Last Wishes "Organized Hate" (2022)

 

 

Conjuring echos vague echos of 80s Crossover Thrash and 90s Alternative Metal, Last Wishes play classic beat-down Hardcore with a familiar flare. I'd avoid baiting nostalgia but all my points of reference reach back to bygone eras. This production packages the music convincingly, feeling as if it would fit snugly into a glorious 90s.

 

Armed with throaty shouts, softened guitar distortions and plenty of percussive groove, the aesthetics achieved greatly compliment the music. Gang shouts, two steps rhythms and routinely dropping into half-time all accompany on this feisty ride of channeled anger. The usual topics of loyalty, self empowering attitude and social frustrations get vented through the unchanging scream of front man Corin.

All these tropes may sound antiquated but Last Wishes execute this vision with an arsenal of competent riffs fit for purpose. Its an endearing record, reaching for a specific inspiration and finding it. No remarkable peaks are summited yet it holds its tone firmly for the twenty six minute stint. I happen to be quite keen on this arrangement, it routinely reminded me fondly of classic records from my youth.

 

Rating: 6/10

Andrew Odd "Visions Of Red" (2017)

Wishing to "scratch the itch" from an artist who's discography is unfortunately light, I've rummaged around the mostly one track singles for Visions Of Red, comprised of three soothing space themed songs. Arcadia is a beautiful "pale blue dot" inspired piece. Leaning into the cosmic perspective, yearning string scale the epic expanse of space in a trance like state. A deep yet soft rumble of bass murmurs below, between them heavenly choral voices subtly emerge to peak the musics blissful tone.

Elysium turns a little esoteric, its fleeting voices steeped in mystery as layers of airy choral synths gradually climb an underlying tension. Piano notes smothered in a dreary reverb eventually arrive to resolve this ambiguous enigma. Tharsis leans Psybient. Embracing upfront melody, pronounced synths exchange, brooding towards a sense of eruption. I always anticipate a harder pivot but when the percussion arrives, its toned down, a distant snare kick groove, with narrow aesthetics.

 

 Visions Of Red delivers on this artists ability to cut past the mediocrity this astral music can often slip into, creating three intriguing songs to fire up the imagination. Fingers crossed for more Andrew Odd in the future, their craft is one with distinction.

Rating: 5/10

Zeal And Ardor "Grief" (2024)

 

Now a seasoned act, Zeal And Ardor's third full length has soured in lack of reverence. I'd previously been enamored with their dreary, foreboding yet somehow colored fusion of Black Metal, Chain Gang chants and Electronics. This re-imagining of the genres anti religion inspirations birthed excitement. Unique atmospheres and musical oddities emerged from this exploration, both in concept and execution. Powerful themes and striking compositions, twisting both aesthetics and melodic expectations, yet somehow packaged for consumption. This promising act delivered some amazing experiences in years but on this outing, those ideas run short.

Grief retreads familiar themes, lacking cunning for the shock and awe that surprised beforehand. Leaning on dreary atmospheres, the album routinely tries to foray into theatrical lullabies, toned down interludes with subtle instrumentation, striding for something grandiose, emotional and impacting. The vision gets broken up by the bands various shades, leaning into particulars rather than fusing them together.

Mediocrity and tone rotation seems to dispel each songs magic. Plenty of interesting aesthetics and compositions individually emerge but rarely do they converge. Clawing Out is one excellent track that does this. Dissonant guitar noise and creepy whispered chats lure us into the eerie as hastening guitar riffs jostle for impact. Increasing tensions loop over, building on prior ideas before striking us with gratifying siren synths and a thudding distorted bass drum. Its a rhythmic oddity that just works.

Une Ville Vide was another unique cut, a cozy yet mysterious keyboard piece more akin to a Dungeon Synth record. Other than those two songs, not much resonated with me. I do however appreciate the craft. This experience strikes me as being more about my own personal mood than the record itself. I expected a lot more but left sadly quite disappointed. I'm interested to look up the broader reception this received.

Rating: 5/10

Motionless In White "Scoring The End Of The World" (2022)

 

 Its time for a fresh journey! Seems I'm late to the party on this rising act. Motionless In White were a dead turn off on first impressions. The Gothic face-paint, dystopian outfits and naive grandiose word view lyrics, lacked charm. Despite these qualms, brilliant musicianship shun through. Hooky song writing, fleshed out themes, an ear for catchy melodies. Its had me enjoying this record more and more with every spin.

With obvious 90s and 00s influences apparent, originality might seem questionable. From the Industrial shock rock cunning of Marilyn Manson to the approachable pop sensibilities Linkin Park brought to Metal, one can hear a myriad of ideas from the broad Metal tapestry. However the band execute these influences with a touch of magic. Not exactly a distinct uniqueness but the music plays with its own charisma.

Utilizing keyboards, the band flesh out their Djent and Metalcore grooves with pianos, gritty electronics and string sections. Often subtle, they play a keen roll in the mix which generally pivots from guitar riffs and roaring screams to captivating outbreaks of clean vocals to drive home its keenest melodies. Of course, there are breakdowns too which strike me as the more routine and overplayed aspects of there sound.

Theme is king, although the slanted political lyrics aren't to my liking, they can really character a song. Plenty of epic woes about personal struggle cry out with angst too. These cheesy, ghoulish takes really solidify the theatrical music with an identity to ascend the routine motions of entry level Metal. Its separates them from other acts.

It all kicks off with an appetizing Doom Metal romp, occasionally returning to this aesthetic but exploring many avenues. Mick Gordan actually contributes on the final track. Echos of Thriller are heard on Werewolf, venturing near Synthwave with a nice nod to The Weeknd. Another fun cut, Red, White & Boom, blatantly copies the Marilyn Manson formula. Many tracks feel colored in their own paint, playful horror and casual cynical nihilism are common themes. It adds up to a record that thoroughly entertains.

Rating: 7/10

Thrown "Excessive Guilt" (2024)

From a fiery five minute EP, to bludgeoning twenty minute album, Thrown follow up debut Extended Pain with parallel architecture. Brief songs pummel ideas swiftly, wasting no time churning through its chops. Guitars froth with brutality, distortion brimming at the seams in gristly intensity. Syncopation reigns like a punch to the face, kick drums often aligning with the rhythmic barbarism on display for primitive groove.

 

Once again, an aesthetic romp, pushed to compressed extremes. An unsurprising concoction, given its the German Hardcore outfits niche. What may have been obvious before rears its head, striking Nu Metal influences, masked by Djent. Going a step further than slamming dropped power chords on down tuned guitars, subtle disc jockey scratches, downtrodden melodies and other characteristics are prominent.

Sprinkling in touches of trendy electronica, through dystopian synth melodies, attaching brief Trap drum machine interludes, Thrown add a little novelty to their fist pumping ferocity. It never quite makes a song but serves as the jump off point to lunge into the roaring aggression. That's what Excessive Guilt is all about, playing out like a brawl, songs turn like adrenaline shots to sprint through their arsenal of riffs.

Rating: 7/10

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Post Malone "F-1 Trillion: Long Bed" (2024)

A year on from a toned down yet catchy Austin, Post Malone returns with passion, plunging gracefully into another love of his, Country music. Surprising to no one who knows of his passions, F-1 Trillion's shock and awe lies in authenticity. Bringing on a star studded cast of heavyweight producers, seasoned musicians and huge Country artists, a bright, cheery set of songs built for southern blue collar American life.

Pulling no surprises, themes of love and heartbreak, work and drive, booze and blues play out in typical fashion. Post's unique voice croons a snug fit for these glossy instrumentals, his soft wobble breezy and charming as ever. The music flows sweetly, rich, fleshed tunes layered with steel guitar, piano, strings and occasional harmonica.

Given my casual love of the Country mood, this hour flows like an easy day traveling in the sun. Great to ease the mind and keep things simple. Practically every song features a big name, including legends Dolly Parton and Hank Williams among plenty of younger names. With a large cast of songs, only California Sober leaps of the playlist with its powerful hook and lively instrumental venturing into Southern Rock.

Disc two, the Long Bed, adds nine additional tracks with Post going at it alone. These songs simply extend the mood, feeling like there is room for additional voices yet he holds out well on his own, well worth a listen. F-1 Trillion was about bringing the best musicians together to make a stellar country album. With such brilliant composing, its hard to imagine he alone is orchestrating such warm, cozy music. Thus I'm left with a sense that Post is a guest to his own show, which has created a fantastic record.

 

Rating: 7/10