Dagoba "On The Run" (2022)

 

I'm not overly enthused about this release. Its more of a passing curiosity for a band name I was surprised to hear are still going. Its was back in the early days of the Deathcore scene that my friends and I also listened to these French metallers who were in a different lane, the "Future Fusion Metal" breed that never really took off. Melding an earlier take on Meshuggah's chunky Djent guitars, blisteringly fast mechanical drumming and an atmospheric helping of electronic synth, they caught our attention. They have since seemed to of escaped my interest... Perhaps I should revisit that record? Take another walk down memory lane! Music is always infused with memory for me.

Anyways, On The Run consists of two tracks still in that vein, modernized and toned down in intensity. The opening title track however goes for an accommodating temperament, a duet with an effeminate voice fit for more than just Metal. I couldn't find a name, but she has a style that steers the music into the classic European scene of decades past where women really started to get a foothold in the scene. The soft blare of trance synths nestled in the mix gives it quite the pop appeal. Initially it felt a little contrived but its an easy going song with a darker leaning that's grown on me.

Its following songs get meatier, shifting emphasis to big stomping grooves erupting between rough shouts and screams. The synths tend to play accents on the unfolding momentum but too get moments to shine and play up the Trance and electronic club scene vibes. Its a decent chemistry that doesn't amount to anything spectacular but does no harm either. A little astral in places, they distantly remind me of Aeons Confer. This has been a reminder of how enjoyable Metal can be, even if not much out there feels fresh or different.

Rating: 2/10

Rachel Chinouriri "Fourº In Winter" (2021)

With calming, softly sung wordings and crafty subdued instrumentals, singer Rachel Chinouriri steers R&B to the shadows with gentle Ethereal vibes to forge a unique sound. These eight tracks fit snugly together as they ebb and flow through the cloudy ambiguity of dreamy sound manipulation and tight traditional arrangements driven by sharp percussive grooves. Throughout it all she remains present as both the focal point and as an embellishment of textural layering, the music being interwoven with vocal manipulations. It gives the music a warm and curious tone where shadows, darkness and limbo, the usual arsenal of words in my vocabulary for description. They just doesn't feel quite fitting for the direction she drifts towards.

At twenty three minutes its an indulgence that never falters, crooning through these timeless spaces where melodies have devolved into brief surges of ambiguous sound. Its an amorphous experience. Give Me A Reason kicks us off straight into its curious mood as the slow tempo and pallet of odd sounds work there easy wonder. The ending however sours, a collaboration injecting a plain talking male voice with a verse structure to switch the vibe up, a contrast that didn't offer much in my opinion.

All between is a wonderful ride. Instrumentally its vaguely reminiscent of Jan Amit, possibly some Post-Rock artists where sparse acoustic guitars and airy synths take over. Vocally its Billie Eilish but more so because of her soft and breathy, intimate performances. In borders ASMR on occasions, which more often that not, doesn't rub me the right way. In this instance it works so well with the dreamy atmosphere, most of the time... In one or two moments she goes a bit far with it. Otherwise I really enjoyed this gem, very unique, occupying an interesting space between genres.

Rating: 6/10

Dance With The Dead "Driven To Madness" (2022)

 

With several years passed since my plunge into Dance With The Dead's albums, this lively return, polished of with an aesthetic upgrade, has re-invigorated my interest in the band. Bolstering their metallic adjacent temperament with brimming distortion guitars and equally aggressive synths, the duo pivot musically to something akin to a breed of Synth-Metal where the horror inspired Retrowave aesthetic meets modern Metal song structures and metallic themes in somewhat of a perfection union.

This charge of ten songs is kicked of by a symphonic horror treat as John Carpenter lends his classic theme melody style to the opening March Of The Dead. The record then shifts into gear, stomping down with chunky aggressive grooves, interwoven by stylish, creepy movie inspired synth melodies. At times it embodies an Industrial Metal temperament, reminiscent of Rammstein in places. This aided greatly by its gorgeous instrumental textures that make the music a pleasure on two fronts.

With crystal clear instruments churning away in this superb production, one will pick out favorites among the grooves and melodies but one thing feels strikingly absent, vocals! Somewhere early on there was a soft choral choir voicing used but other than that its a wordless affair that I felt really needed a persona up front to guide its verse chorus structures. As someone who isn't all to captivated by lyrics it was peculiar to feel its absence. With compositions being recycled and only the occasional guitar solo to give it a voice, I could really see a commanding presence at the front elevating the songs. Other than that, this was a much better execution of everything they had striven for in the past, at least to my semi critical ears!

Rating: 6/10

God "Possession" (1992)

With a wealth of music just a few clicks away, my reading tangents of band connections, genre exploration and general curiosity is no longer manifesting an obscure list of music I'll never actually get around too. My recent unearthing of Techno Animal's Re-Entry led me to find out what its other half, Kevin Martin, was up to with God! What a band name, I wonder how it had not been scooped up early, perhaps held by some iconic artists. Its competition in the shadow of the church and religion is no cause for a lack of prevalence here, the music rather obscure and unwelcoming.

Labeled as Avant-Guard Industrial Rock and Metal, I thought there is a fair chance of finding some appeal. Sadly these length tangents of manically droning exhaust whats decent and smother it an onslaught of tonal assault that forever meanders on its repetitive structure less form. From its shortest four minutes into the lengthy stints topping out at seventeen minutes, every song hinges on a baseline and drum pattern backbone. It works away, iterating itself at the same tempo incessantly! Then a fog of samples, random noises, distant voices and a zany Jazz Saxophone slowly wash in. Each song finds its flavor, a distinction but they all grind on endlessly.

The Sax performance is rather impressive with some vibrancy and illumination often steered into a maniac frenzy of squirrely notes bordering on mental illness. Its other instrumentation, sometimes pianos, other percussive sounds and shrill sounds, often feel intentionally out of step with the core musical loop. Its result just doesn't spark a magic for me. A couple of songs may have a strong drum groove or meaty distortion guitar lick going for it but when that crops up, its repeated to death.

Don't get me wrong, I had a fair bit of fun with this. The first listen was the strongest with walls of maddening sound a treat to pick apart. The texture and intensity is wild on first glance but once a songs played twice its all to apparent how lacking the depth the project is. The songs have no direction other than to drone and all its ebbs and flows of accompanying madness just seem random and without much intent. Reversing those trends could of yielded but sadly the whole record is a bore.

Rating: 3/10

Pop Will Eat Itself "Cure For Sanity" (1990)

 

 Despite the disappointment of a "Grebbo Rock" record with Box Frenzy, I will continue my exploration of English genre mashers Pop Will Eat Itself. Spotify has alleviated the friction of research and investment into albums. Now any curiosity is just a few clicks away! With that I've also felt less of a need to go deep on records, the result feeling wonderful. The burden of expensive MP3s has been lifted and my ears are free to explore. Does that factor into why I enjoyed this hour of early 90s vibes so much? Probably, its nice to not have a thought gnawing at the back of ones mind about frequently sinking money into your listening choices when they turn sour.

Cure for Sanity opens up with fantastic sampled dialog of the shape of music in the fabric of society and outdated notions of how this should be controlled. Its sets a high bar for topicality that I never felt returned in the next nineteen tracks. Admittedly the cheesy 80s rap flows in British accents made for a lack of investment in the lyrics. Its following Dance Of The Mad Bastards feels like a send off to the Rock Rap crossover that made This Is The Day so magical, reusing distortion guitars and other samples that gave it identity. These snippets run alongside new sounds and a percussive drum loop fit for the coming Electronic scene of England in the early 90s.

From here the record strolls through a fair bit of mediocrity, leaving its metallic tone in the dust and stitching together newer moods and tones of the times in a heavy wash of sampling that will have you clambering to remember from what artists you first heard that sample or sound before. Again it includes many cultural snippets too, like the famous commentary and crowd sounds from England's 1966 world cup victory.

Going back to the remark on the yet to blossom Electronic scene, the better songs here seem to bolster House and Dance pianos that would be a staple style before long. Its other cutting edge is in percussion, many drum loops a precursor to Big Beat and the likes can be heard and all at the start of the decade. It would be so fascinating to see a deep dive on the samples and their place in the timeline. It seems so apt for whats about to arrive and undoubtedly wouldn't be possible without legal freedom for sampling at the time that what be drastically changed in years to come. Cure for Sanity is a fair bit of fun with a lot of mediocrity as many songs feel like a collection of sampling ideas. Luckily there is a couple of solid songs in here too.

Rating: 5/10

Kero Kero Bonito "Civilisation I" (2021)

 

 

 I've been diving into a few Kero Kero Bonito records and loving whats to be discovered! Initially, I didn't vibe as strongly with this other half to Civilisation II until I had the further context of their back catalog. As a quirkier, bold and colorful trio of songs, it seemed offbeat from the marvels of its successor. Released two years earlier, these three songs perhaps signify maturity over the period, however being new to the London based outfit, my passing thoughts are of little value currently.

 

The opening track Battle Lines bursts to life with a barrage of punchy instruments, a disorienting layering of cheesy 80s synth sounds reworked to produce a carefree, wonderus mood. Its zany synths jive unabashedly, jolting into life with sequences of notes that play like guitar solos, often seeming out of key initially and swiftly find their orientation with the music. Ironically its was the most jarring track but now the one I love most. The wildly animated nature of its busy instrumentals is remarkable!

When The Fire Comes drifts into a calmer, soothing temperament, letting Sarah Perry take a little more light with her keen singing voice. The steady percussion gives rise to layerings of gorgeous, vibrant keys. So easy to enjoy! The River follows up extending that warm, easy tone with its breezy synths making a mockery of its jittering percussion and sporadic bursts of odd synthesized noise effects. Its somehow dreamy, yet that drum pattern is so shaken and agitated! The chemistries these three conjure are simply wonderful. They are now the subject of my next musical journey!

Rating: 4/10

Ghost "Call Me Little Sunshine" (2022)

As one of my most cherished band of recent years, even a two track single garners my attention! After all, Ghost did release a duo of non-album gems with Seven Inches Of Satanic Panic. Sadly, this pair do not live up to the hype and also feature on the upcoming Impera full length. My initial, unchanged, reaction to the title track was a soft disappointment. With Meloria and Prequelle the band took significant strides of excitement as their sound matured. This song feels like it didn't make the cut on the last outing. Reciting the same 80s inspired vibes, its easy tempo and molded melodic temperament delivers its average chorus and verse on stride to a guitar solo, a lull and then return. For them, its an all to common structure lacking a spark.

The following Hunter's Moon feels a more lively in comparison with instrumental shake ups unleashing broody guitar grooves and twisted church chorals. Its still the same overall structure but the chorus hook arrives more vibrant as the lead guitar rolls out a grabbing lick. Don't get me wrong, I adore this band and the niche they occupy but this sounds like a group on autopilot, simplifying their sound into very digestible music that lacks the flash and surprise that has made them unmissable over the last ten years. Its not got my hopes up for Impera. I am hoping these are the weaker cuts.

Rating: 2/10

The Weeknd "Dawn FM" (2022)

Having made waves with his retro inspired After Hours, The Weekend returns two years on with Dawn FM. Leaning deeper into the nostalgia of 80s Pop music and aesthetics of Synthwave, this sixteen track dive sustains more of an album experience that its predecessor. Equally, without a spearhead song like Blinding Lights, it endures with consistency of mood. One can simply dip in at any point and relax with easy vibes, breezy cruising instrumentals and wonderful falsetto singing. So often do those high notes become the peak in this narrow range of creative avenues explored.

Thematically structured around the concept of an ethereal radio station, a handful of its spaced apart interludes play like broadcast ads. Decoded, its theme of suspension in limbo signals a direction out for the listener. Its a wonderful tie in, melding the overall mood with a bigger picture. The album doesn't peer into the unease or eeriness of the situation but essentially forges a link with its retroactive stylistic inspirations, as if the lyrical narratives explored reflect on memories gone by.

The lyrics themselves often linger on relationships, love and heartbreak with a common "looking back" perspective. Luckily his voice is charming, a soft and strong flow that can gracefully sweep between notes, lingering on them with emotion and passion in the vibrations. That's where the feeling is felt for me. Lyrically the concepts are often simple, straightforward and in the latter half of the track listing tend to feel rather shallow in terms of depth. The words recycled are unimaginative lines and sentences from love songs Ive heard done to death by many an artist before him.

Dawn FM shines consistently on its instrumental front. Its glossy, lush, spacy synths bring a sweet indulgence fit for its upbeat tempos and lazy slow riding grooves too. The easy going nature of Pop music is treated to an inspired aesthetic. The balance takes the better aspects of Synthwave tones without hounding them into the ground as many artist in this Retrowave movement do. On occasion The Weeknd and his production team lean hard into the buzz saws, psychedelic synth and punchy drums but its always timely and apt. Rarely do they loose focus on the underlying structure.

That brings me to the next strength of this record, song writing. Without anything to ambitious taking place, the stellar aesthetics and crooning moods seem to zap away the repetition and cycle of the verse chorus loop. Its there with the occasional shake up and interludes creating a series of soft "events" on the journey. Although not involved in song writing, Quincy Jones turns up for an interlude to see in Out Of Time. Its a seriously classic Michael Jackson alike song. It highlights a similarity in his vocal style with the King Of Pop and the instrumental pops like a PYT or Rock With You.

And that's what underpins many of the albums best songs, the brilliance of instrument variety ushering in soft plucks of guitar melody between gushes of vibrant synth and timely rock grooves. Its the subtle characterizations of Funk, Soul, R&B and Pop in the performance, beneath its oozy synth aesthetic, that make the magic. Its a true hail to the likes of Quincy. Sadly that is mostly speaking to the first half of the record as past the feature with Tyler The Creator, the gears shift pace quite notably as that song slows the pacing, cutting out the drums and transitioning us into a gentler intensity.

Its in this second half that the music tends to veer away from the variety and qualities heard on its opening stretch. The lyrics get watered down, pacing lulls on dreamy tempos and the Synthwave aesthetic grow into the main focus. We are not talking about every song but to my ears Dawn FM feels very front-loaded. Its opening tracks are truly remarkable and a peak of this era of music. Short and sweet would of been a better approach here, in aims of a classic. As a longer, drawn out, experience it does do a great job of suspending one in its spell. Either way, an impressive record!

Favorite Tracks: Sacrifice, Out of Time

Rating: 7/10

Benny The Butcher "Pyrex Picasso" (2021)

 

As a new name on the rise, appearing alongside the likes of old greats like Snoop Dogg, Busta Rhymes & Jadakiss, Benny has made a remarkable impression on me. With a firm voice fit for classic story telling, both his style and beat production has a gushing nostalgia for the 90s and 00s era. Pyrex Picasso is concise seven track stint, nineteen minutes of straight class. The title track plays like a cut from 2001, dead serious pianos, a softly sorrow Spanish guitar lick and timely horns, vibes I'll always welcome more of. The following '73 gets dingy with ambiguous samples, gritty drums and low-fi strings. The RZA would be proud! Flood The Block has the Immortal Technique mark, not just instrumentally but how Benns flows with a through line and sharpness that feels like he doesn't have to bend his thoughts to a rhyme scheme.

I could rattle off on similarities to other artists. This really is a case of seeing shadows tho. Where Benny shines on his own is purely through the power of his rhymes and narratives he unfolds. I wouldn't say his style is original or ground breaking, but very well refined as every verse makes a catch, throwing its line and hook. The themes are atypical, street life, prison and drugs. The topics of hard life are aired and also his resolve to make it as a rapper. I imagine he won't appeal as much to the newer generation but this EP embodies the best of Hip Hop from decades gone by. An impressive introduction that will have me seeking out more from this talent!

Rating: 7/10

Poppy "Eat" (2021)

 

Along with Flux, last year also received this brief five track EP with little stylistic affiliation to the latter. As a soundtrack for NXT wrestling, one listen will affirm why. This is possibly Poppy's "heaviest" songs to date, with her upfront deploying some utterly fowl throaty screams that have me concerned for both her vocal chords and the recording equipment. Its rough and raw, much like the instrumentals led by gristly noisy guitar distortions that have a messy tone. We do hear her light and harmonious voice in brief bursts, often in competition with an eruption of wild visceral screams.

The record feels structured to gain more respite and musicality with each passing song beyond Say Cheese, which leans heavily into Metalcore guitar riffs with stomping breakdowns, crunchy riffs and a really odd warbling bass tone. Breeders ropes in a zany synth tone to crank open the song to another dimension of feeling, very much similar to that classic Tubeaway Army song. Each song has its identity, emergent musical ideas executed through a smothering Industrial tinged aesthetic.

Its a riot of creativity, feeling fresh and fun with a lot of energy being thrust forth. Although it leans into my preferred avenue of Metal, these songs feel creative and dynamic, putting up a sound not too many other bands offer in a rather stale scene. She has really scooped up some great musicians with Greatti and Wilcox helping write these feisty songs. I've spun them over and over and they are probably among my favorite songs of hers now. I'd certainly like to hear more on this wavelength.

Rating: 6/10

Techno Animal "Re-Entry" (1995)

Today marks the beginning of a new era! I will no longer own my records... Finally I've got with the times and made the migration to Spotify. In doing so I haphazardly stumbled onto this record I couldn't find anywhere after listening to Ghosts back at the beginning of this blog. Techno Animal is an experimental side project manned by Justin Broadrick of Godflesh and Kevin Martin of God, two musicians deep in the early Industrial Metal scene but exploring a very different breed of sinister music here.

Re-Entry isn't as dark as I remember Ghosts being. It does however lean heavily into unease, tension and dread as its droning soundscapes venture on psychedelic depravity. Its a mental trip of looping sound design, organically unfolding with incremental changes that can transform a song over mostly lengthy outings. Its two CD format boasts halves of six tracks each, often clocking in well over the ten minute mark. The result is oddly meditative and soothing in an adventurous way. Dreamy music for setting atmosphere and tone to let the mind focus on other demands.

These compositions are near density, every instrument seemingly tuned for that slow meandering shift that occurs over its lengthy duration. Subdued percussive drums keep pace as Elctro-Industrial synth tones layer in a little zap and bleep tone texture, seemingly at odds with the music but melding in. Its best experiments seem to come on Flight Of The Hermaphrodite and Demodex Invasion. The first using Middle Eastern sounds and instruments to visualize a drug trip in Arabian deserts. The later morphs its drum loop through dizzying distant tonalities that wash in and out of focus.

Though in its worse, the remarkable chemistry of these tracks feels underdeveloped and neglected. Most of these songs are lumped in the second half, Catatonia and Red Sea are examples of experiments that didn't quite come together and lack direction. The twenty minute Cape Canaveral feels even weaker as a dull Black Ambient drone piece. The closing Resuscitator too is a lone drone of eeriness and without that lavish layering of odd noise and drums, it becomes unremarkable in comparison.

Its really just a handful of songs that shine here. Even then some feel stunted by a lack of progression. Moments to break the mold and give these songs a sense of arrival or event would really elevate it. There is however fascinating chemistry and visceral trips to be explored. With less filler and more focus this could of been something great but for the context of times, this experimental Avant-Guard release is quite unique and remarkable. How they got signed to Virgin Records, even more so!

Rating: 5/10

Cranes "Loved" (1994)

 

With a warm uplift in mood felt on Forever, Cranes return two years on continuing that trajectory. It arrives along with a musical shift in tone that firmly positions them within the 90s Dream Pop sound. Taking on a Shoegazing guitar aesthetic and shedding the shades of Industrial and darkness that followed them before, one can hear their established song writing style taking on new ideas but mostly leaning on thick acoustic chord strumming and hazy lead guitars that paint dreamy waves of bendy reverberating noise over top. Its charming in these particular strides.

Opening with Shining Road once can hear a percussive distinction that crops up a few times over. Its one of these musical ideas where the direction just feels different. With an injection of lively drums, fit for the times, Cranes offer something that doesn't exactly build on the sound they have forged. Where they get it right is with the dreary guitar haze that washes over a handful of tracks. The song Beautiful Friend is an underwhelming cross of the two. The following Bewildered however gets it spot on.

Lilies and Loved are two tracks leaning into their darker past with crowded noise and gristly stiff guitar licks to stir a little menace and unease among an otherwise warm record. Cranes's music does however still linger in that strange place I can only describe as limbo, with Shaw continuing her roll as the voice of innocence adjacent to danger. Its the Shoegazing guitar that embellished this record with a rewarding new direction. I hope to hear more of that lushness on the next outing.

Rating: 6/10

Knocked Loose "A Tear In The Fabric Of Life" (2021)

 

My excitement and appetite for the cutting edge of brutality in the world of Extreme Metal as diminished severely with time. Most bands I encounter seem to be locked in the Post-Deathcore and Djent overlay which tends to recycle the same ideas found at their origins. Alongside a Metalcore backbone, some of that bore is to be found here too with with a shimmering of Mathcore in places also. The reason I mention this is because Knocked Loose have spun that formula into a short and pacey affair of pummeling intensity. On this EP, six tracks blaze through the many tropes and un-original ideas common to the genre on the heels of an adrenaline shot of excitement. Their song structures continually race ahead, leaping from one moment of bludgeoning to the next, leaving you with little time to recover from each metallic blow. Its a fun experience as the chops come quick and fast, rarely looping back and often jumping into sludgy palm muted break downs with barely a moments notice.

The production is stellar, a show of strength, an aesthetic treat of modem engineering that has its instruments frothing with a rage shared by front-man Bryan Garris. Initially I found his shrill, high pitched bark a bit rash but I warmed up to it as his energy fell inline with the unrelenting march of aggression the band set out on with these songs. Not only do the instruments bring intensity, the moments of texture embellished in its discordant riffs take up the pauses for breath with expansive moments of tense atmosphere as on occasion the music blossoms into something more than the meat grinder it initially seems to be. With quite a few spins in the past weeks, A Tear In The Fabric Of Life is a short experience that's delivered much gusto as its rapid approach brings continual waves of excitement that last the initial explosive impression created.

Rating: 6/10

Kero Kero Bonito "Civilisation II" (2021)

 
Kero Kero Bonito are a London based trio led by singer Sarah Perry, who's half Japanese status has a clear cultural influence on the Electronic group. With warm shades of J-Pop and K-Pop influencing the audios character, this short three track EP Civilisation II was an excellent entry point for me. The feel good uplift and structural sensibility of Pop music finds itself in the arms of deep grooving electronic styles that drift in a direction I am far more familiar and comfortable with.

It kicks off with The Princess And The Clock, the chirpiest track speared on by driving percussive kicks that dial up the energy of a youthful, dancey, daydreaming song. Perry resonates warmly, her lyrics mirroring this slightly dreamy aesthetic has she sings a fairy tale of a royal prophecy fulfilled. 21/04/20 mellows out in a direction reminiscent of Anime theme music as its sparkly lead melody blossoms out of a glossy toned song. Perry's lyrics embellish normality with a sunny pleasantry as she words out the details of what might be a mundane day into something much prettier.

The third and longest cut at seven minutes is my favorite. Well Rested swiftly drops into an easy breezy groove of deep soothing bass and steady percussion. Its reminiscent to me of my favorites songs in the realms of Downtempo and Ambient electronic music. The mood is rustled up along the way with Perry making commanding remarks on a cadence fit for an activism rally. It arrives alongside jolty, slightly frenetic electronic leads that usher the second half of the jam into a livelier version of its own first half.

All of this wonderful songwriting is channeled through a wonderful productions that musters a fair helping of glossy reverb and timely echo to embellish that dreamier tone. All the while its many electronic instruments stay crystal clear and chirpy, dense in texture and color. The percussion too is imaginative with a great selection of both samples and pattern arrangements. All in all this brief fourteen minute outing is absolutely solid and has me very excited to discover more from this dynamic trio.

Rating: 5/10

Cranes "Forever" (1993)

 

Arriving at their sophomore album, Cranes show signs of maturing songwriting. The blunter lunges into shadows are scarce as brighter acoustic guitars and friendlier distortion riffs take focus on a warmer, yet curiously limbo like outing. I'm noticing a pattern in how songs come in degrees of arrangement. Its most notable when percussion is entirely absent, as it where on a few songs off Wings Of Joy. Their ability to brood on simple, repetitious melodies and stay engaging is remarkable.

And Ever makes a mark as its lone, moody piano ushers in a two hand chord melody to dance with Alison Shaw's distant Ethereal voice. The music swells upon the arrival of a singular, lone and soft string synth. Reverberated acoustic guitar notes then pluck away in compliment with a brisk ascendancy. Another drum less track Cloudless has a touch of Medieval melody to it, as did Watersong. Just a minor musical note.

Adrift and Clear peer towards shadows, bot quite intensely as before, with upheavals of brooding distortion guitars soaked in echo. The later creates quite the maddening atmosphere with its bendy alarm siren droning in the backdrop, creating tension. The lead guitar riffs is quite a devious lick yet so simple as much of the components are like the flat bass line. Their ability to grasp so much power and feeling from the simple connections between each instrument is everything that makes these songs great.

The Dream Pop label still alludes me. There is little at play that reflects the quirk and upbeat nature of Pop music of the 90s. Not as dark, limbo is the word that comes to mind with Alison Shaw still playing innocence off the more sinister soundscapes of her band mates. Through her the dreaminess is all there though. Heavy use of reverb gives the mix a cold spacious feeling throughout and with a lavish of echo her singing ices the cake with an Ethereal quality. Forever is a fine endeavor but generally feels like a lighter exploration of the same musical ideas presented beforehand.

Rating: 6/10

Hypocrisy "Hypocrisy" (1999)

 

I know little of any lore or significance behind the self titled naming of this sixth full length outing by the Swedish group. Perusing their catalog in my youth, this quickly caught my attention as one I should give more time too. Before long it was my absolute favorite and picking it up again all these years later, its got legs. Mostly, its the streak of bluesy emotion emanating from the voice of Peter Tägtgren that resonates the strongest. Alongside an arsenal of both galloping and broody atmospheric Metal, the record offers up a varied landscape of song styles that Hypocrisy have recycled since, all hinged around extra terrestrial paranoia and conspiratorial themes. Hearing it all again on Worship, I was keen to spin it again!

Opening track Fractured Millennium is an anthem of its own creation. The grand synths that open it up brew in anticipation of the epic riff that grace the highs and lunges into the low chords with great effect. Its a slower, atmospheric track peaked by a wonderful guitar solo reminiscent of Ride The Lightning. The rest of the record is scattered with a few more helpings of blazing guitar leads that always arrive just on time. Apocalyptic Hybrid pivots sharply into menacing Death Metal with a galloping pace tinged by melody as much of the record is. Although these tracks get tough and mean with hard hitting guitar grooves, its always a break or two away from a melodic theme, making its mark so much more enduring and memorable than brutal acts.

Later in the track listing Time Warp brings back that frenetic energy but otherwise the group lean into the atmospheric and find some unique magic as Peter opens his voice up to a burly, heathen, cleaner side. Elastic Inverted Visions and Paled Empty Spheres ushers in acoustics to take lead on sombre songs with darkly lyrics of struggle and tones of redemption seeking. Until The End and Disconnected Magnetic Corridors straddle the slow tempos with grandiose as the depressive, downtrodden tones struggle on in the rainy atmospheres that brood with no light in sight. The variety is magnificent and the track arrangement used to puzzle me. It always felt like you could chalk the songs into three distinct camps. Now I see that it offers a change in pace and respite from remaining in one lane continuously.

For the year of its production, the album reflects the Symphonic Black Metal sound, with Peter being a key influence on Enthrone Darkness Triumphant and Spiritual Black Dimensions. Probably speaks volumes to why I like it so much. The constant inclusion of synth lines behind the roaring of blazing mighty metal to much to resist! All these years later its magic has dulled a touch, more of a nostalgic affair than something to whip me off my feet but its still utterly terrific and full of fantastic peaking moments, usually those guitar solos which remind me of Kirk Hammett in some ways.

Rating: 9/10

Lena Raine "Oneknowing" (2019)

 

Having only gotten to know her music through the Minecraft & Celeste soundtracks, Ive set out to hear Lena Raine's voice through her own lens on this debut album release after the remarkable music of Celeste. Its a high bar of comparison but as a solo artists expressing her own vision, Oneknowing is a comparatively ephemeral experience. Distorting time with its dreamy pace, the soft Ethereal tone has much of the gentle music drifting through lofty ambiences of thick, lush, airy synths. Its the framework for a small variety of ideas in rotation that make up the track listing.

The excitement croons when Lena brings in her remarkable percussive grooves. They rock and rattle with subdued momentum on the back of rather harsh and sharp drum and glitched sounds. The mix is magical and births many of my favorite moments as one is snapped out of the inertia and into the power of her beats. A subtle alternative element at play is the inclusion of strings, in more classical leaning tones which tend to build up with a Post-Rock like growth. A stead swelling which ends up at unexpected intensities in comparison to the songs humble beginnings.

The third of three elements that caught my ear is her voice, something I'm not sure she used on Celeste. I've got to be blunt and say it caught me off guard. She sings with a quite timid and fray tenderness, hinging on either a foreign language or vocal inflections that make he presence wordless and rather shy emotionally. Its an odd performance, possibly all to flat in tone and power as she meagerly drifts into a songs with lots of reverb and effects to carry it through. I like the end result but get a feeling she might be making up for lost ground in some capacity.

Blown away by her other contributions, this solo experience has a mix of that exceptionalism and a more typical Ambient experience which mirrors many sounds Ive heard in recent years. When her music breaks the mold of that softness, like on Insomnia and Momodani, it feels very unique. Along with that I get the distinct feeling the music is packaged through the lens of a story, as if shifting from scene to scene in a computer game. Oneknowing is a strong album but time will tell just how much.

Rating: 7/10

Pop Will Eat Itself "Box Frenzy" (1987)

 

On occasions, the rush of excitement that always comes from record browsing can get the better of me. The rule I am not learning is to give something a listen before parting with your hard earned cash! Given that PWEI blew me away with their sophomore record, This Is The Day, I was happy to jump straight in! That album was a time capsule of nostalgic innocence, reflecting the cultures of the day. It spoke directly to musical scenes before my time that Ive always been fascinated with. Looking to follow up, the acclaim mentioned in breath of their debut Box Frenzy had me pick it. Sadly the horrors I've found have me wanting to give up. I can firmly say its quite awful.

I'll be blunt with my words but a handful of listens has improved my tolerance. In a nutshell, everything "edgy" of the time retroactively sounds stale, dated and damn right corny! Fueled on by the Run DMC Rap sound, these youthful twenty-somethings hinged all of their songwriting on aesthetics that have died off. Box Frenzy is forty three minutes of unabashed punchy tone abuse, taking synthesized 80s sounds and running them through the mills on old school drum machines and retro keyboards. These arrangements are stark with spacious drum grooves droning away, accompanied by obnoxious "sound effects" and Walk This Way inspired guitar stabs.

The lyrical content is often cheap and cheesy, atypical 80s rapping flows with a lack of underpinning substance. The spirit of these songs reminding me of "dated" party songs, the sort of unbearable 80s tunes encouraging kids to do a variety of then trendy dance moves and routines, hinged on gimmick and novelty. That in your face cheese is tiring but also entirely the point. For 1987 I can see how this would have been on the edge and pulled in praise but having little nostalgia for this particularly disposable and dated sound, Its no surprise it turned me off.

I've been cruel so far and I must say the foundations of what made This Is The Day is firmly heard on this record. A few tracks have something good to offer in the way of groove and energy but the aesthetics tend to be a bit to grating. There is also the term Grebo mentioned here. Labelled as "Grebo Rock" its a curious disconnect from how the term was used in my youth to label the alternative crowd I then Identified with. Seems the term has roots that extend back to the 80s, and a sound I wouldn't associate with the Nu Metal and Gothic music of my youth. This introduction won't have me looking much further though!

Rating: 3/10

Nas "Magic" (2021)

 

Released Christmas Eve, seeing Magic in my inbox was quite the surprise. With King's Disease III now confirmed for 2022, I expected that this shorter album, clocking in just under 30 minutes across nine tracks, would be a collection of outtakes from his fruitful collaborations with Hit-Boy. But alas it is not so! If anything, Magic speaks volumes to the stride Nas is on as his lyrical content feels interchangeable with that of King Disease II. Thinking of these songs as sub-par in anyway is erroneous. It simply seems as if he is oozing with creativity right now and enjoying sharing it with us all. Unsurprisingly though, the tone of these songs are in the same lane. Nas is offering up his unique personal perspective within the Hip Hop scene and addressing his audience with wisdom and a little introspection in doses, much as he has been doing.

Wu Is For The Children is the one underwhelming cut. A reference to the Wu-Tang Clan setting high exceptions for a dreary percussion-less track. The following Wave Gods brings on DJ Premier to drop his iconic drum break style and scratches of classic Hip hop snippets whilst resurrecting Gang Starr themes. The opening Speechless kicks off with a remarkable verse, referencing fallen musical icons of the twenty seven club and the grittiness of his neighborhood. Its a wonderfully articulate flow that extends into Meet Joe Black as Nas touches on successes built, mistakes made and criticisms keeping him energized as he words it. Interestingly it ends with a snippet of individuals mocking his Hip Hop I Dead record statement from back in 2006. I didn't feel like his words provided much of an answer to that though.

Ugly is a wonderfully aesthetic track as its wobbling distorted sampling creates a foggy drone for Nas to paint a gloomy scene with his words in the opening verse. The following couple of tracks are much livelier in contrast and his rhymes are tight and slickly delivered as you could expect. All in all its a sweet selection of tracks to salivate on in anticipation of part three. Not much beyond that though. Hit-Boy's approach get one in the mood but I didn't feel like these beats were exceptional. There wasn't anything here that "leapt off the page". I'm satisfied, left with high hopes for KD3!

Rating: 7/10

Cocteau Twins "Heaven Or Las Vegas" (1990)

After a discovery hiatus and with a new year ushered in, I felt it was time to return to the Cocteau Twins. This next destination being the one other record of theirs I knew alongside Treasure. Heaven Or Las Vegas is the trio's commercial peak and a record of notoriety among "albums to hear before you die" lists and whatnot. Rearranging the various aspects of their sound, the group hit a stride and roll with it through ten fantastic songs that revel in the Dream Pop realm they helped to pioneer.

Opening with Cherry-Coloured Funk, the temperament and pace is swiftly set as each song moves with this steady shuffling drive, as lavish, pedal effect drenched guitars drone in a wash of color and delays. Its the defining aesthetic of each track which hinges on simple, straightforward song structures. Each one plays out presenting its main idea and upfront with a few variations woven in. With Guthrie on a stride its a fine curation of ideas, resonating well with his fellow musicians who put icing on top.

Fraser pivots from her wordless performance style to sung lyrics which arrive with a magical cadence and distorting accent to throw one of the scent on occasions. The way she lays emphasis and elongates notes is charming yet often out of step with expectations, giving her words a cryptic dimension. Behind them, on every song, Simon Raymonde pumps away simple yet warm and cushioning bass lines, with an occasional tough of groove but mostly very simplistic and straightforward playing.

 

Brief moments of electronic synths can be heard too, often woven into the drum machine arrangements. They can sound bare and stiff on some tracks, bearing its mechanical nature with claps and snaps. Counter too that, it sounds completely organic on a handful of songs too. All in all its a beautiful aesthetic arrangement of Ethereal colors dazzling in the wash of dreamy guitars and singing that finds its charm swiftly and keeps you with them for the duration of the record without a blemish, bar a couple of drearier songs, however they bring their own rainy day magic too.

Rating: 8/10

Killing Joke "Hosannas From The Basement Of Hell" (2006)

 

With a new year comes a ritualistic return to the extensive discography of Killing Joke, a band I've been exploring since this earliest days of this music blog. These English Post-Punk emergents have had a massive influence on the shape of Industrial Rock and Metal to come, Ministry being a keen sample of their ideas propagating to new frontiers. Once finding myself burned out, its now quite a pleasure to return to their particular sound with a new set of songs periodically. This one might be a new favorite in the collection. Released in 2006, it reminds me of my Download Festival poster from that year. They headlined the third stage and given all the cracking shows I've seen over the years in the top spot of the smaller stage. I often wonder what the was like? Sadly I didn't investigate their music until many years later, that's when I noticed they played on that legendary year, my first and unforgettable outing at Donnington!

 Hosannas From The Basement Of Hell is possibly the bands most engulfing feet yet. Riding on a backbone of pounding repetition and dense aggression, the aesthetic crushing of its gristly guitar distortions, beefy percussive strikes and Coleman's aged throaty shouts, caries the music into a hypnotic dimension. With a cold mechanical drive these songs drone with an unshakable pace on lengthy escapades that chew through its crammed assembly of instruments. Often with gusto in its step, the drums pound simple grooves as the guitars roar with uncompromising attitude, chopping up tight chugs and aesthetic marvels of discordant noise and pedal effects. Jaz tends to draw his vocals out, giving a little relief to the unfaltering march each instrumental sets out on. Its a strange chemistry to have two aggressive forces, playing one as relief.

Its fortunate that one can zone out a little with this record. The songs do churn a handful of ideas over and over in the meat grinder. Its atmospheric. Killing Joke have brought a curated collusion of their finest ideas to revel in the moment. If you have got the time, its a pleasure to go through. Every song comes with its own little spice. Invocation stands out for a superb integration of menacing Classical symphonics vaguely reminiscent of Kashmir. Majestic has a riff that gives me chills. The tone and progression almost sounds like a sample from a T.S.O.L. song. Walking With Gods unearths an obnoxious angular guitar noise to ride alongside the massive bass guitar, somehow finding a melodic crescendo to peak the synthetic oddities that arise.

I could go on. The point being each song has a strong intention and musical idea the band hammer out with this intense drive festering in the palm of their hands. The production aids it greatly. 2006 was a time where the loudness wars and wall of sound production still hadn't settled. Records from this era vary in quality and I feel like this was a looser, jostled production that actually aided the final result. A little low fidelity can often suit an agressive direction. Ive read that album is considered a creative peak for the band. If the next two records are not up to scratch, that is fine. Im happy to have found this one. If forced to make a list, Id put it somewhere near the top.

Rating: 8/10