don't be fooled, the oddly Gothic, Danzig alike album cover doesn't accurately reflect the emotive suburban vibes this group emanate. Can't Swim are my personal antidote to the Emo / Screamo scenes I turned a nose up at in my youth. These millennial musicians revive the glory of their past years, bringing musical maturity to their first world, woe ridden lyrics. With poppy song structures, catchy hooks and a melodic tint to garnish, Change Of Plans is the bands third but sadly the least impressive, possibly a case of familiarity as the band stick firmly to what works with a little twist of anger.

With Pop-Punk themes of adversity lacking troubles. Social squabbles, relationship woes and self doubts, the lyrics play from a light hearted teenage place with just a sprinkle of maturity. These are adult problems expressed with the lens of youthful angsty ideas that sway it far enough from perils. Its left in a precarious place where you can leave or take it. Personally Its not a bother but bar one or two lines I didn't find much to connect with, however the delivery and honesty in LoPorto's vocals is charming. The vulnerability and self coddling style is endearing, often manifesting into a hook with a knack to make his words catchy and flow with the groove.

The music is carved up into the typical inflections, lots of moody melodic plucked acoustic chords that bleed into vibrant distortion tones with all degrees wedged in between. Most these songs have a layer of aggression that sways back and forth from its guitars. Its not to adventurous, sticking to typical song structures and compositions with plenty of bright, harmonious singing. The point would be that they do this so well.

Where things detour is with a stronger sense of Hardcore and breakdown energy which the genre is adjacent too. On three or four tracks they step into this space boldly, not something I remember from their previous records. Better Luck Next Time and its jaunting breakdown goes full in on the aggression with palm mute chugs and tropes from the more metallic end of the spectrum. Sense Of Humor and its "Look who's laughing now" lyric slaps another breakdown in a track It doesn't feel fit for.

Whats interesting is how well executed these ideas are, the problem is they don't fit the overall mood which tends to be more introspective and mall shop sorrows than anger fueled resolution. A couple other songs have a breakdown stitched on the end and whenever it comes around, it feels like a sudden shift. Despite this jarring union of ideas, Change Of Plans is solid with plenty of catchy tunes. Its one to throw into the shuffle playlist and see what sticks with time.

Rating: 7/10

Lena Raine "Celeste Original Soundtrack" (2018)

 

Wholly impressed by the new Caves & Cliffs soundtrack, I set out to discover more about Lena Raine's music. Celeste has been one heck of a place to start! I've never touched, or even seen the original game. Having now built up a world of emotions absorbing its soundtrack, an interesting experience awaits me if ever I explore the source of inspiration for such this mesmerizing music. She has struck me as a musician with a voice that's unique, a niche that will take much time and many records to decipher. Just taking my first steps, I'm sure it will be another wonderful journey.

Aligning glossy pristine pianos with buzz saw synths vaguely reminiscent of chip tune aesthetics and an assortment of virtual instruments, Lena flirts with the joys of digital imagination and fantasy with the real emotions they can evoke. The deep feels are first felt on First Steps. The lush piano and swirling synth melodies allure and blossom with a swell of reversing base synth that just elevates everything already heard to a magical place. Following up with a nine minute epic, Resurrections builds steadily to an end section of bustling percussion dancing melody that is entrancing every time. 

From here a meaty mountain of music follows, totaling one hundred minutes of scenic songs flowing back and forth to its main theme with a few short transitional sequences between. The first stretch of songs bar the opening three drift into dark places. Scattered And Lost ushers in eerie horror melodies and upheavals of frantic drumming, quite the maniac vibes in brief moments. Anxiety pushes hard with its unsettling siren like synths and deep brooding saw waves before it collapses into a place beyond the pale, the soothingly sombre space of pain and suffering past by.

With Madaline And Theo we come out on the other side, ready to encounter the main theme again along with some seriously lively and ambitious instrumentation. It swaying from calm ambiences to busy, bustling layers of synth and animated percussion is wonderful, all with an emotional narrative that leads me to think this game is heavily story driven. With an eleven minute epic, Reach For The Summit, we are pulled into the final stretch as its big thematic swells leads us to satisfying, conclusive vibes with a teary, solemn ending played out through My Dearest Friends.

As a record, Celeste is a journey, a tale, an adventure, a remarkable one too! Its most impressive aspects are found in the busy and at times cluttered compositions that do not shy away from complexity or abrasion. It navigates them remarkably, holding onto a core theme and always having fantastical melody and direction at its side. Best of all its progressive song writing style keeps the music evolving and unraveling as even returning melodies and themes get reworked, told again through multiple lenses. Through all this the wonderment, adventure and emotional siring never ceases! Its quite remarkable.

Rating: 9/10

Cane Hill "Krewe De La Mort, Vol. 2" (2021)

 

Following up on the first part of Krewe De La Mort, American Nu Metal revivalists Cane Hill return with two more reasonable songs for the arsenal. So far the best I've heard of this band was when deviating from the norm, with their Alice In Chains inspired Kill The Sun EP. Volume 2 stays on track, delivering high octane Metal. Bolstering massive Djent riffs, groove syncopation and a textural layer of Electro-Industrial noise, its quite the throttling force that comes with a sensitive side.

This time around it feels like vocalist Elijah Witt gets to lead the way with his burly yet introspective voice. Blood & Honey kicks things off with boombastic riffs and ridiculous low end guitar noise. His screams and shouts forgettable but its the pivot to energetic clean vocals that bless both tracks. He infuses the song with a wonderful melodic character, amplified by clean guitar notes gleaming in the instrumental behind him. Its a busy track but that focal point makes it work, the lyrics carrying weight too.

Busting in with roaring, triumphant Heavy Metal guitar solos, both tracks emanate "Festival Metal" vibes fit for a big outdoor stage. The following Bleed When You Ask Me goes even harder on the guitar grooves. The metallic dissonance tends to wash away into a noisy backdrop with Elijah doing all the heavy lifting. His voice forges a path through a racket of thumping syncopation. Without him this would of been dull.

Rating: 2/10

Soley "Mother Melancholia" (2021)

 

Last Christmas I experienced the magical resonance of a sparkling wintry record, Endless Summer. On the heals of that excitement I leaped upon this latest release. What I've found is far from that beauty and spirited charm. As implied in its name and powerful album art, Mother Melancholia wallows in the pains of an eternal attachment to a melancholy Soley explores with her music. This time the construct is sparse and atmospheric. Little inklings of song, blossoms out of the darkness with chilling piano melodies fading into bleak elongated ambiences aligned with hints of deviousness on tracks like Parasite and Elegia.

 There are scarce moments of warmth but Soley mostly sings with shyness from a vulnerable place. Accompanied by lonely brooding instrumentation the record often feels sad and lost, as if wandering through limbo for an eternity. Many of the compositions leads to swells as the gentle atmospheres steadily gather gusto. The devilishly slow and sluggish Blows Up has a grabbing two note guitar riff to conclude the progress. Its so apt and timely as much of the record is with its aesthetic and musical choices. Many ideas play out to a point.

Mother Melancholia is a fine record, bravely exploring despairing lonely spaces and other degrees of human sorrow. Where it falters is perhaps in the listeners mood. Contented to relax and absorb, then its a fine experience but its charm is a calm current to gently drift with. There isn't a lot to jump to for hits of excitement and skipping around the track listing reveals a lot of lengthy ambiences. A fine but fair record. I do like the darkly mourning of Soley's performances but without a counterpart, it does feel hard to get excited about in its persistent gloominess.

Rating: 6/10

Gelure "The Candlelight Tomes" (2021)

This record found me in my lowest point of recent years. Sick with double ear infections, a lot of music was discernible and difficult to digest, even if I knew it already! Just as more frequencies were slowly returning, this soft, warm and airy set of songs crossed my path at the perfect time. My initial wonderment was heightened by the days of ill health prior. Since its charm has waned but their is no doubt The Candlelight Tomes has a flavor distinct from the norms of decrepit Dungeon Synth.

Reminiscent of Lord Lovidicus's melodic evolution, Gelure moves to the light, seeking light and warmth through its perpetual haze of angelic choral chants that uplift the tone at every turn. It does so while retaining a classic sense of nostalgia and ancient mystery. Its beautiful pallet of wondrous synth instruments are mixed well with enough fogginess to disguise the mechanical performance of its likely VSTs.

Initially the aesthetic is preformed with a meandering direction. Mood setting and atmosphere the initial result. The Bygone Hall Of The Tower Of Wailing Moons introduced medieval melody akin to Fief and some bombast with deep percussive tom drums. Its a direction that doesn't yield anything special. Frostcrown Of The Ice Meadow on the other hand uses its drums to crawl at a dreary pace. Its chilling, icy synths and lonely meandering melodies remind me of Lycia's Darkwave classic Cold.

The following songs exchange between these two derivatives without a sense of something unique. The point I am trying to land, is the promise of its initial two songs. They had quite the chemistry, simple in composition with the potential to manifest into something larger, instead the following songs felt all to similar for a seasoned Dungeon Synth explorer. I love this genre but the common theme of late seems to be initial excitement that dissipates into a familiarity. Some freshness Is what I seek.

Rating: 5/10

Bæst "Necro Sapiens" (2021)

 

Released in March of this year, this attempted behemoth of Death Metal disgust, Necro Sapiens, managed to slip under my radar! In previous efforts I've described Bæst as the Danish Bloodbath for similarities musically but more notably for the dense guttural roars of Simon Olsen which mirror that of legend Mikael Åkerfeldt from Opeth.

At forty four minutes this third record has felt like a meaty affair on every occasion. Its search of grandeur ever-present as grueling themes play out with an unrelenting intensity. Reaching for the epic, its march of brutality is a grinding one. The music gasps for breaths of air while strangulated by the demonic roars of Olsen who drowns out any melodic refrains to lighten the tone. That intensity seemingly holding it back.

As so often a Death Metal record does, an arsenal of riffs is lined up for assault. Necro Sapiens deploys all forms, from evil melodic inflections to slamming pummels of chugging palm mutes with all in between. The bad news is the lack of originality or freshness. At this point in a stagnant genre, the ideas have all been heard before and the arrangements in search of greatness seemed to fall ill of its own medicine.

I can hear the vision, a careful composition of riffs exchanging brutality and dramatic themes with its unruly lyrics peering into wretched biblical filth of angels and demons and the scourge of humanity. Its all to be expected however it just doesn't click! I'm left with nowhere to point for an excuse, the performance and execution is excellent, the record sounds wonderfully rich and powerful yet with every listen these songs fail to muster that adrenaline charged excitement. I'm left wondering is it me or the music?

Rating: 5/10

Den Sorte Død "Den Sorte Død" (2021)

All to keen to explore this newly discovered Berlin School niche, I snapped up this side project by Offermose. Now, I feel a little burned by an impulse decision. What I initially heard at a glance alludes me through this dreary bleak experience that Den Sorte Død is. Translated to The Black Death, its inspiration makes sense of its glumly harrowing tone that hopelessly drifts through a sombre graveness. Track after track drones with an empty loneliness devoid of hope and wallowing in defeat.

This context has given me a greater respect for the record but before learning of this, I was somewhat dulled by it, having anticipated a more adventurous set of songs. Instead its a grueling journey of pale sorrow, a defeated human spirit trapped in perpetual misery, drifting from place to place with no uplift insight. The occasional swells of dark and menacing music gives a sense of seeing the horrors, carcasses piled high and the burning of bodies, a particularly grim endurance for any soul.

 Without the context, these aesthetics gave me strong cosmic vibes. Atmospheric synthetic strings and meandering saw wave melodies painted the astral skies at night. Thus initially it reminded me more so of Grimrik. There is also a ghostly wobbling synth instrument suggestive of cheesy old school horror soundtracks. Because of this it all felt a bit empty, set in the vacuum of space with an eternally drifting nature. I've come to enjoy it more now, the ending of Det Tabte Slag being a memorable note as it descends into gristly and unsettled territory but otherwise I could of passed this one by.

Rating: 4/10

Forest Shrine "Forest Shrine" (2020)

 

I don't recall ever hearing a record so suited to being labeled a Burzum inspiration. Right from the offset its distinct Casio keyboard tones resemble that lonely spell cast by classic Tomhet. The second song then does a remarkable job emulating the timeless gristly low-fi guitar tone that made Filosofem. The heart of this seven track record seems magnetized by the vision Varg had, with his searingly disparate and oddly spiritual music. Both with the chilling cold aggression of Black Metal and the yet to be named keyboard compositions now known as Dungeon Synth.

 Forest Shrine feels like a convergence of the two, dealing in a nostalgia of both theme and one mans creativity. Its all there in the tone choices and composition style but loses sight, or perhaps never aims to recreate that peculiar esoteric loneliness Burzum captured. Instead, through its melodies and sense of scale, finds the more castles and crypts side of Dungeon Synth with big scores of synth notations drummed into action by loosely military percussive marches of driving snare rhythms.

As I dissect the record for "review" it becomes clear to me I've gotten hung up on the first two track and the resemblance to Varg's works. The second is the only use of distortion guitar and beyond them the album blossoms into its own thing for the most part. The melodies and general direction gather quite the upbeat tone with its militant percussion giving off castle and king vibes. One can see the vast landscapes of forests leading to the hill on the castle. It fondly reminds me of Sequestered Keep with far less of the jovial medieval vibes. All in all its a great little record to enjoy, however being so impressed by the opening likeness, I would love to hear more of that!

Rating: 6/10

Spellling "Mazy Fly" (2019)

Having been dazzled by an enchanting music experience with The Turning Wheel, this sophomore predecessor suffers the fate a shadow can cast. Its a notable experience Ive had on this journey when turning back the ticking hands of time. Mazy Fly has the same peculiar chemistry, a heart of soul espousing an eclectic convergence of styes and aesthetics. My lack of indulgence came about in its comparatively less nuanced approach. The brash 808 percussive pallet in the opening tracks exemplifying this bare bones feeling where the shades of chemistry seem obvious and separated.

Melted Wings brings out an of tune violin for an ambiguous dance into sorrows before being interspersed with spacey synth tones. Its a little unclear what the purpose is but followed up by more borderline cheesy, brash and bold synth tones, the melding of styles finds a spark on Hard To Please. Rubbing up against stiff percussion, its dreamy echoing Ethereal backdrop reminiscent of Julie Cruise finds much gusto as the strong synths bloom inline with Spellling's charming soulful singing.

For me this mid track was very much the albums crescendo, a peak reached that its successor cruised along. The rest of the record has these peculiar arrangements of Neo Soul, Chamber Pop, Psychedelia and Electronic aesthetics that don't quite align with the singing. The vocals swell with power and cower with breathy vulnerability but for all the orchestration animating away, It didn't resonate on the same wavelength as my first and powerful introduction to this interesting artist. I think I will leave the exploration here and keep an ear out for future releases!

Rating: 6/10

Cult Of The Damned "The Church Of" (2021)

 

UK Hip Hop collective Cult Of The Damned return for a beef seventy one minute sophomore record of straight rhymes and beats. The Church Of is stylistically stagnant with their formula unchanged. 90s beats and a production style leaning to the dark, gritty, sombre tones suiting the obnoxious, braggadocios and often self depreciating rhyme schemes. The group deploy their words with a scarcity of hook and chorus, putting a lot of pressure on their verses to carry the album. The backing instrumentals trend towards a subtler roll of tone setting and atmosphere building as opposed to rocking banging beats which it does with a handful of tracks.

With such a large set of tracks the cracks emerge after just a few listens as the quality of rhymes appear to diverge. The mostly Wu-Tang free association style gives the Cult a lot of creative room for pages of clever, witty and pun ridden rhymes. The issue is this record is a book and quickly do the best bits feel sparse between mediocrity as the beats loose keenness in repetition. Sticking to their exaggerated, unhinged, sleaze embracing personas the lyrical creativity feels stale with familiarity. Individuals cadences and tone of voices don't move a budge. Still fun and expressive but drawn out over this duration it gets a little dull with the overall temperament unable to shift.

Pushing off the criticism, there is greatness to be found here. All the beats are solid, however it always seems to be the stronger cuts that house my preferred verses. Norman's Theme, Gung Foo, Step, Good News and the dark and gristly nine minute epic Henry Shots, all have great chemistry. Once again Bill Shanks and Tony Broke are on great form with the better lines. It would I've been nice to hear more of Broke who is absent on too many of these tracks. To wrap it up, The Church Of doesn't move the needle stylistically or thematically in any direction, so there are no surprises from a group who's style doesn't always embody the highest standards.

Rating: 5/10

Hexenkraft "Gravity And Impact Volume I" (2021)

 

Within exception to the fifth of five tracks, this brief EP of two minute songs is quite the departure from the dark Synthwave sound Hexenkraft is known for. Still keeping its sense of diabolic mischief intact, the music pivots to a meld of momentous electronic aesthetic percussion and world building cinematic instrumentation. These brief encounters feel like an exploration into territory Ive heard with other artists before hand, an ambitious overlap between classical instrumentation, cinematic scores and lively yet ambiguous electronic production. The orchestration on Omega Arcane a keen memory of a style and feeling not to dissimilar from this one.

Retaining a little of its outer space evil chills, these compositions are grounded to earth by bold string sections, swells of horns and sprinklings of warm human melody. It feels at odds with its busy web of percussive noise that tend to equal the surges of sound its counterpart directs. The chemistry is just right, the two play off one another with tension and theatrics as the music ebbs and flows in a state of constant unrest. Quite the impressive step forward with more vision and image than melody or groove.

Its final song Light Of The Champion abridges the past with its arpeggio base synths and bright synthetic leads. With cheesy 80s synth tom drums it playing right into the Synthwave trope with not much of a connection to the chemistry heard in the four songs before. Perhaps it was the song that kicked off this new direction. Although brief in duration, this EP shows quite a matured evolution that I look forward to hearing more of in part two!

Rating: 4/10

Dynatron "Origins" (2021)

 

Home to Dan Terminus, Irreversible Mechanism & Chaos Moon, Blood Music has been a great spot to pick up music I know I'll enjoy. With the label offering up a new, sleek, nightly Synthwave album, I felt lured in for another round with a style I now know well. Origins doesn't offer up any surprises for this listener but serves as a masterful execution of ideas and aesthetics I'm fond of. New to Dynatron, this one man band and producer is fondly reminiscent of Oscillotron, Contact and Grimrik.

And with familiarity and the easy pace of this record, it very much becomes background music, distilling with its stylish cool atmosphere, free of worry and tension. As the percussion pounds with its rock steady marching groove, one breezes through the night lights with that common feeling of being safe in a warm automobile watching the passing lights go by. The synths are gorgeous, pristine and lush, they muster the power of the saw wave's gusto yet glide smoothly throughout this experience.

A surprise awaits in the opening as deep, dense and gristly distortion guitars add a thick wall of gravity to the mix with their lumbering chugging between drawn out power chords. The idea isn't revisited again as much of the albums focus shifts to ideas its brighter, bold melodic leads evoke. They play dazzling melodies with a progressive flair to them, its what reminded me most of the aforementioned Contact.

And so the nine tracks whirl by with their particular identities somewhat suppressed by the consistent tone and perpetual pounding of snare and base kick. It flirts with darkly distortion, textural noises that add some ambiguity. Its lead instruments steer a little alien, inhuman, cosmic and mischievous in places but never does it lean to hard on any of these details. Its all easy listening, night life Synthwave, executed stunningly but a tad underwhelming in its inability to escape the rich atmosphere it locks into.

Rating: 6/10

Mayhem "Daemon" (2019)

 

I'm not sure when exactly I picked this record up but with Mayhem confined to the list of adored artists I'd consider far past their prime, Daemon must have been thrown straight to phone for shuffle. It may have taken years but a few months back, a song of this record really caught my ear. What was this chilling cold, deviously devilish Black Metal so reminiscent of the classic De Mysteriis Dom Sathanas? To some surprise it was the band themselves, reunited with Attilia Csihar and conjuring a sinister storm reminiscent of the vision Euronymous's chillingly morbid guitars evoked.

I'd always thought highly of the bands direction post their classic debut. They always looked for new experimental avenues to explore but eventually my interest in the morphing directions dropped off over the last decade or so. Ive read this record came off the back of touring De Mysteriis in full. Clearly those performances primed them for Daemon which conjures that primal darkness within a modern, crisp, sinister production provided by Necromorbus, with one of the worst "evil" names I've ever heard.

The two bonus tracks Everlasting Dying Flame and Black Glass Communion feel like the albums starting point creatively. Both rehash classic riffing styles, baselines and drum patterns from De Mysteriis. In my ears they are songs to get the writing process underway with this particular aesthetic and spirit in mind. The ten tracks that make up the actual record have similar moments but do well at feeling like an extension of that bleak ghostly evil the original conjured. Attila is the champion here, growling raspy demonic cries of malice between authoritative clergy jeers steeped in foul corruption.

Behind him Hellhammer is as on form and exciting as ever, battering away with thunderous intent and a distinct presences that's never left him. The duo of Ghul and Teloch forge moments of wicked and heinous energy between the broodier riffs that run the mills of classic Black Metal. Many moments of brilliance emerge on the likes of Agenda Ignis, Malum, Falsified And Hated and the grinding, unrelenting discordance of Worhtless Abominations Destroyed, a personal favorite of mine here.

My main issues is with whats between. The routine of snakey tremelo picked guitar lines and power chord shredding gets a little stale after many spins. Attila carries it with his wild and varied theatrics but the music beneath doesn't always have the gravitas it needs to be special. This may be a result of a deep familiarity with this style so many others have re-walked over the years. Its not to take away from the overall experience though. This was a fun and demonic ride back into that darkness, this shade however feels more visual and nefarious than its chillingly morbid counterpart.

Rating: 7/10

Poppy "Flux" (2021)

 

Not one to stick with a sound for long, Poppy moves on from the eclectic aesthetic extremities of I Disagree and metallic framework, now plunging deep into the 90s with a wash of warm hearted Grunge, Pop Punk, Alternative Rock & Dream Pop! This nostalgic lens that quite a few bands lean on these days serves up a huge advantage in terms of variety. Flux capitalizes on this fortunate position, sounding like its from an era but not being cast to one mold as many of its inspirations would have been.

The tracks Hysteria and As Strange As It Seems highlight this perfectly. Both resurrect dreamy Shoegazing guitar tones and the hazy production tricks of My Bloody Valentine's acclaimed Loveless without burdening the listener through a whole album of its dreary ambling nature. All songs have their shade of influences, in different degrees, from a moody Her too the amped up head banger Lessen The Damage.

The variety is where the magic is at. Originality not a concern as her usual collaborators and album producer Justin Meldal-Johnsen provide some amazingly written songs and gorgeous guitar tones in many flavors to flesh out the record wonderfully around her voice. The track arrangement is smooth too, shifting in temperament and intensity to keep things exciting and brief at only thirty two minutes.

I'm not sure that Poppy herself holds much of the dazzle. Her performances don't seem all too defining. The instrumentals make the songs more so than her singing. Her softer range is endearing but when reaching for more energy she lacks a strong character as the nostalgic lens has her singing in the shadow of anothers style. Themes and lyrics are locked in well, hooks and timings ripe but its missing a shine.

 Flux has been fun and refreshing, a spirited journey back into the 90s. With a broader sense of ideas to draw on it excels without doing anything remarkable or unexpected. Being keen on this era it was all to easy to get sucked but after many spins it firmly resides in that space where I'm not sure if these numbers will stick. So for now the record goes into shuffle, awaiting to see if its resurrection will be rewarding.

Rating: 7/10

Izioq "Medieval Memory" (2021)

 

Straight of the back of the mellow indulgence Kyokan, we get another Izioq release that is also quite different from the norm. It turns out, this brief five track eighteen minute release is inspired by the intro music from my Hermitcraft episodes, originally composed by Jotun, a side project of Lord Lovidicus. Medieval Memory essentially rebuilds a similar pallet of 90s dance percussion and jovial rave synths, deployed in that untypical melodic style for these aesthetics. As a result, a similar spell is cast.

The title track, split in two parts, humbles with its shimmering lead melody adding a warmth and gloss to the underlying synths that jostle away rhythmically. The driving dance floor bass on the second half to see the record out is a nice hail to the club aesthetic. Its brief 70s Electronic lead instrument another nice compliment too. Between those two halves, the three parts of Just In Dreams sound a little less polished and without focus, residing in the duller arrangement of these synths.

Each track experiments with some compositional ideas and aesthetics, venturing its through the musical motions. Parts two and three seem to meander further adrift with less engaging melodies and arrangements. Its been a pleasant surprise to see this niche musical idea embraced again. However, without advancing the concept it has been a little dull for me personally, revisiting a style I once binged to death around ten years ago. Definitely worth a listen if your a fan of the Jotun project.

 Rating: 4/10

Limp Bizkit "Still Sucks" (2021)

 

 

Its finally here! The album I thought might never see the light of day. Ten years ago with Gold Cobra, it seemed the Nu Metal kings were about to hit a groove with new singles being released in the following years. Interestingly, none of those them made the cut. The story goes that front man Fred Durst has been continually dissatisfied with his contributions, going back and forth to the studio, unable to finish the project. Its possible that much of the instrumental material here was ready eight years ago!

Its that creative divide the records struggles with, as much of what works hinges on Fred's lyrics which are mostly corny. The opening track Out Of Style has Wes Borland delivering his unique style with groovy chunks of guitar noise landing like punches as Otto brings the tight bouncy drumming and DJ Lethal fleshes out the texture with turntable scratches. Sadly its a fluffed opener as the doubt that delayed this record seems all too obvious. The verse rhymes are aimless and cheesy, finding no gratification with a hook or chorus either. Despite being corny, Fred nailed this twenty years ago with attitude and obnoxiousness. It seems that spark is long gone.

Fortunately the following Dirty Rotten Bizkit steers the overall theme to this "we suck", self deprecating notion that suits Limp Bizkit so well at this point in time. Still hated by many but adored by fans it works like a shield to deter a serious focus on what Fred is up to as you could write a book on the amount of silly rhymes he drops. Its all about having fun and Dad Vibes really leans into that. Its followed up by Turn It Up, Bitch which sounds like a classic 90s House Of Pain instrumental, of course the link here is self evident! They run the Hip Hop routine again with more beats and rhymes at the end with Snacky Poo, which might have the best rhymes of the record.

This side of the band and the overall theme converges wonderfully on Love The Hate as an oddball warbling bass noise rumbles under Otto's tight grooves. Fred and a guest play out a typical hater conversation about his band, steering it wonderfully to that "I listened to them when I was a kid" line. As it goes most the hate they get came from MTV generation kids that once loved them. Personally I never let go of that juvenile enthusiasm, there is just too much fun to be had with the classic LB!

Elsewhere on the record variety is found in droves. Barnacle rocks and roars like a Nirvana 90s grunge classic, deploying all the tropes of that style. You Bring Out The Worst In Me hails back to some of the bands lighter and melodic tracks while simultaneously deploying one of its grittiest grooves as Fred screams and Wes bludgeons his guitar. Pill Popper sounds somewhat like a Ministry track with its driving industrial snare drum. The variety here is fun and definitely on the nostalgic side.

Overall Still Sucks is fun because it has variety and the band don't take themselves to seriously. The lead single Don't Change stands out like a sore thumb tho. It seems it wasn't written by the band and that shows. The emotional angle and serious moody temperament just doesn't suit Fred at all. Other than a few blemishes, LB mostly walk the line well just having some good old goofy fun and banging out the jams!

Rating: 6/10

Ministry "Moral Hygiene" (2021)

My first few spins of this record had me in an astonishment I wasn't sure would hold. With my listening pleasures interrupted by a sickness impairing my ability to hear, I now return to Moral Hygiene with that initial exuberance intact. It would seem that forty years as Ministry has armed these rebellious musicians with a craft and voice to boldly express their social-political dissatisfaction with a vigor that reaches back through the years. The new music pulls up shades of many avenues explored before in their back catalog. The result is magnetic, gradually pulling you into its grasp track by track.

Things start gently, brooding a dystopian atmosphere with chunks of grisly guitar melody, echoing shouts roaring over the marching baseline and shuffling percussion. If not for the distinctive use of vocal snippets it could easily be mistaken for a modern Killing Joke track, a band that massively influenced them. The gears then shift up with Sabotage Is Sex. A busy throbbing baseline drives the track forward with a maddening power and groove as Jello Biafra lends his classic voice to the growing criticisms.

The albums theme blossoms as Disinformation samples former president Trump's voice back into the mix to shine a light on the fake news problem we all face in this polarized time. Typically his words are manipulated as are that of various newscasters. Personally I love the dystopian tone and contrast it stirs in the reflection of Edward Snowden's trusting words. Unsurprisingly there is no holding back when it comes to the political sphere with Greta Thunberg and other key voices in the world being sampled in to contextualize the themes that play out in these broody songs.

The Industrial Metal madness plays out over the next few tracks in its various shades. With each spin I'm grabbed intensely as its lyrics and snippets give me much food for thought and reflection. Then things reach a sublime height of madness with the two closing songs. Death Toll marches a carnival baseline groove through Kenneth Copeland's absurd declarations of interventions by God in the annihilation of Covid-19. Contrasted against the rising death toll... Its just a work of art in my mind.

It rolls into TV Song #6 seamlessly to frighten you out of its hypnotic persuasion. Toying with gristly Grindcore blast beats, ridiculous adrenaline fueled instrumentation and noise manipulation, the whole affair ends with a deliberate lack of resolve. Its as if there are no answers to the topics anguished over. The world is in strange place and the solutions are yet to be found. Its chilling but musically thrilling. I'm amazed Ministry came back so strong. At a time when I am thinking of trying to get out of my groove and find new artists, turning this one down would of been an unknown tragedy!

Rating: 8/10

Izioq "Kyokan" (2021)

 

Three years on from Hey Listen! The return of Izioq comes with a big shift in style as this supposed game soundtrack ushers in moody atmospheres and a restful pace in the wake of its often upbeat, energetic and wondrous childlike playfulness. I say supposed because I can find no information on what game this is for, however it might simply be a creative exercise in writing music to compliment a particular vision.

  Having played the short twenty minute record often while playing Minecraft, I've found its composition to be minimally apt for conjuring a setting. Each track finds its flavor with the bare bones of instruments and percussion required, often leaning into the power of the space between sounds. Tonally they can be quite different acoustic guitar tones offering a contrast to the synth keys and snappy drums heard.

The album art suits its emotional resonance. A setting sun, the end of a day, finality, conclusion. Kyokan feels lightly sombre and melancholy. With no fear, dread or darkness, the music still comes from a place of warmth and safety but its odd poise suggests a sadness that sometimes visits at the end of something beautiful, hence a setting sun, bringing to end a day filled with joyous memories.

Rating: 5/10

Offermose "Stilhedens Tårn" (2020)

 

The journey continues, as it always does, now I find myself floundering blindly into a new scene. So familiar, yet built on a different tonality. The engulfing spells of Dark Ambient and nostalgic mystique of Dungeon Synth, channeled through shivering soundscapes, find a convergence on classic synth sounds resurrected from decades gone by. Known as Berlin School, my introduction has come through a musical darkness which I adore. Arcanist was my first and now I'm unearthing more of these broody plunges into the shadowy realms. Hinged on electronic tones, keys and modern conventions that are more often seen as fun and entertaining synthetic instruments than ones to conjure the eerie and ambiguous as Offermose does here.

With all that said, Stilhedens Tårn and its six chapters use this electronic force sparingly, acting more as atmospheric conjurings that journey somberly and morph into satisfying, driving swells of emotion. The haunting whirl of winds, unsettling ambiences and rustling sounds of nature nestle a rich sound design for its synths to bring haunting drones and chilling melodies too. The whole affair feels organic and natural as its potentially pristine synths are dressed down with an aesthetic tarnishing to ground the music in an earthly feeling. It does come in degrees though, Sjælens Ruin finds itself morphed midway by tight synth arrangements, playing out woven around a steady and simple percussive groove of snare and bass kick.

Much of this record lingers on an ambiguous spot, lonely yet beautiful. Meditative and broody but never drifting to far to the bleak, its poise hints at something devious with discernible human voices creeping into the backdrop on occasion. It all unravels with Tvillingeflamme as the pains of a despairing voice are muffled under a sinister vampiric synth. The arrival of a demonic voice and sounds of strikes paints a torturous scene in the imagination as the flame of the song flickers out with a funeral macabre air to it. A stunning way to seal off a wandering set of mysterious musical spells.

Rating 7/10