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

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

Dead Can Dance "Spiritchaser" (1993)

 
After a stunning stretch of remarkable records, the Australian duo ventured on-wards one last time before parting ways. Fortunately they would reunite nineteen years later with the well polished Anastasis. Spiritchaser is the last album I'd yet to hear, a critically well received departure I find myself indifferent too. Remaining within the tapestry of Worldbeat aesthetics, they seem to take a new approach to song writing.

 Gone are the emotive swells, gallant melodies and esoteric leanings. Instead, a focus on plain, steady tones. Allowing for simplistic instrumental notation and brief percussive grooves to drone in repetition on top of foundations. Its subdued, simplistic and supposedly aims to find a meditative atmosphere in unclutter compositions.

So to do vocal performances feel restrained, intentionally softened. The cultural roots of fresh singing avenues possibly explain why. With dialectic inflections and native languages I'd not heard prior, the pair appear to aim for a less dramatized tone and certainly achieves that. In the apt setting, it becomes soothing background music.

I've been critical, Spiritchaser is simply a different beast, lingering in the shadows of a luminosity that came before it. The record does little to offend. Its sensibilities are calm, gentle and drift upon lazy tempos on lengthy durations. Highlights reside later on, with The Snake And The Moon offering a beautiful campfire at night vibe fit for tribal chant and dance. Perry leads the first half, Gerrad the second, shifting energies.

The following Song Of The Nile plays deeply cultural and subdued but houses the albums most animated passage as bells chime and some exotic sitar alike instrument offers up a brief but striking swell of musicality. However the rest of the record failed to make much of an impression on me. Maybe more time would strengthen bonds.

Rating: 5/10

GGFH "Disease" (1993)

 
Weird, wacky... wonderful? This is a zany descent into dystopian depravity. Cold, sterile, emotionless, Disease plays shrouded by bleak, mechanical aesthetics. Embracing quirky synths, wavy baselines and bustling drum machine abuse, the duo known as Global Genocide Forget Heaven forge unsettled stints of misanthropic commentary. I was turned onto them by Dimmu Borgir's Dead Man Don't Rape and the two bands share little in common besides a grim outlook on humanity and morality.

Much of the records charm stems from passages of rhythm that lock in with its synthetic counterparts. In these strides the grim atmosphere carries some passing joy. Otherwise its an unsettling oddity that rarely feels welcoming, a confrontation slog, forcing one to reflect on the dark subject matter at hand. Snarling, distorted soft shouts bark off through the record with a continual rigorous dissatisfaction.

Its an inescapable grasp, a downwards pull as alien melodies swirl around aimlessly. Vocal snippets from horror movies and the like help paint the music with more strange darkness. The atmosphere is vivid and intentional. Only Plasterchrist detours from its core chemistry. Tense lullaby like bells toy with menace, contrasted over top warm symphonic strings. Its within reach of relief and reprise, yet holds firm to its limbo.

 Overall I am impressed by how clearly theme and intention are executed but on a personal level this examination of humanities worst was lacking the musical jive to pull me in. It could be intentional, to keep the music confrontational and inches from comfort. A fun listen but after a few spins I'm good.

Rating: 5/10

Depeche Mode "Songs Of Faith And Devotion" (1993)

 

Moving on from the soaring heights of Violator, the English quartet Depeche Mode make a daring bold stride into a resonant religiosity that birthed their Personal Jesus hit. Further embracing the human gulls of guitar texture, they lean on darker acoustic vibrations, Gahan's subtle vibratos inhabiting numerous cold reverbs, wandering towards despaired lows the albums dominating theme seemingly rescues him from.

Songs Of Faith And Devotion is definitely of their vein. Shimmers of Gospel, Hymns and spiritual voiceings line its persuasions. Only with Condemnation do they take a solem plunge of baptism into its sways. A beautiful moment among other ideas that converge with mixes of ideals. One can observe an orchestrated component. Gallant and chivalrous string sections ascend the clouds, disconnected from its counterparts.

Swooned by the times, so too does one hear inflections of an emerging Trip Hop scene. Dense, snappy, popular percussive loops crowd the rhythm section of many a song. Get Right With Me goes hard on its Gospel choral chants, clashing hard with its clunky drum sampling. Rush too flurries a similar fate, its Electro-Industrial synths injecting a jolting energy against dark, steely guitars, Gahan on another frequency.

This records ambitions land it in a variety of places. The better written songs seemingly closer to a formula that served them well before. Its soft religiosity a crooning charm better served the harder they leaned into it. As a whole experience, it holds over with a meaty persuasion but blemishes show on numerous repetitions. Seems the group were pulled in multiple directions, by emerging scenes of the time, yet sticking with their guns and faithful inspiration may have worked out best.

Rating: 6/10

Type O Negative "Bloody Kisses" (1993)

 

Casting a shadow over their debut effort, Type O Negative return to encapsulate the early 90s alternative vibes under their eclectic Gothic identity. With this lengthy sophomore the band reach a new apex in intervals. Wedged between crude satirical humor, noise driven experimental soundscapes, Doom Metal worship and bursts of Hardcore aggression lies superbulous song writing where melody, rhyme and reason reign supreme. An excellence is to be discovered on its lengthier affairs.

Christian Woman, Black No1 and Bloody Kisses are driven by theme and theatrics, a beautiful sense of expression playing out with a craft on all fronts. Bold horror synths chime with a heavy hand alongside dramatic pianos. Catchy melodies and rocking riffs align succinct with fantastic anthemic vocal hooks, "Loving you is like loving the dead". So to do gleaming guitar solos errupt with a 90s tinge, checking all my nostalgia boxes. The song structures are immense, ambitious and bold, carrying a gripping gravitas on these lengthy journeys. With pivots and sways encompassing drastic shifts, the transformations are remarkable in expressing these Gothic epics.

Sadly, the rest of the record doesn't live up to the strengths of these songs. It can be expected from the brief experimental interludes that paint bizarre horrors. They exist at odds with the more conventional offerings. With a strong whiff of Black Sabbath and Hardcore, Kill All The White People and We Hate Everyone steers too far from the mesmerizing Gothic allure. Where it exists on other songs is among a slew of shifting, radical ideas that don't gel with the thematic intensity seen on its best numbers.

Kudos however, taking a step back from the blender of ideas presented as Bloody Kisses, its clear the band are unabashed in pursuit of what interests them. The vast array of aesthetic influences displayed withdraws the record from a sleek and streamlined experience, revolving on its catchy elements. The foundations of such a thing are in sight, yet the direction seems more intent on where curiosity leads them.

Rating: 7/10

The Veldt "Afrodisiac" (1993)

Memory is a thickle thing. Essential, yet always fading, it shapes our reality in many ways. Fortunately this was harmless, a little shock to stumble over a record I thought could not exist. Seems I forgot of their history on my previous encounter with The Veldt. Their return fusing Dream Pop and Trap was a passing enjoyment. Its a farcry from Afrodisiac, a record fitting snugly into its era, without seeming remarkable or impactful. So far Its stuck me as the sort of album that just gets lost with the times.

With a lurch of early 90s Alternative Rock and Shoegazing distortions, the group fuse timely over-driven guitars with the sparse echos of Funk Metal groove. Its also a textural experience, sliding into dreamy spaces with glittery acoustics. The occasional fusion of Trip Hop drum loops proves expansive as the record sways between styles. Consistently singer Chavis's bold charismatic voice resembles an 80s ballad singer.

His presence is swell, a delight when the vibe clicks but often it arrives with friction. Its this contrast that all of its elements have in some degree, giving it a sense of "almost genius". The songwriting plays into this, ideas merging from different directions, a lot of material exposes its origins and the union doesn't quite find the apt chemistry.

That being said, its an exploration of ideas that has plenty of engaging moments in its lengthy hour long stay. Heather strikes me as a peak, a broody dark wailer of a song powered along by its Industrial percussive thuds. Ultimately, Afrodisiac strikes me as a clear product of the times, not quite finding a way for its unique overlaps to blossom. That being said, it gave me a sense that continued exposure would grow on me more.

Rating: 6/10

Suspended Memories "Forgotten Gods" (1993)

Fancying another foray into the works of Steve Roach, a musician with too many records to count, I couldn't help but notice its popularity on Spotify alongside the pivotal works of Structures From Silence and Dreamtime Return. The latter leaves its legacy on Forgotten Gods with the consistent jabber of worldly, cultural and ancient percussive sounds. The construct, like before, is beautifully disjointed, deconstructed and abstract from the norms of groove and rhythm found in western music. Although in any moment its strikes and hits seem free and sporadic, its arch find a meditative pace, holding the atmosphere together with a steady, easy temperament.

Suspended Memories is the name for Roach's collaboration with fellow ambient artists Jorge Reyes of Mexico and Suso Saiz of Spain. A cultural tie to the Aztecs feels beyond relevant. With distant native chants and baking dusty echos, the musical pieces delve into the shamanic mystique the mysteries of lost civilizations can conjure. Both warm yet nightly, one can envision the blistering heat of desert sands, secrets laying in wait under weathered tombs. Equally, its drafty tone and dreamy presence has the cautious calm of night. Dangers lurk in the shadows yet the listener is always safe within the ambience. These contrasts co-exist, allowing one to hear their own adventure within the music. It may not be intentional but has been remarkable.

As the title Forgotten Gods hints, its theme evoke celestial wonders lost to the decay of time. As expected the record explores a variety of temperaments. Snake Song and Mutual Tribes appealed strongly to desert vibes I initially thought of as Egyptian but on further study, the inspiration was likely a historical middle American. Ritual Noise was the darkest track on offer, a lone song where a nefarious presence gets a little to close for comfort. Despite its devilishness, all the music is beautifully soothing and meditative. I've heard these sounds encroached on prior, yet the trio handle it so masterfully. This is absolutely another favorite for the ambient collection.

Rating: 8/10

The Gathering "Almost A Dance" (1993)

 Released between two of my personal tens, the musky symphonic gloom of Always... and the warm, youthful ascension of Mandylion, you'd think I'd know Almost A Dance well right? Sadly, what turned me off back in the day, still revolts me now. Niels Duffhues voice has a piercing nasal shrill so off beat and indifferent from the music, it deafens its beauty. So to does his cadence and shaping of words feel totally out of step. He would be more suited to some played out Arena Rock, Glam Rock local act. Truly not to my taste or The Gathering at all, thank goodness they found Anneke!

The difference now is I've learned to listen past the elements of music that turn you off, and oh boy can that be a task. In no measure has Niels grown on me, tolerance is not the word, quite the opposite. He masks wonderful instrumentals that bridge the bands transition from dingy Doom Metal to the Symphonic driven Alternative Metal that dawned with the eternally stunning voice of Anneke van Giersbergen.

The chemistry bonded between distorted power chords and cheesy Casio Korg synths, perusing basslines and plucked acoustic chords, is here as found on both the other records. Its arrangements often abridges the two, brightening the gloomy temperament and finding emotive chord progressions. It moves to the light alongside a blossoming lead guitar that sails into the sun of glorious gleams of melancholy.

Mostly it holds that middle ground, showcasing the journey the band where on, steadily progressing their ideas, but so to do reworkings of techniques and tropes from Always... arise, as well as some arrangements that would be preformed again on Mandylion. If my words don't make it obvious, I'm astonished I didn't find my way in decades in. The sad reality is though, for all the instrumental wonder, Niels is a blight! That being said, Marike Groot lends her voice again on a few songs and in those moments a blessing is bestowed to know what could of been!

I'd love to hear Almost A Dance without Niels, however now more accustom with the album, I get a sense of a band in a rush. The production is a little loose and sloppy which can be forgiven but the difference in song quality has its dips with the nine minute Her Last Flight and the god awful Nobody Dares. The chemistry can simply drop off on some songs, losing that magical nightly ethereal melancholy. Given that Niels was recruited right around its recording and release, I'd guess some external pressures stained what could of been quite the rendition of one bands moment in time I simply adore.

Rating: 4/10

Pop Will Eat Itself "The Looks Or The Lifestyle" (1993)

 

I think I've developed a mildly amusing "love hate relationship" with Pop Will Eat Itself! I'm undoubtedly leaning on the love side however their "of the era" occasionally sours. It often depends on the mood. This Is The Day struck the perfect stride of nostalgia, a wild crossover that nailed early Hip Hop and the shape of Metal at the time. Since then, they have not stuck in one place stylistically. Its been hit and miss, The Looks Or The Lifestyle seems like a response to the emergence of Grunge as an update in band chemistry has prominent distortion guitars on almost every track of the album.

Continuing on with the 90s Dance and Electronic scene sounds, the group find a more consistent fusion with grungy guitars, lively percussive breaks and an injection of electronic instruments reflecting the era. Its bold and unabashedly 90s, often a little cringe in its early shout raps, the British accents sung strong. The record rolls out with a strong string of tracks, pumping drums charge forth, a wall of samples and synths thrive between dynamic guitars and powerful baselines. It leads into their most popular charting song, known as Get The Girl! Kill The Baddies!

Performed by stabbing melodic drum synths hits, its main melody is a turn off in an otherwise decent track. I think its theme that births it success, essentially riffing on tropes from the perspectives of a movie character. The album starts to diversify after. Guitar tones get shaken up. The sampling and synths reach into new territory, arriving at Urban Futuristic. Its a hard hitting mash up of early Drum n Bass, Thrash Metal and bizarre cheesy synth tones. What it lacks for in classic it makes up for in ambition!

Its this string of gutsy tracks, fun experimentation and bold crossovers that get the thumbs up from me. After them, the final four cuts stagnate in quality, drifting into the tired and dated. It feels intentional that the best material is front loaded. Left a little soured, they exaggerate the cheese its great songwriting diverted early on. With just one record left before their split in 1996, it will be a sound place to conclude the journey having been fed to full on this reflective nostalgia exploration.

Rating: 6/10

Cranes "Forever" (1993)

 

Arriving at their sophomore album, Cranes show signs of maturing songwriting. The blunter lunges into shadows are scarce as brighter acoustic guitars and friendlier distortion riffs take focus on a warmer, yet curiously limbo like outing. I'm noticing a pattern in how songs come in degrees of arrangement. Its most notable when percussion is entirely absent, as it where on a few songs off Wings Of Joy. Their ability to brood on simple, repetitious melodies and stay engaging is remarkable.

And Ever makes a mark as its lone, moody piano ushers in a two hand chord melody to dance with Alison Shaw's distant Ethereal voice. The music swells upon the arrival of a singular, lone and soft string synth. Reverberated acoustic guitar notes then pluck away in compliment with a brisk ascendancy. Another drum less track Cloudless has a touch of Medieval melody to it, as did Watersong. Just a minor musical note.

Adrift and Clear peer towards shadows, bot quite intensely as before, with upheavals of brooding distortion guitars soaked in echo. The later creates quite the maddening atmosphere with its bendy alarm siren droning in the backdrop, creating tension. The lead guitar riffs is quite a devious lick yet so simple as much of the components are like the flat bass line. Their ability to grasp so much power and feeling from the simple connections between each instrument is everything that makes these songs great.

The Dream Pop label still alludes me. There is little at play that reflects the quirk and upbeat nature of Pop music of the 90s. Not as dark, limbo is the word that comes to mind with Alison Shaw still playing innocence off the more sinister soundscapes of her band mates. Through her the dreaminess is all there though. Heavy use of reverb gives the mix a cold spacious feeling throughout and with a lavish of echo her singing ices the cake with an Ethereal quality. Forever is a fine endeavor but generally feels like a lighter exploration of the same musical ideas presented beforehand.

Rating: 6/10

Arcturus "Constellation" (1993)

Writing has been a lot of fun recently but more so has the listening! Discovering the foggy gloom and doom of My Angel and reliving the unique astral wonders of Aspera Hiems Symfonia again, my recent dive into Symphonic Black Metal has potentially led me onto an Arcturus journey but alas we will stop here for now.

Writing on the bands aforementioned debut, I remarked how dingy and overly symphonic this short four track EP was. It certainly is riddled with fidelity issues, inaudible bass and overpowering keys. My curiosity couldn't help itself tho. Giving this one some time and with swiftly adjusted ears I am astonished again by a band who seem to always lavish astonishment upon me. These songs are essentially identical. Where its keys once had a creaky yet powerful subtly, they are now front and center with dank and humid tones that relish in their own oddities. On some level it plays down the extremity of Black Metal, amplifying the symphonic magic at the heart of Arcturus, illuminating the majesty of their night sky inspired theatrics.

And check the date! The music is a mighty force of cosmic wonder, wedging itself in a scene yet to explode or even blossom. How delightfully strange these defined ideas are. Cosmic, majestic, curiously carnival and a little jovial. Its beautiful eccentricity emanating from keyboardist Sverd's fingers. I knew this element was the spark but it seems all to powerful and obvious here, the compositions are so inspired, creative and otherworldly with its astral icy gleam illuminating the darkly music. Each of these numbers are mighty journeys, adventures of the night full of twists and turns.

The intolerance of my youth had me gloss over and dismiss these lower fidelity releases... such a shame... but now I see an opportunity, to re-visit these demo tapes and early releases of my most favored bands that I once ignored. I hope to unearth more gems like this one.

Rating: 8/10

Earth "Earth 2: Special Low Frequency Version" (1993)

 

A recent revival of Hibernaculum and The Bees Made Honey had me curious about their pre-reformation works that had been heaped with praise. As a curious teenage enthusiast, this record had left me dumbfounded to what the fuss was about. Now, with open mind and ears I find myself with a similar sentiment, although context may play a roll given what this anomaly may have meant to listeners back in the nineties.

With three gargantuan songs totally seventy three minutes, Earth 2 strikes me as more of a singular experiment in tone than anything structured, planned or even designed. This is Drone Metal resembling very little of Metal and much of the drone one might associate with engine noises and electronic buzzing. The entire musical piece is a wash with the dense, drowning, fuzzy flood of guitar distortion cycled with amp feedback to muzzle anything that happens to wander across its bleak path.

Admittedly I can comment there is a strange charm and allure to the droning noise but is it a work of genius? I suspect not. As background or foreground music it is mostly grating and is best enjoyed when entirely distracted from its presence. Perhaps its just not my cup of tea. I understand the appeal but the particular aesthetic at play here is mostly a discomfort that feels pointless to endure its unsettling presence.

With Seven Angels, a lone guitar deploys burly riffs reminiscent of Black Sabbath on loop. Slowly chugging palm mutes and rising to chord slabs with slices of short melody, it stands aside for offering something to focus on yet feels unremarkable to me. The second track shifts aesthetics slightly, the guitar work goes in a moody direction but ultimately its emotions are smothered by the droning, dirty sludge.

 Its not until Like Gold And Faceted that we hear drums, slow, temporal and disappearing for tempo shattering duration's, they barely crash through the wall of brown sound. At the hour mark, a scream can be heard and before it, a little lead guitar but as mentioned, these events do little to conjure purpose or intent. I must say, it does sound like cryptic rumblings are woven beneath the drone at times where its consistency breaks and cracks of something else is heard, undecipherable.

The whole thing seems like an unplanned session hinged around the concept of smothering the listener in blistering feedback for an unreasonable amount of time. Its spontaneous blurts of additional sound seems disconnect and purposeless. If there is magic to be found here, it has certainly alluded me, although I suspect the aid of hallucinogenics might yield different results for those who use them.

Rating: 2/10

Funkdoobiest "Which Doobie U B?" (1993)

With a recent dive into House Of Pain, I found myself poking around into the production history of DJ Lethal and DJ Muggs, leading me to this West Coast stoner trio with an uncanny resemblance to Cypress Hill, the epitome of treading in their footsteps. Obviously his hand on the instrumentals would lend itself, however lead rhymer Son Doobie, a name I've heard in rap verses before, brings a strong navel inflection and similar set of funky oriented rhymes to the likes of B-Real. Similarities and influences are fine, I was mostly excited to unearth a scene extension of the Hill's dynamic sound. Funkdoobiest have it nailed down, colorful Bomb Squad beats and lyrics constantly referencing the Mary Jane. It's been a fun nostalgia trip listening to Cypress Hill's cousin from round the way.

Although Muggs handles only a couple tracks, DJ Raplh M and T-Ray pick up the slack where Muggs laid down the foundation. Imitating his style, bombastic percussion, bold double-bass lines and stacks of samples making for a madhouse of funk and groove playing from front to back as if he did the whole project. Its complimentary, however a couple tracks are all to similar to Hill classics. Distinction wont come on the lyrical front either, Son Doobie's measured flow, stacking of quirky rhymes and delivery all have a similar cadence that fails distinction. His partner on the mic, Tomahawk Funk, is distinctly reminiscent of Main Source. Having absorbed so much Hip Hop over the years its hard for either them to stand apart.

Not to dwell on the parallels, Which Doobie U B? has a loose theme with recurring references to the doobie question. The topicality feels a shade hollow with braggadocio and stance affirming angles recycled track by track. A read of the track list alone gives you an idea of what to expect. This was never meant to be a serious record though. Its all about the fun rhyme schemes, stringing witty snaps and cultural references to much effect in its best tracks, Bow Wow Wow, Freak Mode and Wopbabalubop. At first its fun and exciting but as the verses become familiar a lot of bold boisterous rhymes fade in interest. Its of the time and somewhat dated but a really good listen as a fan of the era.

Rating: 5/10

Living Colour "Stain" (1993)

I may just close the book on this particular musical avenue. A staleness is setting in from a band in steady decline. Their sparkling debut Vivid was quite the experience but since then the re-arranging of influences isn't landing anywhere significant. This time around a tonal rawness and Industrial edge are introduced. Its crass production takes a step back again, the guitar tone has a loose, gritty tone, fit for Thrash and Hardcore riffs but lacking glue. Its on a separate plane from the bass guitar and the musical aesthetic has a sparseness Glover barely holds together with his singing.

His presence is warm in tone, smooth in delivery but the lyrics are handled bluntly. Ideals and topics are persuaded through plain language that sounds so of the time and frankly dated. Its socially and political oriented as you'd expect and the themes range from wealth guilt to sexuality and all of them are expressed with little room for reflection. Essentially I am listing points where this record doesn't resonate. Nothing here is truly awful but the record passes without any attention grabbing moments.

Vernon Reid does get to flash off his advantageous guitaring ability with wild, erupting, dazzling solos however they arise from mediocrity which dampens the impact. There is actually a fair arsenal of thrash and groove riffs in the mix but something in albums raw aesthetic dispels any magic. Auslander is a good example of a track set to bang. Its got a driving Industrial backbone and rowdy baseline yet the two don't gel and the song drifts into a monotone, lifeless drone that chops and churns its way by.

Leave It Alone is about the only song that really has something going for. The rest just gets by on a limb, then Wtff arrives with a turn table break beat jam and the record drops of completely for the remaining few songs. Its a strange record because its loaded with good riffs and interesting elements but none of it fuses and the whole thing is left stiff and stale. Its disappointing but not awful, worth a spin but no more.

Favorite Track: Leave It Alone

Rating: 4/10

Tool "Undertow" (1993)

Still in the phase of getting to grips with a bands sound, Undertow, the debut full length record of American Rock band Tool, has revealed some magics of which I am growing fond of. Bringing one song from their demo 72826, they already sound like a ripening group with that early 90s Alternative scene sound brimming. On this record the songs take a measured step forward, increasing complexity and finding strengths. Singer Maynard performs with an earnest vulnerability in his singing, extending his range upwards, feeling more involved with his lyrics as his wording comes with surges of aggression when he shouts and emotive inflections in softer sections.

The instrumentals behind him show an intelligence as intensities and atmospheres shift with a unique energy that feels like the core appeal of Tool. Guitar rifts meander with a steady pacing that has many of the songs refraining obvious aggression and letting it brood in the tracks tone, leading one unsuspectingly into big bursts of energy. The album really gets going with Bottom. The song disperses its build up for a scenic mid section of slow, sleepy drums, hypnotic guitars and a wonderfully intense reciting of poetry by the one and only Henry Rollins. After this recital the track explodes into life and tense riffs shift into a prowling pinch harmonic groove that gets me every time.

The distinctions of the following tracks are talking points of there own. The dynamism and cohesion is fiery, each instrument finds its measure of involvement that varies, setting stage for Maynard to wail his pains away. Its here that the musical structures start to find complexity led by vision as the unraveling of guitar licks ques up with a rotating arsenal of grooves and aggression. They flirt with odd time signatures, pull of the odd extra beat and title track Undertow exemplifies this exquisitely as its rotation of riffs dismantles itself in a whirl of choppy guitar thrashing that starts shuffling the momentum off beat and evolves the music into a mammoth groove.

I am still digesting this record, soaking it in, basking in its ambience. Much of the charm is still mysterious but the spark is there and on a song like Flood it is all laid rather bare. They build a dark, grisly, brooding setting out of chunks of tribal drum striking and reverberated voices drifting in and out of focus behind dizzying guitars. Their vision is stunning. It gets a little grimmer on the closer as the band make an unforgiving mockery of religion, pairing a preacher and his crowd with the baas of sheep. Its another brooding song and its in these surges of atmosphere that I am led onto the magic of their music. I'm sure ill grow fonder with more exposure.

Rating: 7/10

Favorite Tracks: Intolerance, Bottom, Undertow, Flood

At The Gates "With Fear I Kiss The Burning Darkness" (1993)

Stripping back on some of its Avant-Guarde songwriting and non-metal instrumentation, bar sparing acoustic guitars, Swedish outfit At The Gates return with a sophomore album just doesn't spark any magic within me. Its dated, dull and dingy aesthetic dominates the mid ranges leaving a narrow feeling in the ears. Its a firm step backwards compared to The Red In The Sky Is Ours. The approach to riffing clearly has a keen experimentation in mind but not as fortuitous as before. Dissonant and moody tunes, plaid mostly through tremolo picking shapes up a resemblance of melody within its gloomy and pale tone. Sudden riff changes and energy shifts gifts the music when the chemistry works but dispels charm when the shifts make little sense, which is more often the case. Its such a consistent approach that the result is constantly hitting and miss. The good bits get buried fast.

I really gave this one a good go. Theie previous album revealed itself after some time listening but I believe the poor production value is a true hindrance in this case. I used words like gloomy and dingy in an unflattering sense. Often low fidelity aesthetic sparks imagination and vision when done right. In the case of this record it holds back the music with an uninspired tonality. Sunken within are a couple of good grooving riffs and gothic atmospheres but these are also in competition with the harsh and unfavorable howls that salt the wound of this ugly sounding record. I'm being harsh because this could of been much more. Its not awful, I can sit through and enjoy it on a mediocre level but ultimately is a disappointment worsened by its dreary production.

Rating: 4/10

Dead Can Dance "Into The Labyrinth" (1993)

After a string of five records, Australian duo Dead Can Dance take a little longer to get their next effort out with a compilation released just a year after Aion. It follows a familiar construct of the two exchanging the lead roll as a sole voice over enchanting, cultural instrumentals. Two mesmerizing accapella's make an appearance in the eleven tracks mainly distinguished by an Mediterranean persuasion. First heard in slapped bongo grooves and steady tambourine alike percussion it grows with the record as the melodies feel increasingly sun soaked and the rich tapestry of instruments grows increasingly exotic and foreign with a desert sand tinge.

Its mostly Gerrard who indulges in these traveled voices. Sublime might be an understatement, her singing was under no contest but one has to be taken back by the cultural echos she inhabits with an ever expanding set of voices. Rich in texture and flawless in execution a emotional resonances illuminates her songs. Perry on the other hand often pulls the record back to the mystical, fantasy, medieval side of their sound, choosing to sing on the tracks rooted in sounds previously explored. They two are equally enjoyable but certainly fitting into whats been heard before.

Into The Labyrinth has little surprise. The excellence and inspiration this band can achieve is performed again and perhaps where they could of fully dove into new territory they have tread the lines between two strong ideas for an album most excitable when exploring the aforementioned cultural sounds of heated climates. With balanced measures of complimenting instruments, they once again muster together another set of magical songs to transform your imagination and take you on a journey through other worlds, times and beyond.

Rating: 7/10

Souls Of Mischief "93 Til Infinity" (1993)

Five or so years ago I would of adored an album like this. Its clearly got those classic 90s Hip Hop vibes, soulful and jazzy with funky fresh flows. Back then I just couldn't get enough of the scene, Ive listened to so much of it now I'm actually surprised this one managed to get past me. The Souls Of Mischief are four MC's from the West Coast who are part of the Hieroglyphics collective led by Del The Funky Homosapien, who unsurprisingly produces a couple of tracks and features a verse on another track. Despite being from the West Coast, Souls don't rock the G-Funk vibes, in fact their sound more so resembles the East Coast but their streak of uniqueness is both in the technical yet inspired raps and the instrumentals which combine elements of the smoother Jazz Hop with the hype and energy of Boom Bap.

93 Til Infinity is their debut and said to be the groups best, such a common occurrence in Hip Hop. With an abundance of youthful energy and desire to make themselves heard, Souls put together a rich journey of impressions told through the lens of their lively, rugged rhyme styles which stand apart from the crowd. With a majority of smooth sounds drawing samples from Jazz and Funk, the MCs bring contrasting flows that duck and weave with the lyrical dexterity for trading blows between intricate mid sentence rhyme play, flow chopping and train of thought consciousness raps. Its all impressive and at times the flows can get quite technical but one of the group, Opio, has a nasal tone and on a couple of songs the fidelity of the mics used gives it a thin and rasp sound, a slight gripe I have but the point should be the contrast. All four have tones and flows that stick out from the often smooth backing which is its charm, on occasions it can dip a touch to far.

There's no doubt you'll find plenty of favorite lines scattered across the fourteen tracks. At fifty five minutes it does draw on but the group have a lot more to say than the average record. Apart from one or two boisterous tracks and flows it seems as if there is always a point to be made, an observation to be told and it comes through plenty of tricksy flows to show off the groups creativity. The production is somewhat varied to my ears, there's quite a clutter of sampling at work and through the layers a strong vibe emerges however there are a handful of songs where the clutter is a bit much the song gets muddy and some of the samples rub up against each other. The drums however are always sturdy, providing a solid bombastic groove for the flows to align with.

I didn't get deep into this record but a few years back this would of been my addiction. The vibes are on point and the lyrics are continually charming with creativity and originality and I think you could really get into some of the more technical flows that demonstrate multi syllable rhyming ans all sorts of techniques to sink your teeth into as a listener. Its been a fun listening experience, I can totally dig why people say 93 Til Infinity is a classic!

Favorite Tracks: Live And Let Live, A Name I Call Myself, Anything Can Happen

Rating: 7/10

Immortal "Pure Holocaust" (1993)

In the infamous Norwegian Black Metal scene Immortal were there from the beginning with a demo tape dating back to 91 and this release, their iconic, identity defining second record, coming a year before the global media exposure that came in light of the church burnings and murder controversy.  Not to be taken seriously, Immortal's image plays tongue in cheek to the seriousness of corpse paint and satanism within the scene. Although themes of demons emerge, Immortal's lyrics and atmosphere revolves around scenic fantasy and nature, the extremes of cold winter weather and war. Its a classic but flawed gem that gets merit for its blinding speed and grinding intensity. Its execution of atmosphere and vision is sublime however the record is rather one dimensional, sticking to a singular principle through the course of the record, however that purity to an idea is in itself rather charming.

 Starting with "Unsilent Storms In The North Abyss", a cracking song name, it takes all but eight seconds for the records lunging speed to pulverize as a blitzkrieg snare pummels down with a frighting blast beat. Its stride doesn't let up as the base pedals roll in with an endless momentum. The drumming is unsettled and astonishingly fast, more so for the time but the drums make up a large portion of the bands sound not just for its speed and intensity but its tone and texture too. The pedals are dense, the snare sharp and loose, the cymbals a indiscernible clatter. It all bleeds into a colorless haze of menacing force and power that is a constant persuasion alongside the other instruments.

Alongside the thunderous sound of the drums a thick drone of noisy, sharp distortion guitars paint the icy cold landscapes with their muddy presence. Unsurprisingly they match the whirlwind speed of the drumming with incredibly dexterous tremolo chord shredding that has power chords strumming at a ridiculous pace while they progress and transition through the motions. There's barely a lick of melody, occasional resemblances of a lead above the rhythm guitar and a short solo on "Frozen By Icewinds" that ads a momentary extra dimension to the sound, something that could of featured more. With its blinding speed, narrow, claustrophobic tone and messy, dissonant record the guitars are another cold layer of sound giving birth to a frosty and scenic imagination in their partial ambiguity.

Vocalist Abbath is very much the star of the show, songwriting, playing the drums and bass guitar too. The base mainly adds a warm undercurrent to the otherwise bleak tone, occasionally breaking to add a subtle melody. His vocal style is fantastic, despite being a little stark and laughable his gargling demonic calls play with the higher ranges and have a light growl about them. The delivery is key, always of its own accord and with some light reverb it jumps out from within the frosty cold wall of noise. Its best and most powerful moments come with volume raises and increased reverb for dramatic effect.

I could sing its praises all day and its short comings aren't complaints so much as observations where things may not quite play in their favor. Its a very linear listen, never steering far from the path, no break out moments or change of pace its a continual hammering down of pure darkness. Maybe with exception to "As Eternity Opens" inclusion of what sound like noise choir synths towards the end. The production style is charismaticly raw and unpolished, to the point of leaving in odd snare strikes and symbol clashes that peak the microphone. The band also implore the Darkthrone principle of sudden endings as the ringing distortions are interrupted by silence. These are things I'm not sure I like or not, but one thing is for sure this record is timeless and I adore it.

Favorite Tracks: Unsilent Storms In The North Abyss, The Sun No Longer Rises, Eternal Years On The Path To The Cemetary Gates
Rating: 9/10