Old Man's Child "In Defiance Of Existence" (2003)

Having now joined the ranks of longtime friends Dimmu Borgir, Galder returns to Old Man's Child with a masterstroke of composure. For all his bold and gallant melodies, the darkly power chord shredding and blushes of symphonic might. On this occasion, his ideas arrive united with a seamless cohesion as the enjoyable yet cheesy and simplistic pleasures fall wayside to musical ideas executed with vision and purpose.

From start to end In Defiance Of Existence drives its devious themes with intent that delivers many remarkable outbursts of color and energy between the foundations of extreme metallic intensity. Pivoting away from pure power chords, Galder unleashes his new found tremolo shredding heard on Puritanical Euphoric Misanthropia. He also revives the Spanish acoustic guitar to great effect, complimenting the distortion guitars on occasion and gracing us with the stunning interlude In Quest Of Enigmatic Dreams.

So much of the albums pleasures derive from the simplicity of composition. Subtle background synths enrich fiery guitar riffs. Galder's screams are measured, deeper in tone, essentially subdued forms of the raspy howling serpent that came before. The distortion guitar texture is gorgeous, a thick and versatile tone that doesn't overpower. Best of all its drum aesthetics are on point. The snare snaps, the bass kicks pop. Sounding crisp and sharp, its fit for any blast beat or bouncy groove that is demanded.

There is a question to be asked, how much this fine production shapes Galder's music? To my ears, a shift is present in his writing style. He seeks out gratification through a songs trajectory, with frequent luminous, wondrous guitar solos and climactic riffs built up to with craft and care. The keys do drop in with big melodies on occasion but mostly they follow the growing momentum of a track. There is a variety of tones too, sometimes exchanging its roll as the lead instrument. With this approach the nine songs have a lot to offer without a single weak spot.

Its clearly Old Man's Child's finest hour, a nightly ride of fiery, fun and passionate Symphonic Black Metal. Its extreme yet appealing to the warmer sensibilities of melody and rhythm than its evil theatrics suggest, like much of the back catalog. With news of another album in the works, I hope the absence brings Galder the inspiration to reach these peaks again as this record is an affirmation of his musical brilliance.

 

Rating: 9/10

Killing Joke "Lord Of Chaos" (2022)

Its been seven years since the mighty Pylon. Now forty plus years deep into their career, Killing Joke deliver two new songs on a four track EP boosted by a couple of disposable remixes. Although enjoyable for a fan, there is little new hear to be heard. Title track Lord Of Chaos is the grittier of the two Its rumbling textural base guitar throws back to the aesthetics of their early days. Its a typical exchange of meaty groove and dystopian atmosphere they have done over and over at this point.

The second track Total also stems from their 80s output. This one is moodier, with its nightly unease tone drawing from eerie synths when the guitars drop out. When they come back in its with an almighty roaring momentum. Jaz's singing reminds me of their Night Time album. Point being, its good but all has been head before.

The Big Buzz remix brings 90s electronic club music vibes to the Pylon song. Its reasonable but the bass kick thud is rather incessant. Delete In Dub pushes a Drumstep beat through a loose fitting of sound experiments and disjointed noises. It amounts to very little with Jaz's occasional voice the only thing tying it to the band. Ultimately, these two add a little fluff to new music that lacks any originality.

Rating: 2/10

Stellardrone "Between The Rings" (2017)

 

I was somewhat surprised to see I had not written about Stellardrone before. Then again, all their music was released before I started this blog. The exception being this EP which had passed me by, so the opportunity to delve into this unique space was a welcome one. As a self described amateur composer, Edgaras has a distinct emotive sound, competently channeled into a stunning, inspiring experience.

 Its cosmos theme hinted at in title and album art sets a president that's hard not to absorb. Thinking of whats beyond the stars in the great mystery of the universe comes naturally, unless the suggestion aligns perception? These are slow brooding songs that ride the waves and crash into the beaches with big emotional surges once the momentum has built. A mix of soft adorning strings and synths breath in and out as swirling arpeggio melodies pluck away with a computer characteristic to them.

The percussive grooves are held back, lurking in the shadows and slowly fading in to focus, then complimenting the big surges of emotion that arises. Its fine instrumental ambient but on this occasion feels rather bold and ambitious as its humble beginnings become inescapable, the curious endless inspiration of space and time takes over.

Its probably the absence of Stellardrone in rotation that made these five tracks so potent. It was a welcome experience to get back into this sound again. Between them the variety isn't massive, the formula describe plays out with a few aesthetic and compositional differences but its mostly about the meditative mood that can be achieved with their music. And yes, it turns out I had written about this artist before! Seems I made a spelling mistake with the name "Stelladrone", what a derp!

Rating: 6/10

Old Man's Child "Revelation 666 - The Curse Of Damnation" (2000)

 

If Galder's previous effort Ill-Natured Spiritual Invasion in anyway informed the direction of Spiritual Black Dimensions, the inverse in beyond obvious with this next installment Revelation 666. Now working alongside Peter Tägtgren of Hypocrisy, who produced SBD, the albums aesthetic blueprint is practically a mirror image of Dimmu's lavish symphonic wonder released the year prior. In my youth I absolutely adored this one without considering its construct under any scrutiny. After all, the record is full of over-the-top extreme metal embellished by walls of glossy synths in pursuit of evil.

It is a massive step up from his previous records, which seem all a touch bare in the wake of this wall of sound. Galder's melodies and knack for groovy riffs gets wrapped up in the moment. Barely taking foot of the gas, its a sonic assault from start to end. With frequent plunges into manic blast beats, everything is amped up on their momentum. Its twists and turns onto synth leads and dazzling piano licks is a riot. Most notable are how much more animated the percussion is. If everything has been amplified, the biggest advance lies in the drums which deliver the blasts unlike before.

Overall, the album toys with vivid darkness, a cheesy sense of evil as instrumental arrangement push big and bold melodies off the back of pacey power chord shredding and chugging palm mute grooves. The melodies often interchange between lead guitar and keys with big stabbing synth punctuating with potent emphasis. Early on, some chord progressions and synth tones emulate SBD quite closely, however as the album grows Galder's identity dominates the direction over its appeasing aesthetic.

With that said, his constant barrages of melody, pivots into big riffs and general song writing approach has its formula, one which I enjoy. Lending a critical ear it could be said these ideas do manifest within a narrow scope. In comparison to Dimmu's SBD, there is a notable lack of variety and progression present. These songs churn through the riffs with little in the way of a bigger picture or sense of direction. The opening Phantoms Of Mortem Tales experiences a little of this with its big opening sequence and guitar solos either side of a tense interlude. More creativity could of served it well.

I must conclude that Revelation 666 is more of a personal pleasure than an objective recommendation. In my youth it was exactly what I was looking for. Me and my friends would binge it endlessly. Looking back now that magic is still there however its flaws are more obvious too. The best is yet to come but for me, this Old Man's Child album is a treasure, a part of that Symphonic Black Metal niche I just simply adore.

Rating: 8/10

Andromida "Timeless" (2020)

 

Despite many spins, its been difficult to feel out the character of this record. Similar characteristics with the plundering Djent riffs typical of Progressive Metal has its chops of binary chugging grooves falling into a lull as its rhythmic grind becomes dull. The frequent bouncing of notes between the guitars silences is a trick I'm not always enthusiastic about. The distortion tone encroaches on the Doom soundtrack styling fully explored on Hellscape, yet here it mostly feels like a knee jerk reaction, as if its melodic colors always need to exchange with some grizzly surge of aggression.

It would be all to easy to describe Timeless as a bridge between it and Voyager. Although apt, where I think Timeless finds a voice is in its union of soft synths, lush pianos and a lead guitar that sings and wails like an expressive voice would. With this being an instrumental project, the constant intensity lacks a submissive quality putting a big focus on those eruptions of dirty Djent jolting guitars. It often overpowers the slew of melody its blazing lead guitar offers. Behind it the lush, soothing wall of electronic instruments curates a warm and airy timbre that is frequently overwhelmed.

It is the moments of calm and respite that Timeless suddenly feels with purpose and expression. There isn't a lot of it about but when those meaty guitars reel back and one can take in the delicate soundscape behind it, the music feels much more meaningful. Best of all, there are a few passageways where a rapturous guitar solo wages in, tandem with the bright pianos. It feels mesmerizing. Sadly, the record as a whole goes in all guns blazing. This really overloads the senses as its over the top guitars strip out the nuance of the accompanying instruments.

Rating: 5/10

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

Old Man's Child "Ill-Natured Spiritual Invasion" (1998)

 

If Galder is known for treading in the shadows of his comrades at Dimmu Borgir, then on this instance it occurs to me the influences may of exchanged direction. Still getting to grips with the modern Symphonic Black Metal aesthetic of Enthrone Darkness Triumphant, this third Ill-Natured Spiritual Invasion delves into fantastical, majestic synths spun in an "evil" tone. Its the spurious ruptures of swift, darkly piano melodies that has a distinct kinship to Spirtual Black Dimensions, my all time favorite album.

Predating it by a year, there are certainly ideas at play here that may have given inspiration. Either way, Ill-Natured Spiritual Invasion is a cohesive step on from The Pagan Prosperity. Galder fine tunes his approach to melody and groove for a thrashier beast, hell bent on a darker, sinister tones as his previous themes of Medieval might and magic give way to evil, darkness and Satan himself. Its deathly cheesy and all to be taken with a pinch of salt. His cries of "I worship the devil and I am the antichrist" on Demoniacal Possession are all to overt and silly for any actual musical weight.

Fortunately he is a talented composer and this refined approach to song writing pulls together his ideas well. With a meatier rhythm guitar dropping back to focus on power chord foundations, the lively lead guitar and bold Casio/Korg style keyboards get a balanced roll in shaping the albums melodic sound. Despite being dark in nature, his brazen melody style gives the whole experience a constant stream of color, as one tune bounces to the next with the occasional eruption of big moshable riffs.

For all its merits, the peaks and valleys are closer together. A fun experience, easy to engage with but lacking in exceptional tracks. Wedged in the middle, Fall Of Man and Captives Of Humanity have always been the highlight. The first is a competent stride by the synths into a dark dungeon atmosphere. The second brings a roar of sea bearing, swash buckling melody, brought on by a great opening instrumental symphonic section, Strongly reminiscent of Stormlord, who I am yet to write on.

 Ill-Natured Spiritual Invasion is decent but had the potential to be greater. Galder really progresses the cohesion on the production front as gives a unified sound a go however at thirty five minutes, short fo the times, it seems he may have been lacking in depth as its last two songs tend to whimper out on recycled ideas.

Rating: 6/10

Haunted Shores "Void" (2022)

 

Out of the dark, a welcome suprise! Misha Mansoor of Periphery and Mark Halcomb have returned, seven years on from their Viscera EP. Void is a technical feat, a high octane bombardment of tight, jolting music set to electrify. As an instrumental, Djent adjacent Progressive Metal project, its guitars and drums play in tandem, tightly woven with both being intensely involved in the musical direction. The pair chew through maddening chops of chugging brutality and feisty rhythmic abuse, only to erupt into emotive surges. The intensity subsides for enigmatic guitar leads to usher in hazy Post-Metal leads and expand the atmosphere from its heavy chains.

This relief aids the records successes, for otherwise it would be a masturbatory exercise in instrumental proficiency as much of the music gets lost in machinations of extreme dexterous performance. Laying out animated, finger bending riffs and inhuman drumming in many sections across the album, it can sound like a self indulged Technical Death Metal record. Fortunately some songs are also propped up by what I can only describe as VGM melody, something about its tunefulness feels distinctly fit for that world where a lead instrument talks with voice as its tune.

The chemistry is apt but balance skews into lonely into the extremity a little to often. Broken up with a couple of lofty atmospheric interludes it plays well into its conclusion Nocturnal Hours. Bringing in the dizzying saxophone playing of Jorgen Munkeby, it infuses a little jazzy madness, a blend of instruments that sounds exceeding good. It may have been nice to of heard more of this! The studio production and sharp aesthetic is pure class, bringing the percussion right to the focal point, Misha makes a feast of whats on offer. All in all Void is wondrous in scale and ambition but perhaps all too obvious in its path to the scenic riff oriented Metal the pair deliver together.

Rating: 7/10

Judas Priest "Defenders Of The Faith" (1984)

 

Understanding Judas Priest's legacy through the impact of their extensive discography can be a tricky one. Expressed through classics like Breaking The Law, Painkiller, Turbo Lover & You've Got Another Thing Coming, their brilliance is all to evident. As a point of entry, excuse the pun, British Steel may be a Magnus Opus that says it all but much is to be left unearthed in their now eighteen records. For all my youthful adoration I barely scratched the surface of what Priest had to offer. With Defenders Of The Faith I find Priest in their prime, with an unassuming stance.

Just about every song creeps up on you. The flash and flair of Tiptop & Downing waits in lurking. The edge and thrill of their sharp, metallic Hard Rock riffs and razor blade guitar solos is a treasure rewarded after the steady build of well paced song writing. Such does Halford follow suit, baking in fantastic chorus and hooks fit for a Heavy Metal fans identity deeper into the track. No song bursts out the gate with the bluster of rock and roar. Most sound subdued as they get going, yet all find their stride.

This is Defenders Of The Faith's charm. Its rampant cries of "Rock Hard, Rock Free", "All Fear The Sentinel" and "Some Heads Are Gonna Roll" are Metal anthems without seeming directly intended to be so. They bloom from stable foundations, giving the band an undeniable stature as they chew through sturdy riffs, tuneful licks, piercing falsettos and electrified lead guitars. As Turbo would pivot into the cheese of these tropes, Priest command them with an integrity and intent to endure on this one.

 Its eleven songs march at their own pace. Variety offers up shifts in tempo and tone with Love Bites and Heavy Duty offering up these burly dense guitars alongside the slow crash of reverb soaked snares. Priest have so much swagger and braggadocio in these moments. Their metallic musical beast lurches on with a grin. The latter pivots into the title track, carrying on the slow bass snare groove as Halford is accompanied by a choir of voices gleaming as together they cry the albums name in utter glory.

It honestly feels like a missed moment to build into an unfathomable rock out of epic proportions but alas the ninety seconds of wonder gives way to a harmonious outro. Foiling us with gentle harmonics and lush dreamy leads before shifting into one last blaze of Hard Rock Heavy Metal glory. For all the subtly remarked on, it has to be said Freewheel Burning kicks off with a real blaze of attitude. The opening riff very reminiscent of British Steel however quickly does the record move into a matured and progressed priest, one I never enjoyed in my youth. With two records wedged between this and that, I know exactly where to head next!

Rating: 8/10

Old Man's Child "The Pagan Prosperity" (1997)

 

The Pagan Prosperity signifies a departure from Born Of The Flickering that came before it. Although holding over darkly Medieval themes laced with magic and combat, the musical style shifts, as do its aesthetics. Clearly to of come under the influence of his friends at Dimmu Borgir, Galder aims to follow the emboldened direction of Enthrone Darkness Triumphant released earlier that same year. Lacking in ample production budget, armed with songs not quite akin to that intensity, his sophomore album is a haphazard progression that does yield some magic after its misgivings.

Over bloated with melody embellished by tacky synth tones, thees songs ride a rather thin production where its instruments stand bare and subsequently stark if too focus to closely on its harsh snare for example. This mostly comes around where keyboard sections are lacking. When dropping out, Galders grindy guitar riffs chug away ruthlessly with a dulled texture. Its all a bit hit and miss. Sometimes the synths come in to strong, other times they are absent. It seems to lack a little nuance and "glue".

At the midpoint, after a series of mediocre tracks, My Demonic Figures trades off another grinding riff against some beautiful, uplifting melody. Then suddenly past two minutes the song shifts gears into a riveting drive of groove flush with majestic synths. The song rides out its keen lead tune into a string of songs. Doommaker & My Kingdom Will Come rectify the mood. Flush with guitar solos, which are always fantastic throughout, and these big groovy synth "breakdowns", Galder hits a stride.

Despite the albums clunky nature, his song writing pulls together extremely well for these songs, making for some head bopping riffs. They are made fun and carefree by the garish but lively synths that infuse a cheesy taste of evil. His screams too embody this lack of seriousness. They howl away, often double tracked with reverbs and echos layering on his snaky, rasping throaty shouts. The Pagan Prosperity is not his best, somewhat of a learning curb. You can put it on, have fun but under scrutiny it has visible flaws.

Rating: 6/10

RZA "Saturday Afternoon Kung Fu Theater" (2022)

 

With an eternal itch known as Wu-Tang fever, I'll always have a curiosity for the individual members various projects. Although mastermind of the Wu-Tang philosophy, the prime days are long gone. This latest mini album has him grappling with his two personalities, Bobby Digital and the RZA. The concept is all laid out in its intro, with the next six tracks vaguely elaborating on the dynamics between the duo.

 Teaming up with DJ Scratch, the instrumentals conjure peculiar, glum and rainy moods. Leaning on old timey string sections and rolling out simple subdued percussive loops, the experience is underwhelming. Kung Fu action snippets lack the edge or accompanying bombast to impact. The simple repetitions bring little depth, leaving RZA to solely carry each song with his rhymes and lyrical concepts.

 RZA's flow and energy often feels out of step the instrumentals, his pace and keenness a step ahead of its temperament. Its not terrible but has one leaning on his lyrics for salvation. Baked with old cultural reference and witty word play, its the old rap game sounding tired as RZA's age can be heard in his voice's tone. A few good rhymes and narrative entertain, but mostly this drifts in one ear and out the other.

Rating: 3/10

Ghost "Impera" (2022)

 

 

Ghost's evolution through the shades of nostalgic Metal has been remarkable to say the least. With humble beginnings emerging from the lurching fog of old-school Doom Metal, the band have navigated a musical history pinching inspirations from Heavy Metal, Scandinavian Pop and Psychedelic Rock. Led by the outfits brainchild Tobias Forge, this fifth full length Impera strides forth boldly off the back of Prequelle's Arena Rock encroachment. Fully embracing American Rock vibes of the 70s, they dazzle once again with a little touch of Glam Rock echoing in the passing winds.

On the first few spins it all felt so obvious. Kaisarion's intro baked by sun soaked guitar leads, an ascending falsetto yell and the epic build to crunching Hard Rock riffs felt like a page out of someone else's book. But who? Spillways's piercing piano chops and Tobias's vocal line again echo's some creative genius of the past. It goes on throughout the album. Queen, Led Zeppelin, Boston, Dio? These songs continuously evoke the emotive rumble of classic Rock anthems. Yet not once do Ghost plagiarize.

As more repetitions sunk in, I couldn't deny how fantastically written these songs are. Even the initially disappointing Hunter's Moon finds its place in the track listing. The album swoons through one vibe another another. Tobias's impeccable singing, both in pitch and persuasion is accompanied by a fine and expansive instruments. These arrangements have their key distinctions glistening in the forefront with a lush backdrop of soft synths, organs and glittering acoustic guitars. The whole affair is a slick and dynamic groove, adapting to a songs purpose. Instruments drop in and out to perfectly compliment one another when it is apt to do so.

The variety is stunning. Most song pivot of the Arena Rock vibe with detours into Power Ballads and the like. The one true Metal song that hails back to Opus Eponymous, Twenties, suffers its own stiffness. Led in by a dramatic break in tone, Dominion's grueling trumpet orchestration bluntly pivots out of the utterly anthemic Watcher In The Sky. The metallic lurching riff and ghoulish key tones set a stage for Tobais's creepy groans but the chorus is woeful and garish. All to kitsch for my taste.

Other than that blemish Impera is a mostly flawless embark further into the depths of musical history. Knowing this is their angle made me initially skeptical but pure class of songwriting is undeniable. Every song is flush with sing along hooks, stunning melodies and memorable lead guitars lines. Its got me excited for where they might venture next but as for now its another quality collection of song to enjoy for the coming months and years. Ghost have more than proven themselves as legends!

Rating: 8/10

Lycia "Simpler Times" (2022)

I prefer to refrain from discussing singles here on the blog yet I find myself unable to escape this pair of songs. As a lone release with no word of an album in insight, these fruits may remain lonesome for the time being. I would very much like to hear more of the band in this stride, their last release, Casa Luna, had an experimental streak to keep each track interesting. This time the duo, John Fair and Mike Vanportfleet, hone in on tried and true song styles with an indulging, mesmerizing fashion.

Its title track Simpler Times conjures nostalgic vibes reminiscent of Gary Numan, ushering them into a dreamy affair where time drifts away. Its the main melody that shares something special with those classic Numan leads. Its shimmering aesthetic gets carried along by a tight and stiff drum machine. Soft saw synth reinforce the groove and murmuring, whispering vocals drift ghostly above in a wash of deep reverbs. The song is deadly simple yet a pleasure to let loop over and over.

A Far Away Place reaches back to Cold. Its a chilling track, the hazy shoegazing aesthetic brings unease. It toys with the tension in limbo, its dreamy state never feeling settled as the song shuffles between lighter and darker temperaments through its lead melody. Again its a simple construct moved along by another commanding drum machine arrangement that embraces its narrow design. Both songs world serve a fan well, fingers crossed for more soon in the ever approaching future!

Rating: 4/10

Old Man's Child "Born Of The Flickering" (1996)

 

Embarking on what will be an emotionally nostalgic musical journey, this first full length record from Old Man's Child is a rather fractured memory. Over the years I seemed to have formed the impression that Born Of The Flickering was a failed debut running counter to the magic of the In The Shades Of Life demo EP before it. Half of this record I remember fond and vividly. The other half brings a rush of excitement as new songs from a classic era enter the consciousness. My suspicion is I heard some of these songs in the piracy days of Napster and individual song sharing.

Born Of The Flickering is charming in its rawness and appetite. The production is rough around the edges with the vision emanating from within. Being mostly guitar led, the album kicks off with old earth castly songs of medieval kings, crusades and combat. Ancient magics are suggested by its garish purple record cover surrounding a vampiric bat and song themes fit for a nostalgic tone not far from Dungeon Synth.

The guitar dominance is bold early on, its mostly power chord slaying riffs not consistently accompanied by symphonic keys and heathen choral vocal chants, however their arrival is always timely. Along the way Galder picks up a knack for groove and bounce, subtly working in moving riffs between the drone of shadowy candle lit menace. Its abrasive for the time but doesn't lean to heavily on blast beats.

Along the way, Galder experiments with deep pitch shifted guttural groans in a beastly fashion with choral uplifts alongside his throaty howls. Its a welcome variety embellishing his vision. The productions rawness bolsters punctuating bass lines that sound amateurish and overpowering in their loose rumble yet seem only to aid the experience. Again, his Spanish acoustic guitar licks cropping up periodically are smooth and slick. The music outshines its mishmash of tones so often, leaving one to ask is fidelity really an issue? Although its obvious low budget, it seems nothing is lost!

Christian Death sticks out a thorn with its rehashing of Burzum's classic Stemmen Fra Tårnet riff, something a lot of early Black Metal bands rehash with their own inspiration. The following songs converge on some of the albums best moments, the ones I remember vividly. Old Man's Child stand impressively on its own at this point in time. Released the same year as Enthrone Darkness Triumphant, its the following releases that start to walk in the Dimmu Borgir vein. In this moment however, Galder forged a mood of his own.

Rating: 8/10

Ho99o9 "Skin" (2022)

 

In my camp of awe inspiring, adrenaline pumping music, a spot is reserved for the gritty punk duo known as Ho99o9. Their crossover of Horrorcore, Hardcore Punk and rebellious persona has been enthralling in recent years. Skin, their sophomore album wedged between many mini albums and EPs, has sadly failed to reinvigorate the wild energy they usually conjure effortlessly. Opening with a brief offering of Thrash guitars, manic percussion and unhinged screams, a couple of tracks get the blood flowing with the best the record has to offer coming from Corey Taylor of Slipknot.

His timeless scream is a great fit as the one working chemistry from a few collaborations. Jasiah inducts the group into the adjacent Trap Metal scene with tropes and tones perhaps heard best by City Morgue. Those harsh hitting, volume peaking bass drum aesthetics crop up on other songs to little avail. That sentiment extends to much of what Ho99o9 aim for on Skin. Not looking to circle back on previous successes, the many chemistries they forge just fail to vibe with me sadly.

With a lack of songs sparking the right words to describe the experience, I simply fall back to a sense that the pair looked for unsettled atmospheres, moments of mania and a dystoian grittiness less dependent on Metal and Hardcore guitars. These tracks also feel like a jumble of ideas, rarely resting in one place for long and jumping into a variety of odd temperaments along the way. Whatever the vision was, it failed me in feeling cohesive. I'm left quite disappointed but hopeful they'll get back on track.

Rating: 4/10

The Algorithm "Compiler Optimization Techniques" (2018)

 

Here is an interesting project that initially seems akin to the Djent Progressive Metal scene. Its another one man band operation journeyed by French composer and producer Rémi Gallego. The Algorithm, however, seems fundamentally driven by what initially appears to be aesthetic novelty. The chugging low end Djent guitars are sparse, dropping out for lengths at end. Metal oriented musical ideas play second fiddle to its EDM and Electronic happenings. The chemistry converges on a digital computerized landscape. Sharp precision percussion and whirls of spirally, spriting scaling arpeggio melodies serve a cold mechanical slew of soulless exuberance.

The songs play with binary grooves, fast measures of instrumentation traversing temperaments and tempos seemingly of its own whim with only brief moments of expression and voice. The Algorithm is impressive with its distinct style. Modern glitch sounds flesh out interludes as drives of Djent stomps interchange with whirling synthesizes playing out with a spirit similar to its psychedelic 70s origins. A couple spurious flashes of dance floor groove and other conventions arise along the lengthy journeys but the music mostly plugs away like an automation, a digital intelligence.

This cold, mechanical lifelessness is a double edged sword. Its many arrangements, which each song burns through, come in varying degrees of charm. The lack of physical voice and emotional through line give it little to anchor on. Its perfected VST performances are most often without humanity. Sometimes a wondrous adventure into something alien. At other times its a meaningless grind. A couple of great moment emerged. The end to Sentinel Node gets off an expression with a nightly Synthwave lead to conclude and Fragmentation drops its rapid instruments for a slow tempo brooding of cosmic darkness very akin to Oscillotron, a very welcome familiarity.

Rating: 5/10

Arca "Kick III" (2021)

 

In picking out a peculiar sounding project featured on a top list, I've fumbled into territory truly beyond what makes music tick for me. On first listen I though this might be the most abominable record I've heard in some time. Having stuck with it, I've now grown somewhat matured comments to share on the radical harsh venture this project is. I have no context in which to address this wildly experimental music in relation to the three other chapters of Kick released in daily succession towards the end of 2021.

If this is Arca, AKA Alejandra Rodríguez's normal style, then she is certainly an artist with a distinct voice and vision. One of confrontation, dissonance and discomfort where an emerge of groove or melody from within the dystopian abrasion has alluded me. Two songs have grown on me. Their textural ambiguity and sonic assaults offering a novelty of sorts. The rest of the record sadly dulls with each listen as much of the disorienting tapestry tires in its rebellious circumvention of musical norms.

With harsh electronics, the worlds of Glitch and Noise converge on the back of unconventional, seemingly disjointed and random percussion. Its thudding bass kicks jolt off beat and zaps, buzzes and fuzz replace the rolls of snare and cymbals. Those two rattle without structure. Its more tuneful sounds seem hell bent on subverting melody, each song inducts a random assortment of sounds without direction. After a spin or two many aesthetics becomes very obviously vocalized. There is a plethora of manipulation and plugin work at play here that I could sadly not appreciate.

Once noticed, every kick and and assumed noise has a hint of vocal timbre. Alejandra mostly delivers her Venezuelan lyrics through this manipulation too. If every interesting or musing, its often buried in a dread of brutal dystopian madness. The opening Bruja & Incendio deliver some brash and swift native wordings that become quite enjoyable in their foreign nature. As a strength in the record, its use is minimal.

Beyond its reasonable opening, the record devolves into its own unusual nature, where I could find little beyond the occasional instrumental texture sparking curiosity. There was really nothing for me to resonate with. The critical acclaim makes me feel as if people are appraising the bizarre oddity it is, which is all fair game but I am personally looking for the ground where the oddities abridge an emotional connection with the listener which alluded me entirely. Maybe the continuous dreamy vocalizations on Intimate Flesh came close but that would be all.

Rating: 2/10

The Tiberian Sons "The Only WInning Move" (2022)

  

Approaching this EP with mostly ignorance turned out to be advantageous. Unfamiliar with the four video game soundtrack songs covered here, I found myself blown away by a musicality so fitting with the best that VGM has to offer. Boldly luminous with a Progressive Metal shape similar to Nobuo Uematsu's The Black Mages and oddly reminiscent of Strapping Young Lad. Its ferociously groovy chugging assaults from the low end distortion guitar are a godsend! These covers just simply slay hard!

Where are my manors? I know of The Tiberian Sons through Frank Klepacki and their involvement in the Command & Conqueror soundtrack remasters. They did a great job of breathing some fresh air into classic songs of my youth that quite frankly didn't need it, welcome none the less tho. These covers show of their competency as a group to deliver a riveting and modern Metal aesthetic for brilliantly composed songs.

My ignorance shields me from the depth of how they transformed the original material but for the time being I'd like to keep it that way. Jived up with jazzy live band sounds, everything is fleshed out with a dazzle as synths, organs, trumpets and strings chime in to forge an animated metallic orchestra. Its a treat, still striding with blazing guitar solos and big guitar riffs, these songs scale the peaks with a colorful majesty and might, cramming in so much instrumentation, all crooning in the same direction.

This is at least true for the first three songs. The final Dank Memelords Power Metal Remix has that sweet chemistry thrown off balance. Its particularly piercing and domination drums, the focus on distortion guitars, it overpowers the symphony and electronics also present. The clean vocals are rather piercing too, not to my taste. Its a decent track but lacks the nuance that came before, leaning to hard into the Power Metal cliches. Those first three are Stella songs however! Well worth your time.

Rating: 7/10

Tool "Opiate²" (2022)

Tool had brilliance from the outset. Initially I was slow to understand this band. The title track from their debut EP, Opiate, did not rock my quite as it does now. To commemorate the thirty years since its release Tool have re-recorded the classic track. Ditching its extended psychedelic jam session crying for Satan that followed the actual song, the group split it in half while fleshing out a beautiful interlude through the middle. An instrumental passageway through its middle. Deep, mesmerizing and alluring, the soothing transient experience serves this recreation wonderfully, lengthening it to a glorious, immersive ten minute experience.

This modern aesthetic is stunning in retroactive comparison. The original recording sounds dated and clunky. The bass is overpowering and meaty, which hides a lot of the textural charm Tool conjure. This release illuminates their artistic vision, rejuvenating what they had as a band from the outset. Even switching back and forth between the two, this newer recording oozes the songs soul with ease. Although its made me appreciate the original more, its obvious they didn't have the production aesthetics to really express their music early on. Sadly this is a one of, I think its unlikely this single will lead to anything else for now.

Rating: 3/10

Kero Kero Bonito "Time 'N' Place" (2018)

 Going forth with a bold stylistic shift, Kero Kero Bonito introduce a rather gristly over driven guitar tone into the mix! Not only do they dial back the childish quirk and charm established prior, the keys too recoil from punchy unabashed aesthetics. Time 'N' Place has the trio trying on new shoes. When sticking to their guns, they find a glossy, serine temperament stepping into classic Pop vibes with a modern edge. On the other front, hints of Grunge, Indie Pop and Shoegazing push them towards the uncanny valley as creative ideas clash with a touch of imposter syndrome lurking nearby.

Alongside the strives into guitar driven territory, the group take failing inspiration from the abrasive scenes of Glitch and Noise music. Three tracks in and Only Acting grates away with intentional CD skips leading into a ear aching assault of sharp fuzz on the listening. It seems so pointless, a barrage of disorientation that doesn't resolve to anything of interest. Fortunately these grating oddities are few and far between.

It doesn't look good among a series of misses. Opening with Outside, the Shoegazing kicks off on an odd note, not quite gelling with the sparkling synths found glittering around its chord progressions. From their most the songs land on odd footings, just not landing a charm as they low through a string of simple themes and old timely vibes. Late in the track listing, Sometimes is another stride beyond means. Aiming for a youthful, folksy pub sing along, the brash acoustic guitar strumming clashes with unrehearsed singing. The VGM 8bit synth jam that takes place alongside sours too.

Most the songs are inoffensive but oddly mediocre in the shadow of their other works. It makes for a dull, lukewarm listen that often drags. Bit of a shame considering how interesting I've found this group up to this point. In fact what comes after with Civilization II is remarkable, a major difference from whats to be heard here. Time 'N' Space feels like the new ideas they brought to the mix didn't have the chemistry.

Rating: 4/10

Old Man's Child "In The Shades Of Life" (1994)

 

Having concluded my recent Dimmu Borgir binge, the itch prevailed and thus it felt like the perfect time to dive back into the one man band of Galder, known as Old Man's Child! His solo project lurked in the shadows of Borgir over the years, following a similar temperament and trajectory for their take on Symphonic Black Metal. He would of course end up joining the group for Puritanical Euphoric Misanthropia and has since remained with them to this day. Its often been seen as his ambition, given how similar the two bands are. For fans of Dimmu it is a wonderful treat to have a collection of records so similar to their sound. I wouldn't say Old Man's Child is superior but its not inferior either. Galder truly does holds his own as a musician with a vision.

In The Shades Of Life is an old, crumbly, low fidelity five track EP, OMC's debut and my love of it is mostly born of youthful binging. Trying to be objective, its guitar tone is rather dingy, bleak and pale, similar to that of For All Tid. Galder's vocals are rather wild and unabashed. His serpentine rasping and ghostly guttural howls resonate off the reverbs they are delivered through. Whats peculiar is apparent on its opening. Contrast to its grittier metallic side, the Spanish acoustic guitars are gorgeous! Though standing apart in the mix, they bring a silky nightly tone to the music which the aggressive guitars plunge into darkness with an arsenal of grindy riffs.

As the demo album steadily blooms and more synths come into the mix, its clear Galder has a knack for composition. Creating scenic passes leading into his breed of Black Metal, he embellishing momentum with timely accents and melodies played on the keys. The guitar riffs often feel built for purpose, capable of driving on their own, yet in come the synths to elevate so often. Seeds Of The Ancient Gods is a great example of his talent. Despite the bleak guitar tone, the intro riff gets straight to work and the accompanying Spanish guitar ascends it to the next level.

I'm reminded of how genuinely fantastic this is. Even its blemished appearance feels like a mask. Galder experiments with some heathen clean vocals in a couple of spots, they seem off beat yet always manage to resonate in the quirky darkness he embodies. The outro track now strikes me as more remarkable than remembered, its lack of distortion guitars and creepy horror ending is another one of those Dungeon Synth moments occurring long before the genre name was coined. Fun fact, this demo was re-released with Dimmu's Devil's Path on a split album somewhere around the time Galder joined the band. I believe it is remastered and the original demo lost.

Rating: 7/10

Dagoba "By Night" (2022)

 
Having enjoyed the relative mediocrity of lead single On The Run, the bands newest and eight full length offers little more than the same tone set by its lead up release. By Night might parade past with a few scenic interludes and Synthwave adjacent electronic sparkles but the core of its music is as to be expected. The group aim sights on the more approachable spectrum of modern metal with simple song structures, attempting catchy hooks. Front man Shawter's rough and ragged singing struggles with them at every turn, his screams during aggressive stints competent but when reaching for cleans and melodic his ragged delivery lacks both tone and ability.

The record plays into a typical Synthwave theme, the nightlife, lit by neon lights which the lyrics quite explicitly state on one of the songs. It gives the music an easy vibe, something that passes by swiftly with little effort as the sways between jolts of stomping groove and moody, drawn out power chord strumming. The latter is where the main melodies hinge, often with the aid of subtle electronics that reinforce the vision through aesthetic. Its somewhat weak however, not finding a magic.

I've enjoyed each listen but I have been far from impressed or even excited. At this stage the band are in a comfort zone, lurking in the shadows of Metals drive into more Pop adjacent sensibilities. On all fronts its mediocrity at best. Nothing offensive but lacking any melodies that grab or even heavy grooves as most the bombast and low end guitar riffing ends up cornered by the mid tempo drives the album cruises on consistently. What their trying to achieve beyond proven means isn't paying off.

Rating: 4/10

Corpsegrinder "Corpsegrinder" (2022)

 

Although not their original, long time vocalist of Cannibal Corpse, Corpsegrinder, has stepped out on his own with this solo effort. Presenting his stage persona with a classic gory gruesome Death Metal album art, he boldly sets an expectation met on this self titled debut as a solo artist. Fans of Cannibal Corpse will adore, as Corpsegrinder brings his dense gutturals forth again, remaining as ripping and ferocious as ever. Its a typically blunt force barrage, a one dimensional performance that has his growl consistently groaning at the same resonance with next to nothing to offer in the shape of experimentation or variety. These lyrics too stick to his typical template, a slew of murderous fantasies depicting all sorts of horrendous nefarious activities and violence. The wording lacks anything not heard before, his plain faced descriptions hinge on ridiculous concepts of mental derangement and necrotic desire.

As a fan of his style, its tolerable on this thirty minute stint. Its his band mates that make the record charm. You might expect a meat and potatoes Death Metal experience, diving into the hardest hitting sound however the group frequently steer things more towards the subtleties of groove and bombast. Guitar riffs lead and drums reinforce, not always hinging on a blast beat. The chemistry is ripe as these mid tempo rock out tracks throttle through a keen arsenal of riffs. They gallop with bounce and energy between the grinds of snarly aggression. A similar experience to Bolt Thrower, using momentum and compounding groove as its heaviness, the kind of Death Metal I'm more responsive to these days. The song writing quality is pretty consistent too, you'll probably pick out a handful of favorites after a couple of spins. The massing force of Corpsegrinder screaming "There's no running from the punishment coming" and the slamming guitar riffs a favorite moment of mine.

Rating: 6/10

Sabaton "The War To End All Wars" (2022)

 

As a newly indoctrinated Sabaton fan, getting exactly what you wished for isn't always perfect. Released one hundred years after the end of its inspiration, their last album The Great War completely engulfed me. Understanding the historical context, learning about the individual history of each song through their history channel turned me into a believer! Much to my initial delight, The War To End All Wars simply continues that theme. The Swedish group dove deep into the history of World War I, leaving them with a wealth of inspiration, becoming the ten tracks of this newest album.

As I mentioned, this isn't a perfect scenario. With three years to dwell on the glory of its predecessor, the lack of shift in tone or aesthetic gives these new songs a large shadow they struggle to emerge from. Although its been less than a week since its release, I've wrapped my head around these songs on repeat and felt as if the formula of their War inspired Power Metal style prevails but only with the hallmarks and cliches very visible. Its no longer has the impact of surprise, muting much of my excitement.

That's not a put down on the music. These are fine metallic strides of fist pumping power and might, aligned with sharp, riveting rhythms to carry forth a sense of epic and glory. The group dominate with Joakim Brodén's triumphant vocals. The glossy melody resonating from its synths and lead guitars gives it a great sensibility. Sabaton are seasoned and it shows in both writing and execution. Its a stellar production, bold and bright, a gleaming aesthetic for their excellent song writing, which again does show its own tropes now that I am more accustom with their particular approach.

With every listen the last four tracks seem elevated to my ears. Starting with Lady Of The Dark, their tribute to Serbian combatant Milunka Savić kicks a little fire into the tone. Something about Joakim's plain faced, descriptive lyrics seem to strike a nerve, as they do again on Christmas Truce, a subject with immense significance. The lead piano's inflection of seasonal tone is very well handled. Versailles then asks the important questions of peace and loss and life, a powerful subject the band approach with a brimming jollity that then collapses into hints and what is to follow historically...

Rating: 7/10

Ozzy Osbourne "Bark At The Moon" (1983)

A stark realization has dawned upon me, I've completely neglected thee Metal legend's solo career. My youthful exuberance for extremity had me turn a nose up at many of the older acts. Despite loving his timeless voice, I'd only fumbled my way into The Ultimate Sin. Now dawns an opportunity! Bark At The Moon has lured me in and blown me away! I've got Heavy Metal fever and the Ozzy journey shall now begin.

Working with the same lineup as The Ultimate Sin, the blemishes of its older recording swiftly diminish as that same fantastic song writing emerges. Don Airey's keys have a stronger relevance, rising up to give each song a couple moments of glossy sparkle as they resonate alongside power chords. Ozzy's voice is timely and mighty, right in the prime. He has a knack of flowing with the music, the two bouncing of one another.

One track sticks out like a thorn. With golden strings and gentle pianos, So Tired embarks on a ballad of sorts. It has a strong sixties soul accent. Ozzy just doesn't seem a fit for the instrumental that embarks on a warm emotive stride. It would of been more fitting for Dusty Springfield than Ozzy, who's voice suits something more loose, less classic. The guitar solo too feels at odds with the songs soft temperament.

The other nine songs are all cut of the Heavy Metal cloth with blazing guitar solos and all. Mostly fun, upbeat tracks with pace, good vibes and a little groove. It never runs short on energy and gusto, up to the end do they bang out hits, each song hinging on a memorable chorus that Ozzy nails every time. I particularly like how Spiders lets the bass guitar lead the song to embellish its creepy mood with its brooding prowl.

Giving an analytical ear to the record there is a sense of trying to embellish the music with a somewhat, horror, Halloween or cheesy evil tone. It comes from its retro synths which jive in quite often for a few bars. They just sound dated and "of the time" to me now but perhaps were heard differently then. Either way it just works, the great songwriting beats out any dated tropes which it has a few of in its composition.

 

Rating: 8/10

Dimmu Borgir "Death Cult Armageddon" (2003)

 

A conclusion for now, the last of the great Dimmu Borgir records. Death Cult Armaggedon was the first release I lapped up as a fully fledged fan. Its nostalgia is immense for me. Having convinced my circle of sixth form friends to buy it on release, it became a soundtrack to our friendship exploring the world of extreme music. The reason I say Its the last of their greats is because DCA ventures into the lavish orchestral avenue, ditching traditional key tones. Both Galder and Silenoz's guitar styles undergo an evolution away from constant power chords too. Although these songs are a far cry from their classic sound, this stride is phenomenal and everything they tried is golden. I can't say the same for the following In Sorte Diablo.

Song after song is utterly embellished by the orchestral instruments. Dimmu's extreme metal aesthetic would sound lost without it. The union is wonderful, bringing a rich sense of cinema to the drive of Barker's batter drums and aggressive guitar grooves which stomp and grind from end to end. A couple songs, namely Lepers Among Us and Cataclysm Children, ride the storms without the Prague Philharmonic Orchestra behind them. Evenly spaced, they break up the albums flow, injecting more devilish brutality as Dimmu get into some of their hardest, crunchiest songs to date.

The album excels on all fronts but as Dimmu do, their song structures always lead to interesting places. Plunges of darkness and other abstract arrangements give each song a real trajectory to venture upon after the verse and chorus have been established. Each song has a defining component, a special musical passage, making it hard to skip a beat. Perhaps more so than any record before it, they get a little closer to a whole experience. DCA is one album I love to listen to all the way through.

Everyone is pretty much on their best game. Shagrath delivers his demonic howls as usual with some adventurous manipulations too, possibly with the aid of pedals. It contributes to the albums lean and mean texture, occasionally with an Industrial brush as mechanical noises and swells of ambiguity feature sporadically. Its a harsh, rapid storm of malevolent metallic music that evolves across its ambitious arc. First with Blood Hunger Doctrine, DCA open up. A slower tempo pounds out a thumping groove from the rhythm section and offers respite on journey to a fantastical conclusion.

ICS Vortex unleashes his beautiful heathen voice on the albums second Norwegian track. The chemistry with the pianos is stunning. I love how this band can fit illustrious melodies between rapid blast beat assaults. Eradication Instincts Defined is where the concluding magic begins. Its orchestra into so memorable and vivid. One can picture the devastation war brings over the natural beauty of mother earth, as if flying over the fields of war. Shagrath crashes the song into a fury with a length scream that sets this epic on its way. Its lengthy venture leads us into the sirens of war and devastation as the albums longest number unfolds after it.

Unorthodox Manifest's audio scenery of war depicted against the cry's of hail Satan sets off a chilling saga. The band pivot from what seems like a regular song into some of its harshest blasts, leading into a roaring epic, flush with melodies and amazing guitar solos that interchange and play off to the highest magnitude. Its such a surge of energy, that seems like only a fade out was appropriate, unable to land the beast they unleashed with a single strike. Its one of the bands more remarkable songs.

Although I often consider the three prior albums to be superior, writing my thoughts out on DCA makes me reconsider. This was a group of musicians with far more maturity and direction then they had armed themselves with before. Galder and Barker brought much to the band, transitioning them again to the frontier of Extreme Metal. Although Dimmu are considered Black Metal, its far from the tradition. They are their own powerhouse of evil and on this occasion manifested a vision to perfection.

Rating: 10/10

Dimmu Borgir "World Misanthropy" (2002)

 

I just couldn't help myself. There is yet a couple more Dimmu Borgir records I desire to write about. World Misanthropy is a six track bonus disc, part of a DVD released the year after Puritanical Euphoric Misanthropia. I actually have the vinyl edition, a nice rarity! As far as additional music goes, Dimmu have stated they have pretty much released every song recorded and this EP only offers one additional song, as well as a re-recording of Devil's Path and four solid live performances from Wacken 2001.

Until writing now, I had never pondered where the song came from. Masses For The New Messiah sounds very much from the Spiritual Black Dimensions era. Its lack of an Astennu solo hints it may have been written after is swift departure. Its lead guitar melodies ring in Silenoz's ETD tone. If it was a left over, the weaker intro my explain why. The first minute or so pushes big cheesy synth hooks that get recycled a couple of times. Everything outside this chugging grind of bold aggression is wonderful though. A lavish exploration of darkly synth manifesting through a variety of passages. It leads to a gratifying conclusion of serine uplift and sparkling keys glistening over top of drawn out power chords. It does plunge back into the shadows of aggression right at the end, feeling as if a climax for the song happened to eluded the band.

The re-recording "Devil's Path 2000" has a welcome glossy acoustic guitar intro stitched in the front. As a song restoring the power of their old sound, its additional infusion of keys over its brimming distortion guitars gives the song a revitalized glory. The guitar solo is completely rewritten too, going for a scaling Power Metal vibe. I think I prefer the original solo more. The rest of the song could be "better" but honestly they feel like different interpretations. The original, a darker meaner beast and this newer one gives more weight to the respite and uplift from its evil dimension.

The following four live songs are fantastic. Unlike Godless Savage Garden, the audio quality is a lot better. Only the guitars seem a little quite and guarded. A few vocal switches, baseline changes and synth arrangements give a keen fan something to latch onto for the live performance too. The band execute the songs wonderfully. Between tracks Shagrath gives me a mighty laugh, declaring "Darkness has its attraction, which everyone can feel! Only hypocrites deny!". Hilarious, love this band.

Rating: 6/10

Judas Priest "Turbo" (1986)

 

Feeling nostalgic and adventurous for more Heavy Metal, I thought id check out the controversial record released a couple years before Ram It Down. I barely listened to Turbo in my youth as it was often cited as their worst album. Interestingly it made for a commercial peak at the time. Title track Turbo Lover is also a cracking classic they still play live to this day. The critique I remember used to focus on the inclusion of synths, something they had not done so bold before. Having given it a good go, the electronics are barely a fraction of whats wrong with Judas Priest's tenth, Turbo.

 Softening the edges of their metallic might and looking for anthemic vibes in all the wrong places, Priest essentially miscalculate their strengths. Pivoting to themes more fitting of partying, excess and love. The records overall tone seems have one foot in the Glam Metal trend of the time. Every song brings a bigger than life attitude looking for the sing along stride of the time, which on paper it achieves but the you can sense the crowd pleasing lyrics falling flat. Oddly, this isn't too far from their kettle of fish but Halford's lyrics just don't strike a nerve. He doesn't feel authentic or real, often awkward or uncomfortable. its as if he is on auto pilot at someone else's show.

Its all so odd, song after song checks all the boxes yet it plays through a musical uncanny valley. The big riffs rock hard and wild guitar solo's blaze over top with that classic Downing & Tipton shred but it never escapes the gravity of its own softened tone. The old school analog synths don't flip the scale in either direction. On a couple of songs they are more prevalent but its mostly a soft aesthetic dressing. It is the Glam persona they attempt to take on that's mostly to blame. Wild Nights, Hot & Crazy Days is probably the best example. Halford crams all the lyrical cliches in but despite his phenomenal presence as a timeless front man, It doesn't suit them.

Turbo is a strange experience. On one hand I do kind of love the overt cheesiness, more so the delivery than words. On the other, it all plays with an awkward misfire that fails to land emotionally. The album does deliver another cracking tune tho. Locked In just about beats the Turing test. Its big crooning guitar notes and warm bass drive is a gorgeous moment. The synth break before the solos is fun too. Its no secret as to why this one is so contentious but that's nothing to do with the electronics. Its the song writing and lyrics to be blamed. I'm glad I checked Turbo out but I wont be returning.

Rating: 4/10

Author & Punisher "Krüller" (2022)

 

 Krüller is fantastic. It had me going back to Beastland to feel the difference, which is colossal. Author & Punisher is an Industrial musician with an edge. Using his own custom built VST controllers, Author manifests a physicality to his music. The punishing landscapes of weighty mechanical monotony birthed through sweat and tears. Beastland had a unruly harshness about it. With time, it faded from memory. Krüller on the other hand opens up with streaks of color nestled between its slow grudging strikes of percussion. His voice, now melodic and sustaining, gushes with painful emotions. Alongside the streaking synths that burst brief sparkles of reprieve, it becomes a memorable craft. The best of this musician I've heard to date so far.

Although this mostly speaks to the opening song, the through line is often the relation between voice and what offerings of melody come by. The record is dense in atmosphere, a wash of fuzz and static broken apart by the smashes of snares and collisions of kicks as its percussion arrives with a force overcoming any obstacle. They drag and groan, slugging with a lethargic crawl that subtly gives way to the fuzzy atmospheres as the record broods with each passing song. Through its lengthy drives, often six or more minutes, creeps of resolve briefly emerge, always fizzling back to the shadows. Its a burdensome experience. One worth enduring for its glimmers of hope.

Glorybox is my favorite song. The gravitas of pain the album encompasses initially had me hearing it as a transsexual expression. The cries of "Give me a reason to be a woman, I just want to be a woman" so harrowing and wrought with anguish. It mirrored pains of bodily identity, however turned out to be a cover of Portishead's original. Now I know it, I can hear the difference in the music, best revealed by the guitar solo. It still is a remarkable cover on a brilliant record that may be a little to weighty to remember every moment with the same thrill of its better parts. It must be said its peaks soar to a punishing and unique place you wont forget in a hurry.

Rating: 7/10

Kero Kero Bonito "Bonito Generation" (2016)

Following their debut mixtape Intro Bonito, the London trio known as Kero Kero Bonito polish their sound for a sophomore effort that rides the curtails of their quirky warm persona. Bonito Generation doesn't stylistically evolve as much as its aesthetics are refined with a touch more welcoming tone. Stagnation seems prevalent, conjuring similar moods and feelings from their smiley place of simple thoughts and life's innocence. It doesn't pack quite the punch with surprise no longer being a factor.

That's not to say its a bad record but both the instrumentation and lyrical themes roll off lukewarm as the tracks are packaged into simpler song structures. Slower melodies, gentler percussion and a sense of safeness permeate. Bonito Generation is less adventurous, lacking creativity and sparkle. Thus Sarah's easy expressions of her college life tend to lull into a mediocrity. At its most off track, the band infuse casual communications and Japanese lyrics but its not the saving grace the music needs.

Trampoline is the records best track as the simplistic language and metaphor finds a space to feel a tad absurd when it revolves around the jumping mat. The song has a little more of a club vibe with its colorful synths and tight percussion, something one or two other tracks do but its not enough to give the record edge. This one really hides in the shadow of its predecessor, somewhat of an autopilot experience. Its competent, enjoyable but lacks the dazzle of Intro Bonito.

Rating: 5/10

Andromida "Hellscape" (2021)

 Naturally my enjoyable experience with Voyager had me curious for more. Clicking play on Hellscape, I immediately knew what would be next on the playlist. Kicking of with Havoc, the album blasts off with a banger of bouncy low end djent riffs and siren synths painting the hellscape its title suggests. The album art too hints at whats in store, as this particular approach to Metal with a heavy dose of dystopian Industrial synths is in tribute to composer Mick Gordan and his atmosphere defining Doom Eternal soundtrack, which aesthetically caved itself a niche in the Metal universe.

Sadly, others replicating this fusion of textural guitar barrages and hellish saw synths on overdrive tends to be hit and miss. Opening with its best track by some distance, Havoc embodies the best of this aesthetic. For the album experience Hellscape feels constrained by the narrowing options sticking to such a temperament imposes. Unable to escape the drive of eight string might and gravity warping synths, its flushes of string symphony always tied down to the monstrous weight of its dark demonic roots.

Subtle club drum grooves and nightly Synthwave vibes emerge on the journey. scenic guitar melodies expand horizons but the climax always falls back to the chug riffs and evil slam of the synths. As the album draws on, I'm reminded of Skrillex and the Dubstep drop fad, as the machinations of these two seem to get progressively more random and obnoxious in search of new grounds it never quite lands upon.

Only briefly on a couple of occasions does the intensity let up for some atmosphere. The respite serves it well but as the demonic onslaught marches on, it becomes clear this is a tribute to the game. It feels like a compliment to the Doom experience, the unrelenting tensions and onset of dread as demonic hordes descend feels intentional. Hellscape is a love letter to the style from a very competent musician and producer. Unfortunately for me, the style doesn't quite amount to more than the sum of its parts.

Rating: 6/10