Love Is Colder Than Death "Mental Traveller" (1992)

 
Proceeding their sophomore Teignmouth, we embark on sullen strides of mournful brooding. Mental Traveller ventures into worldly vibrations, linked by language-less tones of morose suffering. A frequent chemistry between dawning strings and Susann Heinrich's burdensome singing, captivates a moody pre-technological tension. One will be transported with visions of rural hardship lived in the shadow of human sin. A sense of ancient culture and lost religion prevails through these belated downtrodden soundscapes. Perhaps an artifact of my imagination, their gradual groaning, building up to rigged percussive grooves, can't help but evoke this antiquated notion.

My main gripe with the record is its similarity too Dead Can Dance. Many ideas and paths walked feel closely modeled on their music. This feels most obvious when an occasional song shifts gears for uplift and reprise, a little tuneful medieval charm having the same tone and textures as the aforementioned. This is however what I have been seeking, Neoclassical Darkwave. Love Is Colder Than Death have just that. Their approach just lacks a distinction to provide conversation to the genre.

 The second half of the record pivots, Ralf Donis takes over, ushering in Industrial tinged drums that reveal their programmed nature. Like last outing, it leans Electro-Industrial on a couple of tracks, almost birthing some genuine fascination with a grim tone but falling short. Despite all my attempts, this one just didn't latch mentally. 

Rating: 5/10

Tiamat "Clouds" (1992)

 

My metallic ventures of late have leaned towards nostalgia. This path however, id not previously indulged with. Uncovering this European scene of melodic Gothic Doom and gloom, unearthed parallels capture much of my attention as the tapestry of influence enriches. Yet to devise the matured atmospheres of Wildhoney, Clouds builds on the heals of Thrash Metal. Its weaker songs burdened by the tempo and intensity of the 80s scene, a hangover needing a cure. The dusky keys and tuneful melancholy struggles with reflexive sways into choppy aggro and sluggish groove.

Magic emerges when its macabre themes blossom. Funeral synths and grievous melodies paint its Gothic graveyard blues vividly. The record finds stride with songs like The Sleeping Beauty as its distortion guitars lean into the lurching terror Doom Metal. In other chapters the spell is broken by pivoting guitar solos. They wail dazzling flushes of theatric on the gallop of thrashing riffs and doubled drumming tempos.

To my ears, Clouds suffers its influences. Aching from within beautiful, inspired song writing emerging stiffly in its calm and dark temperaments. Stitched together through tropes not quite suited this vision, my ears can't help but linger on the disparities. One of which is Edlund's wretched poetic "cleanish vocal" readings and lightweight guttural growls, the latter of which surprisingly suited the dreary cumbersome tone.

In brief glimpses, its keys yawn similar to a favorite of mine, Always... I especially loved the arrangements utilizing cheap and effect Casio keyboard tones for its Gothic cast. I wouldn't consider Clouds great but It seems fitting that adoration can be bestowed if discovered in the right time. For me, that probably would of been in my youth when reveling over Cradle Of Filth's starkly Gothic take on Extreme Metal.

Rating: 6/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

God "Possession" (1992)

With a wealth of music just a few clicks away, my reading tangents of band connections, genre exploration and general curiosity is no longer manifesting an obscure list of music I'll never actually get around too. My recent unearthing of Techno Animal's Re-Entry led me to find out what its other half, Kevin Martin, was up to with God! What a band name, I wonder how it had not been scooped up early, perhaps held by some iconic artists. Its competition in the shadow of the church and religion is no cause for a lack of prevalence here, the music rather obscure and unwelcoming.

Labeled as Avant-Guard Industrial Rock and Metal, I thought there is a fair chance of finding some appeal. Sadly these length tangents of manically droning exhaust whats decent and smother it an onslaught of tonal assault that forever meanders on its repetitive structure less form. From its shortest four minutes into the lengthy stints topping out at seventeen minutes, every song hinges on a baseline and drum pattern backbone. It works away, iterating itself at the same tempo incessantly! Then a fog of samples, random noises, distant voices and a zany Jazz Saxophone slowly wash in. Each song finds its flavor, a distinction but they all grind on endlessly.

The Sax performance is rather impressive with some vibrancy and illumination often steered into a maniac frenzy of squirrely notes bordering on mental illness. Its other instrumentation, sometimes pianos, other percussive sounds and shrill sounds, often feel intentionally out of step with the core musical loop. Its result just doesn't spark a magic for me. A couple of songs may have a strong drum groove or meaty distortion guitar lick going for it but when that crops up, its repeated to death.

Don't get me wrong, I had a fair bit of fun with this. The first listen was the strongest with walls of maddening sound a treat to pick apart. The texture and intensity is wild on first glance but once a songs played twice its all to apparent how lacking the depth the project is. The songs have no direction other than to drone and all its ebbs and flows of accompanying madness just seem random and without much intent. Reversing those trends could of yielded but sadly the whole record is a bore.

Rating: 3/10

Bolt Thrower "The IVth Crusade" (1992)

I may have said I was done with this journey for now but one curious listen alone had me thinking this was hands down the best Bolt Thrower had to offer. If War Master, their previous effort, was a pivotal moment of evolution for the bands sound, then this is the mastery of that transformation. Dispensing off with the Grindcore hangovers of frantic guitar noise and plunges into manic blast beats, the band shed the scars of their youthful music and lean full tilt into their championed formula of dense low end grooves that croon against frequent rises of catchy leads. Pairing power and might with satisfying swigs of mean melody, the endless sways are endlessly enjoyable.

 

Despite being fully accustomed to this mid-tempo Death-Doom temperament, these songs seemed to hit the hardest of all and with a little more pace than usual. With a crushing resilience, the production brings about a dense, feisty tone that carries the relentless percussive pummeling so well. Track after track hammers away with intense, pounding drums rattling off a heavy framework for the thick, meaty distortion guitars to grind out an arsenal of riffs that carry well. These songs are simpler, to the point and with a refined execution the head banging is ceaseless!

Many of the common tricks are turned here, the timely breaking of intense drum patterns to half times on the ride or hi-hat symbol are in frequent circulation. The guitars offer up balance with the constant swaying on the ranges of the fretboard. Above it all Willets gives another mighty performance with his steady barking of guttural growls as mean and gritty as ever. Despite being a familiar experience, the excitement sustains as the sharpest ideas are delivered stunningly. Within the Death Metal context, the angle of war and the suffering it causes delivers a tempered beast of crushing might and majesty that's somehow unlike anything adjacent to them.

Embers stands out for sharing the same recurring riff as Powder Burns and Cenotaph but taking the biscuit is closer track Through The Ages where the band offered up a little novelty to their sound. Light choral synths back one of their broodiest riffs in the closing phase after a spoken word narrative listing of a long history of wars throughout human history. It ties itself to the thematic concept of the record seen in title, album art and lyrics. Just by stepping aside with an alternate idea they create a truly memorable song as the dates listed reinforce the magnitude of human created suffering by war, only then to be shadowed by this swell of musical might. Its powerful.

 At some point I will probably get around to the missing Bolt Thrower records I am yet to unearth. My entire time with the music I was trying to figure out where they fit into Death Metal's legacy. Thinking of other pivotal records in 92 like Clandestine and, Tomb Of The Mutilated this was certainly not at the forefront of the musics evolution but right at its peak they came through with a matured sound that didn't hinge on gimmicks as subsequently can be appreciated well through a historical lens. If I've not made it clear, this is thee Bolt Thrower album to check out! A brilliant moment in time.

Rating: 8/10

House Of Pain "Fine Malt Lyrics" (1992)

 

Famed for the timeless Jump Around, a song now spun to death at public events and venues, Fine Malt Lyrics is the debut multi platinum album that houses the smash hit produced by DJ Muggs. This is not a record that gets talked about often and with good reason, its aged poorly. I have soft spot for this trio though, they have close ties to Cypress Hill and little DJ Leathal of Limp Bizkit, two of my youthful favorites.

House Of Pain have a distinct style, excelling in the two key components of Hip Hop music, beats and rhymes! Rapper and front man Everlast has the clear annunciation, groovy flow and punchy rhyme emphasis to give himself a unique charismatic voice on the mic, embellished by his Irish heritage that's woven deep into the tapestry of the band. He is aided greatly by the production and sampling, complimenting his stance.

With a depth of sources not usually akin to Hip Hop, the pairing of beats, samples and prominent baselines brings out this quirky and energetic vibe with a touch of funk and uplift. Its undoubtedly similar to Cypress Hill's stunning debut with DJ Muggs producing half the album however the Latin lingo and cultural inflections is swapped out with this Irish spin. There is also a hint of Bomb Squad influence here too.

Stacking up the best tracks in the opening run, its not long before Everlast is running on steam. With a focus on braggadocio revolving around his lyrical prominence and sexual appetite, the themes end up spin like a roundabout. Given his delivery is bold and simple, like many where at the time, it doesn't hold up over an hour of listening as the same punchlines get traded over and over with a different cut of words.

Despite this, its fun to jump in and enjoy a few tracks. They have always been the sort to have me queuing up a few additional favorites when a track pops up on shuffle. Giving the whole record a go today It made me realize how with the times they were. Hip Hop has evolved immensely since then and the formula of this era is shaky when the lyrical substance is lacking. This record sure has style but not depth.

Rating: 5/10

Alice In Chains "Dirt" (1992)

Dirt is one heck of an iconic record. It kicks of with a frightening scream as an eruption of tempered guitar chugging kicks off their most famous song, Them Bones. It jumps straight into gear, a mastery of atonal riffing as the chilling lyrics about ending up as a big old pile of them bones rock the chorus with a morbid honesty. The grungy dark metallic tone is set and Staley will go on to haunt us with some despairing lyricism and chilling performances on this record. Released later in the same year as Sap, the Seattle grunge giants Alice In Chains return with more Metal inflection and a leaner iteration of their unique identity established on their debut Facelift.

After a lightning start the album rolls into a slick run of songs. Tight guitar grooves stitch together beautiful eruptions of Staley's infectious singing. He soars above with the albums best hooks in its opening numbers. He is illuminating but on inspection a lot of darkness emanates from his harrowing words. Getting past the aggressive riffing of Them Bones and Dam That River we start to slip into moodier atmospheres, culminating with the frankly depressing Down In A Hole. It is a beautifully sad and hopeless song. Sickman offers more wounded lyrical fragility as some choppy metallic riffing shuffles its way in and out of an eclectic song. Its defeatist, the "what's the difference ill die" lyric so disheartening given his demise. Its a theme throughout.

Just when you think it can't get much more interesting the album pivots to anthems as Rooster and Junkhead both play with the mastery of tingling build ups that erupt with iconic choruses. "Here comes the rooster!" and "Whats my drug of choice? Well what have you got?", still gives me goosebumps all these years later. I especially like the guitar solo on the later, a simple complimenting melody to peak the song. Its a classic lead you always find yourself singing along too. With title track Dirt more gut wrenching lyrics and electrifying music is bestowed up the listener. Jerry Cantrell has an absolute arsenal of riffing ideas that keep everything fresh and interesting from start to end as Staley drags us to the depths of his self loathing and despair.

Either side of the Black Sabbath Ironman skit track Ironglad, we have a two tracks you might say are a mediocre records gems. Even as songs you might put at the end of your favorite list they still deploy interesting and unique musical ideas to illuminate them in the presence of so many magnificent tracks. Angry Chair takes a darkened shadowy atmosphere and chops it up, shifting the music between different tones. The album keeps its intensity throughout and end on a soaring high with Would? It again just shows an amazing chemistry within these musicians and Staley once again steals the show with a gift to make is haunted words somehow catchy and infectious. Its monumental, an of the moment album that stands the test of time, bringing together the best of Grunge and Metal and making it their own.

Rating: 10/10

Tool "Opiate" (1992)

Following up on their promising demo 72826, American Alternative Rock outfit Tool put together Opiate, an EP consisting of six tracks, four from the demo and two new songs. Its all recorded in a new studio however two tracks are actually recordings from a new years eve show. They sound fantastic in the live setting, giving a lot of charisma and energy to songs that previous sounded a little flat within that chromatic demo quality. Unfortunately these re-recordings don't add much to the experience. Hush and Part Of Me both sound mediocre on this recording. They have stepped up the overall clarity but things still have a sloppy demo sound, the bass guitar suffering the most.

The title track Opiate certainly raises eyebrows with its roaring scream of "We both want to rape you". The music aggrandizes this dramatic moment and a dive into the lyrics hides no secrets to its religious context. An exact meaning may be down to interpretation but it seems to criticize the evil that can be bestowed in the name of God. Its the records best song with a thunderous momentum of bustling tom drums and dramatic, sinister guitar work after pivoting from a more generic rock song. Eventually it fades out to a break of silence that reveals a "secret" track with some patience. This hidden music is a psychedelic jam of comedic musing and cried of Satan. Doesn't add much to the record, but it is its own experience.

The opening and other new song Sweat has crunchy rolling guitar riff work in its opening phases that sets the tone for some anxious lyricism. Its breaks to expansive, atmospheric driven guitar licks are appropriate but its far from a memorable song. So far Ive found myself understanding the music and picking up on the vibe but not feeling anything remarkable bar one or two moments. This rehashing of their demo was a little underwhelming but I am hoping for great thing with their debut Undertow.

Favorite Track: Hush, Opiate

Rating: 5/10

At The Gates "The Red In The Sky Is Ours" (1992)

My recent enjoyment of their latest effort, To Drink From The Night Itself, prompted me to finally get around to checking out a band held in high regards among the Metal elite. The Sweedish outfit have a near perfect score for this record over on the Encyclopedia Metallum. Its an ugly, gritty old school Death Metal record that does little conventional to charm and much experimentation to conjure a dark, broody wallowing atmosphere that would undoubtedly been more impressive in the context of 1992. Even if I Cast my mind back to the likes of Cannibal Corpse, Morbid Angel, Decide, Death, Hypocrisy and fellow Swedes Entombed, I couldn't specifically say why this record stands apart but I do have some hunches that become obvious on inspection.

Firstly the limited production ability of those times doesn't overwhelm us with thick, overtly loud and punishing guitar tones. Instead the instruments feel rather separated and sparse in comparison to what would of been common at the time. The result of which is music that's far less nauseating to follow and lets its melodic streak flourish in a limited sense of the word. It would be another two records before they would be associated with the emergence of Melodic Death Metal pioneered by Carcass. Here on The Red In The Sky Is Ours there is clearly an inclination to melody in its darker form over blunt force tonality and primitive rhythms.

After just a couple of listens it becomes very clear At The Gates are not trying to dazzle you with simple brutality, crushing grooves or bombastic syncopation. Many of the riffs feel non-circular and linear with some drawn out grinding leads and tremolo picking sequenced in shorter arrangements that cycle swiftly. The result is a spectacle of perceived oddity. With repetition it grows in vision yet the music always falls mercy to strange moments of unconventional riffs that stop the music in its tracks with drop outs between its notes. It is also characterized by the inclusion of folkish violins that both chime in and play linking interludes between songs. As stated before they don't immediately feel natural but end up making sense and leaving a memorable mark.

The unusual and strange runs deeper than its observations. The mood and tone of the record has vibrations unlike typical Death Metal. It leans towards atmosphere when its brooding tracks can culminate in layered guitar leads and violins that feel more visionary than primitive. But what is its vision? I am still unsure but I know it is dark and dimensional. In other times it drifts to the Avant-garde as its baselines plod to the forefront with a murmurous dance. The drumming arrangements seem to flop over from the battery of pounding atypical grooves into experimental sporadic shuffles of madness mostly helped on by a sloppy outdated recording aesthetic.

 Its clear the group attempted to write music that's complex, challenging and subverting norms within a subversive genre that has quickly established some boundaries. It has also produced results in doing so. A mysterious atmosphere brews through its endless string of experimental riffing that is continuously shifting, evolving, unwinding, providing delight and a unique mood to indulge with. Each listen uncovers another secret as one slowly dissects the arsenal of experiments crammed in behind the red haze of its ambiguous, red sky cover art.

Favorite Tracks: Within, Claws Of Laughter Dead, Night Comes Blood Black

Rating: 8/10

Danzig "III How The Gods Kill" (1992)

This third chapter in the series continues on with a very expectant tone, the same knuckle strapped rock and rattle of Heavy Metal tinged in the bluesy voice of Glenn Danzig strikes again. Deep into their stride the band offer up another ten songs that will make a meal of picking your favorites, the energy is ripe, the music inspired and the tone dripping in a moody evil ready to persuade. With an increasingly metallic leaning, the intensity broods and moves a touch more expansive, the opening "Godless" a bold example as its thrashy uptempo pace collapses into a crawling swell of prolonged power chords fading into a soft and eerie synth. It parallels Doom Metal but only for this one song.

Much of what Ive said about Danzig and Lucifuge could be said again here, the music however catches up with Glenn here, the powerful intensity of the guitar work keeps up with his monstrous personality as the enigmatic front man with his cursed performance which always carries a burdeon. "How The Gods Kill" keeps the power at bay, a soft acoustic guitar accompanies Glenn who shows the soft side of himself in a pleasant melodic calm that unsurprisingly erupts with squealing pinch harmonic riffs to ratify the unease that lingers throughout.

Each of the songs ideas are executed with a touch more cohesion than before and the whole album is enshrined by its shadowy mystique, the songs turning the screws tight on a darker shade of the Danzig sound. Its chilling, spooky and perhaps best personified on "Heart Of The Devil" where Glenn affirms is evil intention, boasting the influence of his corrupt powers in a roaring performance. Followed by "Sinstinas" the mood drifts ethereal as the group take a turn with light synths and soft reverberated chords that plays like a sleepy dream pop love ballad reminiscent of Julie Cruse, of course its like a mirror to the darkside.

The edging of ideas creeping into new territory that can be heard here fits easily into the chemistry but only in the fractions it does. Otherwise this third chapter makes its self mostly known for its more sinister leaning and harder hitting guitar licks. As on every record so far Glenn's performance and persona illuminates the record and his lyrics get stuck in your mind. Its their most powerful asset, here as sharp as ever I think its fair to say this is my favorite so far! Chapter four is next.

Favorite Tracks: How The Gods Kill, Dirt Black Summer
Rating: 8/10

Biohazard "Urban Discipline" (1992)

After "Tales From The Hardside" sucked me into the Crossover Thrash world of NYC's Biohazzard I couldn't help but check out their sophomore full length which critics often site as their best record. Where State Of World Address captured my interest, their prior release Urban Discipline owns it. Filled with fist thumping grooves, lively gang shouts and the aggressive "in your face" raps of front men Evan and Billy, Biohazzard get us fired up with adrenaline soak tunes to stomp along with.

Demanding self respect with an attitude, words come from the inner strength, street hard mentality to point the finger at societies woes with a voice of reason to shine focus on apparent hypocrisies. Every song has a stance to hold ground and grit your teeth as guitars slam in with Hardcore dance floor movers between power chord thrashings to pull intensities from two avenues. Most the songs play off this dichotomy as gang shouts often throttle us from the lineage of chord arrangements to low end chugging slams.

With a rather chromatic, dated production the songs benefit from a consistent, slightly dulled tone that doesn't over emphasis musical shifts with bombastic, audacious instruments. Instead the muted clarity lets the gear shifts creep up on you with the next riffs magic taking you by surprise. Even after plenty of spins I find them catching me off guard as the music outpaces its dated production. The base drum kick would be all but lost if not for heavy syncopation and the snare has a harsh rattle but the drums still rock the grooves and hold the music together.

At the front of the music the thuggish rapping duo have remarkable charm when it comes to energy and passion as their liveliness makes mockery of the flat sung notes and narrow shouts the two pull off. My favorite song "Business" is loaded with off notes as they push beyond their vocal range. The fantastic lyrics, heartfelt charisma and intense guitars make it a personal highlight for me. "Music's for you and me! Not the fucking industry". The production dulls its glowing energy somewhat but can't stop it from being a real skull cracker in the opening half. It lets itself down towards the end as it draws out with various ideas and experiments that don't quite work out as well.

 Favorite Tracks: Chamber Spins Three, Business, Man With A Promise

Rating: 7/10

The Gathering "Always.." (1992)

"Always..." may not be so, against the grain of our half life this record will be one of the first to fade from memory. Its no classic, far from it, nor the sort of record you'll hear anyone talking of again. For me? Its a personal gem, a diamond for my eyes only, an album to adore every second of. Its the Dutch bands debut record released two years before their landmark "Mandylion". At this time they had a different vocalist, Bart Sims, who growls and groans in a very typically tonal, textured and slow guttural Doom Metal way. At their inception the band were very much in this category however they stand apart from other Doom acts with a layer of synth that's inspired, melodic but always a touch cheesy with its cheap and rigid tones. Mostly though, they charm and bring a mysterious atmosphere, vibrancy and a nostalgic character to the record.

The records production is dingy, dusty and moody. Its got just the right amount of meat and punch to have an impact as the instruments get themselves across with volume in a rather low fidelity affair, much of this is thanks to the synths which fill the spaces the low, brooding distortion guitars leave in their wake. The drums have volume that comes with a bit of clatter, the snare and bass kick punch through but the cymbals are a little dizzy, the toms thin and weak, sounding pale in comparison. Bart's vocals are dominant, strong, ample. Alongside him Marike Groot puts in a stunning performance as an effeminate compliment, often singing notes to chime with the synths but then whisked into the spot light to show her sublime range that soars with a wild streak.

The true champion here is songwriting, the aesthetics are an acquired taste one could get used too but so frequently does the magic come from the progressive shifts in song direction. The mood and tone is set, the song is in its cycle and a few instruments break away from the mold to then unleash a transition and the atmosphere is transformed, we are elevated to a new plateau. These songs also drop back into their routine brilliantly. Not a note of this record feels out of place or any musical avenue forced, its a sombre, Gothic melancholy without the romanticism. Some of its best moments come as more instruments get involved. The bass is very active with a bustling tone and attitude that has it scaling the fret board to accent the guitars and cue musical shifts. In these shifts and breakaways short lead guitars or solos often drop in with a knack for being within the moment and climaxing with licks that drop right into the chemistry, not taking a spotlight but sounding akin to all that's going on around them, flowing like a river with the music.

I know this record like the back of my hand, I discovered it at a time when I was getting into the next wave of brutal music, so it never seemed all that heavy to me. Now its become apparent that the dense meaty guitars, Bart's slugging growls and the crunching drums were probably rather dark for the time however the melodic synths and appropriated use of reverberated acoustics play that down. As well as drawn out, doomish power chords the guitars have moments of heavy, head banging chugging with a touch of Groove which was growing prominent at the time.

If the record has a weak spot, perhaps the interlude track "Always..." is a touch weak in comparison, the soft synths and synthetic toms over crashing waves feels a little thin without the full band. My favorite song "In Sickness And Health" gets a nod for pitting a somewhat Death Metal riff against  a swirly synthesizer effect that sweep phases back and forth for a truly magical, astral moment. Its been a year or two since I last enjoyed this personal favorite and I'm happy to share this with anyone who cares, however Id totally understand if someone didn't see eye to eye with me on this old gloomy record.

Favorite Songs: In Sickness And Health, King For A Day, Second Sunrise, Steongarden

Rating: 10/10

Slowdive "Blue Day" (1992)

Digging into the wealth of knowledge the Internet has to offer, I found my way into the pre-Britpop Dream Pop / Shoegazing scene of now somewhat forgotten bands that had their moment in the early nineties. Slowdive's "Blue Day" had a familiarity and touch of Ethereal that sucked me in to this short, breezy dream of a record. Like a fair few bands of this scene their time was short lived, forming in 89 and disbanding in 95 however they have recently reformed with no new material. This record is a compilation of three EPs released before their debut in 91 and it doesn't feel like one. In fact the production and theme of the record is very consistent across the six tracks.

In many moments, they are most reminiscent of Lycia's dark, baron and freezing sound, however Slowdive have a warmth exuding through the soft, sleepy wall of sound that engrosses the listener. The guitars shimmer in the distance, illuminated through odd, layered guitar effects and distortions that despite seeming harsh in an analytical sense, are inviting, soft and hazy as they drift through their own web of reverb and echo in a mesmerizing persuasion. A warm and thick baseline holds a steady progression under the atmospheric soundscape and the drums work up some energetic beats that get displaced in the best of ways under a wall of sleepy noise. They are buried and muted to great effect. With two vocalists there are some double tracked moments where the duos excellent chemistry comes across almost as a singular voice soaked in reverb. The two both have a soft lucidity that gives a very welcoming human touch to the music. Underneath it all some low, foggy synths brood and moan, soaking into the dense atmosphere with a powerful subtly.

For all that's fair this record suffers a little from its production, which on the flip side is a massive part of the positives in the bands sound. In all the haze and drone the clarity of most instruments feels a little lost and is without some oomph to reinforce itself. The mix is narrow as only the snare and hi hat breaks into a large portion of the high frequency ranges, it can be felt at all times. This could all be for the best though, this record has some fantastic moments with vast reverbs growing into an engrossing wall of sound that almost losses itself. "Shine" reminds me fondly of Autumn's Grey Solace and a few track are a touch mediocre but there is magic hear to loose yourself in here.

Favorite Track: Morningrise, She Calls, Shine

Rating: 6/10

Darkthrone "A Blaze In The Northern Sky" (1992)

In recent weeks I've been in the mood for revisiting old favorites and Norwegian Black Metal outfit Darkthrone are among them. Its been well over a decade since I discovered this band and their rebellious music, for new listeners in the genre Darkthrone are often one of the first names to crop up with one of the earliest records in the emerging scene and a prolific influence on the future direction of the genres sound that many of bands would come to emulate. "A Blaze In The Northern Sky" is the first of three records known as the "Black Trinity" or "Unholy Trinity" that marks a crucial part of the bands history as well as introducing the forever copied minimalist black and white album artwork including the classic corpse paint. In the next two posts I will cover the other records that make up the trio.

In 1991 Darkthrone released their first full length "Soulside Journey" an unremarkable Death Metal record that gave them a foot in the door when shifting sounds. Convinced by local musicians to change their sound Darkthrone would be among the first to release a full commercial record as a Black Metal outfit thanks to their record deal with Peaceville records. Although this record doesn't resemble anything along the lines of Death Metal, a closer inspection reveals some left over characteristics that would be non-existent in the follow up "Under A Funeral Moon".

The record starts with the classic 11 minute "Kaatharian Life Code", a deep satanic chant cries out between the echoing tom drum and eerie, hellish synths that create a soundscape of satanic mysticism. Before long it crashes into screams, blast beats and wailing Black Metal guitar shredding. The records aesthetic is sharp, cold and dense, the guitars have a fuzzy and thin tone that spreads a fair range over the warm but unfocused baselines. The drums hammer and drive these songs with a surprisingly flat and sterile quality. It comes together with a charm, magnified by Nocturno Culto's haunting screams, the rough and raw texture of his vocals burying themselves in the excessive, but short reverb. I may of listened to this record too many times, but it sounds fantastic for such an early record in an experimental genre.

Despite nailing the aesthetic, there's much to be said about the guitar work and general tone of the record, although frosty and grim on the outside the mood and undertone of the record isn't quite on the same wavelength. It may be a collection of great songs but the death metal influences are very distinct with the blast beats dropping the kick first instead of the snare, snare blasts being a staple feature in Black Metal. Many of the guitar riffs have a warmer tone and display many techniques commonplace in Death Metal. It sounds very much like the riffs were adapted in their transition between sounds and played at different tempos. That's just an observation though, Its a fine record with a continual churning over of power chord driven songs with plenty of head banger moments.

Favorite Songs: Kaatharian Life Code, In The Shadow Of The Horns, The Pagan Winter

Rating: 8/10

Ministry "ΚΕΦΑΛΗΞΘ" (1992)

ΚΕΦΑΛΗΞΘ marks the peak of Industrial Metal legends Ministry's commercial success as well as the musical peak for this classic era their sound with future records steering from the mood and tone of this social-politically charged sound of disillusion and despair with the status quo. Marked by the opening track "New World Order", Ministry create the soundtrack for riot and civil unrest through their mechanically repetitive song constructs of robotic guitar riffs and dystopian guitar leads. It had been many years since I gave this record a listen and hearing a feedback of influence in Killing Joke's "Pandemonium" I had to give it a spin again.

The record starts with two of Ministry's finest songs and sets a contagious attitude of outrage and anger that fuels the experience. Tightly performed distortion riffs churn over and over in a sublime execution of minimalism and repetition that never seems to loose its drive, despite mainly consisting of the same thing over and over, it gets me every time. Paul Barker's machine like drumming goes heavy on the snare with simplistic, pounding grooves that gel with the guitars and amplify there aggression. "Just One Fix" ends with a lead guitar playing a Slayer-esq dark lead that is a favorite moment on the record. Unfortunately from this point forward the album fails to maintain the mood established and only "Scare Crow" comes close with a slow and daunting atmosphere of dread with distortion chords ringing out under haunting leads and Al Jourgensen's eerie screams.

Around these songs a wild inconsistency of ideas obvious in execution make up the rest of the track listing, the fast relentless blasting of "TV II", Thrash Metal riffage of "Hero" or depraved noise horror of "Grace", each songs idea drifts to far from the original tone. Although the recurring use of sampling and mood has some consistency, the guitars input greatly different ideas to that of the opening tracks and are not particularly remarkable in their own right. As a collection of songs they are impressive but out of place with one another and so as an album it really falls short of amounting to anything as the shifts in mood, tone and sometimes aesthetic dispel the magic and potential this one shows in the beginning.

Favorite Songs: N.W.O, Just One Fix, Scare Crow

Rating: 5/10

Dr. Dre "The Chronic" (1992)

 Departing from Ruthless Records in 92 for similar reasons to former band mate Ice Cube, Dr. Dre set out to establish his name as an individual and teamed up with notorious thug Suge Knight to form Death Row Records. Using muscle and intimidation Suge got Dre released from Ruthless, which would only be one of many "incidents", the two formed their new label and Dre got to work making what can only be described as an absolute classic record that drove Westcoast Hip Hop into the mainstream, launched the career of Snoop Doggy Dogg and marked the beginning of his ever important role in Hip Hop. The memory of N.W.A. was gone in a blink of an eye as Dre took things to the next level.

As a producer Dre is about so much more than just the instrumentals, he molds and crafts the talents of his friends he brings onto his record, guiding their potential to flourish. On every track Dre has several other rappers to support him and even on "Lyrical Gangbang", "Stranded On Death Row" and "The Roach" he gives them all the limelight without dropping a single line. It gives The Chronic a robust and versatile arsenal, keeping things fresh and varied as beat after beat explore different themes with an array of voices to decorate the track. Its a smart move for Dre who's a competent rapper but not the best and in retrospect we here more of his lyrical talents on "2001", however there's some fantastic murderous verses in the cut and Dre's flow is steady, audible with an angry force flowing through the words, coming across with real intention.

With the instrumentals Dre both created and mastered the definitive G-Funk sound with an attentive ear for the melodies and hooks that brought tracks like "Nuthin' But A G Thang" to a new level, reinventing the source samples into stylish laid back gangster tracks with strong spacious instruments and hard hitting drum grooves, the ghetto whistle delivering a remarkable melodic hook and making its presence known on the chronic after its inception on the second N.W.A. record. The bass guitar is bold, rounded and brings a lot of that Funk groove to the fold and with these elements the chemistry is ripe for a record of bombastic, thumping gangster tracks with an infectious dose of melody in places. Its Dre's attention to detail that glosses the beats to perfection with subtle and intricate details hidden between the main instruments, giving them depth without becoming overwhelming.

The Chronic has style and substance, its an attitude and a lot of it can be felt in the source material, but the charm is with Dre and how he reshapes them into a distinctive style that him and Snoop define with their hooks, violent lyrical themes and tight rhyming that has a fair few classic lines scattered throughout. "The Day The Niggaz Took Over" plays out a social commentary over the LA race riots that broke out in response to the Rodney King incident, the song bringing a ferocious energy to a dark shady instrumental. Its moment like these where Dre gets so much right however I do feel the record suffers from burnout towards the end with a few tamer tracks lowering the intensity of the first half. Dre also cuts the beats hard, flipping the momentum into a new track, not a transition I particularly like, but it hardly makes a difference. The Chronic is a classic, but not my favorite Dre record and I always loved the album cover on this one, it remind's me of the kinda of record cover that would be remembered for just that and lost in a bargain bin. Luckily, or not, there's a bomb under the hood and a classic record that wont be forgotten anytime soon.

Favorite Songs: Fuck Wit Dre Day, The Day The Niggaz Took Over, Nuthin But A G Thang, A Nigga Witta Gun, Rat-Tat-Tat-Tat, Lyrical Gangbang

Rating: 8/10

The Young Gods "TV Sky" (1992)

The Young Gods are an Industrial Rock group from Switzerland formed in the mid 80s. Hailed as a "bands band" TYGs have been sited as a significant influence on many popular Industrial acts, including Nine Inch Nails. "TV Sky" is their third record, and for me its another piece of the Industrial puzzle I have been fascinated with in recent years. As a kid I had been over exposed to Industrial music through endless listening of Frank Klepacki's C&C soundtracks in the mid 90s, and every band I discover and listen to feels like a piece of the tapestry unraveling itself.

"TV Sky" is a lofty record with a mechanized pace that cruises through a laborious and desolate landscape. With every listen an image of a hover-car speeding through a derelict city consumed by a barren desert races through my mind, you can smell the oil in the blistering heat. This wild and vivid sound is consistent throughout the record of 8 tracks, 7 of which make up a shorter 28 minutes before the album rains out with a 19 minute saga. The repetitive and pounding nature of this record is complimented by Franz Muse's gruff, drawn vocals that grind out, adding the human touch, but always at the mercy of the industrious mechanical instrumentals, its a nice chemistry and his strong Swiss accent ads a touch of foreign into the mix.

The instrumentals are king on this record, forging a soundscape epitome of its fraction in the Industrial sound. Sharp, robotic guitars play out mechanical stop start riffs in unison with the gritty pounding drums that stamp out rigid rhythms. Grooving underneath the surface is that classic bold, warm and chunky Industrial bass guitar, always a welcome element. With the core of their sound down, TYGs bring their uniqueness through some sudden and dense electronics that burst into these songs, a lot of the complimentary sounds tend to burst in quick as they fade out, which subtly ads to the vibe through an "on/off" switch like execution. Additional guitars waver in and out of focus with noisy abstract guitar sounds and distortions, deepening the rich atmosphere this record offers. Its a casual listening experience that doesn't demand much of the listener, it pounds away like a ride you can hop on or off at any point. The easy pace and purely rhythmic approach gives it a touch of ambiance that makes it an easy record to absorb.

Favorite Track: TV Sky

Rating: 6/10

Pantera "Vulgar Display Of Power" (1992)

Today is a sad day. The 8th of December marks the 10 years its been since the death of Dimebag Darell, one of Metals greatest guitarists, known for his sonic lead guitar solos and tight groove rhythms as well as being a all round nice guy and drinking machine. He played lead guitar in Pantera, the group that prevailed Metal through the 90s in the absence of Metallica and rise of Alternative and Grunge. His death was tragic, the events of that day in 2004 shook the Metal community hard, and this day, or more so his music, has since been celebrated by metalheads around the world. It seemed fitting today to write about "Vulgar Display Of Power", Pantera's "second" album and the peak of their commercial success and a massively influential album on the next generation of Metal.

Having reformed their sound with the previous album "Cowboys From Hell", Pantera define what their about on this record, ditching the high pitch vocal leads and focusing more on tight grooves, Pantera create a powerful, violent metalic sound with crushing rhythms to pound your fist and bang your head too. Anselmo backs the attitude of this strong, aggressive sound with his Hardcore like lyrics of self empowerment and mental strength, his voice is powerful and angry, he screams with a balance that makes him audible and understandable. He's a character, one some consider one of metals greatest of vocalists, but for me he brings an undeniable energy when coupled with the instrumental sound of Pantera, one thats not there in other projects of his.

Taking the forefront of attention in Pantera's music is Dimebag's guitar presence, boasting a dense, thick crushing guitar tone, he bangs out endless tight rhythmic grooves song after song. There performed to perfection, continually energetic and enthralling, getting stuck in your mind. Dimebag has a great understanding of both simplicity and complexity, understanding the relation between the two and how to execute them with attitude. For example "A New Level", a simple, effective chord progression that any beginner could learn to play, the song then shifts gear into a tight picking rhythm, upping the anti. "No Good" demonstrates Dimebags technical riffing, something more frequent of other records. The most important factor in Dimebags rhythm guitar is his musical relationship with his brother Vinnie. Often overlooked, Vinnie's machine like drumming is crucial in Dimebags grooves, providing narrative and often emphasizing the harder hitting moments in his riffage. Vinnie's beats are not like regular Metal drummers, and playing Dime's riffs to regular drum patterns will demonstrate this clearly. Drummers are often overlooked for their contribution, their flair can be limited by the objective of their position, as opposed to the wide range of sounds a guitarist can produce. When it comes to Dimebag's tight Rhythmic grooves the importance of Vinnie is often overlooked.

When it comes to Dime's lead guitar there is no competition. This man accelerates into his own universe when hes shreds, leaving everyone behind. His leads are colorful, imaginative and mind bending, always executed with impeccable precision, even when performing when heavily intoxicated. Across Pantera's discography, his solos are widely varied, imaginative and inspiring. There captivating and something you need to hear for yourself to understand. Vulgar Display Of Power is a full on record, its spruced up by two gentler melodic tracks "This Love" & "Hollow" that demonstrate the groups genuine musical talent. It's a break in pace but doesn't stir up what is a straight forward execution of pummeling aggression from start to end. Its a great sounding record, the guitars and drums are captured dynamically. The kit sound fantastic in the mix, every kick, snare and cymbal punching in with reverb, and without clashing with the guitar. The bass is a touch tame, just backing the guitar throughout. Classic record, one to get will get you pumped up and full of energy, great for running or lifting. RIP Dimebag. I Can't believe its been ten years... Thank you for the music.

Favorite Tracks: Walk, Fucking Hostile, This Love, No Good, Hollow

Rating: 9/10

Rollins Band "The End Of Silence" (1992)

This is more than music, this is therapy for those who didn't know they needed it... Rollins Band is the group of Henry Rollins, former front man of legendary Hardcore group Black Flag, and this, their third album, was an unforeseen break through to the mainstream earning them rotation on MTV during the Alternative era. The End Of Silence is a powerful record, raw and provocative Blues wrapped in a powerful, Hardcore, Metalic aesthetic provides an invigorating, inspirational and emotional listen every single time. This is for lifting to your arms ache, running until your knees shake. This is about dealing with it all.

If you are familiar with Rollins, then it will be no surprise the subject matter of these songs are heavy, emotional, introspective experiences as Rollings puts himself under the microscope with brutal honesty. The pains of life and death are embraced wholly here as Rollins dives into his personal torments. His voice is phenomenal, lets make one thing clear, Rollins can barely sing a note, but his scream, his shout, his energy he forces out is monolithic. Here is a man bearing all, giving everything hes got. Both live and on this record, hearing Rollins preform is overwhelming, its as if there isn't a drop of energy left in his body to give. His scream on Just Like You, "My body is scared by age, now you get to taste my rage", Gives me goosebumps every time. Rollins is a blues singer, working out his issues through the music. His honesty has taught me that there is no shame in pain, and you must deal with it to grow.

The three that make up the instrumentals have a charismatic chemistry that provides the perfect soundtrack to Rollins's intense vocal presence on these tracks. Weiss's bass pounds and grooves in unison with the rhythm section, with a fuzzy, raw sound that can provide a memorable and impressive lead (What Do You Do). Cain's drumming is dynamic and versatile, bringing rocking grooves and maintaining intensity and rythmic groove during the slower bluesy parts. Haskett's guitar approach is an integral part of the bands sound, with his charismatic licks and leads, Haskett has forged a bluesy lead sound so unique and unmistakable. It edges between Blues, Hardcore Punk and Metal, but ultimately is its own sound and brings a real emotional connection with Rollins output. This album is 72 minutes of hard hitting, emotional, intense music that digs deep in the mind. "Life wont break your heart, It will crush it".

Favorite Tracks - Low Self Opinion, You Didn't Need, What Do You Do, Another Life, Just Like You.

Rating: 9/10