My Top 10 Music Discoverys In 2023

 
Another year, another remark on changing habits. Last year I wrote the more posts than ever, this year I wanted to tone that down and be selective. A lot of my discoveries have been through playlist exploration on Spotify, with less getting the album treatment I would then bring to the blog. Despite that, these new unearthed artists have been solid, with perhaps one exception...

(10) Sleep Token

As the currently hyped band in Metal discussion circles, I was strangely not impressed by the metallic elements on display. It was the singers expression, demeanor and passion that slants in other directions. This is what found me about their music. Are You Really Okay? is the one track that gripped me deeply and happens to be the albums least popular. On that song, I hear a intense meaning, with gravity and weight to it. I'd like to hear them lean into that more.

(9) Bal-Sagoth

There were many more records than the one I covered here, Bal-Sagoth have a fun, fantasy slash cosmic breed of Symphonic Metal. I've now found my way in and could of explored their back catalog. It would have been fun to write about but with a narrow evolution across the years I decided to leave this one brief.

(8) Apashe

This record is on the cutting edge of expression, pulling from opposite ends of the musical spectrum and finding genuine harmony. Apashe even pulls in some rappers to rhyme on his Classic EDM mash ups. Its brilliant, one artist I will be following closely in the future!

(7) Marconi Union

Discovered via a podcast on dealing with anxiety, the Weightless composition embodied all I've heard and loved about ambient music's calming magic. I've not gone much further than the one album but this discovery was a blessing and it firmly anchored the idea of having "go to" music for when feeling anxiousness creeping in.

(6) Këkht Aräkh

A love letter to early 90s Black Metal, Ukrainian one man band Këkht Aräkh actually pulls off the impressive act of avoiding nostalgia and capturing the magic of that era. You could slip in some of these songs alongside Burzum and Darkthrone to an unsuspecting friend and they might not be none the wiser!

(5) Gunship

It was a good time to get into this Synthwave act, as later in the year a new record after a five year gap would become a favorite! This duo left Fightstar with a clear musical vision that;s made for some fantastic neon lit nightlife vibes. Synthwave can quite often feel tired and cliche but this pair made it feel fresh again!

(4) Health

I'm late to Health. They have been around for sometime. Somehow I didn't get pulled in to recently and although I'm not head over heals with their sound, it has a real persuasion when its not your soul focus but the mood setter. In that environment, the downtrodden dystopian atmospheres weigh powerful and heavy.

(3) Potatohead People

Jazz Hop has been re-imagined by many with obvious techniques and tropes, so I was surprised to hear this duo escape that fate. Its a familiar feeling yet this pair of producers bring class, adding in expressive instrument leads between the melodic beat loops. Top stuff.

(2) $uicideboy$

Another double act, these two are a calling cry for an overlooked generation. So much topicality speaks to the struggles of those worse off in a supposedly wealthy society. Themes of mental health and drug abuse are so open and honestly spoken about, its hard not to be drawn to the positivity that comes from facing these demons openly.

(1) Janelle Monáe

This is what kicked my year off, Archandroid! Its been with me ever since. I rarely give a 10 to something that isn't from my formative years. Only three records or so records within the liftime of this blog. This album certainly challenged that form, what a fantastically eclectic assembly of lively sounds, driven by catchy, meaningful words to tie its animated energy together. Janelle has since recreated this genius only  in flashes but in this moment its pure class. Bravo!

My Top 10 Albums Of 2023

Listening habits have changed, I've put more time into creating and as a result, my shortlist was literally these ten albums. I've passed over quite a few records from old favorites too, instead opting to keep an eye on newer artists but even then its familiar names emerging on the list this year.

(10) Aaron Cherof "Minecraft: Trails & Tales (Original Game Soundtrack)" (2023) link

The fallout with C418's timeless soundtrack is saddening but in his shadow, Mojang have managed to pluck some exceptional artists that suit the games atmosphere. This latest addition grows on me with each listen and as the year grew, each return to these new tracks proved how great they were.

(9) Dreamstate Logic "Starbound" (2023) link

One for the temporal playlist, Starbound has a flavor not all distinctive but lasting. As the year went on I found myself drifting back to its magic which turns out to be one of the strongest calmers in Dreamstate Logic's now extensive catalog.

(8) The Tiberian Sons "Anthems Of Liberation" (2023) link

Soundtrack to my ice boat racing, I may now never return to it without visions of skidding across frozen blocky landscapes. The musics tone is familiar but wonderfully animated, that crossover between Progressive and VGM again yielding magic. Its nice to see this group branching into their other soundtrack passions.

(7) Enter Shikari "A Kiss For The Whole World" (2023) link

I commented earlier on passing over old bands still pumping out records. Now twenty years into their legacy, Enter Shikari are one I can't pass up and I'm happy to see them find that youthful spirit again after experimenting with a more subdued approach.

(6) Post Malone "Austin" (2023) link

Its not here for its status as an album but the few favorites that emerged from Austin have been absolute ear worms, bringing hot and uplift over and over. Post has always been a keen talent but here you can hear him actualizing the vision of a songs expression and backing it up with melodic candy.

(5) Gunship "Unicorn" (2023) link

Clearly brilliant but trailing off towards its conclusion, the strong songs of Unicorn has again been ear worms. With Spotify's auto shuffle pushing them after finishing other records, they have become favorites this year. It feels like they really timed this one well, waiting for inspiration to strike after a few years.

(4) Old Tower "Draconic Synthesis" (2023) link

Dungeon Synth has become somewhat stale with my explorations of what its got left to offer. I keep eyes on a few artists and really felt that Old Tower stepped up with another maturity of sound design that yielded some fresh other worldly expressions.

(3) Myrkur "Spine" (2023) link

The uncanny feeling covers has subsided given some research into the musics originality and now I've just been enjoying how curiously strange and wonderful its chemistry is. Bruun is clearly pulling inspiration from different genres and how it all comes together has been endearing and a joy to listen.

(2) Narrow Head "Moments Of Clarity" (2023) link

With nostalgia being on plentiful supply in these times, its great to hear a band so masterfully craft inspirations of times past with a spirit and charisma that escapes that nostalgic grasp. Narrow Head have banging riffs and write songs that don't serve the past but compliment it. Everything came together so well with Moments Of Clarity. Many of its songs have been on rotation through the year.

(1) Olivia Rodrigo "Guts" (2023) link

Often singing about topics quite distant from my own experiences, Olivia's presence, expression and musicality has an allure hard to ignore. Like with Sour, she can pull you in with catchy pop chorus and sincere divulges of personal distresses that paint a picture. This outing, everything felt tightened up and finely tuned, while maturing lyrically too. Guts has me enjoying her catalog while anticipating where she will go next!

Arkhtinn "三度目の災害" (2023)

  

 Pulling no surprises, another intense installment of Symphonic Black Metal plunges into a familiar abyss. Using blast beats as its unrelenting propellant, rattling drums steer an unending wall of sound. Screams howl and distortion guitars roar. Choral keys gleam towards the night sky with an undying sense of rising epic. On occasion, glistening patterns of synths sparkle with astral wonder. The music sways, rarely taking its foot of the gas, predictably finding its way back to calamitous climaxes.

The second of its two twenty minute plus halves is more gratifying. The texture of its ferocity a dangerous concoction. Hopeful lead guitars tinge with shimmers of positive melody yet shrouded by a grim blackness. Its followed by glittery ascending, descending cosmic synths, an interesting arrangement stiring the pot on this frightening brew. After calms and void circling plummets pass by, the lead guitars return to unite the narrative, culminating in a last stand full of dying screams and relentless pounding that gives way to a bleak aftermath of pale distortions.

This track defines itself as the better of two but ultimately feels somewhat stale in the wake of all the other albums before it. Arkhtinn has mastered their own sound but now that mastery offers little new other than the comforts of returning to familiar footings.

Rating: 6/10

Graywave "Rebirth" (2022)

 
Illuminating attention with an engulfing dreary charm, Graywave, brainchild of Jess Webberley, intensifies their dense Shoegazing Ethereal haze with bustling over drive guitars that swell and shimmer in flushes of bleak beauty. The instruments roar with inviting texture, baselines rumble, showing cracks and grooves, the drums strike with piercing clarity and crispness. Around them a glory of sombre tuneful sounds ripple and shimmer in waves, losing themselves in copious echos and reverberations.

Crudely Dream Pop, oddly catchy by design, these illustrious melodies lure one into its haunting spell. Each track casts its bait, then reels one into thick, heavy surges of descending imminence. Emotions suffer dark and burdensome, yet glimmer with soft introspection. Often feeling like a cathartic release of internal demons and personal grievances that run deep. Its stunning how each song sways in and out of this radiant hell, retaining its alluring colors and selling one on its shadowy descent over and over.

The magic ingredient is Jess' voice who has stunning softness in strength, her gentle tone can ascend and roar with the swells of instrumental gravity beneath her. Its a stunning chemistry from a multi instrumentalist honing in on a purity of self expression. Five fine songs, with the opening Build a masterful ear-worm to binge. This is about as heavy as Shoegazing gets before you call it Metal. To my ears, its akin to Autumn's Grey Solace on steroids. Absolutely loved this, Ive found my next journey it seems!

Rating: 6/10

Ghosts Of Atlantis "3.6.2.4" (2021)

Following up on the competently executed yet mediocre Riddles Of The Sycophants, this debut record managed to grab more of my attention. Despite seeming a touch raw, its Melodic Death Metal leanings and keyboard driven symphonic elements play to its strengths. The latter coming as complimentary flare to primarily Metal songs that navigate the usual array of tropes with an overcast, stormy demeanor.

This metallic temperament allows for strings and orchestration, often muzzled by the guitars, to suggest a mystical swashbuckling theme. Songs feel frantic, at the mercy of howling winds, ocean waves and unending winds. Strip its symphony out and this could be an atypical Metal record for many stints. 2.6.2.4 frequently drops in with big riffs, stomping grooves, galloping chugs to steal the show from its watery theme.

Between it all, heathen clean vocals erupt with surges of epic intent that don't land with the gusto bands like Dimmu Borgir do. In the mid ground were aggression is subdued, a handful of symphonic melodies sway, mostly second fiddle to a rhythmic march, never a key focus. Its as if keys were written second to everything else.

As such, the songs rarely play with consistency but have moments that leap out. Halls Of Lemuria, The Curse Of Man, Poseidon's bow all leap out with roaring riffs not exactly inline with the usual template. In their infancy, this band had writing strengths that didn't fit their intended direction it seems. A curious listen, entertaining, energetic and fun, bustling with an energy lost in a better produced follow up.

Rating: 6/10

Health "Rat Wars" (2023)

  

Housing four cuts from Ashamed, Rat Wars has been a swift brake in. Retaining their distinct flavor of broody, downtrodden dystopian atmospheres, Health navigate morose and self defeating emotions through the soft, sullen, effeminate voice of Jake Duzsik. Lyrically dark and dejecting, they eerily drift in the cracks of fiery Electro-Industrial pounding. Its inebriating, an alluring chemistry, entrancing and gripping yet on examination, a glum reality composed of crumbling urban sprawl and self abuse.

Many of its thudding kick and bassline grooves feel reminiscent of youthful days, hellbent on escaping ones demons through drugs, enjoying the dance while ignoring the imminent suffering. These entrancing drives of rhythm often feel like falling down a rabbit hole of self delusion. Only (Of All Else) and (Of Being Born) take the foot off the gas, the later sobering up its magnetic march with a grim groan of reality from an earth acoustic guitar to conclude the song. The other explores an acoustic limbo, the plucked strings hold off a frenzy of tense distant synths, ready to unleash in an instant.

 The record is finely crafted, its instruments oozing with texture and intensity, matched wonderfully to serve this nihilistic vision. I fumbled on first listen as Demigods struck me with Deja-Vu. Although not perfectly similar, the same melody can be heard playing out on Old Tower's Moonchamber track. Its amusing how memory works, instantly plucking it out of the darkness. Just a curious footnote for my experience with this darkly persuasive record. Its impressive, will have to seek out more from Health.

Rating: 7/10

Apashe "Antagonist" (2023)

An album of distinction and merit, Antagonist emerges from our times as a triumphant victor of eclectic musical tastes. Transcending obvious machinations, the Belgium musician unites the ages. The tight, bright and snappy percussion of EDM and blaring bass synths walks with Classical, Baroque and Renascence era music. With grace and vision these compositions revel in a found chemistry across two periods. Working in junction with the Prague Symphony Orchestra, songs are fully materialized. No scotch tape sampling and manipulation, these tracks were written for the real thing!

Apashe has a knack for understanding limelight, which elements are taking focus and how the narrative is steered by them. As such, stern strings within a strong symphony imposes powerful emotional sways and dramatic narratives. Hard percussion picks up the slack, allowing for stellar pivots into jolting groove and dance floor drive.

The arsenal is impeccable, from haunting shrill choirs to low-end dirty bass wobbles, all instruments, virtual or performed, have stunning fidelity. A case of fidelity highlighting how well built the foundations of these songs are. Apashe finds his own persuasive voice through this unlikely fusion, a word perhaps undermining of how sweetly this tracks ebb and flow. Chemistry is ever-present, at all degrees of emphasis on the aforementioned genres. I'm fondly reminded of IGORRR's brutal abominations.

Moving with another ace hidden up the sleeve, the thumping kick snares groves have a knack to subtly transform with a Hip Hop sensibility. As such, a handful of rappers pop into the fold at opportune times, delivering energizing verses. He gets a great one out of an aging Busta Rhymes. The record has a lot of guests, with a variety of singers lending their voices. At the mid point this soured a touch with sombre singing on Kyptonite and Rise At Nightfall lacking a connection with the instrumentals behind.

Its a minor blemish on a fantastic outing that revels with a sinister energy in its best moments. More grandiose thematic in nature, I found myself enjoying the spectacle immensely but not developing those deeper connections. Something about its flavor just lacked an infectious edge to wedge these songs in like ear worms. Fortunately, it does nestle in a couple of bangers! Apashe is one to keep a close eye on!

Rating: 7/10

Sierra "A Story Of Anger" (2023)

 

Introduced via a collaboration with Health, this French artist fits snugly into the dark electronic music I've been exploring of late. Not fully Synthwave, Aggro-tech or Electro-Industrial, Sierra rests in an inviting middle-ground. With brooding tones, she embarks on gloomy venture through moody indulgences broken up by bursts of dance adjacent energetic movement. Her voice is quite underwhelming, a half spoken presence muttering musings under her breath, occasionally mustering strength of presence. Soft and pleasant, it gets by but lets the focus fall on the instrumentals.

These virtual synths deliver snappy oscillated wave forms in range. From buzzing baselines to jittering melodies, an angular intensity lands these crisp arrangements fit for dystopian night life. Percussion is tight, hard thuds groove off claps and snares, always titled with an Industrial texture. Airy atmospheric synths drift in the gaps of these plucky arrangements, levers that can be dialed for the required direction.

As an album, its a fair listen, an overcast tone is set and explored but nothing much leaps of the page. With exception to Power, a collaboration with Carpenter Brut's who's excellence shines again. Bring about some urgency, sizzling melodies play off background sirens with sinister satisfaction. The albums best track, no doubts.

Rating: 5/10

Crosses "Goodnight, God Bless, I Love U, Delete." (2023)

 

I was drawn to this project by Chino Moreno of Deftones, the vocal half of this dynamic duo. Drawing inspirations, moods and textures from the likes of Dream Pop, Electro-Industrial and Gothic, Ethereal adjacent music, the pair attempt to carve a distinct niche. Crosses, however, seem inescapable of Moreno's instrumental chemistry. His harmonies relate to melody and rhythm with an all to familiar cadence.

Not intent on exploring new vocal territory, the best of the twos chemistry aligns in the same space Deftones' magic sparks from. The record's most striking tracks could be mistaken for Deftones remixes. Is this a complaint? Absolutely not, just a clear observation. One half of whats to enjoy is firmly rooted in a familiar setting, which Moreno executes with that typical alluring charm. His brilliance never seems to tire.

Crosses' other half, Shaun Lopez, brings character and distinction. Exploring the aforementioned genres' moods, he guides songs with bold, striking percussion. Modern in crisp intensity and rhythmically jolting, groove or bounce aren't words that comes to mind. Steady tempo and snappy aesthetics seem to be key motivators. Shuffling crisp, bold strikes, they land resolute on swift attack and minimal reverbs.

These drum lines come counteracted by melancholic melodic instruments, often virtual but housed in enough echo and reverb to paint ambiguities. The atmospheric touch leans towards soft and darkly shadows, breeding self-indulged emotion reflections. Often Ethereal in tone, they brood without catchy melodies. That falls to Moreno, who most often plays a role of light peaking through sombre clouds.

This chemistry varies track to track, almost all its ideas evoke loose relations to the broad spectrum of Post-Punk evolution in music. For all its explorations, this seems just shy of greatness. Invisible Hand, which plays like a Deftones' remix, sets a high ceiling the rest of the record doesn't live up to. When it comes close, its Moreno's mainstay I'm reminded of. EL-P turns up for a fantastic collaboration. I'm sure he had a hand in the tracks baseline. A cracking listen for fans of anything mentioned here.

Rating: 6/10

Plini "Mirage" (2023)

 

Pure joy! With no complaints and no surprises, Plini returns on another triumphant roar of Jazzy, melodic, Progressive Metal. Again, five finely curated tracks swell with colorful creativity. His distinct style as a lead guitarist remains firmly intact. Ever exciting and exuberant, a perpetual craft of inspired music pours fourth from its intensities. From slabs of rhythmic Djent groove, to caressed calms of soothing tunes, his music navigates its peaks and valleys masterfully, crooning with fond luminosity.

Mirage has left me lacking words not uttered before. Plini is an artist firmly rooted on intrinsic motivations, servicing the gods of creativity with respect. Every second of this album feels so expressive and intentional, as does most of what came before. For the first time I didn't sense new terrain. Its awe a familiar one, joyous, bright and uplifting yet a familiar friend. I will certainly enjoy this level of output for time to come but mirage leaves me curious as to if this artist has new ideas yet to unearth.

Rating: 7/10

Myrkur "Spine" (2023)

After the aptly name Folkesange, Danish outfit Myrkur return to the Black Metal tinged aesthetics of their origins. Spine muddies the waters with an uncanny sense akin to a "covers album". Like Humans sets this striking tone, the "talk to me like humans do" chorus arises from a rubble of darkly guitar rumblings and morose pianos nestled in a foggy, swampy drone. The cadence and melodies of Amalie Bruun carry an elevated yet contrasting spirit, rhythm and rhyme akin to catchy yet emotive Synthpop.

Continuously, her knack for lyrical delivery evokes this peculiarity again and again. Other elements suggested similar feelings too. The tense, tick tock alike synth lines of Mothlike and its gleaming flush, a rapid melodic guitar solo that erupts from an initial dark rumble, this too felt like a differing origin brought to to serve a peculiar chemistry.

As the album runs, many inspirations are woven into its fabric. A strange mix of hazy subdued extremity and light shining through gloomy clouds. Blazing Sky brings the bloat and bombast of a sludgy Doom Metal riff to the mercy of Brunn's earthly, gentle voice. Again, its illuminating pivot into a catchy chorus gives this unshakable sense of an original piece re-imagined through a dark and contrasting genre.

After many spins and much pointless research, I've learned of this records authenticity and grown to adore its peculiar position. It speaks volumes to its chemistry as these magnetic songs carry multiple spirits in tandem. The band have yielded a record that doesn't fallen into any typicality or genre pitfalls. Gracefully, they brew great music with their own unique spirit. Its been a breath of fresh air to say the least!

Rating: 8/10

Laurel Halo "Atlas" (2023)

 

Introduced via the Spotify algorithm, a lone track among its ten, You Burn Me, bared resemblance to one of my all time favorites, The Plateaux Of Mirror. Its dreamy pianos pulled me in but sadly the focus of Atlas is not akin to that timeless soothing tranquility. It does however, deal with subconscious narratives. Ambiguity and lofty reverberations house flickers of traditional instrumentation as these gentle mirages embark on temporal musical experiences that eludes a listeners focus in the present.

To my ears, Its early tracks house glimmers of city life. Dense, compounding echos create soft cushions of vague emotional states. Subtly twisted, warped and stretched, these dreary forms of pianos, pads and strings float out of its hazy mist. Somewhere in that gentle flood I hear the sounds of people, perhaps the droning sensation somehow resembling the ever-present background decibels of a city. This notion fades swiftly as its latter half resembles emotional states more often than not.

This leads me to the downside of this record. Many of these cloudy clusters of ambiguity steered into uncomfortable anxiety. Tension is a key component of these arrangements. A few flavors brewed unrest and disquiet through the powerful effects of Ambient music. Where I often welcome challenging sounds as emotional entertainment, a handful of songs placed me in that soft distress which equally sings praises to its power but derived my enjoyment the full length record experience.

Rating: 6/10

The Tiberian Sons "Anthems Of Liberation" (2023)

Looking beyond Command & Conquer, The Tiberian Sons paint a lively love letter to another 90s game franchise. I've never played Namco's Ace Combat series but if this record is a fair impression, then its got an impressive soundtrack! Anthems Of Liberation has songs from across the series. Unleashing bottled up classic VGM energy, the group channel this animated music into a lively Prog Rock / Metal adjacent tone. Its plastered with rich instrumentation, layers of orchestration, synths and human voicings emerge, coloring its rocking riffs and crooning shred guitar with warm spirit.

At times the songs take on a grandiosity when this aspect becomes the focus. When not, the drums drive forward competent riffs for lead instruments to dazzle and shine as the music speeds away. They seem like they are from different universes. One is serious, epic and dramatic. The other half fun, playful, sprinkled with the best of that Top Gun style cheese. Along its journey, the push and pull between its ends is fantastic, always bursting with attitude and charisma yet keeping it fresh.

Anthems Of Liberation is a wallop of fun from start to end, after many spins I can barely figure out what my favorite tracks are. I'm almost tempted to check out the game that inspired it! Or at least the original soundtrack music for now. This one is a fine record for when needing some animated energy to vibe on!

Rating: 8/10

Dimmu Borgir "Inspiratio Profanus" (2023)

 

Far beyond the prime of their active years as a band, Dimmu Borgir blow the dust of old covers alongside new offerings. Its a release of minimal commitment, something to give fans in the meantime between Eonian and whatever comes next. Kicking off with Venom's classic Black Metal, an aging Shagrath offers mid ground between his own vocal extremities and the throaty shouts of that early 80s evil cheesiness.

Its such an obvious choice that's been done to death by many Black Metal bands over the years. Dimmu add little to the conversation. The vicious, blood soaked Satan My Master, from Death Cult Armageddon, still holds its cutthroat aggression and howling menace. The contrast highlights a chasm between past and present. With the rest of the album intermingling old a new, its a similar story with its two new covers.

Dead Men Don't Rape looses much of the originals stark and confronting nature. A harsh Industrial unsettling atmosphere descending through its unforgiving whispered lyrics, Dimmu's atmospheric cushion undoes that. An all to welcoming track within the Extreme Metal context. Its not all bad tho, between some cracking covers of old, Deep Purple's Perfect Strangers gets a fine treatment as the band twist its anthemic march with a darker stride that retains the power of the originals riffs and organs.

Rating: 3/10

In The Nursery "Anatomy Of A Poet" (1994)

In seeking out Neoclassical Darkwave adjacent music, Spotify chalked up this Sheffield based duo who've been active since the 80s. Anatomy Of A Poet features Colin Wilson orating his own poetry in brief stints on various tracks. With its musical concept laid out plain and clear, I've found myself baffled at the disposition between his solemn glum voice and the stunning strings arrangements that meddle around then current percussive trends. Touches of Dance, Industrial and Trip Hop appraise danceable droning drum loops, as cinematic sequences of stellar orchestration muster an emotional elegance. This chemistry is one I've come close to discovering before.

As the album progresses, brief strides of classy composition break up its powerful percussive sway. Acute melodies, subtle chords, unusual instrumentation textures and flashes of electronics craft dreamy hazes that resolve into warming strides of persuasive sound. Then walks in the over pronounced tongue of Colin, his meaty, chocked words break the spell, despite it clearly being central to the records concept.

Arriving at The Seventh Seal, the pair stretch for ambiguous cultural sounds, a tingle of Spanish guitar, sung with a Country tang feels uncomfortable. The following tracks lean further into the poetic waxing and recurring themes has its entrancing energy wain swiftly. The funeral gloom of November Trees almost sparks a spell but the spoken words simply don't align. Its final track, unapologetically embraces the droning cheese of 90s electronic energy, throwing another curb ball to derail what started out as a wonderus musical experience.

Rating: 5/10

Mase "Harlem World" (1997)

 

A long overdue followup on No Way Out, I've finally picked up Harlem World, Mase's solo debut. He'd made a soft impression, a voice fit for variety in the mix but unsurprisingly tame on his own. The casual carefree laid back spoken raps didn't amount to much across a lengthy CD filling record. Although it went multi platinum, its legacy feels like a byproduct of the era. Mase runs through the typical themes apprising his status, playing himself as a ladies man and taking shots at his haters.

His cadence is smooth, easy on the ears but rarely does his words muster up the energy to really grab your attention with standout rhymes. Harlem World mostly rolls by a pleasant ride on average beats spliced with goofy interludes. Stated as such in a lyric, the albums best tracks are simply recycled hits from the past decade. That and many of its instrumentals highlight this Bad Boy Records formula candidly.

With typical features from Puff, DMX, Jay-Z, The Lox and many more, the album gets by on a run of the mill routine. The later, however, elevates! 24 Hours To Live lays down a firm concept, asking a question and letting everyone run through their answers verse by verse. Its a great setup for visual raps that The LOX dominate! The following I Need To Be sinks to a low with very questionable topicality that seems to just slip under the radar of controversy when it comes up in Hip Hop music.

The closing Jealous Guy is an amusing piss take. A tongue in cheek jab at "the haters". These rappers drop some ruthless off key singing over top of the smooth R&B singers beneath. Fun once but an earache after the third spin. Overall, this album felt very average, with little memorable to take away. It feels like the hype and promise of the record label made this one a success. Not bad but firmly average at best.

Rating: 4/10

Poppy "Zig" (2023)

 

Still one to follow for her creative ensemble of pop sensibilities and abrasive tones, Poppy returns with a similar set of mashed up sounds. As a pleasant vocal presence, one is drawn to the lyrics. Lightly cryptic, suggestive and occasionally humored, they rarely yield depth when wrapped up in a hook or catchy cadence. Her direct words muster more meaning with plain language, however none of it amounted to anything memorable for me. At times, a sense of reaching for a mischievous truth emerges.

Either way, the record doesn't hit on this front and neither does its bass groove oriented stints of cold calculated Electronica. Trading in overdrive guitars for distorted synths, the instrumentals often converge on flickering rhythmic drives, lavished in dispassionate texture, lacking emotion and accompanying melody. On occasion, atmospheric synths layer in some compassion but without its a rather lifeless stint.

After the droning disharmony of Zig passes, Poppy's voice opens up, some songs focusing on her melodies. A pleasant direction but only Motorbike strikes a nerve. Its soft Disco Funk grooves elevate the hook and color the song with an interesting subtle sway. On a better record, this might have been felt as a weak cut. Loaded with mediocrity, Zig was sadly somewhat of a bore, doing little to make itself known.

Rating: 4/10

Nova Twins "Supernova" (2023)

Hailing from London, the Nova Twins are a dynamic duo with a typically modern broad assemble of aggressive, abrasive inspirations. Clearly children of the Internet era, one can hear echos of 90s Rap Rock energy and Nu Metal syncopation, with 00s darker electronic music shades manifesting beyond prior crossover restraints. Attitude is its a driving force, shouted raps, soft screams and occasionally Pop R&B tinged sung lines, all emphasizing prominence and status spitting in the face of external adversity.

 Their songs are varnished with an electronic, noisy textural vaneer. Often crashing in with crunchy guitar grooves, the accompanying atmosphere feels as unconventional as un-melodic sounds weave into the fold. Somewhat similar to the worbling of Dubstep drops, these noisy groans are softly abrasive, hard and barely rhythmic yet mixed with a forgiving presence to make their songs rather accessible to my ears.

Its an odd approach considering there is a lack of melody and catchy knacks to latch onto. The drumming is rather dull and predictable, leaving a lot resting on the vocals and grooves. Choose Your Fighter is the records best track, a moment where the instrumental ideology swells around a compelling moshable groove. The rest of the record falls short of this feat and feels mediocre, occasionally dull on its weaker cuts.

In a way, I am reminded of Limp Bizkit, a love hate band who's fans were most likely fresh to the ideas of Metal and Rap. I could easily see my teenage latching on to the wildness this record presents but as a seasoned listener, little here feels special, I've heard it all before. They do show signs of promise however, some musical evolution on this chemistry may turn heads in the future but right now its a touch juvenile.

Rating: 5/10

Ghosts Of Atlantis "Riddles Of The Sycophants" (2023)

 

Even as I sit to write, the words don't come to me. Riddles Of The Sycophants is fantastically competent and yet distinctly generic. The evolution of Symphonic Black Metal, spurred on by late era Dimmu Borgir, has ventured into metallic and orchestral extremity. Weaving mightily angular and rhythmic guitars with stabbing gusts of nightly symphony, the genre's songwriting has escaped the chains of its foundations. No longer simplistic jabs of synth melody and rhythm guitars, the sound has taken on a vivid theatrical intensity, best realized on Shade Empire's classic Omega Arcane.

 Ghosts Of Atlantis failed to tell me why they are different. With the many spins, I've not felt a unique character emerge, or even defining moments in songs that grabbed my attention. Despite this, its lack of flair and originality hasn't hurt a single listen. Its been a welcome venture through turbulent terrain, traversed with elegance and a firm grasp on the dynamics of its varied instrumentation. They serve to aid its core vision, in doing so, lacks any individual magnetism. Its been quite the odd experience, a wonderfully executed record that fails to bring anything new to the table.

Rating: 5/10

Health "Ashamed" (2023)

 

Jumping around their discography, looking for an entry, it was this latest single I really latched onto. Health are a Californian trio that have been at it for almost two decades. Having many remix albums intermingled among their main efforts, its a dense wall of releases venturing in collaborative directions. This four track Ashamed has a balanced mix, two originals and two features. Their sound aligns with Agrro-Tech and Industrial Metal. Its similar to Author & Punisher, deploying meaty slabs of noisy synth over subtle distortions like an assault vehicle guided by tight, hard hitting, snappy drums.

The mood is doom and gloom, a synthetic cyberpunk dystopia traversed at night under neon light. Vocals bleed dour, plain and monotone, then ascending with breezy respite when musical chemistry shifts and a little reverb carries them away. This is the transition of its first two songs, a complimenting shift that lines us up for Sicko.

A sample of Godflesh's classic Breed slips into this one, nestled among its rebuilt core bass and drum groove. Recycling its charm, dreary flat vocals drift by in a haze, lining up an alarmist descend of hellish synth to dazzle one in its sudden urgency.

 The last track, featuring Sierra, bustles with a dark dance floor energy, stepping up its pulsing energy to match the likes of Carpenter Brut and Mick Gorden's Doom Eternal soundtrack blueprint. It retains Health's distinctness, a dense wall of harsh synths turned to a gloomy outlook with its softly pessimistic singing. A powerful introduction to a band who's coming full length I am likely to enjoy!

Rating: 5/10

André 3000 "New Blue Sun" (2023)

 

A name that would forever manifest anticipation, the talents of André 3000 held promise, surely a musical gem in waiting? Many years on from his legendary career as the artistic half of Outkast, his return to music is a subtle one, venturing into mellow New-Age ambiences. His voice comes not through rap but woodwind as Andre expresses himself with flute performances that meander on free flowing journeys.

Clocking in at a meaty ninety minutes, these eight stints average over ten minutes in length but all share a common breezy ambiguity. Blurry forms, warm and resonate, yet illusive, express wonders lacking comprehension. A swaying mix of environmental sounds and flashes of dazzling melody, nothing concrete is ever anchored to. Instead we drift across moody landscapes in perpetual limbo, at the mercy of this whim.

Its hazy, fever dream nature and free forming spirit makes these songs hard to latch upon. On the journey, many moments of textural beauty and fleeting chemistries arise but they dissolve into the ambience. Each track boils down to that flavor, if you want its company for however long it endures. The two lengthiest cuts didn't do it for me but the rest served a peaceful, captivating New-Age experience, reveling in their own mystique. Its far flung from the rap record everyone wanted but why not? Clearly Andree had a different expression within him and its worth checking out.

Rating: 6/10

Love Is Colder Than Death "Teignmouth" (1991)

 

A recent emotional plunge had me engrossed within the historical worldly sounds of Dead Can Dance again. Now armed with Spotify's magical recommendation algorithm, I'm turned onto more Neoclassic Darkwave music. Capturing the feeling of pre technological civilizations, Susann Heinrich's renaissance inspired singing musters a familiar burden, the crushing weight of biblical shame and life's hardships our ancestors once endured. Its wrapped in unease and tension, as suffering and gloom penetrates these songs mysterious beauties. Questo Mostrarsi embodies this religiosity as its funeral organs resonate with the sins of humanity, a world view that once enraptured humans across Europe just a handful of centuries ago.

When incorporating percussion and keyboards, its performances are stiff and jagged, often breaking its own spell to some extent. Jolting hysterical sounds jostle in on occasion, as if to create a haunting vessel emerging from the shadows. Its bold edges are enjoyable when embracing its vision but much of this amateurish tonality seems so close to something stellar, had its production been more organically cultivated. These bold, punchy sounds further their presence in the records second half when Ralf Donis steps up, his stoic singing lingers in the shadow of his peer. More electronic sounds bustle in, Ralf deploying snarly sneers and groaned vocals which have the music bordering Skinny Puppy's Electro-Industrial with Chorn. The following Wild World has its moment as the two styles find a gripping chemistry together.

A common finality of curation comes to mind. Teignmouth engrosses one in a cultured, religious, historical worldly spell but consistency pulls us out as its stark execution breaks the magic. Caught between two ideas and lacking the finesse to pull it off, this sits with me as a flawed record that can be loved for Heinrich's voice who pulls us into its vision. With that, I am certain more spins would grow fonder, however I am keen and curious to go down this rabbit hole with new tools of discovery! Had to blurt out my thoughts and move on swiftly.

Rating: 6/10

Turnstile "New Heart Designs" (2023)

 

Today I've stumbled upon a pleasant surprise, a trio of Turnstile songs re-imagined on this latest single. Teaming up with Badbadnotgood, the bands songs get reworked into dreamy mellow alternates. Turns out Yates' clean singing is a supple match for these Psychedelia tinged instrumentals composed of soft pianos and woodwinds drowning in reverberating ambiences. His original takes having an inspired, ample chemistry.

It feels like a happy accident, a curious collision that's led to reworking three tracks from Glow On in a complete u-turn. Mystery gets an airy treatment, a relaxing stroll through an ethereal garden that some how mellows out the stained shouts. Bringing in soft percussion, Alien Love Call turns Lounge in demeanor, squeezing in some free flowing Jazz improv jams between the main vocal sections. Underwater Boi looses me a little as things turn tripy and exotic. Still decent but dang the first two cuts are magic!

Rating: 3/10

Këkht Aräkh "Night & Love" (2019)

 

Another early 90s Black Metal love letter! Unlike its predecessor Pale Swordsman, Këkht Aräkh's first full length seems a fraction too generic among the many who try to capture that era. Its gritty aesthetics are harsh, a crisp coldness splattered with clattering percussion over blurry rumbling baselines. Shriek howls, throaty cries and noisy distortion guitars paint a familiar sight of unrelenting Norwegian darkness.

On this debut outing, an arsenal of all to typical arrangements fail to muster excitement in the wake of all that came before. Despite its competency and mastery of the grim aesthetic, the aggressive stints of loose blast beats, shrill tremolo guitar and beastly shouts from the shadows fail to add to the conversation. It left the project feeling like a typical cast iron clone from an era that many have tried to recreate.

Night & Love, however, is littered with lonely interludes, sullen moments of reclusive beauty. Hints of nature intruding on soft folkish lullabies and ethereal acoustic guitars. They play as a treat of their own between the hard shadowy onslaughts. On occasion accompanied by a tender clean male voice, these sometimes eerie and often melancholic tunes swiftly became the most intriguing aspects of the record.

Its no place for me to say what an artist should do with their music but hearing this tandem of a unique voice, wedged between a clear and shared obsession with early Norwegian Black Metal, has me feeling as if their talents are misguided. Këkht Aräkh has caught my attention with an impressionable nostalgic venture yet they clearly have something else to offer. The two are yet to merge in a fruitful way as I hear it.

Kyros "Esoterica" (2023)

 

Although just a three track single, Esoterica's lengthier twenty minutes make it feel worthy of comment. The music however, certainly perks the ears! Bright, luminous, bold and daring, Kyros take the glory of Progressive instrumentation head on. The wall of sound production and glossy finish celebrates their musical artistry with unrivaled vibrancy on all fronts. Punchy expression and warming hooks feel stacked, complimenting layers of sound, yielding a sonic aesthetic housing ripe song writing.

 Its opening title track infuses and grossing percussive dance floor energy. As one is pulled in by its cruising pace, classic House pianos hit to affirm its inspirations before embarking on a jiving instrumental foray. The cohesion is superb, gears shift as we propel down a musical highway. The following Illusions Inside takes a steadied yet punchy approach with its drums. Slow yet big grooves carefully guiding us into its magnetic climax. The vocal arrive in a crooning swell, masculine and effeminate voices exchange lyrical expressions, harmonizing in a captivating spell.

its ten minute closer, The End In Mind, had less sway over me. In comparison, it didn't quite connect with a focal feature yet the song meanders all over the place like a jam session recurring to a theme on occasion. Its impressive, lots of remarkable dexterous performances yet not quite ticking the memorable box. Good to see this band are in a wonderfully creative place! I wonder if these songs will appear on a record soon.

Rating: 5/10

Code Orange "The Above" (2023)

My own unrivaled excitement for this release has manifested into a glum disappointment tainting The Above. Their previous outing, Underneath, set high expectations. The glitched out dystopian mania shook up a violent foundation, breathing new life into a genre where fresh territory is hard to find. Partially recoiling from such brutal intensities, the band intermingle a reinvention of 90s nostalgia.

Most prominent, their typical approach to Hardcore brutality seem skewed towards Nu Metal. The most aggressive riffs deploy the dissonance and syncopation flavors of that era with a subtlety that blunts its edge. Trademark manic spurts of chaos groan with the downtrodden vibes of a once ridiculed genre. Their tight technical execution absent in favor of this loose, dirty, moody aesthetic inspired by past trends.

Subtly woven in, the texture of Grunge and Alternative Metal has its moments too. On The Above, the band weave through a fair set of intensities and ideals but little about the record feels like a cohesive vision. More so, an exploration of loosely connected ideas drawing from the decades various styles. Some songs step into radio rock friendly verse chorus exchanges, others meander through an arsenal of riffs.

Reba Meyers gets to offer more of her voice, sometimes accompanied by string sections, yet the step into new territory feels off. Mirror is a redeeming experiment. Its unusual Trip-Hop beat seems to aid the songs swell of emotion. Other than that, the record offers little I wanted to come back too. Its angsty downtrodden inspirational origins did manifest with uniqueness. It was just not too my taste sadly.

 Rating: 5/10

Këkht Aräkh "Pale Swordsman" (2021)

 

Perhaps not a love letter but an embodiment of Black Metal before 94, one man band Këkht Aräkh's retrograde approach is a vivid artistic capture. With both its low-fi aesthetics and raw musical ideals, this project could convince seasoned listeners of imagined early origins. Many of its compositions rehash Burzum and Darkthrone, slipping itself into that era. The later seeming the dominant of two obvious inspirations.

Of course this is a product of our current era. Widespread accessibility and distribution lets musicians peer into the past and examine what might of been. Pale Swordsman adds little to the conversation, the core of its music drawing stiffly from the riffing techniques, drum patterns and arrangements that made the pioneers so unique. Disguising melodies within distortion dissonance, ambushing subtle grooves on top of stark breaks, all housed under a loose incessant rattle of amateur blast beats.

Originality can be found, almost exclusively within its interludes. Sad, lonely, melancholic melodies, these instrumentals conjure a soft dreary romanticism. The tender clean singing of Swordsman steers this into a charming folkish lullaby. Its a character that could have been leaned into, potentially forging a fresh take on old ideals but the two play separated, swaying between one another. An essential listen for fans of the aforementioned but nothing ground breaking, good nostalgic revival.

Rating: 7/10

City Morgue "My Bloody America" (2023)

 

Still one to check in with, City Morgue return recycling a familiar flavor of feisty aggression. Fusing Trap with Horrorcore and touches of Metal, the duo deploy harsh percussion aesthetics again. Rattling hi-hats and distorted base kicks thump no longer a novelty. Meeting spooky samples and lean distortion guitars, beat production paints ghoulish, nightmare scenarios for their unapologetic lyrics to reign a boisterous noise. Priding its content on death, hate, gunplay and machismo, a lack of depth is hardly a surprise. Most verses simply load in vile obscenities on aggravated flows spat hard.

Among its various leanings, a sense of something curious lingers but never arrives. Despite being a rather dull thirty minutes, the record has a certain foul charisma fit for horror but lacks substance. Its instrumentals fail to lean into its intriguing elements. Only Wicked elevated this unsettled energy to a catchy level. A banger among mediocrity. Its short looping melody illuminates when all instruments fire together. I still think this duo have something great to offer but currently I'm just not feeling it.

Rating: 4/10

S1gns Of L1fe "The Age Of Cymatics" (2021)

 

This entry serves has a marker of discovery, a favored familiar frontier, voyaged by an artist exploring that magical space between distant stars and our imaginations. Cosmic Ambience, as I've come to call it, the space inspired synth style mastered by Dreamstate Logic, which became an obsession last year. Spotify's algorithms has finally steered me on to neighboring territory. Signs Of Life, presumably using the 1s to distinguish the name, provides a welcome hour of lengthy tracks stiring temporal focus, through dense stellar atmospheres that calm and sooth in their droning.

To deter from my usual astral analogies, I'll get direct. Signs has an approach of intention. Its strengths emanate from visible synths arranged with character and purpose. Bustling on looping melodies, alongside sparse glitched percussion, little feels hidden. The craft doesn't linger in reverberations but strides inline with its projections. Although there is an apt amount of spacious echos for its aesthetic, the spacey mood is thrust forth by bold instruments resonating with one another. Airy pads and lofty synths are present throughout but serve more so as a glue.

I also suspect the VSTs behind this sound are similar, with some bass lines and other tones having an uncanny resemblance. Signs also loves the swells of reverb that shift the music into new phases. One can feelsa greater sense of progression and direction changing on these tranquil cosmic voyages. I'm pleased to have discovered more of this niche to add to my collection, its fantastic music for getting in the zone. This too joins the Temporal Focus playlist. Still searching for more!

Rating: 7/10

Old Tower "Draconic Synthesis" (2023)

Esoteric, arcane and obscure, Draconic Synthesis engulfs us on a mystic venture the marvels of sound design. Tinkering and experimentation has led to fruitful explorations of ambiguous wonder, found in gaps between occult voicings, astral synths and ghostly reverberations. This new terrain still stems from foundations of old castly Dungeon Synth, Old Tower continues an intriguing evolution into dark ambience and soundscapes, while fluctuating to familiar footings on this entrancing forty minutes.

Heard through a candles flickering flame, wildlife sounds of night accompany a subtle tropical flavor on its lingering melody. A dusky opener signaling new sounds, Draconis Arcanum has beautiful balance. One could imagine it as the backdrop to a Diablo theme alike game. Ruins and Horned Glossolia ressurects this direction with its lonely steel acoustic guitar, followed then by Sacred Carvings. This song leans fully into this cultural resonance superbly, akin to Dead Can Dance's transformative magic.

Spirit Vessel has a similar incarnation, evoking forbidden spirits from the graves with classic dungeon dweller magics. Its a more "traditional" piece for this artists however the closing Crafting The Symmetry Of Aeons feels like their most ambitious work to date. With many distant clanks, rattles, drips and drops, ghostly voices breeze by forgotten corridors as the music strides into foreboding chambers of sequestered darkness. The emerging synths and percussion give one a sense of tainted triumph over what lingered before its arrival. The strike of a gong bringing it to a sudden close.

Rating: 8/10