Skinny Puppy "Vivisectvi" (1988)

 

Stylized as VIVIsectVI, this fourth machination of darkly Industrial and sporadic electro tones is one I vaguely remember from over twenty years ago. Revisiting it has not rekindled any youthful memories or sparked any further intrigue in Skinny Puppy. Once again the approach of Ogre and Key alludes me. Their dystopian soundscapes running detached from a convention I'd connect with, like groove or atmosphere.

Harsh drum machine percussion pounds its persistent drone, a shuffling assault of stabs and jerking motions as jolty synth basslines busy themselves with energetic resolve. A persistent theme arises once again, the emerging instrumental pallet heard better used by others later on. Vivisectvi has its moments of chemistry, often brief and wedged between Ogre's bare screams, grisly spoken shouts and plenty of sampled snippets that attend to emphasizing a darker side of society and human behavior.

For me, this one barely amounts to more than the sum of its parts, however for the year I can see how fresh and different this experience might of been. Vivisectvi bridges its fidelity into a more digestible format, the music sounding visible. Crisper instruments and synthetic instruments play boldly. Where it looses me is after Testure, another notably Synthpop adjacent song with melodic convention and gleaming bells juxtaposing the dystopian madness with a touch of hopefully, if not naive, light.

With a touch of Dejavu, the record descends into a sprawl of chaotic ideas after this song. State Aid and beyond leans hard into distortion and battering percussion, never quite recovering the atmosphere once flirted with. I've heard these ideas re-imagined by others further down the line and packaged so much better. I can give it merit for exploring these grounds but the end result isn't satisfying, simply of curious nature.

Rating: 4/10

Judas Priest "Ram It Down" (1988)

To compliment yesterdays The Ultimate Sin, a dive into classic Heavy Metal, I thought I'd pick out another personal favorite. Again it comes with a streak of irony. After receiving backlash from fans with the experimental Turbo, Judas Priest decided to give them exactly what they wanted, a run of the mill metallic showdown. Ram It Down is a bastion of fist pumping, head banging Metal anthems navigating a lack of depth as its peaks and valleys do come with some contrast when the album wains in its mid section. When throttling forth with vitality and enthusiasm, it rocks with an infectious spirit. When tempos slow and atmosphere leads, the grooves get somewhat stiff.

Ram It Down's aesthetic rides its rigid and hard hitting backbone as the group chose to deploy an aged drum machine to handle percussion on this outing. The drum sequencing has both charm and limitations as a lot of arrangements are limited to big bass snare groves, which pound away wonderfully. The finesse of drum fills and more intense beats are drastically limited and it shows as any organic dexterity is a rarity. Massive tom drums chime in with large feedback reverbs, a big feature of the 80s sound. I am quite keen on how its utilized, it suits Priest well!

Around the drums hinge bright and brimming overdrive guitars. Loud bold and ambitious, the duo bring a lot of audible clarity to the tight rhythmic chops of classic palm mute chugging and power chord shredding. Behind them the bass guitar pounds away with strength, pulsing hard with power and punch in the rhythm section. Upfront, Rob Halford is a gem as always, gleaming with his ear piercing falsetto, having his finger on the pulse for turning these fine instrumentals into arena Metal anthems.

The music roars out the gate with a string of its best songs. The themes and concepts simply a self realization of their rock star personas as a band. I'm A Rocker and Heavy Metal hit hard on anthemic, sing along feelings fit to steal a live show. Come And Get It speeds on in a similar tone with a cheeky, raunchy spirit metaphorically adjacent to the music. In its best moment the music rips hard. The cover of Johnny B Goode another goosebumps track to flip a Rock n Roll classic into a Heavy Metal riot.

In my mind this could of been a finest hour among others for Priest but sadly the album stalls going into Blood Red Skies and never quite recovers. That's not to say its a bad song but the pivot to focus on atmosphere driven by its repetitive drums and subtle bass synths doesn't match the faster paced material. Monsters Of Rock best showcases this as the group try to flip the anthemic narrative into a lunging beast of slow moving weight. Its a half to Ram It Down's concept that doesn't quite land but for what they get right I simply adore this record. It gets the adrenaline going fast!

Rating: 8/10

Cocteau Twins "Blue Bell Knoll" (1988)

 

Arriving at our 13th installment in the Cocteau Twins journey, fatigue comes to mind with a full length record that is both pleasant and joyous as it is consistent and routine. The sparkle is either missing from the record or myself. Put simply, Blue Bell Knoll failed to rope me with a lack of surprise within the musical idea portrayed. It is however a spirited pivot away from the Ethereal and dark that often lures me in. The majority of its ten tracks focus on bright, appeasing melodies that twinkle between the cracks in their hazy aesthetics. Simple song design and easily indulged moods make it a rather inviting record despite not feeling much deeper than its surface.

Two of its songs do hint an electronic element but alone with this duo, the experiment is brief. The title and opening track beefs up its bongo led percussive track with a synth tone to give of some subtle difference. It emerges boldly again on A Kissed Out Red Floatboat with an unmistakable likeness to Kraftwerk's The Man Machine main melody. The busying notes of osculating wave synth bustle their way through the song like a happy accident. Not adding anything in particular to the song but just coincidentally matching the musics key and peaking audibility when the other instruments quiet.

I could describe once again the details of these band mates contributions but I would be recycling my words. Its as one would expect from the trio with Fraiser finding her most quiet yet fitting performance. She dances through these songs effortlessly yet her presence doesn't have the punch her tricky annunciations on Treasure would. All in all its a reasonable effort but lacking a spark to distinguish itself in the shadow of their great works of musical art that came before.

Rating: 6/10

Bolt Thrower "In Battle There Is No Law" (1988)

I was looking for some contrast in Bolt Thrower's sound and I've certainly found here on In Battle There Is No Law. It is the groups debut record, a primitive affair of early Death Metal muscle and Grindcore grit. Yet to find its coming Military theming, it does have the rare moment of tempered groove resembling the likes of Mercenary and beyond. This is no half step away though, they are an entirely different band at this point. Given the name, I expected to find Power Metal at their roots but alas we have something more akin to Napalm Death at that era in time.

Its a muddy, messy assault of extremity borrowing ideas from Thrash in lead guitar solos and Punk in the rhythm section but mostly its steeped in an the early Death Metal sound. The production is dire as many records of this age were. Record producers had yet to figure out how to handle those riotous blast beats and so the drumming blurs technical fretboard thrashings into a discernible mess. The spirit gets through tho, the music often rigidly shifting in tone between its melodies, guitar thrashings and "plunges" of Grindcore battering that feels like the least exciting aspect as its pivots lack a sense of progression. The songwriting just feels without direction, sections stitched together and barked over by the monstrous growl of Karl Willets.

Its a typically hard to enjoy album for me, Its dated ideas bloom in the ugly, drab aesthetic and the whole thing lacks a charm or spirit you might occasionally find here. Even in company of other extreme records from this era its ideas just sound stale. To give them some credit they did record with John Peel beforehand, often a sign of greatness but on this one I don't hear the appeal and the evolution to come isn't obvious either. If I had started with this record, the journey would of ended here too.

 

Rating: 4/10

Bathory "Blood Fire Death" (1988)

 

 And now for the album where it all started for me... One of my first Black Metal records, Emperor's almighty and majestic In The Nightside Eclipse. It concluded with a bonus track, a cover of A Fine Day To Die, a mind blowing Bathory song, a true anthem of epic wonderment, embroiled in blood and darkness, thrust forth from a clash in the heavens above. Blood Fire Death is where it takes place, however not much of the record is inline with the soaring songwriting of its mesmerizing start. 

Opening with Odens Ride Over Nordland, the cries of majestic horses are lost to the echos of mist descend upon the listener. A spooky, chilling and mythic tone is set as the sound of creeping fog and archaic choirs forge a masterful soundscape of aftermath. Unlike previous attempts with ambience, Quorthorn envisions a stunning atmosphere to compliment the albums cover. Its as if souls are falling from the heavens above where the battle rages on beyond the mortal realm.

It gives way to the sombre acoustic intro, lined with whispering vocals and plucked strings echoing through the temple. The suspense for whats to come is palpable, an eruption of might and power. The power chords roar, the screams bellow and a sequence of unforgettable riffs lead us into battle. A couple splashes of blazing lead guitar fretwork set of sparks from the coming onslaught of guitar solos, Quorthorn seemingly mastering every aspect of his craft on this number. A break back to acoustic guitars and choral synths may lead you in the wrong direction as the musical beautifully groans its way right back into the heart of the fire with an unleashing of sonic guitar that shreds to the heavens and back with an astonishing sense of tune.

Its simply unforgettable. An eleven out of ten track that in my opinion elevates the spectacle of this album as the music pivots back into Under The Sign territory from The Golden Walls Of Heaven to Dies Irae. With excellent execution, stunning sprawls of shrill lead guitar noise and sharp potent riffing, Quorthorn nails down the fast paced, full pelt assault of ferocious proto Black Metal that Massacre achieved before it. Its clear his songwriting is in a stride as the songs provide memorable hooks and riffs alike as the listener is barraged with an unrelenting ferocity.

That pace is rested a fraction with the half paced stomp of All Those Who Died but it too has intensity in droves, another fantastic unleashing of evil aggression. Its this block of songs though that highlight a flaw in the record, Its production. The guitars are admittedly a little sloppy, its rugged punchy snare sounds like a drum machine for much of the record. All too often does the feeling in the musics writing outpace the quality as the songs here don't rely on low fidelity gimmicks to sell themselves.

It is only with the opening and closing title track that Quorthorn fully embraces a new spirit in his music, the history and heritage of his Swedish ancestry, Vikings! Where the last record started to experiment with this angle, this time the songs are fully realized and embellished in his roots. The beginning of Viking Metal to come! Despite the knowledge of whats to follow next, these songs really do define themselves with the simple use of male choral backings and ancient sounding synths. Of course the songwriting is key and less intense vocals contribute as well.

Its interesting going back over these old records of youth with an intention to understand them better. I'd still consider this his finest hour, however its become more obvious how fractured this and the last album are. Different music ideals emerge and experimentation is more obvious. The songwriting at this stage though is utterly remarkable. A definite peak although whats to come is an era I am less accustomed with. I find myself very excited to visit albums that once disappointed a naive younger me, for simply not being like the records that came before it!

 Rating: 10/10

Living Colour "Vivid" (1988)

The magic of shuffle kicks off another journey as a track other than Cult Of Personality plays and captivates my attention. Its the perfect spark to lure me in and over the past couple of weeks Ive grown to adore this record! When first digging the mood and vibes I thought about how much I loved nineties music, of course this record was a couple years before that decade but Its shades of Alternative and Funk Metal now sound like a precursor to what would blow up in the coming years. You could even trace back Groove Metal back to some of the stomping riffs that appear on this record too. Its been a revelation in some ways, another piece in the puzzle, a key one too.

The group formed in New York a few years prior to this debut album and they arrive on the scene with a really powerful and well formed sound that fuses elements of the aforementioned genres with a Hard Rock baseline, some flavors of Funk and periodic upbeat inflections of cheesy eighties Pop vibes. They pull it off well and roar out the gates with the timeless Cult Of Personality, beyond it an impressive set of songs bring a diversity of well executed ideas thanks to a solid rhythm department. Its led by slamming drum beats that have a little Hip Hop sway to them and alongside punchy baselines that get a couple of songs to step up and flex phenomenal bass playing.

Singer Glover has a fantastic range and pulls off some immense high pitched notes at key moments, he is a well rounded voice at the forefront, lively and emotionally invested. The guitar work is sublime, a range of styles even spanning as far as a Country tang give the songs there tone. The lead playing lines many of them with electric guitar solos that erupt and roar, bursting to life with electricity, showing off technical prowess and slick inspiration. They also drop in with hard hitting riffs and grooves that will have you slamming your head back and forth on many an occasion.

To me, the record walks on many paths and feels like a journey round the world as it explores many ideas, tones and temperaments. The lyrical content and theming also hits a diverse collection of thoughts and problems having personal perspectives, strong feelings and a outlook towards social situations and political problems. The two aspects gel together fantastically and make for a record I can't help think may be somewhat lost to time. I wouldn't say its a classic but it really has a pivotal feel to it, a stepping stone towards the immense music I adore from the early nineties.

Favorite Tracks: Cult Of Personality, Desperate People, Open Letter, Broken Hearts
Rating: 7/10

Steve Roach "Dreamtime Return" (1988)

American composer Steve Roach's third major release, Dreamtime Return, has been lavished with praise, finding its way onto many essential listening lists, especially within the Ambient community. I share in its appraisal but must also put my trust in the critics who cite the records significance. The ideas on this record are not new to me, its execution however is stunning and to put yourself in the mindset that this is the first emergence of these new approaches to sound creates little more excitement. It barely elevates the already metaphysical experience at hand, which is truly transformational music at heart.

Temporal, meditative and deeply spiritual, the sonic pallet of spacey, exploratory electronic synths advance into the winds of life as the beating heart of mother earth pounds through slow, vast tribal drums and percussive instruments. They form a disconnected experience as their tempos are stretched by the lack of any measurable groove. In sway deep, engrossing sounds, phasing in and out of existence around the illusive anchor to reality. The atmospheres are large and engulfing yet with the percussive backbone they feel earthed by scale, as if primitive man gazes in awe upon the unending lands of earth he can explore eternally.

It is simple to dissect and understand the musics formula yet the power and persuasion it has over a willing listener is the work of a master. Dreamtime Return lasts over two hours and there are some sections that will appeal more than others but its length is testament to the metamorphosis it takes into the roots of our culture-less heritage. In my personal experience I see baking red deserts, vast savannahs and tropical paradises, all beautiful and deadly, the life of an apex predator far from the emancipation of civilizations neutering.

The spiritual side, embraced by the sweeping, windy synths, induces a subtle psychedelic quality that make me think of native Americans on spirit journeys or vision quests, an intrinsically profound experience under the aid of chemicals. There is a strange sense of isolation within the music but it is not loneliness, the hypnotic nature of the record will let one find their symbiosis with mother nature and bask in the awe of insignificance we are as individuals. Where Structures In Silence gazed upon the cosmos, this record gazed internally to the core of our being.

Rating: 9/10

Danzig "Danzig" (1988)

I'd never had much luck getting into the Misfits and if it wasn't for Rick Rubin's involvement producing this record Id probably of passed up diving into the solo material of an artist from a band I'm yet to vibe with. Named after front man Glenn Danzig, this four piece outfit revolve around their singer, songwriter who disbanded the Misfits six years earlier. His intent was to take his musically seriously, something he couldn't do with his former band mates and so he formed "Samhain", a band with a very similar image, using the same iconic font, following themes of horror and the occult in its imagery. The success of that band landed him a record deal with Rick Rubin's newly formed American Records and this is the resulting debut for both band and label, considered by many as a classic.

Danzig's voice and personality are the focal point of this record, its charm, atmosphere and attitude all swell from a creative force not heard like this before. Once an angry shout soaring over distortion guitars, Glenn tones down the format for a Hard Rock, grungy Blues Rock beast that has him singing with soul and passion over lightly overdriven guitars that kick blocks of chomping Heavy Metal groove between the mood of bluesy classic six string, plucked and strum chords arrangements.

 The blend of styles is warm and inviting, making for songs with a bit of bite and strength between its hard Blues Rock tone. Danzig's singing brings the record to life with his lower vocal range illuminating the feeling in his poetry. The riffs, words and arrangements all add up here on a lively record that's broken up neatly with Heavy Metal guitar solos tinged in a Southern Rock tone. The production is crisp for the era, the drums have an especially nice padded tone about them and it all culminates in a solid record with no weak points, an obviously classic but a style I am still becoming accustom to.

Favorite Tracks: Am I Demon, Mother

Rating: 8/10

Crimson Glory "Transcendence" (1988)

I fancied getting a little "old skool" with my Metal music and browsing through some online top lists this 1988 "classic" caught my attention, primarily for being labeled Progressive Metal at i wasn't to familiar with the genres roots bar Dream Theater who would drop their first album a year later. Crimson Glory are a five piece outfit from Florida who are still active despite not releasing any new material in this millennium. Id personally describe them as a traditional Heavy Metal and Power Metal hybrid however the influences of Progressive Rock are unmistakable, there is a clear elevation in song structure with time signatures and intricacies to ponder on throughout. Poised at a time where Thrash and Death Metal were starting to drastically change the identity and sound of the genre, Crimson hold onto the traditions but expand them with musical dexterity.

Transcendence isn't an album Ive dove to deep into but its lyrics portray fantasy themes of mythical beasts, lands of eternal season and dramatized figures of monarchical rule. Singer "Midnight" flexes these lyrics between a traditional range and the ear piercing wails of high pitched power done as good as the greats like Rob Halford of Judas Priest and Kind Diamond. On "Red Sharks" however the tone shifts to paranoid themes of communist threats in the mist! Sticks out like a sore thumb against the rest but doesn't detract from the fun music.

My vocabulary for describing these traditional Heavy Metal style songs is limited but what I can point to is the craft in song writing that guides the prowl and patrol verses into journeys with fantastic breaks for illuminating guitar solos that crescendo outbursts of color as acoustic chords chime with bright lead guitars and the rock solid rhythm guitar. These are the moments that the transcendence occurs, separating them from the likes of Dio and others in that genre. In other moments the band make great use of synths that might sound a little cheesy given the tone and age but they are executed without gimmick at fit snugly into the songs where they crop up. The drums have a big stadium feel, fit for the stage with plenty of gated reverb on the toms, very 80s. The bass guitar is mixed well, you can hear it often mirroring the guitars with little deviations and inflections.

All the components here add up to a terrific record that given its decade is certainly a gem, just not one too my taste. This form of Metal doesn't resonate strongly with me and without an emotional attachment much of its sparkle becomes more appreciative than impacting. It in no way turned me off though, in fact I think with more repetition it could grow on me. For now I will shelve this one for a rainy day, I'm sure the absence will give these songs new meaning when they return.

Favorite Songs: Masque Of The Red Death, In Dark Places, Burning Bridges
Rating: 6/10

Killing Joke "Outside The Gate" (1988)

Continuing our journey through the fifteen full length Killing Joke albums we arrive at their seventh and undoubtedly their worst received record by both critics and their fan base. The group made a stylistic shift towards the once trending Synthpop sound without any form of subtlety. Having wrapped my head around it I see the negativity as a reaction to what was probably perceived as trend hoping, however being from the distant and mysterious future there is little offense I can take as its no longer relevant. That doesn't let it off the hook though, their are some jarring, rigid and unfortunate moments where it doesn't work, equally some great moments too. The opening track "America" is a fantastic example of good pop song writing, with a hook and catchy chorus. Its cynical lyrics and unsettling, gleaming synths reinforcing underlining the dark, observational message.

The rhythmic identity and tonal guitars are all but absent on this record and its a key part of what defines them, or once did. Equally singer Jaz Coleman steps further outside his normality and flexes his vocals, showing his ability, range and the charm his softer side has, similar to on "Love Like Blood". It sound stunning on the second track when accompanied by lush chorus pedal guitar strumming and can sound equally fluky on "Stay One Jump Ahead" where they play out Synthpop cliches. The records problem is in the rigidity between their natural instincts and the Synthpop characteristics they emulate. There is a couple moments where its awful, mostly mediocre but between them they always drift towards the moody, brooding atmospheres which having a rich set of synths and decent production value sound glorious in their moments, however theirs only a few tracks that hit that mark.

For me that's the record in a nutshell. Its best moments come from the bands leanings to their unique sound and the worst from pop cliches and "moments" in songs you've heard other bands do. It does however not deserve the flack it received in my opinion, the chirpier synth added a welcome dimension when executed with inspiration and it yielded a couple of fantastic songs. Whats interesting is this shift came years after the scenes apparent decline. I'm doubtful the motivation was to scene hop, maybe just to explore an interest in a sound than played out alongside their best years.

Favorite Songs: America, My Love Of This Land, Unto The Ends Of The Earth

Rating: 5/10

Dead Can Dance "The Serpent's Egg" (1988)

Following up on the riveting "Aion" we take a step back to Australian duo Dead Can Dance's forth record released two years prior. The band are still in their recreational spirit, creating inspired, immersible atmospheres conjuring nostalgia of ancient civilizations and our mankind from a different time. The record plays in two halves and opens with a song that is surely their magnum opus. A low organ hums under Gerrard's voice pouring with emotion and strength, the quiet crashing of drums creeps in underneath and after a short pause we are whisked into an overwhelming moment of beauty and sorrow. Divine strings enter and illuminate her voice to another level, its a moment that resists all doubt.

Unfortunately this moment of genius overshadows what is an underwhelming record in comparison to "Aion". Having taken the time to listen to it again I find a portion of songs in this track listing fall flat of their ambition to captivate. Maybe a touch on the minimal side, or perhaps Ive just experienced my share of this medieval music, either way the songs not listed below didn't grab me like the ones that are. Its an album of two halves, in two different ways. On one hand theirs an inconsistency to reach the soaring height set by the opener, on the other a record with two distinct vibes.

The first five tracks have the familiar medieval theme ripe with biblical organs, bells and chants. The second half, starting with "Chant Of The Paladin" shifts gears to an exotic, Mediterranean sound. Starting a touch dry at first the last two songs invoke mesmerizing rhythmic melodies around eerie synths conjuring images of fire, sands and Arabian mysticism. "Ullyses" is an luminescent finale, treating us to swift melodies and linear emotional progressions led by Perry's sentimental vocal presence. As a whole it has some weak moments but also produces a few on the bands best songs, well and truly worth your time, for the opening track alone.

Favorite Songs: The Host Of Serphim, In The Kingdom Of The Blind The One-Eyed Are Kings, Mother Tounge, Ulyses

Rating: 6/10

N.W.A "Straight Outta Compton" (1988)

Just about everything that can be said about this records immense impact on Rap and music has already been said. It set Hip Hop on a new path, put the west on the map and delivered us the phenomenal talents of "Dr. Dre" and "Ice Cube" while forcing Gangster Rap and reality raps into the mainstream. If you have never heard of this record you need to do yourself a favor and read about it, listen and love it. Along with Metallica's "Ride The Lightning" I found this record through VH1 at around thirteen years old and it forever changed my outlook and music direction, so for this blog I thought Id focus on how this record impacted me as a person.

Being a relatively angry and frustrated young person I was initially attracted to the aggression and attitude on display, but as I learned the words the message sunk in quick and I found myself envisioning a reality I would of otherwise never know about. The lyrics depicted the American ghettos riddled with poverty, gangs, police brutality and drug problems. It opened my eyes to reality, I had a fortunate upbringing and I was understanding that the world was a big place with many problems. "Fuck Tha Police" was the song that really blew my mind, I had never heard such anti-authoritarian anger and it taught me to question what the police were and to challenge what was wrong and right in the eyes of the law. From that point on I always gave second thought to my assumptions and it set me on a path to be an open and accepting person who looks for tolerance and compassion over prejudice and judgement.
 

I've never grown tired of this record, there's a ferocious energy of anger and rebellion that always comes across and Dre's beats are still rocking today despite some obviously dated aesthetics the core compositions are fantastic, breaking out of the mold thanks to Dre's attentive ear for sampling music. Its him and Cube that make the record for me, MC Ren holds is own and drops some great raps but its Cube lyrics, also ghost writing for Eazy and Dre, and tireless flow that delivers line after line of Hip Hop's most memorable verses. He's raw and unfiltered, and with time developed his word play, flow and delivery but he could never top the impact and relevance of his rhymes on Straight Outta Compton.

I always felt the best of the record was found on the first three tracks and "Express Yourself", although the rest of the record doesn't fire quite with the same intensity its practically impossible to write thirteen tracks of "Fuck Tha Police" but the reality is they overshadow the rest of the record that's full to the brim of unfiltered reality raps and story's not for the faint of heart. Its hard hitting substance of tough times and reckless attitudes that take it all the way to the final track before Dre and Yella's throw back to their DJing days. Its a classic, one that had a profound personal influence on me and if you've never heard it before you should do yourself a favor.

Favorite Tracks: Straight Outta Compton, Fuck Tha Police, Gangsta Gangsta, If It Ain't Ruff, Parental Discretion Is Advised, Express Yourself
Rating: 10/10

Ministry "The Land Of Rape And Honey" (1988)

Ministry are a big and influential Industrial Metal group who formed originally as a New Wave duo in the mid 80s, but found themselves quickly gearing towards the EBM & Industrial sound. This could be their most important album as it introduced the metallic rhythm guitar to their sound, a move that has had a resounding effect in Industrial Metal. I've been exploring their music after purchasing there first 5 industrial albums in a cheap package that proved to be an absolute bargain! I chose to write about this album for its significance and my personal gravitation towards it.

"The Land Of Rape And Honey" is a noisy, grisly beast of a record, creating dark, cold, devastating industrial soundscapes that take many shapes and forms across the 10 tracks. Songs like "Stigmata" & "Deity" have great rock sensibility with big riffs, catchy hooks and iconic lyrics "My favorite weapon, is the look in your eyes". Others like "Destruction" & "Flashback" forge unforgiving, industrious sound scapes that build tension and dread. A couple of tracks focus more on the EBM aspect of their sound, for example the title track and "Abortive". The variety and ability for the band to shift between the different elements that build their sound gives this album depth and plenty of replay value.

For the dark and Industrual sound Ministry forge, they also have an unsettling, eerie sound about them too. The synthesizers sound disenchanted, gritty and erroneous in texture and form, along with some processed vocals on particular tracks Ministry create a unique eeriness that i could only refer to Japanese cyber-punk movie "Tetsuo" as a similar vibe. Along with these unusual sounds, the mechanical groove of the drum machine and pulsating base lines give the oddities much needed structure and form that makes the album approachable. The guitars appearance on this album, despite its importance, is not missed on the tracks its not featured on. The ones it does are certainly classic but its a testament to their song writing abilities that all the tracks on this album offer something, regardless of what kits, sounds and guitars are used. Thoroughly enjoyable album, must of been something real special in 88, still sounds fantastic today.

Favorite Songs: Golden Dawn, Destruction, The Land Of Rape And Honey, You Know What You Are, I Pefer

Rating: 8/10

Biz Markie "Goin' Off" (1988)

"Hey mum, whats for dinner? Go up you nose and pick a winner!" If ever you wanted to set the tone and let people know not to take you to seriously, then opening with a song about picking your nose is the way to go! Silliness aside, Biz might be comedic, but he has a steady and charismatic flow that quickly draws one into the song and the album. Biz ain't no joke, even if the subject matter is.

The golden era Hip Hop is one i have great respect for, considering how much innovation Hip Hop has been through over the years, the formula is always the same, beats and rhymes. Its a reminder that nothing is dated. Biz's flow, with its old-skool vibe, is captivating and witty and the lyrical content is there even if comical at times, theres also some socially conscious rap on the track Vapors which is a standout track on this record.

The instrumentals on this record aren't quite as memorable as others from the era (ie Schooly D's PSK), but they serve the purpose well. Theres also quite a few snippets on this album that have been sampled by post-golden artists which is always a nice listening experience for keen ears. Overall and easily enjoyable album if your into the golden era.

Favorite Tracks: Pickin' Boogers, Vapors, Nobody Beats The Biz

Rating: 6/10