2Pac "Me Against The World" (1995)

Some might praise this an instant classic. With an incarcerated 2Pac sailing to the top of the charts, increasing controversies in the public spotlight only fueled its stature. Time has served Me Against The World well. Thirty years on, it plays as a brilliantly articulated slice of life, a moment in time reflecting the duality of man. Caught between a thoughtful, poetic soft-side and hardened realities of a fraught world unfolding around him, our enigmatic artist walks a tightrope, delving into the details of these juxtaposed sides. Understanding the broader context around this record is practically futile given how well his timeless cadence effortlessly walks you through particulars.

 

Songs run as a play by play of dark events, exposing his character and passionate, empathic political views. Tracks individually cut direct into a concept, expressing inspired and coherent without a wasted breathe. Upbeat G-Funk oriented production echoing shades of 70s R&B and Soul music breathes life into the lean, attitude driven vibes. Joining the emerging crisp and clean production style of this era, Shock G and his crew leave loops and samples in the dust. Melodies and beats come tightly arranged through sequencers composing snappy percussion and memorable tunes to stick with you for a lifetime. One will find plenty of favorite cuts among its fifteen.

 

 The album flows superbly. Intro samples snippets of news reporters remarks to firmly establish the setting. If I Die 2Nite kicks off a string of bangers, leading up to the mellowed soulful classic, Dear Mama, a beautiful timeless love letter to his distanced mother. The next couple of songs lean on this smoother temperament, a calm spot before Old School perks the ears with its appraisal of 80s Hip Hop. It plays like a checklist of shout outs. For a young me, this was a treasure trove of names to explore.

Fuck The World and Death Around The Corner have a fearful 2Pac dialing up aggression, turning to a darker side, foreshadowing his paranoid temperament heard loud on the next records. His anger seems righteous but the cracks in his duality start to fray. These songs contrast the overall upbeat mood. The closing track Outlaw serves as an introduction to the Outlaws crew, a concept he would go on to grow. This direction plays a mild blemish on an otherwise superb record, never failing to woo.

What I've always adored about Tupac is his ability to illuminate the problems of crime, poverty and racism from a perspective often ignored. Retrospectively, Me Against The World is the boiling point before his embellishment of Thug Life loses its potency under the pressures of Death Row records. Given the drama and controversy around him at the time, the stakes are raised. He meets it with his words. Me Against The World is undoubtedly a classic, his most consistent and concise record. A must hear.

Rating: 10/10

Krusseldorf "Cloud Songs" (2020)

 

Still charmed by Krusseldorf's curious demeanor, we venture further down the rabbit hole. Cloud Songs' titling nods to its lofty ambiguous nature. Quirky compositions, delving into a haze of softness, lazy, relaxed and inviting. These cozy tracks meander through inconsequential landscapes of melting melody and circling rhythms that evoke Pysbient suggestions when percussion hones in on Downtempo templates.

Despite getting off to a strong start, establishing soothing vibes and cruising through chilled melodies, the tides turn in its second act. Dub For Slouchers hits a high as the records best track, cohering the classic Dub baseline to its whimsical follies, ushering in dazzling arpeggios near its conclusion. After this, the mood shifts, dramatic, subtly sorrowful, with a sense of abandon, proceeded by chemistries brewing unease.

Between them, Dance Of The Sleeper revels in that winning Dub formulae again but otherwise the record fizzles out as emotional narratives fail to resonate within the soft obscurities electronic music can offer. This is oddly punctuated by the arrival of dreamy, Ethereal effeminate singing, which had previously done the music wonders. This outing they played into the diminishing flow. Cloud Songs had immense promise but simply drifts out of focus after a strong start.

Rating: 5/10

Clipping "Dead Channel Sky" (2025)

  

 Leaning hard into their distinct jilted abrasion, experimental Hip Hip trio Clipping return armed with an arsenal of rapid fire razor sharp rhymes, accompanied by cyberpunk dystopian disjointed beats. Its a despairing, paranoid journey, showcasing the unrivaled talents of Daveed Diggs, who blasts vivid lyricism through an effortless cold, monotonous delivery. Poetic and descriptive, he arms this unsettling soundscape of buzzing computer electronics with moments of clarity, cutting through the rumpus and adding a dispirited human element to the already dejected temperament.

 Lyrical themes resonate with defeatism, reflecting current social-political concerns. Early on, dexterous rhymes charm through ambiguous, artistic, storytelling motifs. In its second half, clearer concepts are depicted with plainer language. The emergence of AI, growing wealth inequality, the harms of social media, disinformation and internet related corrosive forces. Its in the latter half that these clearer expressions, the conceptual nature of Dead Channel Sky, takes form for this lukewarm listener.

Mediocrity stems from its dredging, drawn out nature, tediously slow burning through cyber-industrial soundscapes. Short interludes and key songs play drowned in an endless string of aesthetic ideas which only reward when converging upon groove and rhythm. This mostly happens at the heels of 90s House rhythmic energy and signature waveform leads from the era's blossoming electronic scene. In these moments, much is borrowed from the past. The dystopian aesthetic a thin veneer atop what works.

Entertained by a couple of spins, the search for depth has alluded me in becoming numb to its admittedly impressive arrangements of dial-up inspired internet glitch-synth. So to did Diggs' rhymes flourish food for thought initially. That persuasion has swiftly evaporating in this artistic vision mostly devoid of the simple pleasures required to bridge the avant-garde. Dead Channel Sky lacks the curation to drive home its vision, instead flooding us with an indulgent revel, not quite to this fans taste.

Rating: 5/10

C418 "Wanderstop" (2025)

 

Clocking in with a verbose 195 minutes of fresh instrumentation, C418's latest video game soundtrack is understood mostly through its soothing vibes and cosy moods. A safe feeling in which to curl up inside, as its soft fuzzy warmth, painted by classical instrumentation, works claming wonders. Adorning strings, chiming bells, felt pianos, a magical xylophone and lean cello bass, blush harmoniously in delightful ambient reverbs and crafted echoes. All these sounds arrive luscious and clean, with occasional touches of subtle electronic synths woven within its pristine chemistry.

Its a mastery heard before on both Beta and One, now restrained by its core focus on traditional instruments. One will also hear intermittent echo's of the classic Minecraft Alpha soundtrack in its meandering piano motifs. I'm perhaps now re-realizing how much similarity to the likes of The Plateaux Of Mirror this iconic sound of C418's has.

Wanderstop sets itself apart from familiarity through reoccurring themes and melodies that shift with the record. The deeper in you get, those recurrences subside for fresh ones. A few darkly passages emerge mostly between in usual crooning and quirky expressions. All are likely shaped by the timing of their appearances in the game.

Its nice to see Daniel has been busy with no shortage of inspirations. Assuming this has kept him busy for some time, I hope we will hear a new full length original soon. Its been seven years since the last! This however is a separate project, one that stands on its own two feet well and hopefully serves the vision for this game as well.

Rating: 7/10

Spiritbox "Tsunami Sea" (2025)

Once highly anticipated, now sorely devoured, binging Tsunami Sea left me with a simple sentiment - these numbers could take many moons to fully internalize. Often cloaked by its own steely downcast expressions, LaPlante's stealthy Pop inspired vocals play second fiddle to a dominant theme of dejected aggression. Manifesting in temperamental sways between songs, angers climax upon the altar of monstrous hatred that is Soft Spine's mammoth onslaught. Moments before, a tuneful Perfect Soul embellishes their gentler side, reveling in the timbre of a classic pop song's hook.

Front loaded by a heavy assault of elasticated eight string guitar grooves melding with the subtle texturing of eerie atmospheric synths, cracks emerge as tracks occasionally mellow into doleful melancholies. Ride The Wave plays a keen example, cloudy mediocrity overcomes its hurtful emotional resonance. This sombreness leaves me with that aforementioned sense of needing more time to internalize its curious yet depressive persuasion. In conclusion, Tsunami Sea has one to many songs that drift by, failing to wrangle me into its allusive charm, unlike Eternal Blue was able to do.

To sing its praises, Tsunami Sea pushes the envelope of their sound. Seeking subtle inclusions of percussive sounds from the 90s explosion of electronic music, songs arrive fleshed out with links to tie its textural depth through the sways of intensity. Meager drum grooves holdover transitional moments a seamless fit. So to do hidden layers of trancey electronic synths weave in subdued soundscapes around the mostly metallic music that occasionally drifts into a Shoegaze and Ethereal territory.

The construct is masterful, giving listeners added depth to explore on an intensive listen. Seemingly straightforward, the instrumental ideas struck are enriched by this tapestry of passionate sound. Elevating the core of their musical identity, its a step in the right direction. On its best tracks, undeniable. As a whole album, the experience dips in spots. There is much to be enjoyed here. I hope it continues to grow on me.

Rating: 7/10

Doomsday "Depictions Of Chaos" (2022)

 

 

Having recently unearthed a modern scowling scene of Groove laden Thrash, tinged in Death and Crossover, Doomsday stuck me as pick of the crop. Breeding fast, ferocious, fiery bestial incarnations, their hellish forays of 80s inspired Metal re-imagined play a delight to this Slayer fan. With lead guitars wailing demonic sirens and galloping rhythm guitars balancing groove and sprint, Doomsday hit hard.

 

These six songs run an infectious route, endlessly pivoting from one riot to the next. Despite being dramatic, sinister and darkly, with front-man Carlos Velazquez howling graven pains, Depictions Of Chaos is upbeat and fun. The routine stints of groove an invitation to rock out on a hellish ride. Its a vision cast by legends before them, yet this classy updated execution attracts one to revel upon its ripe aesthetic foray into evil.

 

Rating: 6/10

Old Tower "The Trench Pilgrims" (2025)

Commissioned for the "Grimdark Compendium", Old Tower lends their craft to a presumably fitting tone for table top game Trench Crusade. Its setting in 1914 explains the quirky archaic musical sample that aids this five tracks opening Introduction. The sample disappears into a gloomy fog of atmospheric synth and chilling horns echoing a haunting wreckage left by battles carnage. From here, we descend into darkly meditations, spiritual yet steeped in an eerie inclination. Chorals led by loose and worldly percussive instrumentals chain us to its rhythmic trance. The subtle entrance of Berlin School synths paint a suggestion of something cosmic lurching beyond.

A similar spirit guides the lengthy, hovering Anchorite Shrine. Its soft Piano notes, buried in a smokey haze, conjure an alluring crime novel danger akin to Noir Jazz. I heard touches of this motif earlier in the records opening. This mysterious lean is particularly befitting of Old Tower's cool temperament. The closing track Revelations twists that tone to sinister as a calculating drum pattern softly beats its menace. The tension rises but far from conflict, the song suddenly drops its grip, reminding one of the captivating power music, that is often relegated to the background, can have.

Rating: 7/10

Saor "Amidst The Ruins" (2025)

With foundations of extreme and cultural aesthetic resolute and intact, Saor embarks on this latest venture through the shackles of familiarity. Thus initial listens spun a lukewarm drone of routine blast beats exchanging duties with its symphonic layer. Comprised of strings, Violin, Cello and effeminate voicings, this heathen tapestry enriches Saor's music with the spirit of Scottish highlands and its cultural heritage.

The metallic counterpart, comprised of pummeling drums and angular distortion guitars, stands somewhat in contrast as expectant extremities offers little to the embellish narratives and server as obvious amplifications of intensity, swelling energy but rarely feeling warranted in contrast to the rich underlaying musical themes.

Thus we have a record in peculiar imbalance. At a frequent pace, the collapses of roaring aggression give way to stunning arrangements of beloved highland melody. Beautiful in flow and holding grace with mother nature, a reoccurring sense of longing persists in these spirited melodies. They are the highlight in which to endure.

Sadly the majority of these earthly musical motifs rest in tandem between the two, layering in this gorgeous vision with familiar aesthetics that offer little new. Tired of bellowing screams and blazing blast beats, I found myself chiming with the serine acoustic guitar tones and cultured instruments, an aspect stunning on its lonesome.

The records most passionate passages emanate on their acoustic reverberations, often to be enveloped by that roaring beast. My tolerance of its metallic components rested on the whims of personal appetite. Sometimes energizing, at others a drain. Saor has matured strongly on a cultural  front to deeper meaning but foundations strip this expression of greatness in my opinion. However, its still a very enjoyable record.

Rating: 6/10

Krusseldorf "Fractal World" (2014)

Winding back a decade from a recent curiosity Mushroom World, this record plays out in its imaginative shadow. Resting on mellow laurels, these harmless ambient soundscapes exchange sleepy, murmuring lethargic melodies against busied yet often aimless glitchy drum grooves. This percussive aesthetic finds itself in vogue with similar trends of the time. The ten tracks that make up Fractal World, mostly shuffle through subdued instrumental chemistries, painting soft welcoming atmospheres.

 

Devoid of human emotions, songs jostling soothing oddities and ambiguous expressions through its synthetic instruments. The result is soothing, indulgent yet misses a power to make deeper impressions. Lacking definition, music passes by in a pleasant, disconnecting haze, pierced only by the occasional human voice. South Of The Sky Temple is a shining example. An effeminate, Ethereal voicing drops in to contextualize the curious atmosphere with humanity. A magic that could have been.

 

What will proceed finds depth in yielding these strange instrumental textures to a higher purpose but in their infancy, Krusseldorf has only aesthetic charm, missing on purpose beyond the slightly psychedelic mellow hallucinations this chilled out record provides. A fair listen, sorely lacking a magnetism to pull one back for more.

 

Rating: 5/10

 

Sundial Aeon "Analysis" (2014)

 

For a while now, I've found myself drawn like a magnet to what I describe as "inconsequential music". That realization helped this latest discovery click swiftly. Far from the meditative ambiences I usually associate with these inconsequential moods, Sundial Aeon's bustling electronic soundscapes carry a similar sentiment. Mid-tempo tracks drift by with a casual ease as layers of chirping synths harmonize without grandiose melody, scale or direction. Instead we embark on curious escapades through synthetic equilibrium that evokes astral, futurism and technological vibes.

 

Analysis plays out through a Trance architecture, dialing its temperament towards ambience, backed by often understated percussion. The motifs and themes explored sway dramatically away from dance floor rhythm towards a tone I adore. Pioneered by Carbon Based Lifeforms and further diversified through the likes of Timewave, Andrew Odd and Dreamstate Logic, these introspective, astral vibes fit snugly with my taste.

 

The ten songs found here all swell into welcoming moods, every track meandering through a whirl of instrumental overlap that rarely expressive individual ideas yet becomes bigger than the sum of their parts. Its an entrancing listen, evoking focus and calm through a rather busied wall of sound that relents in its expectant ebb and flows that are navigated gracefully by these two accomplished composers.

 

Rating: 6/10

Willow "Ardipithecus" (2015)

Concluding our Willow journey at its origins, her debut album Ardipithecus limps by briefly tarnished with naive youthful philosophies and half measures of fresh faced introspection. At the age of fifteen, who wouldn't of expected such lyrical expressions?Heated by moments of pseudo-science suggestion and star sign akin mysticism, it can be a touch nauseous, however the bulk of her words play fair and fine.

 

What I had not anticipated was the musical chemistry that lays in wait. Its eleven songs play like bedroom jams, simplistic unions of basic drum patterns and ruminating instruments muddying over simple melodies on loop. It leaves spacious atmospheres, minimal yet curious as its ideas defy expectation, drawing from different spaces.

 

The records persuasive charm emerges where her voice meets the music. Sounding free spirited, soulful and unafraid, a lack of filter finds gratifying unions with these dialed back instrumentals. She sways to her own rhythm, backing vocals often chiming in off key, manipulating the many peculiar moods this tandem evokes.

 

It takes a few spins for things to click into place. Willow has an ear for something unique and here it arrives raw and curious, yet is delightful to indulge with. One will find favorite flavors among their travels. Randomsong stuck me as the strangest of all. Its perusing, noir baseline broods akin to a Rollins Band interlude, yet she meets its energy on her own terms. One oddity among the many trinkets here.

 

Rating: 6/10

Gelure "Inner Sanctum" (2025)

 

The purist pleasures of these peaceful yet esoteric atmospheres has affirmed Gelure's elevated stature. My initial fondness for The Candlelight Tomes and Into The Chesfern Wood has matured with much exposure. Those arcane magics have delivered time and time again. Returning refined after a few years break, the character depicted pitches partly Medieval, churchly, with a dash of Tolkien Fantasy grandiosity. Cultural stringed instruments yielding folksy melodies ground its era. Saintly chorals, vibing on soft cloudy synths, bewitch one in a captivating calmness. Swaying between these masterful constructs, we venture upon scenic swells, conjuring natural beauty, fantasy landscapes and occasionally battles through the crashing of gong cymbals, deep laggard drums and triumphant horns. At its opposing end, sleepy subdued melodies, smothered in reverberations, upend darkly mystic moods, both soothing and curious.

The words Dungeon Synth barely crossed my mind before writing out these inspired thoughts. Gelure has ascended its shackles, arriving upon a grand stature, crafting beautifully mediative music adrift from a genre awash with low effort imitations. Inner Sanctum indeed evokes introspective refuge. A haven of sorts through its spellbinding ambience. Best of all, its eleven minute finale surrenders to metallic convention. Modern percussion houses its historic instruments in the rapture of blast beats and fiery groove to venture upon Atmospheric Black Metal's alter. The initial mellowed tremolo guitars hide its extremity well, masking what is to come. At the eight minute mark a truly epic power chord riff gratifies to no end. With monumental sway, its repitions toy with dazzling tunes and tempo deceleration, in a stroke of genius.

Rating: 8/10

Krusseldorf "Mushroom World" (2025)

By forces of coincidence, this intriguing album cover crossed my path. What lay in wait has captivated my curiosity consistently. With its many elements coming onto focus, I can unwind details of this spellbinding listen. Reminiscent of Dusted's Downtempo classic, Swedish composer Krusseldorf's electronics collide with that breezy chilled out realm, infusing soft touches of psychedelic charm into its design. Aptly named Mushroom World, is certainly a realm of ideas to loose ones self in. This overt hint could take its hallucinogenic temperament far, such is the power of suggestion.

 

 What I felt was the percussive persuasions of mellowed out beats, driving the music along with an understated power. Classic Downtempo, yet dialed back to let other instruments take focus. From the deep murmuring Dub baselines of Recliner Song to Chromatic Vapors bustle of playful melodies, these mid-tempo grooves lock one in as an mixed bag of oddities take over. Peculiar, disjointed melodies dance. Synths buzz and whirl in bursts of strange color. Ambiguous sounds flash in and out of focus. And densely reverberated audio snippets inject weighty suggestions of "tripping out".

 

 The record starts tame, its ambient leaning songs play wedged between flimsy melodic stints. Textures shine as these zany meddling aesthetics establish themselves. With the arrival of The Midnight Factory, a nightly noir charm begins to linger, a sense of theme builds, crooning as the record stretches into its second half. Unease gives way to kaleidoscopic wonder, with lively synth melodies playing up its mysterious inspirations into a bizarre, intoxicating indulgence. As suggested, its like drinking Tea With The Cosmos in its better strides. Krusseldorf seems to be a freshly unearthed treasure! No doubts I will be digging for more in their back catalog.

 

 Rating: 7/10

Blut Aus Nord "Memoria Vetusta I - Fathers Of The Icy Age" (1996)

Having tuned into Blut Aus Nord in recent years, my exploratory return into Black Metal origins had me picking out this first installment of the Memoria Vetusta trilogy. I'm some what astonished to find their unique character fully expressed this early on. The subtle touches of Psychedelia and Shoegaze had played like matured fine wine.

 

Yet here we are in 96, these fantastical, mysterious inflections, on a then fresh Black Metal sound, dominate a devilish spectacle. Roaring out from limited, fuzzy production, yet to figure out its aesthetic needs, we have trippy lead melodies, ungodly choral vocals and dexterous baselines converging on swells of sequestered darkly magic. Powered along by a barrage of animated drums, the duo sound unlike any other. Lengthy songs run ambitious, holding ones attention in its tension, as ripping guitars shell out dissonance that meanders into gratifying melodies.

 

Its a familiar expression but in this infancy feels daring and exciting. The band carry the hallmarks of northern darkness with their own flair, curious, majestic and sinister, feeling like a journey through an arcane societal order of the seven layers of hell. Memoria Vetusta is a mighty fine craft, I'm glad to have found it among the rubble.

 

Rating: 7/10

Hades "The Dawn Of The Dying Sun" (1997)

 

Armed with shadowy, ever present grisly distortion guitars, The Dawn Of The Dying Sun preserves the droning heathen atmosphere its predecessor ...Again Shall Be imbued. Fortunately, this iteration improves aesthetic production and songwriting, leaning further into a post-Bathory Black Metal linage. Although its riffs frequently spin mid-tempo power chord on loop, vocals breaks and folksy instruments bring character to songs deeper in the record. Across nine roaring tracks, a variety of ideas emerge, yet little amounts to anything spectacular given a rather lukewarm execution.

Viking melodies present themselves early on through tuneful, suggestive keyboard arrangements and the ancestral campfire conjurings of acoustic guitar tone. Consistently jostling between the droning aggression and heathen expressions, a direction, conclusion or structure evades me. Consistent mediocrity tires its tone and evolution on mostly six minute songs. Alone Walkying was the only track to show its influences transparently, with a key riff simply playing an iteration of a Burzum classic.

I wasn't particularly interested in continuing this journey with Hades but its title track caught my ear on shuffle. In my youth, fresh to the sound, I would have enjoyed this immensely but to ears so familiar with Black Metal origins, it all feels a bit routine. I do however think their ideas could have been shaped up better. They captured the Bathory spirit well but this incarnation feels more like an echo of greatness.

Rating: 6/10

The Weeknd "Hurry Up Tomorrow" (2025)

 

Unleashing emotions raw and aching, Abel's heavenly falsetto collide with misery as Hurry Up Tomorrow paints a unenviable depiction of an artists anguish. Channeled through dreamy Synth-Pop R&B mashups, the limelight suffering, heartbreak woes and substance abuse ripple through this record like therapy. Glued within his mental struggles, suffering is illuminated painfully through direct lyricism and animated interludes set to portray personal, intimate moments and their crushing weight.

Its a strange juxtaposition to the often upbeat, feel good music that has retreated to the sidelines. As such, we embark on a lengthy spell dwelling on this temperament. Instrumentals frequently drift into a dreamy Ethereal sense of limbo. Seeking warmth yet coming up cold. Wake Me Up featuring Justice seems to revive echos of Dawn FM, as if to shut a door on that chapter. Sao Paulo grabs ones attention with its cultured, Hispanic dance floor beat. Infectious, occasionally obnoxious and nightly.

 Deeper into the record, flavors of Synthwave, Trap and Soul emerge, characterizing some big name collaborations. Between them, these mid-tempo, toned down swells of ease and chilled temperament arise. Seemingly unhurried, I sense our artist is trying to linger on every expression felt, as if to be aired out thoroughly. With such stellar production, the glossy sound carries stripped back, simplistic melodies quite far.

Clocking in at eighty four minutes, Hurry Up Tomorrow plays like a limbo mood to sink into, with a foot in each camp. Articulations endures wounds whilst its hazy synth driven instrumental charm pass by like a trip. This dreariness lingers as the record winds down, seemingly without a resolution. I'm left thinking this was all intentional, despite an inclination for curation, The Weeknd was leaning into this moment fully.

Rating: 6/10

Den Sorte Død "Hemmeligheden Bag Den Sorte Slanges Konstellation" (2025)

 

Named after the black death plague that riddled the middle ages, Den Sorte Død unsurprisingly burrow into a solemn funeral gloom with this morose offering. It strikes me as a series of epitaphs, strung together across six lengthy numbers with a latent sense of reoccurring theme. Musical tones linger with grace on the sorrows of man faced with perilous suffering, a reflection of darkness felt through glum melody and decedent tempo, as opposed to a stylistic plunge into aesthetic depravity.

Thus a curious soothing magic emerges, as yawning church organs brood and deep bass murmurs in its lethargy. A calming sense of ease overcomes when in the background. At the foreground of ones attention, the weighty burden of mortal death is ever present. Woven together with subtle intent, Berlin School synths whirl and pine in soft majesty.Touches of ghoulish horror show tropes shine through on occasion too.

No individual track stands out. As the record cycles through its various instrumental compositions, one gets a sense of recycling chemistries, as if revisiting a sombre motif explored earlier. This all plays into its construct, a morbid dwelling on mournful woes. That's at least as I experienced it. A translation of "Hemmeligheden Bag Den Sorte Slanges Konstellation" speaks to something astral and cosmic, which I did not get the mildest sense of, however its synths could be conductive to such a suggestion.

Rating: 6/10

Stray From The Path "Euthanasia" (2022)

  

Hardcore veterans Stray From The Path have been at it for a couple decades now. Joining in the fun at their tenth album may leave out some context, however it became swiftly apparent how to describe them. Offspring of Rage Against The Machine, these rockers update that iconic progenitor Rap Metal sound with an intensity befitting of Metallic Hardcore, armed with dense assault of seven string Djent guitar tones.

In your face, left leaning political statements sit front and center. Shout rapped by an aggressive Thomas Williams, his confrontational, agitating messaging sounds like Zack De La Rocha on steroids. So too do guitar grooves follow the Tom Morello playbook, downplaying melody and in general incorporating far more modern Metalcore ideas into their songs, with frequent mosh friendly riffs and fiery breakdowns.

 As such, their overt influences fade from focus on its many harder hitters. Superbly executed, yet lacking distinction, they sound a touch cookie-cutter in a crowded Hardcore scene. When falling back to leaner Rage influences, like on Law Abiding Citizen, front man Williams lacks a knack to deliver an ear worming memorable hook.

This magnetism towards comparison bestows a weighty burden when walking in the shadows of greatness. Despite that, Euthanasia is tight, a hard hitting, bombastic record, loaded with intensity and anger. Entertaining, yet some of its political messages provoke a sense of cringe when walking a hard line in the face of complexity and nuance. Not enough to turn one off from the frantic fun!

Rating: 7/10

Yagya "Vor" (2025)

Vor feels like a valiant return to fundamentals, that familiar mesmerizing magic spun to a new level of aesthetic excellence. The entrancing hallmarks of Dub Techno remain intact, soothing synths jostle in a haze of dramatic reverb to deliver dense, wondrous atmospheres. A slightly unsettled yet blissful tone bestows one, as inconsequential meandering melodies resonate a naturalistic beauty. The soft power of deep bass and Downtempo grooves aid these suggestions of chilling, tundra landscapes.

 

So to does its snowy cover art. Each song gently broods, easing its way into the dreamy rhythmic sway. Illusive tunes give way to pulsating thuds of bass drum kicks and stabbing wave saw synths. With crafty deception the walls of sound engulf us. Often built alongside northern countryside sounds, the crashing of waves, howling winds and squawking of distant birds, one is persuaded to its visual conjuring.

 

Icy caves, frozen mountains and snow smothered forests, their is no doubt the native Icelandic winter gives rise to these stunning Ethereal experiences. Nothing unexpected in its familiar construct, yet astonishing by the weighty power it holds. Its two halves, Vor and Haust, did suggest a shift in tones on paper but the whole thing flows as one, eight glorious shades of superb and dreamy Dub Techno.

 

Rating: 8/10

Dynatron "Beyond Space" (2025)

  

Bridging Synthwave and Cosmic Ambience, Dynatron returns from a four year silence with this soothing astral inspired pair of tracks. These two halves delve into nightly aspirations. Powered by mid-tempo groove, the simple pleasures of a snare to kick sway play repetitive but serve its purpose. Around this drive, tuneful melodies jostle for focus, changing focus whilst a bunch of airy saw synths conjure its dreamy stargazing atmosphere. Lined with the expectant gated tom fills and glossy synth tones, it checks all cliche Synthwave boxes. The calmer demeanor tilts towards that sense of ambience but it is mostly in name this suggestion directs ones imagination to the night sky. Unremarkable yet competently executed, I'm mildly excited for what might follow, a possible full length indulgence would be most welcome.

Rating: 3/10

Willow "The 1st" (2017)

 

Armed with a charming youthful naivety, Willow's sophomore effort gracefully dodges its own awkward imitations as inspiration and "talent" saves its heartfelt expressions from mockery. Venturing dangerously near the pitfalls of teenage philosophy, her introspective self expressions carry an emotional weight and sincerity that is hard to ignore. Sentiments extending beyond herself scarcely play hollow however the personal insights seem befitting of the records peculiar coffee shop tone.

Backed by sullen, broody instrumentals, strings, pianos and acoustic guitars start out on a Classical tone. Track by track the setting inches into different territories through minimalist compositions that leave a lot of airy space for its inconsequential melodies to drift by. Picking up pace and intensity, things brighten up as sounds of New Age, Soul, Dream Pop and Alternative Rock start to color these intentionally stripped back songs. The final few tracks then lean into a folksy current that was always present.

These thirty four minutes drift by without a misstep yet feel just out of reach from something grander. Early on, Willow's singing contrasts the backings, drifting above with a sense of free flowing expression. Later, the two find unison. Along the way, a few obvious echos of 90s singer-songwriters make themselves known. Considering her trajectory, the creativity expressed here is enjoyable but is yet to really click.

Rating: 6/10

Amebix "Monolith" (1987)

 

I'll conclude my curiosity here, with the bands final original works of this era. Monolith, an overt Motorhead inspired step closer to Heavy Metal territory, fails to inspire as a grander heathen vision meets its Crust Punk roots. If anything, its the gritty, rotten rumble of the later that holds it back. Guitar melodies and song structures strive for a sullen burley might but fall short through this tarnished aesthetic tone. Its a messy record, slopy and loose performances birth dreary dismal moods. Some of its grooves and scaling power chord riffs try to escape this grasp but these creative strides seem to unravel unremarkably into a monotone grind. Its better songs kick off the record with some promise but rather swiftly the unrelenting gray dulls these forgiving ears.

Rating: 3/10

Ice-T "O.G. Original Gangster" (1991)

 

Godfather of Gangster Rap and front man for the cop killing Body Count, Ice-T courts controversy with an unfiltered, unapologetic rawness. A subversive force of intellect, Ice masks deeper realities trough his gritty portrayal of street life in LA. Original Gangster affirms his authority on the matter whilst ringing off a long list of social portrayals and systemic grievances. Direct yet difficult, his lyricism runs crude and humorous, blurring lines between tongue in cheek and reality. At times he flows firm and plain yet in a moment can delve into wordplay. Wherever his cadence leads, Ice rarely deviates, sticking to his themes, which each track delivers with focused intent.

Clocking in at a lengthy seventy two minutes, the twenty four tracks chop by with snarky interludes between softened noisy Bomb Squad style sampling. It banging beats rock with late 80s drum loops, keeping energy high. Overall the aesthetic style sounds a year or two behind the cutting edge but its substance triumphs in the face of an ever changing scene. Midnight marks a shift in tone, sampling Led Zeppelin and Black Sabbath a dark, grizzly, eerie Rap horror show emerges. This lays foundations for Ice-T to show his metallic edge, as the record also houses a Body Count track to cross pollinate his audience, something completely unheard of for the time.

These tone shifts shake up the second half another, The Tower, reusing John Carpenter's Halloween theme to chilling, haunting effect. It does blemish the flow considering how tight these upgraded, authentic post-N.W.A gangster raps are. It's been decades since I last spun this classic. It holds up well. A powerful listen by a master rhymer who can hold your attention with his direct penmanship. Classic!

Rating: 8/10

Willow "Willow" (2019)

 

This self titled affair is brief, yet concise. At twenty two minutes, it stretches the definition of an album but arrives conceptually complete. A raw expression of her emotions, Willow's voice flourishes within humble settings. Driven by mellow steely acoustic guitar chords, strummed over warm sluggish baselines and stiff percussion, a motif of simplicity emerges. Reveling in its chemistry, these songs linger on aesthetic pleasures driven by Willow's arrival into these direct, uncluttered compositions.

The mood is dreamy, a touch Ethereal, swaying from dreary spells of soft melancholy to subdued drives of Psychedelic Rock and Folk. Enchanting touches of R&B and Soul echo through the vocal setting. Overall, a soothing, chill experience with just a couple swells of grabbing intensity. Willow amps up her voice on the livelier closing Overthinking It and the Shoegaze conclusion to PrettyGirlz both perk the ears.

Like A Bird and Samo Is Now caught my attention for the plucked acoustic licks reminiscent of the charming acoustic breaks I've adored in some Metal artists. That tone immediately wins me over. As a whole, this self titled stint packs a punch but perhaps lacks some follow through or surprises along the way. Its decent but that's all.

Rating: 5/10

Amebix "Arise!" (1985)

Further exploring suggestions of proto-Black Metal coincidences we arrive at Arise! Amebix's sophomore effort venturing in 80s Heavy Metal. Casting of the shackles noisy Crust Punk tonality, stiff power chord oriented songs march through a metallic demeanor skating into Post-Punk territory for its hooks. Cutting riffs rot under tom pounding drums that lack an articulation fit for metallic aggression. Gruff heathen shouts spew forth, lacking charm, crying over a sea of mediocrity making strides for big theatrics. It falls short as repetitive song writing tends to sell its vision short.

Touches of something medieval, barbaric, even tribal emerge through lyrical suggestions and pounding repetition. Devoid of melody, this idea mostly emanates from front man Rob Miller. His rural presence conjuring similarities to an early Bathory. Songs could swiftly be transformed into grand visions with outbreaks of triumphant lead guitar melody, however they remain confined to the grinding shred and gallop of Heavy Metal rhythm guitar. Although to dated for my taste, it has some curious merits.

Rating: 4/10

Amebix "No Sanctuary" (1983)

 

Having recently entered some conversations on the origins of proto-Black Metal, this British Crust Punk outfit share some peculiar similarities at times with Bathory and to a lesser extent Venom. Given the confrontational nature of this music and expanding exploration of extremity, this seems a case of retroactive co-incidence, given a lack of mention from any originators of second wave Black Metal.

My ears immediately turn to fellow Post-Punk era Killing Joke. With a menacing fuzz of dissonance powered by a repetitive rhythm section, crashing walls of scratchy lead guitar noise wails alongside angered shouts of rage. Its gritty production rolls the instruments into an atonal mess of texture, spewing forth an unsettled mood. Lacking ferocity, these grizzly soundscapes make one feel like an observer, detached from gruesome atrocities the topicality likely depicts, given its harrowing cover art.

Mid-tempo marches revel in grinding repetition. Baselines articulate iterations, dodge a sense of melody whilst adding expression. The music routinely drags itself along with its charm seemingly buried in these strange chromatic rumblings. Barbaric strikes of percussion interrupt without groove, crafting a sense of anti-music inspirations.

Control seems to be the one song connected to Bathory. Its heathen like vocal choir tilts the atmosphere to something satanic and mysterious. The suggestion shapes its shredding guitar riff to a similar tilt. In juxtaposition, at the other end of the record, Sunshine Ward goes in an entirely different direction, sounding like The Cure or possibly a parody of. Interesting listen, curious atmosphere but not a lot to latch onto.

Rating: 5/10

Burzum "Filosofem" (1996)

 

With a stroke of genius, Hvis Lyset Tar Oss broke ground on what Black Metal could be. Its popular predecessor Filosofem, further explores this atmospheric angle. Shifting tone and temperament in slight degrees, Varg returns with the usual sentiments of mother natures harsh realities, lonesome, esoteric and fantastical. Consciously lowering fidelity somewhat, loose distant drums, simmering fuzzy guitars and half spoken distortions of English lyrics embark on lengthy marches. Another flavor of his crude yet deeply effective atmospheres.

Exploring potent chemistries Dunkelheit and Erbicket pace through mid tempo storms of gnarly fuzz, illuminated by soft synth tones. The latter's eclipsing keyboard melody simply unforgettable. They breed an usual tension accepting inner peace and mortal death. Between them, Jesus' Tod runs rampant into the darkness, cycling mean, sinister riffs through hurtling blast beats. Completely unrelenting, only its catchy melody offers relief to its ceaseless nature.

In my opinion the record should have concluded with Rundgang, a twenty five minute minimalist piece evoking transient spiritual sentiments. Often erroneously compared to Tomhet, its soothing tone and curiously introspective mood plays like a headspace alteration, more so than a song. It won me over decades ago, a perfect companion for lonely night walks through forest and fields lit by moonlight. It holds a mesmerizing magic I only hope others can encounter too.

Either side of this track lay the two halves of Gebrechlichkeit, a destitute experience built on sullen guitar riffs and sluggish, melancholic synth melodies. Lacking drums and its second instance simply pulling the groaning vocals of despair, it seems as if an unfinished track has been used to pad out the records duration, leaving its later half primed for skipping over. This is where it loses merit. This could have been another classic, given how undeniable its opening trilogy of song are.

Rating: 9/10

Hades "...Again Shall Be" (1994)

 

Exploring the other works of Burzum's producer Pytten, I happened across ...Again Shall Be. I'd probably checked them out decades ago but with a refined ear for Viking Metal, it caught my attention as an early hybrid of the later and Black Metal. Fellow Norwegians Hades embody an early Immortal sound, who Pytten also worked with. Gristly narrow guitar distortions drone, intertwined with throat wrenching screams. They meld together in med tempo grooves with powerful thunderous drums and meaty yet tuneful basslines. Song shift between sways of metallic and raw atmosphere. Along its journey melodies conjure echo's of ancestral roots, yielding the sinister format to their heathen vision. So to do acoustic guitars and burly clean voices wage in on swaying the darkness to evoke folksy cries of a harsh rural godless communion.

As the record settles in, repetition becomes a sticking point. After a few tracks, its darkly agitated temperament begins to drone. Songs proceed at a steady pace, rarely breaking form. When a simple synth note arrives at The Ecstasy Of An Astral Journey's conclusion, its elevates the song greatly. This is attributed to a need for change, more so than compositional merits. After all, its a single note. A couple other songs have brief acoustic breaks that perk the ear. Otherwise the record feels like an endless repetition of its main theme heavily inspired by the likes of Bathory's Black and Viking eras. Its left me bereft of remarks beyond enjoying this vision which swiftly tires beyond enduring ten minutes of its diminished ideas.

Rating: 5/10

Burzum "Et Hvitt Lys Over Skogen" (1998)

Paired with yet another demo of Lost Wisdom, Et Hvitt Lys Over Skogen reaches us via bootleg release. Its a nine minute epic pulled from Hvis Lyset Tar Oss. Why it was removed? A total mystery. This is a mighty fine song, heard through a muddied recording. One can imagine its aesthetic matching that fine record. Musically, Its construct has a foot in each camp. Some riffs conjure the metallic temperaments of his earlier works. The other revels in harsh naturalistic atmospheric. The pivots between these halves flow wonderfully. Approaching its midpoint, power chord arrangements coalesce with a triumphant chest thumping march. After, blast beats erupt and shadowy riffs call with nefarious inclinations. Another enchanting song but on this analytical reflection, I see how Varg may have felt the song repeats ideas explored before, only partially realizing the visionary direction of that record.

Rating: 4/10

Paths Of The Eternal "Esoteric Rites" (2024)

 

Esoteric Rites caught my ear with its fragrant attempt to establish fresh fantastical territory within a tired genre. For that, I commend the effort, however it falls short of clicking into place. Seeking out unusual aesthetics, estranged synth tones clash through both melody and tone. These wild compositions rest upon musical theory, as instruments dance is a peculiar limbo, absent of chemistry. Drums bang away, stiff and jolted. A sense of tribal influence permeates some of its percussive lines. The basic samples and swift attack delivery lacks a nuance to sell us on its purpose beyond keeping pace. Around them, a cast of lead melodies from fantasy, to eerie, esoteric and mysterious, plunder away through its curious make up.

Across its twelve track a few bright sparks bluster but its mostly blunder as atmosphere rarely settles into distinction. One can hear the allure of certain visions accustom to Dungeon Synth and Fantasy music but core themes are dragged through a dimensional paradox of crossed wires and inverted tensions. I'm most fond of the opening title track, a fever dream collapsing into itself. Here the unusual temperament yields a riveting peculiarity but beyond this first impression, the music is lacking a deeper substance. It entertains, a handful of melodies charm but as a whole Esoteric Rites fails to land its flight with gratification.

Rating: 4/10

Burzum "Hvis Lyset Tar Oss" (1994)

 

Enter a naturalist sublime, as inspiration finds it form, the stars align. Opening with a spirited union of mystic synthtone and sizzling guitar distortion, we embark through three minutes of atmospheric bliss, isolated with the cruel beauty of mother nature. Estranged and peculiar as ever, this is Burzum's peak, perfecting aesthetic, craft and vision. Its opener, Det Som Engang Var, sharing name with his previous album, then roars into life. A barrage of tumbling tom fills ushers in an iconic, anthemic riff. Triumphant and resolute, it plays like a battle cry from a Bathory classic. The song swings between these juxtaposing temperaments, laying in simplistic lead guitar overtones at the midpoint to slip us along the songs lengthy final passage, which further revels in its arcane guitar distortion and korg/cassio synth chemistry.

Title track Hvis Lyset Tar Oss leans into darkness. Blast beats and grizzly guitar grinding turns attention to the broody harmonizing bassy synth lurching below the songs unrelenting march. After a couple of minutes the pace thickens, a hard snare strike leading charge as fuzzy guitar chord arrangements breed emotional relief among its harsh offerings. Venturing deeper, the grind shifts again, pierced by Varg's despairing howls. Returning to its opening stature, an unsettled conclusion emerges as flickers of lead guitar overtone offer little more than reinforcing its darkly premise.

My absolute favorite track, Inn I Slottet Fra Droemmen, offers up the brutality of frozen landscapes. Resolute in its repetitive, obnoxious grind, a chilling thrash of harsh riffs bombards. The wobbling high baseline furthering its gratifying peculiarity. Grinding through dissonance, it eventually releases this tension for moments of worldly reflection as those stunning synths re-emerge alongside string plucking riffs that revel in the messy guitar distortion. Teasing the release of its steady build up, the climax is godly. When drums crash in, its conclusive riff roars triumphant and eternal. Its peak, yet somehow, Varg yields more, lining up gratifying riffs, the return of harmonizing synths and a glorious guitar lead for an unforgettable spiritual experience.

At its conclusion, we a treated again to visionary offerings. Although easily associated with the retroactive Dungeon Synth label, Tomhet transcends. Seemingly a simple arrangement based on minimalism, the chemistry of its tones, octave shifting whistle and subtle percussive thud birth something remarkable. Meditative, introspective, lonesome... insert all your adjectives here! So much is conjured from so little, highlighting our deep humanist connection to music. The midpoint pivots entirely to a new construct, refining its calming powers and evoking even more curiosity. After some minutes, a gentle drum pattern emerges alongside this soulful flute melody that somehow makes sense of all this spiritual peculiarity. Such a remarkable record.

Rating: 10/10

One Arc Degree "The Forest And The Milky Way" (2023)

Inconsequential! That's the word I've been seeking. A peaceful setting, absent of self. This describes my current obsession with these meditative Psybient sleepers. One Arc Degree's prior effort didn't resonate quite like this one. With soft touches of Yagya alike dreamy Downtempo droning, The Forest And The Milky Way toys with Cosmic Ambience aesthetics as steady thuds of percussive life pull us through serine soundscapes that swell and contract through luscious layers of shimmering synths. Its sweetest fruits emerge through covert arrivals. The driving kick bass locks in with an emergence of soft snare and quiet cymbals, conjuring a hazy dancefloor energy.

Its construct sequences lengthy songs dwelling on an aesthetic tones. Instruments gracefully dodge melody, lurching in limbo, toying with their own ambiguity. A web of sounds hang in perpetuity, whirling, murmuring, drifting on by without a care. The result is soothing, meditative, blending earthly vibes with astral synths that land in their own strange yet welcoming space. My preferred tracks lure me in to a deep calm, the others pass by without concern. Its a wonderful listen. The moments that spin to my rhythm are entrancing. Its not the entirety of the record but worthy of much merit!

 

Rating: 7/10

Burzum "Det Som Engang Var" (1993)

 

 

 The blemishes of Burzum's growing pains fade as Varg's sophomore effort plays concise, sharp, effortlessly flowing through the fruits of his lonesome esoteric craft. A masterclass in how to structure a record, Det Som Engang Var houses the final remains of sinister metallic groove, before sequestering into the depths of lonely atmosphere on future releases. With a bold linearity, songs brood, evolve and venture to breaks, deviations and climaxes at thoughtful pace. Its flow gushes with musicality, weaving in plenty of nightly heathen melody to its monstrous demeanor. Varg jostles extremities, shuffling between tuneful lockstep grooves and frighting bursts of discordant terror held together by loose blast beats, arriving at wild destinations.

Opening with the scowling ferocity of Key To The Gate, this roar of dissonant metalic anger matures through blues pains punctuated by Vargs anguished howls with a stunning uplift of anthemic melody. Proceeded by En Ring Til Aa Herske, we revel in the echo's of Black Sabbath groove twisted to a frozen landscape as soft murmuring chants bestow a glorious ritualistic mood. Lost Wisdom returns in its best incarnation. Bereft of fuzzy fidelity, the track shines with a fierce might. Jostling Varg's typical arsenal of disheveled chords, roaring groove and dusky melody, the song blooms.

Next we hit the Dungeon Synth note, Han Som Reiste showcases an ear for melody evoking naturalistic and ancient cultural themes, tilted to a lonely peculiarity. Its a gorgeous song, the following Naar Himmelen Klarner shares its qualities but is performed on dueling guitars drenched in fuzzy distortion. It creates a stunning atmosphere but its underlying composition suggests it too could have been performed with synths. The gradual build to arrive of a simple drum groove is always enchanting.

Snu Mikrokosmos Tegn has long been a favorite. Its pummeling dissonance and dreary persona grinds with repetition, shuffling into hardy guitar riffs that highlighted the values of brooding on an idea to a young me. Its offering of light at the midpoint plays a swell, gratifying reward, ideas we will hear again later on, explored deeper still. The track then muddies its way through another spooky spell of intensity, lacking the pummel of barbaric drums, to arrive at that magical destination once again.

Either side of all these cuts lay some Dark / Black Ambient pieces, masterfully composed, estranged, mystic and complimentary of the five songs nestled between them. This lean approach will evolve as we embark on Varg's finest work next.

Rating: 10/10

Naughty By Nature "Naughty By Nature" (1991)

An understated classic from the other side of Hudson River, Naughty By Nature's sophomore effort stands the test of time. Uniting radio friendly Hip Hop of the era with Hardcore Rap. This trio's tuneful beats and energetic rhymes somehow grapple the gritty verbal craft and easy pop appeal in the same space. Kicking off with Yoke The Joker, we hear a ferocious Treach drop one of Rap's most legendary verses, rhyming practically every word in the dictionary beginning with s. The whole song is fierce display of talent, his words leap out at you through undying rhyme schemes.

 

In retrospect, he seems ahead of his time. Leaving the classic post N.W.A flow behind. One can anticipate rhymes arriving yet his vocabulary depth is loquacious, a fluent stream of surprises with words beyond casual tongue delighting on a frequent basis. Slick, swift deliveries and chopped cadences are thoroughly entertaining. Every tracks words house a few surprises up the sleeve, spit fit for purpose, wonderfully contrasting the often upbeat, poppy instrumentals with street rugged rhymes.

 Some instrumentals play strapped with typical sampling of the era, reveling in childhood influences of 70s R&B, Soul and Funk. The balance struck sets them apart, with hard hitting drum samples more akin to House music and tight, purpose built baselines. They aid its aesthetic personality along with simple Piano strikes, adding stiff flushes of color and melody to the mix. So to do soft organ or synths chime in on occasion. A Saxophone and Piano solo also liven this sense of elevated beats.

This tailored musicality bridges the cheery tones of OPP, Everyday All Day and Everything's Gonna Be Alight, with hard hitting bangers like Let The Ho's Go, Strike A Nerve and Guard Your Grill. Lyrically, its often gritty. The contrasts this breeds on its upbeat numbers plays a charm that's hard to forget. Naughty By Nature has got it all, endearing beats, enduring rhymes. When it comes to discussing Hip Hop classics this has to be in the conversation.

 

Rating: 9.5/10

Burzum "Aske" (1993)

To my ears, Aske is where things take off. Consisting of three solid songs, refined aesthetics compliment their musical vision. Gnarly guitar distortions are softened into an indulgent flavor of nightly fuzz, brooding an estranged emotive atmosphere. Stemmen Fra Taarnet, the voice from the tower, jostles between metallic power chord arrangements and discordant touches of dark melody. Wounded howls anchor its evil inspirations, shifts invite an esoteric melancholy that swells in the tracks third phase.

Dominus Sathanas, master Satan, highlights a compositional prowess. Commanding a craft for sinister melodies, Varg melds them into clouds of fuzzy overdrive to break the linearity. Its key tune embarks as a lone reflection, to captivate ones imagination in his realm. We've heard flickers of this motif before. It will return again but with this song, a vision is fully realized. A delight to indulge with upon its brief duration.

A Lost Forgotten Spirit returns in its best incarnation yet. Fined tuning percussion and slowed tempos aid the droning distortions. Blast beats tone down intensity, double pedals rumble steadily. Its a better performance that elevates the songs unique mood. The track's first slow down beyond the minute mark is an utter delight. In prior version it sailed by to fast. It demonstrates Varg honing in on what makes his music tick. Something that won't need stating again after this remarkable turning point.

Final notes to share, the album cover is of a Church Varg was suspected of burning down. It is also suspected he took the photo too. This is how wild and real these deranged ideas where within the scene. Leading to more arson and murder, most of the madness emanating from a handful of madmen with the inner circle.

Rating: 7/10

Puremusic "Serenades Of The Night" (2016)

 

From algorithmic shuffle, to library, to playlist, Serenades Of The Night has swiftly won me over as another meditative ambient mastery record worthy of stashing away for the calmness it can bestow in an instant. Cutting through many flavors of sound design, Puremusic encroaches on Worldbeat, Downtempo, Psybient, Drones and subtle natural world aesthetics with an easily persuasive, engrossing distinction.

Every song feels carefully crafted. Dreamy instruments warped in soft reverbs add flashes of ambiguous melody to dense sways of inviting sound. With ebb and flow, intensities steadily muster, expanding from humble origins into succulent swells, expanding scope with entrancing repetitions ever disguising their form with timely subtle iterations and shifting nuances woven into the fabric of its alluring construct.

Highlights include Kama, a fusion of nightly Arabic suggestions, mesmerized by hypnotic rhythmic drive. Warmth strips out all percussion for a dense lavishing of droning synth. No Fairy Tales pushes its drums into electronic territory, conjuring fond echos of classics like Carbon Based Lifeforms. Only Pour L'amour breaks convention for a lonely piano piece that was a little to simplistic to evoke the emotion it aims for.

I didn't bond that much with the proceeding outro track Dawn either but despite this closing drop off, its first nine tracks are well executed and deeply soothing. A lot of this music can depend on mood and apatite yet among my musical ventures, true charm can still shine and I felt as if this record captivated me on its terms, not my own.

Rating: 7/10

Burzum "Burzum" (1992)

Armed with iconic, eerie, unsettling and darkly album art, upon its release, this debut was a freighting extremity, unleashing a new, esoteric strain of Black Metal into the wild. To seasoned ears, these abrasive aesthetics are now somehow easy, especially after enduring the fuzzy swamps of noise heard on the demos. Its Varg's shrill howls that hold up the horror. Sounding like a dying animal, raw shouts through strained vocals skirt the appeal of normal screams. I'm certain the idea is to sound off putting.

I've never been that keen on this record. Varg's writing at this point is yet to be refined. Returning to it decades later highlights the dissatisfaction yet also illuminates my lack of appreciation for the vision. Spell Of Destruction's mental break down consisting of enduring wretched screams and similarly Feeble Scream From Forests Unknown's slip into blurry dissonance and hurtful cries, created ugly sticky points I never got past.

Burzum encapsulates the raw rebellious ideology but lacks a finesse to character the essence of inspirations. A bulk of its lengthy tracks are pegged into a corner, pairing sloppy blast beats with endless strings of guitar riffs that entirely dictate the musical vision. Varg has the sense to shuffle percussive rhythms to aid the shifting moods of his power chord expressions. Twisted and woven throughout, iterations on the chords own structure play with dissonant melody to birth a fantastical sense of earthly darkness, devoid of cheese, frothing with cold suffering and tormenting loneliness.

Between these retroactively embryonic incarnations, we hear swaths of the maturity to come. Channeling lends its ear to the mystic tones discovered in classic Korg synths, laying the foundations for Dungeon Synth to emerge. Dungeons Of Darkness ends the record with a stroke of Black Ambient genius. A slow brooding suspense of ambiguous noise builds up a rumble of terror for what sounds like anguished souls to cry out in the depths of its foreboding visit. The Crying Orc showcases Varg's ear for Middle Earth inspiring melody, something to be developed on the next full length.

Then we have War. Fun and goofy, it plays like a Venom cover, or tribute to the first wave of Black Metal, its ending guitar solos reminiscent of Bathory's Heavy Metal energy. It showcases Varg's metallic prowess and yields to a new strain of dark anger. Before the records guitar driven presence concludes, A Lost Forgotten Spirit plays, another lengthy stint of primitive Black Metal ideology that will be immediately rectified on the next release. We hear glimmers of the genius yet to unfold, the difference between the two highlights a musicians growth, as aesthetic construct and tempo shifts arrive raw and unrefined, dispelling some of its enchanting and strange magic.

So there you have it, a mixed bag of ideas yet to settle into something concrete but taking us to a bewildered setting. Interestingly much of his music was written around this 91/92 era. What follows these songs will later be unimaginable in such crude and coarse form. Revisiting it again, a better understanding yet it has not grown on me.

Rating: 6/10

The UMC's "Fruits Of Nature" (1991)

Having explored the depths of 90s Hip Hop, it can be hard for records to have an impact on these matured ears. Keen not to pass by The UMC's warm and friendly tone, I've stuck with Fruits Of Nature for a fair few spins. Its struck me as one I could have easily adored if discovered earlier on the journey. Leaving the golden era behind, moving boldly into the Jazz Hop era, this complimentary duo capture the essence of a colorful scene with questions as to how its 91 release fits into the tapestry of influences. I've heard them mentioned in plenty of rhymes, possibly listened to it decades ago but opening track One To Grow On really caught my ear this time.

Its the cream of the crop, with righteous rhymes and a bouncy beat, the pair pack positive messages of personal growth into its Jazzy groove. Devoid of cursing, the record plays with an uplifting tone, two youthful voices with heads held high, aiming for a thoughtful impact on their audience, given the lyrical content which rarely deviates.

Fitting snugly into the era, cadences and rhyme structures entertain with competence, perhaps lingering in Guru of Gang Starr's shadow on occasion. Producers Haas G & RNS line up temperate percussive grooves with colorful instrumental loops. Warm, often sunny, Jazzy and Soulful in nature, halve these track play a cut above the norm. The other half getting a touch tired on its repetitious nature. A few flashes of the "phunky fresh" vibe from Cypress Hill's early sound pass by too. All in all a fun listen, a solid record that possibly held more impact on the scene at the time of its release.

Rating: 6/10