Desire "Infinity... A Timeless Journey Through An Emotional Dream" (1996)

Chasing down one of many rabbit holes the world wide web offers I somehow found my way to this obscure, niche and unheard of Portuguese band. Sucked in by the vivid and lonesome crimson red cover I heard a sound that reminded me fondly of two records close to my heart that I am yet to talk about on the blog. Doom Metal is probably my most neglected sub genre of Metal considering I adore Black Sabbath and have never heard anything to turn me of the style. This record, Desire's debut, really highlighted the qualities in these other records of which Id never linked to Doom before. If your familiar with the genre you wont be surprised to hear that "Infinity..." is a sorrowful record of mourning, heartache and sadness that flirts with the endless depths of the infinite. That may sound rather unpleasant but its a spiritual, emotional look into the hurt and longing one can feel.

The records moves with a brooding, gargantuan weight that slows many riffs, leads and melodies to a crawl, including the bellowing low growls of vocalist "Tear" who has an astonishingly textured growl that he can draw out with a touch of class. It gravitates deeply to a heavy and menacing side which isn't reflected in the instrumentals that have an almost eerie, nearly gothic vibe with thin synthetic strings peaking from between the bleeding power chords and crashing drums which thunder between spaciously timed tempo keeping hi hats. With drawn out movements and longing melodies the gloom and despair washes over for moments of subtle uplifts where the songs can break for a chunkier groove or colorful synths. Accompanying the main growl, shriller howls and growl come soaked in reverb and on occasions mysterious female vocals drop in the back ground feeling illusive and mournful, despite being rather sublime and tender.

Given the long nature of the albums core songs, up to sixteen minutes, Desire do wonders keeping the mood and atmosphere relevant and moving forward in a slow and reluctant setting that will draw out sections for many minutes. They do however grow and evolve even if at a snails pace and what it greatly benefits from is how suited slow and gradual is for such weighty themes of human sorrow. In the records short tracks we have acoustic, symphonic interludes that feel of the same realm but come across with a scenic, fantasy drive, less human and emotional. "Forever Dreaming" the albums last Metal song is one to remember with a deep nostalgic vibes seeping through the synths and soft effeminate vocals. We grace into another slow crushing movement that's climaxed by an unpolished flute lead that gives a deep sense of mystery and conclusion at the same time. The way these instruments are presented just open dimensions in the mind and as the song draws to a close we are again treated by spell bounding keys that dance lightly.

There was a singular moment which always makes me chuckle where a whispering voice proclaims "Dance with me... infinity". I can never take it seriously, something about the Portuguese accent and whispered delivery tickles me. Other than that I feel this album would of been perfect for me ten years ago, however even as I write and understand this record it still has me at its mercy with its sorrowful mystic and nostalgic atmosphere. The records production is a touch raw and rough in places but in its lower value it finds a sweet charm to let the magic work its ways.

Favorite Tracks: (Leaving) This Land Of The Eternal Desires, Forever Dreaming... (Shadow Dance)

Rating: 8/10

Cradle Of Filth "V Empire" (1996)

"V Empire", or "Dark Faerytales In Phallustein" was once to me a somewhat mysterious release from the English Extreme Metal band. A record with two names, sometimes listed as an EP and released instead of a "lost" record. Luckily now the Internet is a wealth of knowledge and the story is clear. Before their debut, which I am actually not familiar with, they recorded a full length known as "Goetia" in 93. Unfortunately the record label couldn't pay the studio bills and the recordings were wiped. Hastily signing with Cacophonous Records the group got a bad deal which led them to quickly write and record "V Empire" before jumping ship to Music for Nations. Recorded in 95 and released earlier in the year to their magnum opus "Dusk... And Her Embrace", it has only six tracks, but with a couple of lengthy tracks makes for an album experience.

Despite its rushed production Vempire, as its often referred to, has some of the bands finest moments, the opening three tracks a staple mark of any live show. Its a rawer experience with a lack of polish that translates into a wild energy that becomes refined and focused on its follow up. Its very much in the same moment, however Dani's unique and shrill howls are at their peak with a blinding intensity and haunting magnitude. Alongside them his deep, bellowing gothic spoken words, drenched in reverb fuel the fantasy worlds these songs take us too. In some of his most intense moments he sounds like Varg Vikerness and his animistic barks of agony. The rawer attitude of this record gives the extreme angle of their sound more freedom and the result is a faster, aggressive beast. The melodies and riffs create a vivid atmosphere and make for their most memorable material, especially the ten minute epic "Queen Of Winter, Throned", full of dramatic intensity, mood shifts and lightning screams its topped off with an almost cheesy moment of vampiric masturbation leading into the songs climax and conclusion.

Having revisited this one Ive really got a fuller sense of where it lies in Cradle's history and subsequently has become a fascination and curiosity. What could this have been under different circumstances? It feels like Cradle rushed their most inspired moment. In the flurry of a dash to escape a contract they managed to find a brilliant balance in production of rawness and power that would never be the same again. If this was strengthened by a few more decent tracks it could of easily been their ten out of ten. Fantastic record!

Favorite Songs: Ebony Dressed For Sunset, The Forest Whispers My Name, Queen Of Winter, Throned
Rating: 9/10

Cradle Of Filth "Dusk... And Her Embrace" (1996)

Cradle Of Filth, a band that polarizes opinions and attracts hate within the Metal community, are an English Gothic / Extreme Metal band led by front man Danni Filth who, over the years, has chopped and churned through many musicians and led the band into criticism for supposedly attempting to popularize the bands sound and image. Whatever your opinion is, there should be no denying that for a brief period in the 90s they put together some brilliant music that sounded unlike anything else. Dusk is the bands second, technically third due to a scrapped record, and undoubtedly their finest. One that any fan of Extreme Metal should check out.

Firstly Cradle are not to be confused with Black Metal, despite many similarities in evil themes, distortion guitars and shrill vocals, the musics core is drenched in romanticized gothic vampiric mysticism, dominating and guiding all aspects of their sound to create lavish fantasies of ancient blood soaked nostalgia. Their songs unfold through a series of repeated segments that move from one riff to the next with vision and variety, shifting between aggressive blast beats and slower doom tempos with all sorts of dark symphonic wonder in between. Evolving from start to end they mostly feel like journeys and stories.

One of the records defining qualities is the sense of lead and harmony that existence between the guitars and synths, feeding of one another and cultivating a shared vision. When they drop backwards with power chords the synths will step up with simple and inspired melodies. In turn the guitars do the same but with a style that reminds me fondly of Iron Maiden, fast commanding dual leads that have force, groove and a great sense of harmonized melody. With power chords and melodic leads the guitars can also turn to some metallic head banging grooves at times that work to great effect, amplifying the momentum of otherwise theme oriented music.

Cradle's trademark, Danni Filth's vocals, are at their finest here. His fierce, deadly, high pitched shrill screams turn many off, but for a fan his tone and delivery is spot on here and rightly so is used sparingly. More traditional screams and deep guttural spoken words reinforce the gothic theme and keep things ticking over until Danni will burst in with his surreal range. It reinforces the fantasy this record offers, sounding almost inhuman or beastly. Alongside him is Sarah Jezebel Deva's strong, evil, enchantress vocals playing on the romanticized themes. As well as having a stunning gothic voice she was one of the bands longest consistent members for fourteen years and has worked with a lot of other reputable Extreme Metal bands who often lean on the gothic tinge.

Dusk is spell bounding, vivid and dream like. Its atmospheres are haunting, chilling, ghostly and mysterious. Danni takes us on a ride through his twisted fantasies, the lyrics are poetical affairs with seductive temptresses of nocturnal persuasion. I can only sing this records praises. Further pondering on its strengths the albums production is very strong for 96. Its not pristine, the instruments are not perfectly crisp and without flaws but the balance between instruments is spot on and lets them find their chemistry for us to enjoy. Writing this I realize how fond of this record I am. Ive also heard their latest record is "return to form". Something I would love to hear this band do again.

Rating: 9/10

December Moon "Source Of Origin" (1996)

 December Moon were a short lived English duo from Ipswich who had both been member's of Extreme Metal band Cradle Of Filth. Drummer Sarginson for a brief moment in 99 and lead song writer "Robin Graves", note the pun, through their best period in the early 90s. This was December Moon's only full length after a couple of tame demo's and its fair to say its the sort of record that gets lost in the waves of mediocre releases following the explosive controversies in 94 that brought this style of music to a wider audience, inspiring many musicians to form bands.

I found this album at a gig I attended recently, picking up a second hand record based on a recommendation from a chap who's band "Macabre Omen" impressed me greatly. Being so familiar with Black Metal, it doesn't take long to figure out a record like this. It doesn't have much to offer beyond a routine set of rugged songs that wouldn't be half bad if it wasn't for some glaringly awful vocals in the later half of the record. The hallmarks are all here, low fidelity distortion guitars, snarly vocals, clattering blast beats and rigid symphonic keyboards to add a raw spice into the flavor.

There's quite a few strong leads, temperate riffs, evil melodies and sinister themes at work, notably with a similar Gothic tinge in the vein of Cradle. It doesn't rub of as dark or particularly heavy to a seasoned listener and with a good sense of atmosphere the records knows when to give itself a bit of breathing room to let the distortions soak up the air. After three tracks the record shifts gears with a cold, and ancient synth track, then continues with another more crude and primitive Dungeon Synth instrumental accompanied by snarly, throaty screams that fail to charm. Its followed up by some hideous, shrill, howling vocals that dispel any magic on a sub par riff. Later it picks up with some, once again very Cradle like gothic female vocals which are subdued and muted in the mix, leaving what could of been a great moment feeling underwhelming.

The record trails of after that point with uninspired songs, leaving me with the air of disappointment. This one straddles the fine line and for a larger portion, drifts into obscurity. I'm reminded of "Diabolical Masquerade" with the snarly, distinguishable screams and upfront involved guitars but of course, falling short of that mark. The records production isn't much to marvel, fairly organizedwith a strong base presence, the drums at times can lack some oomph. Worth a listen if this era of Black Metal interests you, but there is better out there.

Favorite Songs: Exaltation Of Power, You Can't Bless The Damned, Nocturnal Trancendency

Rating: 4/10

Farmer Boys "Countrified" (1996)

Farmer Boys are a German Metal band from Stuttgart who are still technically together despite years of silence and no studio record since their forth in 2004. With little chart success or renounced acclaim it was quite fortunate to stumble across this small band that play a breed of Metal perfectly suited to my taste. Had I found this in my youth I'm sure I would of lapped it up. I can hear that energy, but these days it doesn't have quite the same effect one me. There's also an interesting "Depeche Mode" cover in there, with Anneke of "The Gathering". Which is how I found my way to this group.

Their sound was immediately identifiable. Big crunchy distortion guitars, angrily shouted vocals and subtle symphonic elements to break up the metal assault. Initially I heard tinges of Industrial with a "Die Krupps" feel to their style, especially in the dense, chunky guitar tone. That might be a regional thing but as I got to know these songs all the influences became apparent. Forces of Groove, Thrash and Nu Metal converge through the riffage with a Doom and Gothic tinge amplified through the acoustic moments and subtle strings that sit quietly under the guitars while choir aah's covertly grow and creep into the songs.

The album drives through a straight forward arrangement of songs that work through the motions, playing out aggressive riffs, broken up by mood shifts led by Matthias Sayer's gloomy, sorrowful clean vocals. As the album gets deeper some very obvious sounds surface with "Pantera" blunt force style riffs and grooves emulating "Machine Heads" classic pinch harmonic groove. For 96 its a great sounding record and the group sound relatively original in the Doom Metal moments of their songs but they do sound a little drawn between styles. Either way they define themselves and despite a very decipherable style, the album flows effortlessly and the songs are really enjoyable. As I said in the beginning, ten years ago me would of lapped this up.

 Favorite Songs: Farm Sweet Farm, When A Chicken Cries For Love, In A Distance To God, Call Me A Hog, Countrified

Rating: 5/10

DJ Shadow "Endtroducing..." (1996)

DJ Shadow is an American producer from California who's debut "Endtroducing..." has landed on many "top lists" in Hip Hop music. Credited for establishing Instrumental Hip Hop its often held in high regard as an important and influential record. Having not given it much attention beyond one or two listens in the past I decided to give this one a go again and after much time spent enjoying it I have to say retrospect has me at a disadvantage.

Being familiar with many of the characteristics this record may of helped to shape and inspire, there are a few traits its posses that I might take for granted. The instrumental aspect was a first at the time and many of the techniques used in production are so commonplace now you have to put yourself in the mindset of 96. DJ Shadow as a lot of unorthodox sample material throughout the record, even including Metallica's "Orion" on "The Number Song" and scaling back from the accompaniment of an MC he pushes for daring and unique sounds leaning towards Jazz, Soul and Psychedelia.

The sampling, cuts and arrangements are captivating and progressing lucidly with a free flow as DJ Shadow lets the sampling art-form do so much more than the stagnant repetition were used to. With many layers of samples each song can journey through an idea while changing form and evolving thanks to the intricate detailing of sounds and shifting between different samples which fade in and out of the tracks effortlessly, creating organics through traditional rigid music.

A quote from the record itself, something along the lines of "The music's coming through me" summarizes the record in a nutshell. Whats so remarkable is how lucid and organic the chemistry in the sampling is. Hip Hop has often sliced great moments, or reinvented them with new words and a new groove, but here on this record the original songs are barely reconcilable as the choice arrangement and reconstruction takes new forms that don't resemble the origin.

Despite now "getting it" I feel that the records diversity in theme creates some less favored vibes and moments. In the jazzy chilled out, laid back Trip Hop moments there are timeless tunes. In other songs the mood shifts rigidly into less engaging songs that break up the flow. Its a loaded gun with plenty to offer, but some of that just wasn't quite on my wavelength. Its also interesting to read about how well this record was received in the UK considering this record breaks down Hip Hop in similar ways to Trip Hop which was flourishing at the time. Anyway, terrific record which I can really appreciate, I'm hoping the less favored moments will grow on me with time.

Favorite Tracks: Changeling, What Does Your Soul Look Like, Midnight In A Perfect World

Rating: 7/10

Mazzy Star "Among My Swan" (1996)

 Its been an absolute pleasure to enjoy this record which instantly grabbed my attention, singer Hope Sandoval's sleepy, dream like vocals washed over the hazy distortion and entrancing acoustic guitars to create a sound that felt right at home, yet new to me. Mazzy Star are an American band whos music is composed by the core duo of Hope's vocals and guitarist David Roback. The band released three albums in the nineties before a hiatus that left 17 years between this record and their 2013 release "Seasons Of Your Day". Their sound and style is distinctively blurry between Alternative Rock and Dream Pop with a subtle touch of Country too. 

This record struck me with a vivid image of simple life, maybe on a farm or working the land but with a deep respect for life. The mood and tone balances both beauty and sorrow on a mortal hinge that could be felt in either direction as a sombre undercurrent drifts through Hope's soft, sleepy words. In the distance hazy distortions play out ambiguous riffs as radiant acoustic tones strum out colorful melodies that dance around Hope's voice. On the first tracks bells feature in a slightly discordant manor, their presence is spellbinding and the additional instruments that pop up throughout the album add new dimensions, the harmonica in particular conveying that simplistic, yet emotional depth the music has.

 Across the twelve tracks theirs a mix of tones, moods and intensities to be found. The percussion sometimes fully involved with a light kit, occasionally a tambourine keeping pace, something I haven't heard in some time. The group get psychedelic on "Umbilical", a chilling slow drone with a haunting organ building atmospheric intensity from the guitar and drums. The distant, hazy distortion guitar brings the most unique flavor to their sound, but on every track if its present or not they play out truly charming, engulfing songs that wash over with a touch of tranquility. Bewitched by Hope's voice and the humble emotion the instruments serenade I find myself hooked on this record and the peace it brings.

Favorite Songs: Disappear, Take Everything, Ive Been Let Down, Roseblood, Happy, Umbilical

Rating: 7/10

Outkast "ATLiens" (1996)

Following up on 94's "Southernplayalisticadillacmuzik", Outkast's second album is a relatively big side step from the cultured southern character established on their debut. The album cover stands out as a Hip Hop record for its cartoon inspired graphic and primative 3D fonts. The logo and price an added oddity that as a whole is reminiscent of old Playstation games, at least for me. The cover hints at a strong sense of theme that is present throughout in the production and lyrical content. Reflecting on their commercial success and maturity as people, Andre and Big Boi focus on introspective and social topics in that lyrics that address family responsibility, urban life and a sprinkling of extraterrestrial activity that often feels like a metaphor for social alienation, the name being a combination of Atlanta, where the duo are from, and Aliens.

The theme established is played out well on this record which comes with a thick consistency from track to track. The production opts in for tight, crisp kits and constructed loops that provide a strong backbone for the raps without being bombastic or hyped, they subtly impress with quality and no cheap thrills. Working with the drums a cautious, paranoid bass line creeps around these tracks in the deep low end, playing out paced out grooves that break often to utilize its own absence. The two have a minimalist chemistry the sampling amplifies through quiet samples of various instruments and sounds that leave a big air in the mix for the duo to fill with their raps. Most tracks are devoid of hooks and melodic leads, the samples paint the atmosphere cautiously with alien, out of space sounds and noises to complete the sense of theme so strong.

Big Boi and Andre both shine on this record with continually engaging lyricism taking us through their introspections and thoughts that come with a handful of memorable lines and thought provoking lines, especially with their attitude towards women that displays a lot of change and maturity. With the musings on fame the two show a level headed character not phased by the ego or illusion success can bring. Their engaging intellect is a strength from a record that has no cheap thrills, needless violence or boasting. Solid lyrical content that feels like a breath of fresh air for this listener, despite it being almost 20 years old.

Overall I felt this was a solid, absorbing record, but maybe not one to pick up too often. The calmer vibe and subtler approach is a two edged sword that doesn't fit every mood, but in the right one this stands tall. It wasn't till I started to write that the era crept into my thoughts, this was 96 and a solid execution of new production ideas that were emerging at the time. This was also the beginning of the bling bling era and the record is rather bi-polarizing of that direction. In retrospect this album's importance and significance could be something I overlooked when gathering my thoughts, but for now I will look forward to obtaining their third "Aquemini".

Favorite Songs: Two Dope Boyz, Atliens, Wheelz Of Steel, Elevators, Mainstream, 13Th Floor

Rating: 8/10

LTJ Bukem "Logical Progression Level 1" (1996)

The world of Drum N Bass is one I am not too familiar with, however I am always keen to listen and explore this genre which is an important part of England's musical Heritage. DnB emerged in the early 90s alongside Trip Hop, Jungle & Breakbeat music from the southern parts of the UK where the Rave scene had hit and Electronic music was flourishing. The principle of DnB is in the name, high tempo break beat loops and loud baselines at the forefront of the music, this leaves a lot of room for diversity in style and mood. Following a recommendation from a friend I picked up this lengthy double album which I revisited today.

 This record explores the moodier, ambient side of what is possible. High tempo break loops contrast dreamy, melodic instrumentals, creating a unique energy where the intensity of fast, pulsating loops is fused into loungey, gentle instrumentals that have an almost Jazz Hop feel to them in moments. This transference of energy and bipolar nature is charming and very characteristic of this record which i do believe LTJ Bukem acts as a DJ mixing together his own tracks with others. Even though there is an array of musicians involved the album flows seamlessly from start to end.

The production is class, crisp clean drum loops have room to breath on top of deep moving baselines that groove gently in their own world underneath this bipolar relation between samples and loops. The calming nature of these songs and the high intensity of the break beats give this record room to fit for many moods and overall it feels like a classic record, however my ears are not as experienced in this line of music. On a note, the song "Pharaoh" is "Rings Around Saturn" from Photeks "Form & Function" released 2 years later. Bit of a mystery to me, but DnB is a place where the album is not the primary release format. Great album, loved all 2 hours of it.

Favorite Tracks: Links, Bringing Me Down, Horizons, Pharaoh

Rating: 7/10

Marilyn Manson "Antichrist Superstar" (1996)

In my youth Manson was a popular and controversial figure who's music I never really gave a go. I'm unsure as to why his genius never appealed to me then, but having recently watched some documentaries about his music I've learned hes a very intelligent and articulate person. Understanding a little more about the person behind the peculiar self imagery has really opened the door for me and i decided to start with the album that transformed him into a sensation. This being the bands second full length rocketed into the charts upon its release and has remained as their best selling album by far.

The album as a whole has is an artistic and creative expression packaged into a metalic, rockable sound layered with an Industrial aesthetic that give this one a unique and instantly identifiable sound. Manson's presences in these songs is poetic, through his somewhat unexceptional voice hes engages my attention with many thought provoking lines delivered with emotion and intent. Manson is almost self prophetic, with many lyrics retaining to being a controversial figure of hate that he became on the albums release. These lyrical statements often reflect whats wrong with societal values and they are delivered with a cunning artistic expression. One of the more comical lines has stuck in my mind "I wasn't born with enough middle fingers", we have all had days like that. Theres a lot to relate to on this record if you have an alternative perspective of humanity and society.

Manson's poetic presence maybe stealing the show but the instrumentals are worthy of merit too, across the record theres a lot of variety in instrumentation and flavor as the songs drift from rock head bangers to moody movers. The instrumentals keep a strong feeling together despite offering some decent variety with electronic leads shifting focus with the crunchy guitar tones. Theres lots of detailed sounds and noises adding depth to all these tracks and the rhythm section is refreshing, offering some more inventive and unexpected patterns utilizing a large pallet of sounds from an industrial themed drum machine. It all comes together so well, this album is devoid of filler with most the tracks bringing memorable beats, riffs, melodies and lyrics. I now see what the fuss is about and I'm excited to listen to more!

Favorite Songs: Torniquiet, Little Horn, Deformography, Angel With The Scabbed Wings, The Reflecting God

Rating: 8/10

Lycia "Cold" (1996)

Lycia are a Darkwave group from Arizona USA who formed in 88 and have released 13 albums since then. This is the one album I have treasured from there discography, at a glance it pulled me in, and after many listens I am still captivated by its bleak and, no surprise, cold sound. This record is dreary, spacious and artic in design, these may sound like negative observations to those who like there music upbeat and chirpy, but these are all positives, in "Cold", Lycia craft a chilling soundscape that explores the darker side of life and self.

Across nine tracks this slow and bleak record paces itself with a genius that keeps me gripped from start to end. Despite similarities from each song to another, they provide passive melodies, subtle sounds and shadowy riffs that stick in the mind. The chilling sound is shaped through guitars and keys soaked in a vast reverb that bleed into each other effortlessly. The drum kit follows the same aesthetic and its slow, decaying pace and lack of complexity fitting the mood entirely. There are both male and female vocals that provide an important human presence in the experience, they are gentle, distant and sorrowful in nature.

There are some beautiful and effortless progressions in the songs as they gradually build up to crashing bells, subtle eerie choirs and other sounds that really add purpose to these passive pieces. This is a soundtrack for the cold, obviously, but these songs really paint a picture in the mind of countrysides covered by snowy blankets that captivate and dazzle, yet are perilous to humans. The dark and bleak atmospheres this music produces is unique, yet familiar, I enjoy it every time I visit.

Favorite Tracks: Frozen, Bare, Colder, Snowdrop, Drifting

Rating: 8/10