Poppy "Negative Spaces" (2024)

 

 

Plagued by the inconsistencies of searching for an identity, exploring genres, never settling on a sound, it seems that Poppy has finally found a firm footing following a fruitful collaboration with album of the year contenders Knocked Loose. Now honing her screams into frightful territory, ranging from soft, harmonious and sweet to roars of unrelenting rage feels an apt for this endeavor. Foraying into the current trendy Pop Metal dynamics, contrasting stomps of Djent brutality exchange with sways of warm catchy melody. Its a dominant theme among other ideas, conjuring echo's of Spiritbox.

The record flows smoothly despite some turns. Crystalized makes a sudden deviation to explore driving dance-floor grooves and Synthpop melodies masked in nightly Synthwave vibes. Vital dials in subtle Emo and Pop Punk influences through its guitars before Push Go jumps back to the dance-floor. Poppy's approach conjures echos of Madonna in here prime and 90s Brit Pop in its soft siren chorus.

The next two tracks get us back on track, going hard as ever on its mammoth guitars. Big grooves stride in anger as raw throaty screams erupt with vitriol. Its a wild ride juxtaposed by the dreamy interlude Hey There, a crash to the ground as the final stretch retreads these ideas already explored. New Way Out notably deploys the Argent Metal formula with that signature Mick Gordan guitar and synth aesthetic.

All in all, Negative Spaces is a really good listen from start to end but perhaps lacks in offering something truly new to take away. Its as if these songs might fade from memory given the overt influence that fail to ascend expectations. On the other hand, its the most consistent record from an artist still seeking out a sound to call their own. It lays a promising foundation for the future after the sorely disappointing Zig.

 

Rating: 7/10

Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Willow "Lately I Feel Everything" (2021)

 

Arriving at Willow's third record, endearing blemishes of youthful nativity emerge. Heart-brake pains and relationship woes dominate its theme. Musically, a similar line is tread. Both sway between raw adolescent reactivity and insightful, matured expressions. On its latter half, collaborations with Travis Barker boldly mimic teenage Pop Punk tracks of the early 00s, devoid of originality yet persuasive with repetitions.

The middle of the record is where the bulk of its magic lays. Instrumentals deviate from the opening simplistic pop appeal. Swells of grungy guitar distortions, dreamy acoustic reverberations and creative drum machine arrangements pull these songs to the edges of Shoegaze, Indie Rock and Emo, blurring lines along the way.

Typically, Willow sings from the soul, drifting around the texture of these tracks like a free spirit, often with power over softness, she occasionally roars into life with soft screams. On the softer side, soaring cadences amplify her thoughtful, introspective words. It turns the topicality of once immature anthems into reflective journeys. Its a curiosity to me how a tracks tone shapes ones experience, two contrasting sides of essentially the same expressive coin.

Lately I Feel Everything is mostly an exploration of an alternative umbrella of distortion guitar adjacent music. Willow crashes the party, muddying up ideas with an aesthetic rawness and endearing amateurish aesthetic. A perfect fit for the genre. Not quite as persuasive as whats to follow but also tainted by these interruptions of type-cast teeny bop music I despised in my youth. Naive and XTRA where the highlights for me.

Rating: 6/10

No Cure "I Hope I Die Here" (2024)

 

 Ears perked by Spotify's shuffle of heavy freshness, No Cure's brief 8 track, twenty minute EP I Hope I Die Here has been a curious listen among a sloth of modern aggressive music. Much of it lacking sparks of originality. Hang Me From The Bible Belt, the track that drew me in, fires up this romp of sludgy brutality with a bold mix of Metallica Hardcore and Melodic Death Metal. This feels like a misnomer as the annals of a tired Deathcore swiftly reveal their ugly head on following tracks. Gruff deepened guttural shouts, gritty low-end axe grinding riffs and filthy pig squeals light up the aesthetics among obnoxious angular harmonic pinches and other genre tropes.

It plays out among a reasonably excitable mix of influences, from Hardcore gang-shouts to Metalcore grooves and Slam Death Metal breaks, the record picks up some character in brief moments. No Cure bridge minor stylistic gaps that seem obvious in hindsight. The collaborative nature of this EP may explain its inconsistency in tone as songs sway between engaging constructs and the "race to the bottom" filth of Deathcore. Each track includes another band, presumably of the local music scene.

Sadly, only its opening track won me over. The rest of its heaviness played mostly as a curious throwback to Deathcore records now approaching twenty years old. In contrast, there are signs of promise, moments of light, however it doesn't come to fruition in a flavor I'm looking for right now. To much grime, not enough substance!

Rating: 4/10

Opeth "The Last Will And Testament" (2024)

 

This fine record has brought several weeks of routine enjoyment, however the latest offering from these veterans suffers its own familiar identity. Having toyed with distancing themselves from metallic roots, the journey back to aggressive aesthetics, befitting of their early days, brings little freshness to their distinction. The Last Will And Testament attempts to layer in a richer symphonic tone, which often gets swept under its gallivant lead guitar melodies and grandiose riffs. So to does a clear concept about class and inheritance get thrown around in spoken work sections between salient singing and meaty death growls. Neither of these elements seem to break the familiar spell Opeth cast, with their usual touch of majestic spirit. Thus the record spins its wheels through grand constructs of Progressive Metal that often feel recast from the depths of their extensive back-catalog. Strident and assured, the record plays exquisitely, its lead melodies often catching the ear as expressive motifs to set the tone for its big vision. Continuously we weave through intensities but sadly, all in the shadow of comprehension. For all the magic this band have bestowed, it lacks anything new to say. Enjoyable but none of these tracks leap from the page.

Rating: 6/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10

Body Count "Merciless" (2024)

 

Now years deep into their triumphant resurgence, the legendary cop killing Body Count return with a fair helping of 90s styled Metal stints to rock, shock and entertain. Serving as a mouth piece for Ice-T's likable angered rants, these loud instrumentals play a fair game. Serving up competent ravishing's of that era's tone, fans like myself can lap it up but lets not be shy, there is little here we have not heard before.

Beyond selecting some preferred cuts from the offering of mid tempo songs driven by aggressive riffs, attention turns to Ice-T's presence. His plain language, dripped in profanities and frustrations, flow relatable and clear to understand. Behind the often grislily lyrics, an undercurrent for peace and prosperity may pass some by.

The packaging is where my critique lands. Fun and enjoyable but the albums best hooks and concepts feel borrowed. From Demo-crips and Re-bloodicans, to the movie concept of The Purge, a helping of thematic concepts have obvious origins. That and an interesting cover of Pink Floyd's Comfortably Numb with David Gilmour revealing his typical unabashed directness. Oddly intriguing but most of the time endearing. 

Pulling in legends like Corpsegrinder and Max Cavalera is a welcome delight on this fiery horror show album. They bring great performances. Its nice to see more collaberation like this which has been sorely missing in the past. Merciless wont reinvent their live show but brings hours of entertainment through some fresh songs with their classic Body Count motif.

Jukio Kallio "Minecraft: The Garden Awakens" (2024)

 

Our latest Minecraft update places emphasis on the quiet unsettled atmosphere of its eerie Pale Garden biome. Upon entering, the games music will cease to play, immersing us in the subtle sounds emanating from the biomes pale blocks. So imagine my bewilderment at learning of an accompanying soundtrack from the drop, given that no new music has been added in game, as a record disc or otherwise. The low key nature of its unannounced release seems even more fitting upon hearing this one new track. Its left me wondering what direction our new composer was given about the new content, as the vibes are completely miss the mark.

Things get off to a great start. Tense strings and disconnected tumbles of tom drums and crash cymbals lead into a dirty bass synth brooding beneath, stiring a ghoulish atmosphere. Its strongly reminiscent of the title screen music from Doom. A few keyboard notes of intriguing melody linger and just before the minute mark, the song erupts with rhythm, a hard thudding kick drum, drives the music into Synthwave territory. Melodic wave synths dance with speedy, cheery nightlife vibes before a brief allusion to the errie opening premise is dispelled again as the dancable percussion returns with more animated melodies far from the expectant Minecraft vibes.

 Its a fine song but ill fit along side the games back-catalog and even more baffling considering the tone of this update. The Trumpet version simply swaps out its VSTs for quirkier instrument tones. The sped up version sounding like nothing more than fluff. The slowed and reverbed original amps up the creepy vibes but its far from a saving grace. It seems now rather obvious why this was such a low key release. A cool song but also a total mismatch for Minecraft standards.

Rating 2/10

Marilyn Manson "One Assassination Under God - Chapter 1" (2024)

 Moving on from the catchy Post-Punk period vibes We Are Chaos reveled in, the band trade in those flickers of color for dreary tones steeped in indulgent misery. Bleak, downtrodden and typically anthemic, Assassination hails back to the spirit of Antichrist Superstar with the metallic inclinations of Holy Wood. Manson's lyrics flow potent and cutting. Renewed with a biting anger, his disenfranchised cries come wrapped in religious overtones and social commentaries. Spinning disillusionment into reverence once again, the nostalgic familiarity hailing back to their creative peak sounds fresh. A few tracks further in, words turn inwards, reflecting on addiction and escapism, a new avenue heard since fragilities expressed on The Pale Emperor.

Throughout Assassination, in some of his words linger a sense of martyrdom, spinning controversies of recent years to paint himself the victim. The tensions amass with Raise The Red Flag. Antagonistic lines make a climatic declaration to "wash the bullseye off my back". Through the lens of artistic expression, its a marvelous twist of the arm, however when reality and legal proceedings are a long muddy affair of accusations and defamation, its hardly a black and white case you can rally behind.

Lastly, the instrumentals are well crafted, a consistent aesthetic that serves this album experience well. Shifts in tones can ramp up intensities for aggression and subside into rebellious melodies. It all flows cohesively with their iconic front-mans licks. At fifty five, he can still deliver his knack for devious and catchy hooks. Now lacking the shock and awe he once commanded like a prophet, Assassination's potent expression themed on recent accusations land well but perhaps with an air of doubt.

 

Rating: 8/10

Willow "Coping Mechanism" (2022)

  

With a chronological step back from an adored Empathogen, Coping Mechanism shifts its fundamental appeal to serve my tastes immaculately. Willow's entangled expressions and gushes of emotional out-poor feel familiar, yet beneath the music nurtures antagonistic intensities, highlighting darker emotions of anger, frustration and sadness. Ever present overdrive guitars dabble in Alternative Rock, Grunge, Emo and Indie, amplifying a hurt in her lyrics. Sailing above with a playful, creative voice, she finds a beautiful resonance with the unsettled rumble of enthused guitar noise.

From a perspective, these songs could be boiled down to catchy Pop Rock songs centered on angsty teenage emotions. Fortunately the underpinning Pop sensibility blossoms with maturity. Willow's lyrics navigate emotional stresses, gracefully avoid the fallacy of simplicity. Her words dissect, introspect and reflect, mostly on the grief of a breakup, in search of a Coping Mechanism. Opposing aspects of these narratives explored often manifest into beautiful vocal inflections. Its a riveting tug and pull, back and forth, an internal mental battle channeled into infectious sing-alongs.

 Producer Chris Greatti and songwriter Asher Bank deserve high praise for their instrumentals. Creatively exploring the aforementioned genres, a Pop Punk ease and occasional touch of Metal aesthetic breeze by effortlessly. The duo weave it all into a cohesive set of both tuneful and mildly aggressive numbers without repeating themselves. One can hear many ideas pulled from across recent decades, rearranged into a new beast. Shifts in guitar tone and color, occasional synths and detailed drum grooves flesh out the experience with continuous variety that's immensely enjoyable.

Coping Mechanism flows, gushes with an infectious liveliness. Willow dances in the river, exuding expressive brilliance. Existing near to unreachable artistic perfection, devoid of weak spots, only its ending seems to dip slightly as the melancholy sways of No Control breaks down intensities for Batshit's return to animated eruptions feeling short of a final statement to wrap it all up. Other than that lack of a landing, this record has been utterly brilliant. Paying close attention to the track listing, trying to select my favorites, I realized the first nine songs are simply sublime. Just wonderful!

Rating: 9.5/10

Ocean Grove "Oddworld" (2024)

Having struck gold with Flip Phone Fantasy and Up In The Air Forever, could our Aussies from down under make it three for three? Oddworld sticks with the winning formula. Brimming with enthusiastic energy, their high octane production pushes out another bunch of upbeat banger reveling in the Rap Metal Limp Bizkit inspired lane of Nu Metal. With a little less rap in the mix, shades of Brit Pop return with an emphasis on the soaring Oasis alike, hands behind the back, singing. So to can one hear a sampling footprint from the early Rave years of fellow Brits The Prodigy on Raindrop.

At twenty five minutes, Oddworld is notably shorter. Less songs and two interludes highlight a sense of lacking potency. They've put forward their best but there's less to go around. Cell Division and Fly Away roar out the gate with pace and groove. Slamming riffs, quirky melodies and soaring singalongs set the tone. Stunner and Raindrop keep things flowing, spinning the same ideas through expectant motions. 

 Interlude No Offence Detected revives some Limp Bizkit vibes again with the quirky perusing baseline. It doesn't lead anywhere, as the band proceed to spin their wheels. Last Dance offers a shift in tone. Shimmering guitars and atmospheric reverberating noise creates a loud moody softness to mellow in a heartfelt sorrow. Album closer OTP makes its mark, pivoting to a hard hitting, darkly electronic beat. Built to house ear catching raps, their guests verses' fail to make the concept a memorable one.

Despite being lively, uplifting and infectious, the record suffers a sense of routine as only a couple of songs reach beyond the fundamentals of their sound for something great. It could also be a case of fatigue or familiarity on my behalf but sadly my enjoyment has dropped from the ecstatic highs their last two outings bestowed.

Rating: 7/10

Rina Sawayama "Rina" (2017)

 

 It turns out Sawayama was not Rina's debut. This one flew under my radar, a twenty four minute EP released a few years prior. Self funded and independently released only piles on the praise for what initially felt like a tacky take on 00s Pop. Getting past a couple of mediocre tracks, familiarity revealed the subtle powers of brief tuneful melodies and glossy aesthetics centered around her persuading voice.

Early themes paint a sense of glitz and glam, ambitions of a rising star. Cheery, upbeat production with punchy drums drawing on touches of 80s Synthpop and soft Alt Rock guitars opens the record. These nostalgic reaches into the past reoccur through classy production. It flows through a variety of song ideas, none feel original, yet an intriguing assembly of ideas pulling from the past thirty years of Pop music.

 Tunnel Vision drifts into a dreamy avenue, shifting to introspective thoughts. Deploying vulnerable expressions makes for awkward lyrics hinting at smartphone addiction among relationship woes. Its a muddled message. Much of the record has this ambiguous feeling as to which way her words lean. Presenting a bold face with a hint of distress. This lyrical fuzziness is more likely to be at fault with me.

Overall, I'm impressed. This Rina EP strikes me as a leap of faith, a talent unleashed raw and keen, simply getting started and turning up trumps. It doesn't coalescing around a specific vision yet its best songs achieves their own merits. Its been a joyful dive into ideas reminiscent of great songs without being specific.

Rating: 6/10

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Ice Cube "Man Down" (2024)

 

Some critics remark on aging rappers losing vitality and relevancy. I'm more open minded. With age comes maturity and the opportunity to grow. With many 90s icons now entering their fifties, Ice Cube, one of the most important and influential to do it, enters the club. His last outing, Everythang's Corrupt, had bite, a political venom and fiery anger that held well. I still venture back to a handful of those tracks alongside Cube's best songs. That moment has passed, his motivations to return seem routine.

 Despite bringing a studded cast of his 90s contemporaries, Man Down is a stinker. Beats sound tight yet frequently spin short loops that end up droning on. Upfront, Cube raps with his firm flow, fine tuned aggression and smooth, easy to follow, cadence. Its his lyrical content that falters, dropping auto pilot verses lacking creativity to impact. So many lines drop with predictable rhymes, lingering on them for four or more sentences. Many lines seem to fill space just to serve the rhyme. With next to no stories told, this approach is quite disappointing in the shadow of his greatness.

 Early on the moods emulate his classic Today Was A Good Day laid back G Funk vibes. Its a smooth and breezy ride, easy listening. Heading into the midsection, things pivot with 5150. The mood sours with its misogynist leaning rhymes. Then beats go harder, darker but miss the mark. After a few cuts, the variety flows, jumping between sounds emulating his styles but mostly suffer the fate of droning on.

Especially You perks the ears, an Electro-Funk throwback to early 80s Hip Hop. Cube goes for a flow fit of the era but the rhymes are just hollow. Later comes Scary Movie, trying to house a bunch of references to his cinematic career. It houses some of the worst lyrical flops. The album ends on a better note with the reasonable Ego Maniacs but cant save the project. Sadly, this record just lacked purpose.

Rating: 2/10

Cordae "The Crossroads" (2024)

  

Round three, Cordae returns with another fresh bout of life's stories, past and present. The title alone conjure thoughts of Bone Thugs-N-Harmony's classic, which the intro tastefully interpolates. Cycling between Trap percussive pallets and nuanced drums grooves, instrumentals play soulful and moody, drifting into R&B territory as guest singers illuminate a handful of tracks with Gospel singing. Samples focus on texture and tone over melody, casting an introspective atmosphere not far from melancholic.

Without a peak or valley, The Crossroads runs through the motions, offering a couple darker bangers early on, then leaning hard into its soulful inflections as the record matures. With Cordae's sturdy cadence holding true, he articulates personal tales, keeping one in the firm grasp of his effortless rhymes. Themes recycle, struggles of balancing success and family shift to the later, as he speaks on becoming a father.

His tales echo familiar feelings of the last two outings, leaving me with little fresh to say. Its instrumental shift to nostalgic soulful samples and plenty of human voices plays good company but lacking melodies and hooks, its staying power has been absent. The Crossroads is a mild, easy going record, doing little wrong yet failing to land a striking blow to grab your attention. Disappointing but only from high standards.

Rating: 5/10

Novelists "Okapi" (2024)

 

Spotify is doing a mighty fine job figuring me out with its algorithms. Lurching in the shadows of Deftones, Lacuna Coil, with flashes of Prog guitar reminiscent of Plini, French outfit Novelists bring the stunning voice of Camille Contreras to this current Pop Metal trend. Contrasting heavy Djent tones with shimmering melodies, their songs sway from soft and serine to punchy and powerful with great conviction.

Contreras is the main charm, her compassionate lyrics and dynamic voice guides the instrumental gracefully. Bellow her, a similar yet toned down creativity akin to yesterdays Chaosbay. Part of the "Progressive Metalcore" crowd, its a seamless fit, leaning more on the traditional guitar virtuoso side. Prisoner's a keen example pivoting from a typical aggressive Metalcore track with a wild burst of dance-floor rhythm.

It ends up exploring an expressive, flamboyant side, with lavish fretwork - something each of these four tracks finds its way to. They are all individual, creative tracks, moving from typical constructs to vibrant compositions with an effortless ease. Not as fiery as others in the scene do it, however its better suits Contreras' temperament.

Rating: 4/10

Chaosbay "Are You Afraid?" (2024)

  

On a somewhat predictable trajectory, yet no less exciting, Are You Afraid lands high octane metallic exuberance. Bolstered by punchy production, Chaosbay fuse catchy pop sensibilities with the edge of Djent guitar brutality. Encapsulated by subtle enriching synths and infrequent glitchy antics, this arsenal of short to-the-point three minute bangers blazes through their very best creative efforts.

These eleven cuts routinely erupt into grabbing "break downs", slamming serious momentum. Far from original yet executed with class, the double down on Eye For An Eye plays a keen favorite. Between these roars of anger, the soaring clean vocals of Jan Listing continuously ropes one into its lyrics themes through infectious cadence.

Taking on different temperaments and tempos defines each song from one another with true personality. Frequently dabbling in curious arrangements - cinematic synths, Trap adjacent percussion and dystopian electronics - simple song structures find space to experiment, elevating past the main theme. Its kept the listening experience fresh, exciting and on "the edge of your seat" so to speak.

 Without a weak point these thirty eight minutes play fun, animated, energetic. Anthems to fist pump, head bang and sing along too. Its been everything I hoped for. Having been teased by The Way To Hell, I'm happy the whole record reached that level of excellence. To my ears, these guys are among a rare few to get me excited about Metal these days.

Rating: 9/10

Fief "VI" (2024)

 

I've raved about prior installation's of Fief's exquisite Medieval Fantasy compositions. Often a niche relegated to background music in RPG games, this artist elevates the sound of antiquated royalty with class. Armed with Lutes, Harps, Bells, Strings and Woodwind instruments, a whirl of jovial melodies rapture the halls and courtyards of monastic reign. Earlier chapters ventured towards natures charm, with softer tones cultivating meditative atmosphere. Over time, a sovereign personality has emerged.

VI arrives unchanged, locked in by dancing merry melodies and an eloquence befitting these nostalgic times' royal grandeur. Sadly, it leaves me with little more to remark on, a fine set of eight arrangements conjuring a soothing mood of simplistic pleasures, dance, chatter, fruits and wines in the presence of kings. With little new to offer, it swiftly becomes a familiar shade of music operating in the backdrop.

Rating: 5/10

Boston Manor "Sundiver" (2024)

  

Exploring the many charms of 90s Alternative Metal, Boston Manor returned armed with exquisite execution over originality. Sundiver is a captivating record led by front-man Henry Cox who's empowered voice swoons in the emotional current. Pivoting from soft streams of emotive vulnerability to roars of clean confidence, he sings unabashed by the overt stylistic imitations of Chino Moreno. So to do his band mates revel in musical arrangements, groovy riffs and aesthetics pioneered by the Deftones. His other flattery emerges in catchy, tuneful deliveries like Oli Sykes of Bring Me The Horizon would do, these two personalities define much of his vocal presence.

 Its all taken in wondrous stride, every track tightly wound, a perfect fit of elements. Broken up by interludes exploring dreamy acoustics, Ethereal Drum n Bass loops and perusing baselines, its main songs are given space to breath in these intriguing lulls. Venturing into Shoegazing guitar aesthetics and mammoth Nu Metal adjacent grooves, Boston Manor navigate their inspirations with class, birthing fiery songs with inviting passion and emotional resonance to engulf. The whole affair is breezy, warm and uplifting as swells of aggression are vented with positivity. Its definitely a contender for best Metal album of the year! I've struggled to put this one down.

Rating: 8/10

Cane Hill "A Piece Of Me I Never Let You Find" (2024)

 

Leaning into their aggressive side, Cane Hill return with a refined amalgamation of the Nu Metal revival, drifting towards the extremes of Hardcore Djent akin to Thrown. Doused in an aesthetic exhilaration similar to an emerging Argent Metal, the band struggle in harmonizing their loud quiet dynamics. A slew of bombastic, even barbaric, syncopated rhythmic riffs stand in contrast to the melodic charms of Elijah Witt. His presence heals the record, offering gleams of uplift in intensity lulls, as infectious crooning hooks bring an emotive memorability to its incessant "over the top" hostility.

The enthusiastic bounce and groove of Nu Metal's influence feels absent as low end guitars churn out harsh brutalities. Routinely focusing on meaty slabs of slamming Djent tone, they lack any character to shape up a songs heavier aspects. As a result, we embark on a cycling slog through empty onslaughts of crunching guitar noise. Spliced with sporadic fret sounds, layered with subtle dystopian synths, the most expressive moments arrive in the big chords left to ring out under clean vocal breaks.

Left to spin in the background, this record simply drifts by. Its hooky breaks grabbing ones attention every time. On closer analysis, these tend to be the only moments that create memorability. Thus its best comes from the soft moody interludes and Witt's clean break outs. Permanence In Sleep and I Always Knew We Were Do have the best choruses, a delight when they arrive. A Piece Of Me I Never Let You Find crudely pushes senseless violence together with a charactered emotional magnetism, falling short on writing memorable songs in the process.

Rating: 6/10

Ihsahn "Ihsahn" (2024)

With the ominous lurch of self titled significance, esteemed musician Ihsahn, formerly of Emperor notoriety, returns on ambitious footing. Forging symphonies of Classical proportion, not just simple complimentary arrangements, we venture with restrained Extreme Metal aesthetics. Throaty screams and heavy percussion pave the way for swells of strings and orchestral instruments to land the powerful impact he would have once manifested through guitars on the likes of an Anthems To The Welkin At Dusk.

With colorful Jazzy inflections and Prog Rock inclinations, these dreary, sombre, atmospheric venture in a tangle between misty melancholic moods and multifaceted, mercurial melodies. Lead guitars often cut through this rich symphonic layer, playing a second expressive voice to the routine groans of Ihsahn's one dimensional cries.

The union of such musical depth and rhythmic force makes for consistent engagement as musical tugs between its two hearts dance a line that doesn't strike sublime balance, often leaning on Metal tropes. Anima Extraneae is a keen example of Classical influences painting scenic beauty without the cage of aggression. These moments are relegated to interludes, however that richness routinely emerges in breaks between the lonely, dark, brooding tangents Ihsahn frequently explores.

When breaking into a stride of glory, the uplift of his steely clean voice is a welcome delight. These pivots empower his symphonies with comforting gleams of colorful resonance, venturing close to something special but never quite fully committing. Despite hearing this inkling of greatness, Ihsahn is a powerful record, brilliantly composed and thoroughly engaging with its vision of dark and beautiful worlds.

Rating: 7/10

Behexen "Rituale Satanum" (2000)

Recently discovering Dimmu Bongir resurfaced a desire for more nefarious Black Metal. Spotify offered me up Finnish outfit Behexen, an act I'd not heard of before. Born in 94, they were clearly a product of cultural export from their Norwegian peers. This debut, Rituale Satanum, essentially encapsulates the next logical progression, taking fundamentals and dialing up the intensity. Its in their ridiculous, over the top vocals that Behexen find an edge, instilling terror though chord shredding screams and gravelly howls that can make your skin crawl. Paired with baritone deliveries of ritual chant, they invoke Satan with a seriousness I can only laugh off in bemusement.

The record is an unrelenting ride of hellish fright, pummeling rattling blast beats and shredding evil atonal power chord arrangements, this plays an atypical experience, delighting in a fiendish execution of wicked ideals. Shadowy melodies shrouded in intense aesthetics punctuate an ungodly mood. Manic bursts of frenzied paced led by ripping guitars liven up the closing tracks. Rare lulls between unending onslaught often come masked by esoteric vocal spectacles to illuminate a sinful atmosphere.

Without directly emulating its obvious inspirations, Behexen gracefully bestow their graven personality. Far from ground breaking but firmly their own beast, only Baphomet's Call plays out vibes reminiscent of the Black Metal pioneers, specifically early Immortal. Its mid-tempo busing is one of my favorite cuts across the record. The production is hard, often peaking with distortion guitars melding into a harsh fuzz. Somehow it works. A tad ridiculous with its thematic over the top embrace of satanism but then again isn't that the point? Worth a listen for fans of early Black Metal.

Rating: 6/10

The Madd Rapper "Tell Em Why You Madd" (1999)

First surfacing on Life After Death, Producer Deric Angelettie's agitated alter ego has appeared on a spread of Bad Boy records. The frustrated character, running his mouth, serves well to sprinkle comedy between the music. Having laid the groundwork for this debut, it could have been something special. Instead, skits and jokes land flat, unable to flesh out his personality to comedic effect. So to do the Madd Rappers' verses lack a spark to muster humor. Unless this persistently irked personality is your comedy gold, the joke will get beaten to death across its CD filling seventy minutes.

Its clearly ambitious, bringing a massive array of guests beyond his record label peers. Featured routinely come armed with slick mafioso adjacent lyrics, painting flamboyant lifestyle pictures with their lyricism. It sands in stark contrast to the central theme. Eminem however, meets him at his level, the unhinged Slim Shady persona has the two aligning their lyrics on self destructive energy. Given the date, this flow is a gem for fans, hearing Eminem evolving into his classic Marshal Mathers flow.

Fun fact, a young Kanye West produced that track! Its a rare highlight among an endless string of average bears. Its other merit belongs with 50 Cent on the criminally unabashed How To Rob. Fifty name drops a lot of big names years before his breakout. Other than that, its sadly a missed opportunity to do something unique. Poor execution on a wonderful idea. It seems the last of The Madd Rappers steam was spent on the first Big Boy hits compilation, where his player hating energy musters amusement between the East Coast's record labels greatest songs.

Rating: 4/10

Lil Uzi Vert "Eternal Atake 2" (2024)

Curiosity and novelty handed successor Eternal Atake a generous helping of enjoyment that's dried up on its second outing. A fry cry from the spurious bursts of Metal on Pink Tape, Uzi returns to his bizarre spacey Trap sound, sprinting through routine instrumentals with little regard for songwriting, lyricism or concept.

Fully embracing the "vibeing" approach, songs roll by in a haze of disjointed ad-libs. Spinning short phrases, slang words and physical grunts, a dizzying barrage of often nonsensical aberrations melt away in the colorful melting of auto-tune. Coherence is generally lacking but on occasion a does sentiment makes its mark known.

With a lack of structure, arching theme or story to tell, the record falls short by some distance. Mostly feeling disposable, as if riffed on the spot, little sticks. Although trendy beats play competently, conjuring urban-esoteric moods, the lack of substance upfront sours the tone when Uzi lingers on god awful hooks like "She Stank".

Deep into the flow of dense bass and Trance synth instrumentals emerges Chill Bae, somewhat of a throw back to the Luv Is Rage aesthetic, soft airy synths and Uzi singing plays well as the album seems to pivot into a different beast, mellowing out for its closing tracks but at this point the record feels like a lost cause.

 

Rating: 3/10

Fred Again.. "Ten Days" (2024)

With humble heart and introspective tone, Fred Again.. centers his emotive themes around cherry picked intimate moments. Crafting hypnotic drones, warm and inducing, this Progressive House journey persuades one with its smooth ebb and flow, an organic sway of dreamy intensities. Routinely soothing its way through gentle lulls of calm, the returning blissful swells of energy play to much gratification. Grasping one with the power of rhythm and repetition, a therapeutic experience often emerges.

 

The instrumental architecture is impressive. Steadied by sturdy drum grooves, cliche House pianos and pounding baselines drive the music forward. Subtle, intricate sounds linger between gorgeous reverberations, Ethereal tones and ambiguous voices drift in from the musical backdrop, enriching those words expressed upfront, often lingering on a simple motif, exploring its depth through a songs dynamic arc.

The topicality feels personal, vulnerable, a humanist exploration. Geared around relationships and innate social experiences, a youthful vibrancy emerges from the moments of intimacy explored in its lyrics. Its mostly channeled through his many guests. They voicr nine of these ten songs, with Fred lending his own tender performance for the percussion-less melancholy of I Saw You. It gives each number a unique human aesthetic. Anderson .Paak being a surprise fit I would not of expected.

A variety of flavors and moods lay in wait. Ten Days never repeats itself, playing fresh and vibrant with every spin. The particulars of ones own mood will relate to its differing emotional avenues. For me, the joyous upbeat swells felt in Places To Be and Glow are firm favorites. Peace U Need plays a close contented, often persuading one to its charm with a spiritual union of classic House and Soul tinted by a touch of Gospel.

Despite this apparent excellence and heartfelt sincerity, Ten Days doesn't always engulf. Perhaps its susceptible nature requires room within for the emotions its exudes. Powerful but particular, its shortcoming lies in an ability to transform ones own energy to its frequency. On that ground, there were times I world spin the album and feel distant. On the right days, its beauty would flow effortlessly. This experience however, might simply be my own misgivings. A memorable record none the less.

 

Rating: 7/10

Devin Townsend "PowerNerd" (2024)

 

 

With an extensive discography behind him, its hard for Devin to pull new punches but PowerNerd succeeds in delivering his unique expression after a lull. Its actually been five years since the all encompassing Empath. This latest venture is fun, upbeat and mildly comical yet always drifting to emotive swells crescendo by Devin's screams.

His distinct "wall of sound" production is refined as ever, somehow finding new ways to polish an already squeaky clean machine. Many of its main motifs drift by with subtle glistening synths twinkling in the background. It births a rich yet softened cloudy atmosphere, balancing the intense inclinations of Metal with a warm resonance.

Jainism is my favorite track, its metallic grooves push this mold to its edges, as do the swift pivots into dreamy drives. These magics are amplified by luscious pulsing synth melodies, subtle, yet sometimes its a small detail that can add so much. Many songs have mild synth tones and piano notes lingering in the quiet, sparking a wiff of charm.

The totality of PowerNerd is so befitting of Devin that all its themes, riffs and lyrics play with a touch of Deja-Vu. As such, it doesn't project its own identity but encompasses much of his prior works with the back end of the record venturing into his quirkier side. Entertaining, fulfilling and instantly relatable, its been a warm, welcome return.

 

Rating: 7/10

Cordae "From A Birds Eye View" (2022)

 

Avoiding the pitfalls of a sophomore decline, all to common in Hip Hop, Cordae returns armed with emotive beats and hardened attitude to deliver his message. After an endearing debut, our young rapper matures with a flash of braggadocio and seriousness as he sheds some youthful innocence previously heard. Renewed topicality lands closer to street violence and status affirming rhymes, taking aim at critics between stories and expressions that rock off moody instrumentals.

Excellent production by Kid Culture and collaborators bring soulful touches to easy tempos driven by subdued drum grooves. Driven by bold, powerful baselines, low key Jazz influences linger under its calm stature, carving a smooth atmosphere to enrich Cordae's rhymes. At intervals these instrumentals pivot to trendy Trap sounds, notably the popular tracks. They break a smooth flow of complimenting aesthetics.

Cordae teams up with Lil Wayne and Hit-Boy on a brilliant number where he affirms the heights of his successes and intentions to stick around for years to come. The chorus lands so well. Stevie Wonder also crops up among some other big names but It is mostly Cordae himself who continues to charm as a story teller, wrapping one in his narratives, holding a firm grip over this listener. A tricky task after decades of Rap.

Rating: 7/10

Tycho "Infinite Health" (2024)

  

This release marks a significant return to form. Recapturing the blissful breezy magic once felt on Dive, Californian producer Tycho seems to of found his unique summery vibes again. After a string of mediocre records, exploring unfruitful directions, we return to the soothing chilled out Downtempo charms of his landmark debut.

Indie guitar tone licks and colorful exotic saw synths entangle within a gorgeous production. Instruments come lavished in glossy reverberations, swelling with the musics momentum. Gradual builds of feel good energy pivot into salient melodies. Simple, easy and effective, often infusing brief repetitious grooves in their cadence.

 The percussion is class. A fraction Drumstep in tone with Downtempo intensity and plenty of variety in instrumental tones, Its unafraid of lulls and winding down. Its involvement is dynamic, ebbing and flowing with the overall vision, ready to step into the big clap kick grooves to emphasis a songs main stride and momentum.

Most of the potent melodic magic takes place within these firm rhythmic sways. Colored guitar licks have a habit of striking through the dense dreamy electronics like a human voice. Chanting simple mantras by jostling a handful of notes, its rarely a complex affair and its simplicity revels in the aesthetic chemistry. Its cloudy atmospheric layers border Ethereal at times, always nurturing breezy, clam energy.

Infinite Health brings out the best of Tycho again. Unfortunately, it falls short in consistency. Between well built songs drift in milder tracks exploring interluding temperaments. These toned down arrangements tended to dull the momentum, lacking percussive drive and a sense of destination. Its best songs are a delight, so not all is lost! There is plenty of feel good warmth to be enjoyed here.

Rating: 6/10

Dimmu Bongir "Dark Medieval Hash" (2024)

 

After running the For All Tid playbook, our comedic stoners return with an incremental progression on the nostalgic 90s sound I adore. Muddying up the parody, Satyricon's debut takes thematic focus in name and cover art alone. With Dark Medieval Has, these musicians start to express their own ideas. Chunky distortion riffs and majestic keyboard melodies not so easily identified, emerge from the evil dusky aesthetic. 

The apple doesn't fall far from the tree, little surprise awaits in construct or design. We essentially embark on another dark venture through the mystical imaginations of these rebellious Norweigns, inspired by paganism, the occult and merciless frozen forests.

Certain songs hit harder than others. Pipens Åpenbaring has a wonderfully esoteric synth melody at its opening. With a rather ambitious climax, the song amasses rich sinister organs. Along its way, a Spanish acoustic guitar is introduced, much like Old Man's Child once incorporated its brittle tone to the Black Metal architecture.

A Witch Is Stoned wins the "best song" competition. A clear favorite with a powerful, magical, mischievous synth hook. The keyboard riff toys with low to high dynamics reminiscent of Dimmu Borgir's Spellbound By The Devil. Its guitar solo, intentionally jarring, scratchy and shrill, also feeling reminiscent of that landmark record.

Dark Medieval Hash has been a blast but also shows this band can do more than just emulate. I hope they continue to expand on this nostalgic revival and perhaps venture into new terrain from that different point in time. If they simply continue with this formula, I will be entertained either way. Great stuff!

Rating: 7/10

Dimmu Bongir "Hvis Pipen Tar Oss" (2023)

 

 

What on earth is this? A stoner's parody of my beloved Dimmu Borgir? Perfect! Well, that's actually so... what comedic kicks are discernible through throaty howls and song titles, like Bongblåst, plays second fiddle to the music. The greenthumb humor is clearly an excuse to revel in early Symphonic Black Metal, which I happen to adore. With a rough around the edges production, Bongir capture the nostalgia in a bottle.

 

Reworking the For All Tid playbook, no surprises fluster this listener. Hvis Pipen Tar Oss plays a familiar beast, writing new incarnations steeped in its ancient architecture. Occasionally they encroach on plagiarism with a riff or melody, most notably with the opening guitars of Røk hans pip. Piano interludes, dingy acoustic guitar breaks and deep heathen vocals drop in Norwegian tongue just like Borgir did in their early days.

 

 Pagan Rips, a reference to Mayhem, holds astral swirly melodies and potent tunes uncannily close to The Kovenant. Its main hook a clear lift from the classic Bizzare Cosmic Industries. A win for this adoring fan but this does question what should classify as a cover or original? The song does eventually deviate in its own direction.

Another standout, Transylvanian Munchies, pays tribute in parody alone, to legends Darkthrone, who didn't venture into the Symphnoic avenue themselves. Its the one song where stars align. Throaty growls groan at just the right intensity to get its comical lyrics across. "And I'm Still Hungry" punchline a silly delight to smirk upon.

These appropriately named musicians Gahll, Tjalladdin and the all too obvious Hashiah, have done a stellar job resurrecting a niche sound with both passion and vigor. The project is clearly a love letter to this forgotten era. Their keyboard tones feel especially well selected, giving the record a soft freshness on that front.

Hvis Pipen Tar Oss has been a delight, a nostalgic reinvention reminding me of recent discovery Këkht Aräkh. Perhaps I should invest more time in seeking out other millennial musicians obsessed with 90s Black Metal. It never occurred to me that comedy could be a convenient excuse to launch such a project. Dimmu Bongir have done it to great effect and fortunately for me, another album lays in wait!

Rating: 7/10

Dance With The Dead "Dark Matter" (2024)

 

Synthwave aces Dance With The Dead return again with a tight six track EP. Dark Matter strikes firm and fast, dialing in a two pronged approach to sell its concept. Subduing their ever powerful synths, mid-tempo Industrial Metal guitars step into the limelight. Rocking easy grooves on cushioned distortions, a Familiar breed of Metal manifests, akin to the likes of Gothminister and European contemporaries.

The other angle is collaborative, working with a unique band, like Gunship, or singer on each track. The result? A conforming twist of the arm that has their songs yielding to simple song writing oriented around the verse chorus structure. Vocally, Kat Von D resonates sublimely with a solid helping of reverb on her dreamy chorus hook.

Dark Matter starts strong with Cold As Hell and Neon Cross rocking hard grooves around a whirl of nightly neon synth melodies. The instrumentals then tame, toning down, before finding an ironic peak at the records conclusion, its one vocal-less song hitting the hardest. Rust pounds its rhythm guitar chugs and dense synths in unison.

Cole Rolland then lavishes us in one blazing guitar solo after another, a sweet matching of styles, complimenting well and making for a memorable conclusion as he shreds through so many inspired techniques. A roaring end to a brief record that falls shy of a big impact yet is commendable for its stride to be different through the interesting collaborations offered.

Rating: 5/10

Oranssi Pazuzu "Muuntautuja" (2024)

  

Well accustomed with their hypnotic breed of abrasive psychedelia, Oranssi Pazuzu still play a class act to these ears. Muuntautuja falls shy of the powerful impact such an unforgiving delve into obscurity would normally bestow. Privy to their mania, the joys of fresh madness come from moments of relief to a seemingly unceasing nausea.

This latest installment toys with an Industrial grit, felt in its stiff mechanical pace and dirtied gristly aesthetics. Each song marches into a spell, grinding the axe through mesmeric repetitions. Dense webs of darkly noise amass to paint feverish sweats of isolated lunacy, a punishing tour through the cramp canals of mental derangement.

Not every song releases the mounting pressure. Sticking firmly to gritty drones of eerie discomfort, occasional magic emerges through glistening piano melodies and emboldened baselines flashing touches of groove. Often shadowy by design, the relief is a less evil that offers respite, only to keep one swelled within its teary darkness.

Hautatuuli steps back from axe grinding intensities to spin cinematic style horror scores to a truly chilling atmosphere. Its steady brooding intensifies into a angered rumble, restraining itself in contrast to the rest of the record. A keen highlight among a steady cruelty this harrowing trip through the shadows of the mind bestows.

Muuntautuja is brilliant yet familiar. Its aesthetic entanglement, an orchestration of menacing details, plays to great strength. The rountine drone of repetitious loops relegates much of its intensity to a familiar despairing mood. A few moments among its forty plus minutes elevates its magic for brief passages. Those were its treasures.

Rating: 7/10

Motionless In White "Graveyard Shift" (2017)

 

 

Working back through Motionless In White's discography, I've anticipated hearing amateurish songwriting born of their Metalcore roots but this ain't it. Still reveling in a distinct amalgamation of popular Metal from the 90s and 00s, their musical witchery is effortless to enjoy. At this stage, its beefy Nu Metal guitar riffs that dominate overt influences with the legend Jonathan Davis lending a mild feature on Necessary Evil.

With Trance synths and crunching percussion, flavors of Gothic melody and Industrial rhythm weave into the mix around Chris Cerulli's hooks and downtrodden anthemic lyrics. Sadly, their chemistry isn't as potent. Simple breakdowns, gang shouts and throaty screams break apart these spells with flashes of the aforementioned Metalcore roots. Otherwise all the components are in place, a band steadily maturing.

I'm left reasonably entertained but lacking any enthrallment. Soft serves as a fair highlight, obvious Slipknot influences spin a first pumping riff, jolted into action from the start. "You're mine motherfucker" screamed as if from the mouth of Corey Taylor. Its creepy Korn melody counterpart balances out the energy well. Many of its best ideas feel uncannily close to that era. 570, however, plays like a straight melodic Metalcore banger, something leftover from prior writing sessions? Overall, a fair listen.

Rating: 5/10

Willow "Empathogen" (2024)

 

Daughter of famed rapper slash actor Will Smith, the last I heard of Willow were remarks on her adolescent entry into pop music on Will's autobiography. It wasn't an appealing reason to check in, and according to critical pundits, It seems I've been spared this misfortunes of a youthful musician maturing from shaky foundations. Empathogen serves as my introduction to an artist who's not only found her voice, but expresses it with freedom, led by emotion and passion, venturing into curious spaces.

Elements of Progressive Rock, R&B, Soul and Jazz Rock emerge on a fruitful journey. Leaning into its oddities, dwelling on unconventional melodies, the record gracefully swings between jam session chemistries and structured Pop convention. Creative percussion has much of the record feeling playful and expressive. Willow layers her voice in riveting self duets, chiming in, spinning simple hooks into exciting swells.

It all feels so genuine and expressive. Songs naturally pivot into different vibes. Often upbeat in tone with differing rhythmic drives, her lyrically reflective presence anchors every song. Swaying into curious oddities like the catchy humming of No Words and a moody, esoteric Ancient Girl, the contemporary compositions get consistently exposed to an ear for infectious melodies and keen aesthetics to reshape its own mold.

Empathogen feels effortlessly accessible yet drifts slightly to the Avant-Garde from a Pop perspective. Lyrics play relatable through their abstraction, each empowered word and cry of feeling wrapped up in a breezy momentum. Best of all, Willow fits snugly with these stellar backing musicians who craft a compelling listen from start to end. I've been unable to put this one down for a while, each spin is still riveting.

Rating: 8/10

Old Tower "Portrait Of A Medieval Presence " (2024)

On form, like its impressive predecessor Draconic Synthesis, Old Tower continues in a chilling stride, painting eight unnamed portraits of meditative Dark Ambience. Set in Medieval times, these soundscapes yolk an esoteric mythos from embellished nostalgia of ancient, eerie times. These lonely atmospheres linger on delicate aesthetics, chiming ambiguity with soft instrumentation and scenic sound design. Whispering voices in the distance, unsettled fire crackling, ritualistic chants of worship and mysterious murmurs all lurch within these shadowy slices of lost time.

Mostly subdued and one dimensional upon inspection, the mastery emerges when attention is split. A powerful current of persuasion shapes ones mood as the rhythm of each picture settles in. Portrait V is the most animation, a rattle of perverse church bells call out over the cold countryside. Each eruption of bells is jarring. Portrait I opens the record with a beautifully chilling organ climaxing the short songs conclusion with drama. These moments of instrument augmentation are often a key delight.

Portrait VIII was my favorite. The arrival of percussion pivots the song into a mystical stride, its shimmering synths conjuring the sense of a cryptic presence. It rides these feeling well, as do many songs, establishing an aching ambience with nightly terror and occult suggestion lurking safely at a distance. Another impressive effort, perhaps constrained a little by these notions of Portraits. They feel perfectly suited as soundtrack moments for a horror film or evil themed video game.

 Rating: 6/10

Cordae "The Lost Boy" (2019)

 

With surprising numerical successes, this young rapper appeals to generations new and old. The twenty something Cordae fly's the flag of a fading art form among trendy Trap and Mumble Rap stylings of his peers. With a sturdy cadence and steady pace, his raps embody the 90s and 00s flows, bringing fresh faced youthful wisdom to his verse. Navigating the trappings of success with an anchoring in family values, his rhymes birth beautiful reflections on upbringings and personal growth as a human.

The backing instrumentals navigate classic vibes. Tuneful, jazzy, soulful moods and bouncy bangers channeled through an updated percussive aesthetic. Snappy snares and slicing hi-hats provide cutting tones to power along a mix of orchestrated sounds and samples easy on the ears and effective. Among its fifteen tracks, a Hip Hop head will find many familiar moods spun to great effect. Spliced with a couple of folksy interludes, roots in Church and Gospel music add an authenticity in roots.

The Lost Boy cruises by on good vibes, dipping into emotional strides that culminate towards the records ending. Family Matters lays down some surprising introspective maturity, seeing the struggles of his family not wishing to burden a young Cordae chasing his dreams. This thoughtfulness is striking, trending as the lyrical highlight, engaging expressions walking you through a reflective artists inner workings.

Rating: 7/10

Slowdive "Kisses (Remixes)" (2024)

The highlight of last years Everything Is Alive was undoubtedly Kisses! A warm, dreamy track, serine and blissful in its innocent Shoegazing goodness. This EP stitches on three similar length remixes. Surprisingly, they do a decent job furthering the magic of this song. An opening electronic mix trades in walls of Ethereal noise for classic sine wave pulses, a stripped back rendition adding retro flare to the music.

Daniel Avery's remix drops in a pacey Drumstep loop to energize the temperament with stealthy Liquid Drum & Bass vibes. Additional glazier synths accompany too, replacing vocals for the songs later half. A collaboration with Ambient legends Grouper claims the highlight. Dialing up its rumbling ambiguities and retreating percussion entirely, the music becomes washed up in a haze of reverberating clouds.

Ending with the original composition affirms its excellence. Somehow spinning this over a handful of times doesn't tire such a beautiful song. Totally worth a listen if you vibed with it in any capacity. I would however critique a lack of daring to stride in search of new terrain. These remixes played it safe and straightforward, which works.

Rating: 3/10