BABYMETAL "Babymetal" (2014)

Back in 2014 Babymetal's debut didn't make much of an impression on me due to its apparent and unapologetic gimmick, however "Metal Resistance" won me over! Gimmicks aside its the music that counts and Babymetal's fusion of Metal and J-Pop, fronted by a trio of girls, is fresh and exciting. I'm glad I didn't listen to this one until now as I'm sure my perceived flaws with this project would of become an inflated critique in the face of fun music that shouldn't be taken to seriously. Unlike their sophomore record Babymetal is far more varied, experimental and a little garish with its electronic aspects. Starting with production it is once again a compression fest of forceful, volume oriented modern aesthetics which on occasions can be daunting in its intensity, the kick is especially crisp, clicky and heavy in the mix. Much the same can be said of all instruments in the mix and in moment's it gets a little crowded yet remains clear. Some of the trance synths used in tracks can also be overwhelming. My experience is that this once surprisingly doesn't suit high volumes.

Aesthetics aside we have a collection of wildly energetic and varied tracks that continually mix and mash styles with a ruthless "anything goes" attitude. Between the records more typical metal tracks all sorts of musical sounds and genres can be heard. Mostly its entertaining, fun and vibrant but its rigid and choppy composition between styles leaves food for thought on what is reminiscent of IGORRR's "internet age" of music where any styles and genres can be mashed up given the widespread availability of online music and information at the touch of your fingers. For me it was the main talking point of this record.

It starts with "Inie!" introducing glitzy fast paced trance synths culminating in dance tunes with pumping bass kicks and coin arcade sounds. It switches up into some form of Rap with what I can only describe as a cheesy "bling bling" Hip Hop beat. Of course it then drops into howling death with demonic screams and evil, shrill guitars. "Doki Doki" picks it back up by mashing slamming Nu Metal grooves with chirpy upbeat sunshine pop and glittery synths. "Onedari Daisakusen" sounds to me like it could of come out of the Limp Bizkit catalog, minus the quirks of Babymetal's aesthetics, this has all the makings of Freds little catchy raps and Wes Borlands dynamic grooves complete with build to a breakdown moment where things get heavy. No to mention it also includes a sample of Fred from "My Generation"... now that I think about it, its got a nearly identical build up to the sample. "Song 4" brings some laid back, beachy Reggae dub sounds and "Uki Uki" goes full Skrillex with base wobbles and a noise eccentric breakdown. I'm not criticizing any of it, I enjoy it greatly but its interchanging rigidity and entertainment value leaves little in the way of emotionally charged or moving music. This record does however have much more versatility and I'm hoping in the future they can utilize that with a little more inspiration and emotion.

Favorite Track: Babymetal Death, Gimme Chocolate!!

Rating: 6/10

Buckethead "Claymation Courtyard" (2014)

American guitarist Buckethead is both a legend for his phenomenal guitar playing and an obscurity in the world of music. Raised in a chicken coup, Brain Caroll AKA Buckethead has created an air of mystery around himself, always appearing masked with an upside down KFC bucket on his head labeled "Funeral". The mysterious demeanor is second to his ability and unique flair with an electronic guitar. Although metallic and distortion heavy his style is experimental and avant-garde. The last time I properly listened to a record of his was ten years ago, 2006's "Crime Slunk Scene" which was around the early days of his accelerated record releases. Buckethead has released over 250 albums in around 25 years. In the 00s he started pumping out three to four a year and in the 10s he is releasing extraordinary amounts with over 100 in 2015. As you might suspect these albums are more like jams that have been polished up but even so with Buckethead's extraordinary ability a jam is a gem.

Speaking of gems "Disintegration Mirrors" is this albums moment of genius. It was also how I found the record! Tweeted by John Romero, one of the creators of doom, I found myself gobsmacked at the wonderful guitar solo this track dived right into. Then ten minutes or so later I released I'm still captivated. The other songs on the record sound decent alongside it but don't have quite the same spark. If you are familiar with Bucketheads style this is a pretty standard amalgamation of warm, mid tempo distortion riffage and colorful effect heavy guitar leads in non linear arrangements. The drums are programmed by top end VSTs and possibly the bass guitar too. Its solid, workable, nothing to marvel and can get a little rigid if you focus too close on the drumming. I'm left entertained but at the rate he pumps these records out at I find myself far more curious about the creation process behind them.

Favorite Track: Disintegration Mirrors

Rating: 5/10

Dan Terminus "Stratospheric Cannon Symphony" (2014)

Although there is another record to devour in Dan Terminus's discography, this will be the last from me for now. Its his second full length and despite a lack of aesthetic difference it has a distinctly more EDM vibe than the previous leanings to the dark side. As much as I have enjoyed these records, there is something that just doesn't click quite like other musicians have done for me. Like on "The Wrath Of Code" its a warm and enjoyable listening experience, yet I walk away each time without an echo or melody stuck in the mind. 

Much like the albums cover, we tread into the lighter regions of dark music with a record that tingles with a cool frosty breeze as warm and inviting melodies play from the thick and chunky waveform electronic instruments which stack up in varying layers. As if on a drifting glacier, we warm ourselves in the sun of an otherwise frozen hell. As mentioned already, these melodies and leads rarely do much to forge a remarkable moment but simply dance around the broad, deep buzz saws and punchy drum kits that form the songs. "No Escape..." breaths some some life into the record with electronically distorted vocals and cleanly sung lines from two guest vocalists. Even then they are sparingly used on what is primarily instrumental music, something that could perhaps hold it back.

So I don't have too much more to say, some records are like this, its enjoyable in its moment but I don't feel anything deeper emanating from it. Perhaps there is too much reliance on the aesthetics of the instruments, which do set a vivid atmosphere, it is not backed by inspired melodies or musical direction. Instead what does occur seems to plod around in a moment moving aimlessly but looking pretty non the less.

Favorite Track: One Million Dead In 2.7 Seconds

Rating: 5/10

The Contortionist "Language" (2014)

What I remember of American Metal band "The Contortionist" is a Deathcore group trying to push the genres "heaviness" with tinges of Djent and Technical Death Metal. That sound is a distant memory with the band bringing a keyboard player into the lineup and replacing their vocalist with Michael Lessard who has a fine singing voice outside of the rugged screams and growls. Going in a new, progressive direction "Language" steps into a world of color and melody, an illumination of inspiration.

Flowing organically these songs drift through a free form of momentum that unravels in its own direction, shifting, amplifying and switching tune at many points. Drawn between two forces we are graciously swooned by the sunny and delicate passages of temperate drum grooves, soft distortion chords, serene synthesizers and Lessard's tender tone. In turn, force and aggression emerges from within as instances of instrumental intensity amplifies, their focus turning to aggression and Lessard curling throaty grows and snarls over the emergent change of mood.

Most of the records charm comes from this shifting between sides both in tone and texture. Its as if all instruments have a dial and a puppet master turns them. The guitars can lavish with warm distortion and fire up with rhythmic djents. The synthesizers often taken the more subtle approach also intensifying their potency with volume and depth. Through the course of these songs many balance shifts occur and its as if many combination and ideas are explored through inspiration.

On first listen this could feel like progressive for progressive's sake but with each listen you chip away at the framework, understanding its cause and purpose piece by piece. As I write this now its time to move through my playlist but I feel there is more to discover. A break will undoubtedly reveal more. On a final note this record is lush, smooth with its lighter, harmonious side. Its a little coarse and brash with its heavier distortions, something that could be dispelling at times. It sounds bright and clear from a technical perspective. Well worth picking up if your a Progressive Metal fan.

Favorite Songs: Integration, Ebb & Flow
Rating: 8/10

Dan Terminus "Rêverie" (2014)

For my second dive into the small discography of French electronic composer Dan Terminus I thought this short twenty minute EP would be an interesting listen. "Rêverie"is a break from the norm as Dan stated he would have fun, taking a break from the usual dark themes and aesthetics in favor of something happy and upbeat. Luckily for me that form of "happy" vibe isn't overly chirpy, enthusiastic or free of balance, there is plenty of room for other feelings to populate these generally positive songs however Dan can't help but steer to darker leanings at times.

In comparison to "The Wrath Of Code" we have a very similar production style but with more space in the mix to breath as the textural synths are used more sparingly. They still pack a punch with some deep wave forms but the lack of depth in layers frees the listener of the demanding density. Breaking away from the dark sound Dan still has a heavy retro inspiration that paints techno-electro fantasies with colorful dancing synthesizers. The 80s vibes course through these tracks, most noticeable when the Phil Collins style synth toms come punching into tracks with their rigid tumbling tom rolls.

Between the five tracks there is plenty of variation mainly in themes and leads. Most the tracks take on a similar tempo with momentous rhythmic patterns, as if hurtling down the cyber highway, sun glasses and hair blowing in the wind like a bad ass. Unlike the previous record I checked out the leading instruments shuffle through many more passageways and moments, rarely repeating back on themselves which made for much more progressive and organic tracks that held my interest for longer. Its a warm, breezy record knee deep in the retro-electro nostalgic fantasies that could be associated with early home console era in the mid 80s, however much richer in quality and dexterity. Dan shows a different side of himself here, one I think I prefer.

Rating: 5/10

Tory Town Poets "TTP" (2014)

Along with Kate Tempest this is another gift I received for Christmas. Its a short 18 minute spoken word piece, performance poetry enhanced with a few lingering sound effects to help set a tone. Poets Olmo Lazarus and Sioni Richards present us with food for thought through word and rhyme as they express their disenfranchised situations. Through topics of war, work, money, youth and suburban disillusionment we muse on their thoughts. The duo have similar styles and tone, complimenting one another from track to track with their deeper, common voices, spoken as if talking directly to you. With a silky flow of organic rhymes and sturdy pacing their words suck one in to the clear and cohesive narratives laid down around the points expressed. You can sense the emotion and anger, its behind calm and calculated expressions but the weight of each point hits home heavy and as the pace of delivery whizzes by as a whirl of mental activity stirs inside on the many observations and points touched on. Its a very socially oriented piece, relative to the human experience, as opposed to any political alignment or ideology, however the groups name may give you a sense of where their politics fall. Its short, rammed with substance and an expression to tune into for a touch of sanity.

Favorite Track: C.V.

Rating: 6/10

Kate Tempest "Everybody Down" (2014)

This record was a gift I received at Christmas and that first, instantaneous impression was not flattering. Disjointed of-kilt beats droned underneath a monotone Londoner's voice talking the story of when Harry met Becky. Things u-turned quickly and within a couple of tracks the magic shone brightly through this brilliant sound like an epiphany. Unique, authentic and original within the context of what I've heard, Kate Tempest is an English poet, rapper from Brockley, London who has so brilliantly deconstructed the foundations of Hip Hop and rebuilt it poised between spoken word and poetry. Retaining the core elements of beats, rhymes and social commentary its spirit is in the same place yet it cannot help itself but come across as truly different.

Kate delivers her rhymes through a strongly spoken, casual tone accompanied by slightly sung lines for hooks or choruses and impersonating voices for the characters that crop up in her stories. A lot of the lines are rhymed but the casual spoken style lets them drift by as if they are unnecessary as we are locked into to the narrative Kate has us following with series of social stories. They link up through the course of the record, characters drift in and out of the songs before they all converge on the final track. These tales are told with a grit for reality and avoidance of glorification. Observational and blunt, Kate find room to inflect the emotional perspective between the events her characters go through as we follow them on their ark.

Behind her the soundtrack of suburban dystopia drones through moody, dinghy synths that glow like luminous lights through muffled aesthetics. The drums keep pace with unconventional beats that shuffle back and forth, paranoid, between sounds that resemble kicks, snares and cymbals. Off-kilt baselines wobble and groove under the two. It comes together without a big moment, phat groove or memorable melody, playing into a perfect subtlety that lets Kates stories stay in focus as these claustrophobic sounds and tempered beats build a grimy, paranoid atmosphere. The record has been a real experience, unique and original to my ears, defying expectation through a remarkable chemistry between beats and rhymes and a sharp, keen talent for engaging the listener.

Favorite Songs: Theme From Becky, Circles, Happy End

Rating: 8/10

Wolves In The Throne Room "Celestite" (2014)

Revisiting one of my favorite records from last year I found myself encapsulated in the mystic abyss that is "Celestite" again. Wolves In The Throne Room are an acclaimed American Black Metal band from Washington who never did much to catch my ear with their traditional sound, however this record, the bands fifth, marks a musical shift in style that may just be a "one off" or ambient record. A deep, dense, brooding guitar distortion lurking under the paranoid soundscape of "Initiation At Neudeg Alm" may be the only echo of their former sound as the group embark on mesmerizing plunge into the world of Dark Ambient and Drone music. In my experience these sorts of records are a niche in taste, they can easily turn you on or off with the nuances that make up the experience. In this case, everything here was primed for my taste, in the right mood one can get truly lost in these eternal soundscapes.

Drifting through the vast, colossal distances of space and time the twinkling of stars can be heard between the vicarious synths that breath in bursts of color and fade into the distance. These eerie and mystic flows of sound coarse past one another in a minimal environment that feels enriched by the quiet yet conjuring layers of intrepid synths that represent the infinite void. Its an experience of two half's, one facing the mysterious universe at its mercy and the other entrenching the spirit of evil with mean, brooding french horns and trumpets, orchestrating the feeling of a presence with a careful balance that lets no melody linger or feel prevalent. Each note works with the next to excite the imagination and paint the canvas with existential introspection in the face of vast nothingness.

The records second track dives deep into the evil, sinister side with thunderous and distant, deep droning distortions roaring alongside the sounds off descending planes and mischievous synths. Through it all the twinkling of the stars can be heard and slowly this heinous droning gives way to the abyss. After this the record continues on its haunting journey through the cosmos, droning and drifting seemingly forever, with only an inkling of evil returning on the title track.

The selection of synths and techniques used to create these sounds has been done with much care and inspiration. The compositions are lengthy, detailed, with many layers constantly working in tandem to maintain a grabbing atmosphere which plays out for 40 minutes through many progressions and drawn out moments that never make themselves to remarkable. The balance of melody and ambiance is sublime. The tunes playing the fewest of notes to whisper a tale, yet making no memorable mark, each time you are truly held into the songs moment.

Rating: 8/10

Autumn's Grey Solace "Monajjfyllen" (2014)

 

Autumn's Grey Solace are an American duo who could be considered a "spiritual successor" to the Scotish group Cocteau Twins who broke musical boundaries in the 1980's with their wordless Ethereal dream music. Scott, all instruments and Erin, vocals have been creating dreamy, melancholy ethereal music since 2002 and I have had the honor of being able to feature their music in some of my videos. The two refine some of the Cocteau Twin's best ideas and in their beginnings, delivered glossy sombre guitars and beautifully soft, delicate, almost ghostly vocals over gentle drumming, calm baselines and acoustic chords that echo out captivating serene revebs. Across the six records since the first the duo have dropped the subtleties and drifted further into rich reverbs and glossed over sounds which until this point had been nothing but a delight.

With not a lot of promotion, or presence online "Monajjfyllen" slipped completely under my radar with the duos migration to bandcamp. I was praying for more from the two and now its arrived Ive got to say I feel disappointed. The new record has lush aesthetics as one would expect. Erin's voice is as soft, airy and dreamy as ever. The guitars vibrant gentle tones always playing off the reverb, and there's a thick layer of airy reverbs and synths gliding through the mix. Its all great, but the music behind it doesn't carry the same weight.

Every track on the record drifts through itself in a haze of self indulgence that seemingly forgets to be spectacular in ways the duo usually are. None of the tracks break from the status quo and the temperature set in the opening moments never changes intensity as the songs drone for a few minutes before coming to an end. There's a lack of hooks, spark or excitement, and of what the album does offer feels very much familiar to the tones of previous songs. Each track brings a guitar chord to echo out over and over while the bass and drums quietly keep tempo. Erin's vocals, despite delightful in tone, fail to encapsulate and I'm left wondering If the magics gone or I've simply gotten my fill of this sound. "Divinian" was ripe with ideas and excitement and with this one offering just thirty minutes across eight tracks it feels like the two just didn't have the inspiration.

Favorite Track: Neowollic

Rating: 3/10

D'Angelo "Black Messiah" (2014)

 

Having heard rave reviews about this record, I decided to pick up a copy, despite R&B being a genre I've never given much time or attention. It was the fourteen year hiatus between records that intrigued me, despite that being somewhat irrelevant. With an open mind and a new found love for exploring music I gave it a try, and thoroughly enjoyed this record of which I had few points of reference for.

D'Angelo's back story is an interesting one, at a young age he received praise and acclaim for his voice which would guide him into the music business, creating two records that had monumental success before disappearing from the limelight, disillusioned by his fame and status. Fourteen years later we have "Black Messiah", an easy flowing record of laid back groove and soothing soul that ebbs and flows with D'Angelos harmonious voice swaggering sweet vocal infectious in an effortless breeze of ranges, peaks and styles.

His voice is a highlight, a point of attention, but the instrumentals are as much a part of the chemistry creating a chilled, versatile setting for funking grooves to content with a soulful counterpart. The bass bobs and weaves under claps and kicks that strike a powerful rhythm without need for force. The guitars, pianos, trumpets and occasional strings all contribute with a subtlety of force that can do so much with so little as each add quiet inflections to the groove in the moment's there not playing a lead, or directing the drama with sudden hits and strikes. It utilizes simplicity and executes it with cunning, for example a simple clap, kick and whistle groove on "The Door" with acoustic guitars accenting the vocal leads creates so much without filling all the spaces. Its not the sort of sound I'm used too, but I'm liking everything about it and this album is increasingly enjoyable with every listen.

Favorite Tracks: The Charade, Prayer, Another Life

Rating: 7/10

Arathgoth "Book Of The Night-Legends" (2014)

American musician, presumably a one man band, "Arathgoth" has undergone considerable exploration and change of its sound through the eight releases since the bands debut in late 2012. I discovered this project through Katabaz Records and have followed it closely waiting for a record that clicked with me. In its inception the sound was a gloomy, minimalist rendition of eerie ambience's, sound scape's and Dungeon Synth that was slowly evolving before varied experimentation on "Interplanetary Travel" that led the sound towards the familiar territory of Black Metal, which is what caught my attention on Legends. I was thrown back to the time when I was exploring that world and loving the places the music could take you, it gave me a taste of that wonder again.

With its opening tracks the record establishes a settled sound that defies feeling closely linked to a particular band or style within Black Metal. Encompassing a lot of influences, techniques and familiarities the songs make for easy, traditional listening with an air of quality to draw one into its subtleties which gave it edge. Buried keys and airy synthesizers blur the guitar distortions into deep, colorful persuasions which come to life in the breakout moments that utilize rock steady drumming. The tone is dark, foreboding, atmospheric and the themes of witchery, vampire-ism and dragons bring to life an evil dimension. The record quickly steers its direction away from the black with Dungeon Synth taking over the tracks. It splits the record in half and spoils the initial attractions progression and what felt like an interlude further devolves into ambient numbers which could certainly entertain had the context not been different.

The records production doesn't suffer from any of its rough edges, as is often the case with Black Metal the raw mix, occasional clashing of instruments and low fidelity just furthers the aesthetic and atmosphere. The drum machine is well constructed, disguising itself well but in faster moments the sampling becomes obvious, at times its mechanical nature it a nice touch, at others its all too commanding and dominant, but for the majority of the opening tracks it works. Its nice to hear a record that has a spark of a music Ive grown somewhat distant too in recent years, but the records change in direction was disappointing and although i can't be critical of the second half it dispelled what the album set out to do.

Favorite Tracks : Vampiric Doll, A Penance Of God, Desert Wings

Rating: 5/10 

Animals As Leaders "The Joy Of Motion" (2014)

Animals As Leaders are an American trio of musicians founded by brainchild of the bands aural identity, Toni Abasi. His mastery of the 8 string guitar gave himself and his band a spotlight of attention around the release of their self titled debut back in 2010. Toni's guitar style was memorizing, fast, intricate and thrilling. Not only technically gorgeous he forged a new sound and approach to the 8 string, combining the familiar low end polyrhythmic djents with bright, clean acoustic shredding that blazed sweeping melodics alongside glitchy electronics. It was a sound that influenced the likes of "Sithu Aye" and others in the present Progressive Metal scene.

The Joy Of Motion felt like an instant familiarity, tight bass and drum grooves guided enigmatic colorful leads through a sea of songs that sailed at explored many themes. After a few listens the class of this record started to shine. On the surface the bands sound has barely progressed, but in the subtleties their craft has taken on a maturity that delivered many of their best grooves to date. The polyrhythms come at an ease and technicality that made them much easier on ones sense of rhythm and groove, while still retaining some level of complexity but friendlier overall. Within these grooves a lot of the metal tones had been transitioned to a battered, beating of the guitars for much more tonal and textured noises to chime with the beat, as opposed to chords and leads the band continually made low clunky noises and harmonics. In terms of the melodic side there was a touch of Latin guitar in the acoustics alongside the guitar solos making this record very colorful and bright, as one would expect.

The records production was exactly what they have needed. Compared to the previous two records you can hear a wealth of depth and clarity in all the instruments and their presence together. It gave the record a stage for the charm of this groups sound to shine, and it did so. All the songs were bright, warm and indulging and together it made for another strong record that felt very safe within the means of what this band are capable of. For everything I enjoyed it came as no surprise, I find myself more interested in what their next progression could be, however there is nothing here to be disappointed about.

Favorite Tracks: Another Year, The Future That Awaited Me, Para Mexer, The Woven Web

Rating: 8/10

Suicide Silence "You Can't Stop Me" (2014)

Suicide Silence are a Californian Deathcore five-piece band who emerged from the early scene with one of the harsher sounds the genre would know. Snappy drums, deafening guitars and two distinct styles of brute force vocals, shrill snarly screams and bludgeoning dense gutturals. The band forged a unique sound which has led them to great success in establishing and growing a large fan base over the years. In 2012 tragedy struck the group when lead singer Mitch Lucker died in a motorcycle accident. Known for being covered in tattoos and being an all round nice guy he would be sorely missed, which is true of the music too, his style and tone an undeniable pivot in the groups sound and success. I was genuinely surprised to hear the band were continuing on. This first record without Mitch features Eddie Hermida stepping up to fill the big boots left behind.

The album continues where "The Black Crown" left off, showing a tamer side to their previously bludgeoning approaching to brutal, slamming music. This constructive riffing approach and choice of tempered, varied styles puts the record in an interesting balance where the brutal, slam moments steal the show. Melodic leads, guitar solos and various breaks do alter the flow where the bludgeoning would get nauseous, but this is what the band used to do so well, a continual onslaught of over the top brutality and although its still a prevalent mentality, the spark is lost in all but a few songs where things get heated but even then its nothing as intense and defining as songs like "Girl Of Glass" which reminds me of the lack of breakdown or breakout moments I had come accustom to.

The records production is a little crowded and overpowering, although effective in creating a brutal tone, the drums and guitars are over compressed, reducing the tone and color in crowded moments where the pounding rhythm takes lead as the instruments tones collide. With such big boots to fill vocalist Eddie does a relatively decent job with rasp screams and deep, open tonal gutturals, but ultimately the spark they once had is lost with Mitch and Eddies generic screams make a mediocre record of a band loosing their charm. Not all is bad, there's a couple of decent tracks and its an entertaining listen if your in the mood for mindless brutality, not to mention an enthralling feature from George Fisher.

Favorite Songs: Control, Warrior, Ending Is The Beginning.

Rating: 4/10

As Blood Runs Black "Ground Zero" (2014)

California Deathcore outfit "As Blood Runs Black" were once a promising force in the emerging scene, performing a distinctive sound that played to the genres most obvious traits as well as defining a unique character that would set them a little aside from other bands. It took them five years to follow up on their debut "Allegiance" in which time the Deathcore trend has well and truly died down. This third record was crowd funded and didn't have me especially excited considering many lineup changes and diminishing interest in the scene. Despite all that this album turned out to be reasonably enjoyable.

The group retain their distinctive sound, mostly thanks to the return of original drummer Hector who stamps his cold mechanical machine like drumming on the sound, and the guitars which retain the similar tone and riffing approach we are used to, although not quite the same level of bludgeoning tracks like "Hester Prynne" offered. Through the track listening there is a noticeable and welcome infusion of styles that break the mold, from melodic, clean sung choruses to acoustic interludes and progressive solos. Of course its all spliced between atypical palm mute chugging and rhythmic breakdowns which fail to break there own comfort zone.

The record was relatively short and to the point with none of the tracks meandering, but across the length their was little magic to measure. The better moments came from the melodic riffs and breakaways from their core sound, but all of it was between just that. The excessive breakdowns and attempted bludgeoning dulled all the better ideas. Certainly wasn't a bad listen if you like the Deathcore sound, but it failed to give me much reason to listen to it more.

Favorite Track: Chapters

Rating: 3/10

Dir En Grey "Arche" (2014)

Japanese Metal band "Dir En Grey" are celebrating fifteen years since their release of their debut record "Gauze" in 1999. "Arche" is Greek for origin but doesn't appear to signify any connection to the anniversary. The bands sound has changed and evolved over the eight albums and on this their ninth effort we hear a band come strong with a very defined and mastered sound they call their own, but how to describe Dir En Grey in relation to other forms of Metal is where things get interesting. Despite punchy, rattling drums, big distortion guitars and screaming, growling vocals they bare resemble any other Metal bands, mostly creditable to vocalists Kyo's impressive range and epic performances that a lot of the music focuses around. With hints of Post-Metal, Industrial, Hardcore, Metalcore, Nu metal and Alternative the band draw from many influences to create a refreshing sound they can call their own.

"Arche" is a lengthy seventy minute record of sixteen tracks that do not tire. The band deliver a continual barrage of big songs that sway between crafted aggression, atmospheric dissonance and captivating breakouts through Kyo's enigmatic presence. Having seen the band live several time I have always been astonished by how big and dominating his performances were live, and on this record I felt they captured a sense of that in some of the best moments the record offers. Kyo's screams go devilishly low and guttural, offering deep textures, see "Phenomenon", as well as providing a range of oddities, traditional screams and soaring high pitched leads that blur the lines between distinguishing gender. The language barrier ads another level of mystery to his persona, which really stole the show.

The instrumentals behind Kyo are finely crafted tunes that don't rely on any over emphasis or momentum to get their point across. Riff after riff play through with many ideas that on their own may lack a spark, but how they come together with the clanging bass and broad, hammering drums a vision is born. Coupled with eerie plucked strings and the occasional electronics, the music forges an identity that transcends its Metal aggression, each song often resembling the emotional content. There are some traditional leanings in the mix like "The Inferno" but for the most part Dir En Grey deliver the unexpected, unusual in an accessible style. A solid record that after countless listens I find myself still feeling its depth and character.

Favorite Tracks: Phenomenon, Rinkaku, Sustain The Untruth

Rating: 6/10

Raunchy "Vices.Virtues.Visions" (2014)

Danish group "Raunchy" snuck this one, their sixth full length, right under my radar last year. Raunchy are a six-piece group whos sound would lump them under the "Future Fusion Metal" name coined by Mnemic, describing the sound in the European scene. Combining many of the energetic elements of Industrial, Metalcore, Djent, Death and even Progressive Metal, their sound would be atypical if not for the Electronics present in the form of backing symphonics and Trance like leads that add a engrossing layer of electronic melodics. Their 2006 release "Death Pop Romance" impressed me immensely and earned them a reputation as a band I should always take the time to check out what they are upto.

The best of Raunchy comes from their clean melodic vocal lead hooks and infectious, poppy trance like melodies that ring out an uplifting mood along side aggressive, modern Djent metal riffage that pounds and grinds chugging rhythms with aggressive drumming. Its the moments that give way to the electronics that Raunchy find their niche, and they create these vibrant sing along moments song after song, but its the moments between where things don't move so smooth. The Metal side of their sound is relatively generic and the guitars lack a spark to create something with an energy or idea thats fresh to an experienced metal listener. It flicks like a switch as the songs build up with varying riffs and structures that lead to the implosive moment where the electronics drop in and time and time again this is where the magic happens.

"Vices.Virtues.Visions" is a decent effort, one that taps into the best of their unique sound, but drifts into mediocrity when the Metal takes lead. Clocking in at over an hour with a couple of lengthy numbers the moments between can drag, however the hooks and melodies are right on point. Another strength this record developed were some pounding festival like beats, you can envision the crowd clapping and fist pumping along to the bass kick that rings out as the music calms before the storm. Sound wise its representative of modern production, very audible and clear, the drums having a punchy and crisp tone about them. The electronics sounding superb alongside the crunchy guitars. Raunchy do a lot right here, but tiring of typical Metal guitars made a lot of this record dull for me. 

Favorite Tracks: Truth Taker, Digital Dreamer, Anasthesia Throne, I, Avarice

Rating: 5/10

Sithu Aye "Pulse" (2014)

Sithu Aye, the one man band from Burma, is a Djent guitarist who I've recently discovered through their second full length "Invent The Universe", a bright and uplifting album of racing melodic leads and crunchy Djent riffage. "Pulse" is the latest in a string of EPs released in the years since that sounds and feels like it could of been on the same record. One of my hopes for this artist was to hear them progress away from the comfort zone of a sound thats being well played out, and to carve their own niche. That being said Sithu Aye does do a fantastic job creating energetic, positive Djent Metal, but for all its enjoyment there was only a single moment here that grabbed me as the rest often faded out of focus, in a pleasant way, enjoyable but failing to command my attention.

The record starts with two guest musicians, Pilini on the first and Aaron Marshall on the second "Messenger" which pricked my ears up from the mid section as the pair blazed into colorful solos that surfed the wave over some grooving chugging rhythm guitar. Beyond the singular moment I felt a lack of distinction when it came to making these songs into something special. The tight Djent riffs, bright blazing guitar leads, reverb soaked acoustics and occasion electronic glitches sound gorgeous in each moment but as the songs stretch on they circle around the same ideas established in "Invent The Universe" and fail to break their own mold and provide anything unexpected or challenging. Since this style is my cup of tea I can't have any complaints when it comes to a good listening experience, but the lack of refreshment will have me choosing other records.

Favorite Songs: Messenger, Pulse Part II

Rating: 5/10

The Smashing Pumpkins "Monuments To An Elegy" (2014)

So far I have listened to the Pumpkin's records in chronological order, but while listening to "Machina" I couldn't help myself, after enjoying the "Being Beige" single I was itching to hear "Monuments To An Elegy" and didn't fancy the wait. The group split in 2000 and since Corgan revived the project it has received a mixed reaction from fans on critics alike, but the single promised a sound closer to their "classic" era, one I am very much fond of. On a side note I also like the album art here, whatever it supposed to be it looks different each time I see. Much like seeing shapes and face in the clouds.

Monuments is a straightforward record of simple pleasures, short, punchy songs that get straight to the point. The guitars aesthetic is reminiscent of the "Mellon Collie" era, warm tones of distortion that crash in with big chords and have a diverse composure that find new directions, bordering Indie at times but in general blurring the lines of rock and its counterparts in typical Pumpkin's fashion. Its exciting, an evolution of ideas that retains the core. Alongside the main instruments, Corgan brings in a strong electronic element through bright and vivid synth leads that add an expansive dimension to the sound. Either organs, bells, strings or phased buzz-saws, they gel with a contrast that matures with each listen and familiarity. On one track "Run2Me" a pulse dance beat and bright chirpy synth create a very different flow and vibe that really didn't work for me, it stuck out like a sore thumb in the middle of the decent track listing.

The instrumentals are strong, progressive and focused, but Corgan's charactered singing is the glue holding it altogether, every riff and groove is amplified by the eternal youth of his voice. Now approaching fifty, his voice still has the charm it did twenty years ago, most obvious on "Dorian", the most infectious vocal hook the record offers, one that gets me singing along with the simple to follow afflictions of the name. The chemistry at work on this song is a prime example of the album in its better moments, the instruments come together under his captivating lead, with a punchy dance kit, astral plucked strings, pianos and a crusading flanged guitar orchestrating a big atmosphere. Its a great record, only 32 minutes in length its quick to consume but has great songs and really sets a positive tone for Corgan's current creative state. Looking forward to the next record at the end of the year.

Favorite Songs: Anaise!, One And All, Monuments, Dorian

Rating: 6/10

Beyond Creation "Earthborn Evolution" (2014)

Canadian Death Metal outfit "Beyond Creation" from Montreal are back with another healthy serving of their tightly performed, squeaky clean technical onslaught of growling gutturals, crunchy guitars, fancy leads and tactical drumming. They caught my attention with a viral video of their song "Omnipresent", standing aside from other bands for two distinct reasons. Firstly the fretless bass, a bright colorful sound that bounces and slides its way from the background to foreground in a tasteful manor. Secondly the overall aesthetic is crisp and orchestrated with a delightful balance between the instrumentals which compliment one another in a genre that can often be plagued by emphasis on brutal tones. Their debut "The Aura" was an interesting one and I have kept an eye out awaiting a second record, which arrived late last year.

"Earthborn Evolution" is a cautious step forward for the band, working within the same frame they set for their selves as on "The Aura". In terms of production the most notable change is the drums, slightly softer, less of a sharp sting to them, otherwise it could almost be the same record. Musically its a continuation too, not a lot of evolution in style or experimentation, the band play out ten tracks of enjoyable high-octane technical death thats continually frenetic, shifting mercilessly with grindy riffage and shuffling blast beats while the fretless bass dances around between the instrumental onslaught. Constantly rearranging themselves, these songs unfold like a tapestry of ideas being unwound and stitched back together as the guitars and bass dance around one another with complimenting ideas the exhausting drumming narrates with its continual hammering. The guttural vocals come in with force and power over the top of the musical onslaught, they are captured with a textural quality that amplifies the brutality through that texture, as opposed to volume or force. It has a strange effect of leaving these songs feeling complete with or without their presence. When they come in they add a new dimension, but one thats not felt in its absence.

For all thats good and said there is a big negative. Across the 46 minutes of technical bliss there is little that feels memorable. It is pleasant to listen through each song musically unwinding its way through its gorgeous aesthetic, but never does it "strike a nerve" like "Omnipresent" did. There are a few share of unique moments, like the speedy bass fretting on "Theatrical Delirium", but its impact is momentary. After listening through several times it is apparent that for all they do right there is a certain spark needed thats absence can not be disguised. A good record needs to leave you with music you can't get out of you head, and despite being a great listening experience there was nothing here that did it for me on that level.

Rating: 5/10

Tombs "Savage Gold" (2014)

Tombs are an American four piece band from Brooklyn, New York. "Savage Gold" is their fourth full length release, and beyond that there is little I can say about this group. I had not heard of them before noticing this album cover, which caught my attention and so I picked up a copy. Hailed as an "experimental metal" group I was slightly bemused as to what exactly was experimental, this was one of the most straightforward and gratifying Metal records I've heard in recent memory, yet it has to be said for everything that feels "normal" about their approach to writing music, the end result certainly has a unique flavor to it that I struggle to pinpoint its origin.

From the moment this album kicks off, it offers up a familiar formula of sound most common with early Black Metal. Crisp mechanical drumming hammers out blast beats and shuffling fills in between commonplace Metal rhythms as dense tonal guitars tremolo pick slow, snaky scale progressions. Mike Hill's gruff, narrow shouts snarl and scream with the blackened music. Melodic inflections character these songs in the moments the lead guitar breaks into a cleaner sound, but for the most part they follow a typically singular, simplistic approach, climbing up and down scales with an evil, haunting vibe, utilizing tremolo picking, power chords and the occasional dischord. The group don't stray far from this sound, the tracks like "Deathtripper" and "Severed Lives" bring the pace down, and atmosphere up as Hill draws out whispering screams over menacing guitar leads.

The album has a patient flow to it, despite its blasting drums the pace is steady and many riffs and moments are drawn out, not in a hurry to leave the place they create. Its an unusual listen. To break it down there is nothing unique or special, yet as its own art it offers something subtly distinct, despite its familiarities. Its the kind of record that doesn't blow you away with any moments, but creeps up on you as it slowly wraps its tentacles around you, sucking you in. Equally so I didn't find these songs to stick in my mind, yet they are a pleasure to listen to. I think these are all signs of great musicianship that is focused on the consistency and subtleties, more so than an upfront, in your face attitude. And on a final note, the kit sounds gorgeous, the snare has texture, the kicks rattle deep and the toms are given treatment too, one of the best sounding kits I've heard in a while.

Favorite Songs: Seance, Deathtripper, Edge Of Darkness, Severed Lives

Rating: 7/10