The Prodigy "The Night Is My Friend" (2015)

Last year British legends of Essex "The Prodigy" returned from the darkness for another record, something they do every six years or so since their most successful "Land Of The Fat" back in the 90s where they were much more active. I caught the promoting tour which was one heck of an atmosphere to take in, one big party with a crazy light show and Maxim Reality exploring the venue, singing while walking through the crowd. Hungry for a little more I picked up the counterpart EP that finishes the other half of the lyric from title track "The Day Is My Enemy".

It should be known EPs and singles can often be tidbit extras, scraps and left overs brought together to fit the norm. Unfortunately "The Night Is My Friend" falls right into that territory. The opening "Get Your Fight On" is a re-equalized track that wouldn't even get audiophiles excited. A shortened three minute edit of "Rhythm Bomb" is thrown in possibly for radio play. There is only one new song "AWOL" which is pretty banging, another big break-beat with a lot of texture, distortions and typical Prodigy noises. Its plays itself down and builds up that typical dance suspense with an increasing snare leading in the drop which is the hook heard at the opening. Its a short but sweet song.

Lastly there are two remixes, "Rebel Radio" gets chopped up, re arranged with a clanging, loud snare harping on through the track reminiscent of "St. Anger". Not appealing and Caspa's remix of "The Day Is My Enemy" isn't as bad but his shuffling Trap hi-hats and Dubstep wobbles don't really fit the sample material, Its mediocre at its best. With just one new song its quite the disappointment, not a release worthy of attachment to the main album in my opinion.

Favorite Track: AWOL (Strike One)

Rating: 2/10

Plini "The End Of Everything" (2015)

My introduction to Australian Guitarist Plini was via Sithu Aye who featured Plini on the "Invent The Universe" record. The pair have also released a four track split record, which I have yet to listen to. Although a one man band, Plini is a touring act too and so far has released a string of singles and three short EPs of which "The End Of Everything" is the latest. The band are currently touring as well as recording their full length debut, which after enjoying this I am looking forward too.

Much like Sithu, Plini is part of this post-Djent Progressive Metal scene and of a much more melodic persuasion and Jazz orientation. Every rush of energy and djenty grooves give way to lush soundscapes of instrumental subtleties, gracious lead guitars and dreamy synths. It can heat up somewhat with double pedal drums, chunky, metallic riffs but even in its heavier moments the sense of brightness and color that courses through never fades. The result is a very organic record that will shift gears without notice, one moment illuminated by the fire and the next acoustic guitars are playing lullabies over soft synths accompanied by lively Jazz percussion that dances around the kit softly. As an instrumental band Plini's dynamic guitar leads are the voice, forever an alluring force of adventure. No moment here drifts from the path and as a three track its only flaw is its length, clocking in at seventeen minutes it leaves much to be desired! I can't help but feel their debut could be something special.

Rating: 5/10

Sithu Aye "Senpai" (2015)

Sithu Aye's latest release "Set Course For Andromeda" is an impressive one, a record of two halves, a set of remarkable collaborations and a singular song split into six parts. Left yearning for more I spotted this previously overlooked record on bandcamp. For a three track EP it really packs a punch and brings out the better qualities of Sithu's sensibilities for lead and melody, undoubtedly because of its anime inspiration. On one listen alone you can hear the influence, if you've ever watched Japanese animation the style of music that accommodates can be cliche, which had me wondering if these were covers but a little reading uncovered these songs were created with specific common theme in mind for each track.

These songs are radiant, uplifting and cheerful in a carefree way and the first song reflects this strongly with the inclusion of poppy electronic chords bustling away like a dance song. There's a strong emphasis on the lead melody which can scale fast soaring solos and playful quirky melodies. The second track "Senpai" is the records strongest and could easily be the opening theme for a show, you can almost envision the cartoons behind the music as it swings between its energetic guitar solos and main hook. Despite the now obvious Anime inspiration for this record, I just took the music for what it was and loved how bold and charismatic the themes in place were. Its only now that Ive put one and two together that I can see how well the two gel. Sithu comments that the record is cheesy but I have to disagree, I think its a brilliantly warm and fun record full of lasting substance!

Favorite Track: Senpai Please Notice Me!

Rating: 5/10

Tame Impala "Currents" (2015)

Hailing from the other side of the globe, Tame Impala is the musical output of Australian musician Kevin Parker who writes, composes and records all the bands music before taking a crew of musicians to hit the road on tour with him. In the eighth year since its inception Kevin released the third full length which caught my attention some time ago with its intriguing record cover and critical acclaim to peak my interest. It took a few listens to click but has since become my addiction, full of good vibes, luminous music and easy going, laid back atmospheres of psychedelic wonder.

I'm rather inexperienced with Psychedelic Rock and Tame Impala to my ears dwarfs anything Ive heard before it in comparison, as if the genres climax in the 60s and 70s was just a precursor, a prototype for the magic within this record. It oozes, ebbs and flows within an organic tapestry of sounds from electronic and natural instruments formed in a modern production that makes fantastic use chorus pedals, phasers and pitch shifts in its psychedelic moments. The opening track "Let It Happen" drops in a couple of beat skips before breaking into a stunning moment where the beat loops like a CD skip repeating over and over before thematic synths roll in and take over the direction in a moment that felt fresh and unexpected. Its this use of electronics that makes the music glimmer like the summer sun, dense synthesizers weave in and out between the guitars and a solid drum machine with dance kicks, claps and snares hold a solid back bone that in the occasional moment resemble a dance floor beat. 

The music stays true to a warm, heart felt inspiration of summer sun, fresh air and care free good times that radiates when Parker puts his voice into the frame. He has a stunning high pitched and soft tone that breezes through the reverbs he layers his voice with. Its reminiscent of MJ and with his ability to write a solid hook makes for some truly mesmerizing moments where the songs are sparkling like a dream. Together they sound so lush and intricate with layers of sound often trumped by a bright and simple melody to keep it easy going, yet one can peers deeper into the layers of sounds that form into something so effortless to enjoy.

In between the main tracks some trippy interludes crop up and with "The Less I Know The Better" Kevin rocks an olskool Rock / Funk groove on the guitar. Sometimes the drums have a little Hip Hop groove and even a Trap hi hat crops up. This albums flexible and although it doesn't steer far from its core so many things pop up through the record that make it so interesting when examining closer. Its a record for the warm climate, summer music, for good times and with the magic Kevin delivers good times will be made. Its such an impressive record, especially considering he did everything here himself. Writing, recording and production. Hats off!

Favorite Songs: Let It Happen, The Less I Know The Better, Cause I'm A Man, Reality In Motion

Rating: 9/10

Inlayer "Sequence" (2015)

Its exciting to hear when Metal reaches new parts of the world and Inlayer are the first band from South Korea Ive heard off. Whats even more exciting is the music, their single "MINDJACK" for a presumed forthcoming album blew me away, possibly one of the best songs I'll hear all year along with Babymetal's "The One". Sequence is a four track EP and the only other music I could find by the Korean band. Released last year it is a step down in production value from the new single which appears to be on a major K-Pop label.

The four piece perform as an instrumental force, playing technical, fast tempo Djent grooves and polyrhythmic signatures with a side lavishing of illustrious reverb laden acoustics, much to the trend of the international scene. Inlayer don't have a lot to distinguish themselves with and can often sound like Animals As Leaders and other Prog Metal bands, however what they do have is quality and a singular trick that seems to find itself in the songs best moments. The hammer on! At many points a hammered on lead will rattle away glorious waves of sweeping colors through fast electric melodies over the rhythmic Djent grooves. Not the most original technique but there is something captivating when they do it.

The first three tracks jam out a fest of color and groove while the final track gets a little experimental with some Post-Metal sounds and steady guitar solos to lead the EP into its climactic groove. It all sounds exciting and energetic but some of this is lost the rawer mix. Where the drums would clearly aid from fidelity it falls a little flat in the recording. All the kicks, snare and cymbals sound flat and as if in a different dimension to the rest of the instruments. Its a shame as the drums themselves are energizing and full of life however this flat recording tone sucks some of that away. Very solid debut but "MINDJACK" has set the bar high for their next release which I am eagerly awaiting.

Favorite Track: Unfine

Rating: 5/10

Intronaut "The Direction Of Last Things" (2015)

Recommended by a friend, Intronaut's fifth record and my introduction to the band has been on my mind and infecting my ears for some time now. This four piece band from Los Angeles have been at it for over a decade now and have somehow alluded me in the Progressive Metal scene. "The Direction Of Last Things" is my cup of tea, a deep and dense album that's got a lot to offer however in my many, many dives into this record I have found it difficult to dissect and fathom its inner workings. Instead I find myself drifting between the conscious and subconscious, held in a continual state of suspense, at the mercy of its direction. With every listen I feel as if i know this moment but not where it lies within the record itself, as if my own familiarity is being shrouded by the fog of its genius.

It hits on two levels. In its immediacy a wave of creative metallic riffing grabs your attention with tinges of Djent and Groove Metal reassembled into tight polyrhythmic prog riffs, even echos of sludge in one discordant groove. On its other level a persuasive wave of organic melodies lull the listener it a state of calm as jazzy instrumentals wash over in a breeze of atmospheric relaxation. Under them a big, warm, gorgous bass guitar often struts its way around the fret board, you can feel its vibrations with every note through its density. With it light acoustics hum through reverbs with very light synth lines creating sunny atmospheres drenched in a Post-Metal vibe when making use of light distortions. Every atmospheric break has its nuances and details but for the post part they lean to the Post-Metal etching making use of distant tremolos and the crowding of colorful reverb sounds.

Although hailed as a Progressive Metal record, these songs blur lines and boundaries with organic compositions that flow and swirl in the direction of inspiration. The song structures feel inconsequential as every moment seems to be within itself, never waiting or building to another one. It sets itself free of conformity and traditional structure, not something unusual in this era of music but rarely executed in a way that feels as genuine and organic as this. Its a very strong record with little to fault and one that I feel will grown on me with every passing listen.

Rating: 7/10

Cradle Of Filth "Hammer Of The Witches" (2015)

Its been hailed as the "return of cradle". A fan pleaser, well received by critics and the bands 11th full length in a string of records releasing every two years on average. For some, myself included, the band lost their way back at the turn of the millennium with 2000s "Midian" which made a significant shift in sound. I haven't kept up with the band over the last decade and so this slipped into my playlist with ease, for the most part it resembles the traditional Cradle style I'm very fond of. With another major lineup change Dani has found the chemistry to spark the glory days. Two new guitarists, a change on keyboards and female vocals, and only another two who were present no further than the last record "Midnight In The Labyrinth".

"Hammer Of The Witches" best tracks would sound right at home in a set-list alongside Cradle's hallmark songs. The rest fall a touch further from the tree. Although writing some fantastic songs, the vast majority of it comes from the same principles, techniques and songwriting that worked so well on "V Empire" & "Dusk... And Her Embrace". It lingers in a balance between inspiration and calculation where sometimes the melodies persuasion is engulfing and other times the reminiscent becomes a reminder of what song or riff its akin too. The lead guitarist brings unfamiliar electric guitar solos into the earlier parts of the record, lacking in cohesion they dictate shifts and climaxes in the song while simultaneously feeling out of place in Cradle's dark and gothic sound. For the most part they nail the style and vibe but on this instance gave it an unnecessary weak point. In front of the lush orchestrated Extreme Metal is Dani's voice who's age can be heard. Its far from a concern but the signs are there. The lower guttural ranges coming across slightly gruff and lose. His shrill high pitched scream still powerful but shy on its intensity. He holds it together for the whole record well with the usual styles and same timing on delivery. It makes me wonder how much longer he can keep at it.

Not much unexpected happens across the course of the record, a decent collection of songs to entertain, what is most surprising is how inspired a handful of them feel. With more consistency at that peak this could of been quite a special record, however it is not. Production wise its squeaky clean, well balanced with just enough noise in there to keep a vibrancy going. Guitars are very crisp and clear, allowing them to master a range of riff styles audibly. Strings and keyboards use lush high end tones that gracefully fit in and only the drums pedals sound a little clinical and sterile at high speeds. Its another brick in the wall for Cradle's catalog and I am left feeling they should of taken more time to pursue the magic they sparked on a couple of tracks.

Favorite Songs: Deflowering The Maidenhead Displeasuring The Goddess, Blackest Magick In Practice

Rating: 7/10

Irreversible Mechanism "Infinite Fields" (2015)

There is a reason Ive waited a while to talk about this record, It reminded me so fondly at the time of Dimmu Borgir's "Puritanical Euthoric Misanthropia", I wanted to write about that one first. PEM is the sort of record that paths the way for these high octane, Extreme Metal and Symphonic hybrids. In the time thats passed Ive paid more attention to the bands Death Metal traits and perhaps it bares more of a resemblance to a band like Aeons Confer but whatever similarities it has, It's part of a musical niche I adore. I spotted this on Blood Music's bandcamp page, the same place I discovered Kauan, instantly I knew it was for me. Irreversible Mechanism are a duo from Minsk, Belarus. The first music from this country I am proud to add to my archive, which is organized by country. "Infinite Fields" is their debut dropped last year.

Much like the aforementioned bands, this one exists in the technical ecstasy of high precision, energetic performances of tight, sturdy musicianship and guitar shredding that requires much skill, dexterity and musical understanding to execute. There's not to much to distinguish them from the genres expectations, they have a more Death Metal leaning and don't over emphasize any instruments but what is apparent is the level of excellence that never lets up from start to end. Its experience is pragmatically dark and sinister, with a tinge of that astral charm where choral synths bring a sense of vastness only known in space and time. The flow is consistent and rarely breaks for any form of tangent, the guitars however often drop out to let composed symphonies to shine through, which are ever present, but sometimes out shined and drowned out by the metallic intensity.

Over soft lush strings beautiful pianos chime in the moments between the blistering guitars and the record has a stunning production of which the snare drum has a punchy, cutting chop that slices through stunningly on many of the blast beats the records drummer turns to in between a continual barrage of fast, interchanging technical beats, fills and rolls. It is quite the onslaught with all instruments firing on all cylinders with detailed levels of instrumentation. It all finds its place in the balance to make remarkable atmospheres perfect for a fan of this particular type of Extreme Symphonic Metal!

Rating: 7/10

Macabre Omen "Gods Of War - At War" (2015)

Purchasing a couple of records at a gig I went to recently, the seller encouraged me check out his band and I'm very glad I did! "Gods At War" is a swell Pagan Metal album that delves into Greek mythology, the Athens based bands own ancestry. We are used to seeing Viking Metal and the likes from Scandinavia, so its fantastic to find a gem like this where metal isn't as prominent in southern Europe and of course a different source of mythological inspiration.

Macarbe Omen have a loose, liberated flow to their music that doesn't stick to one distinct path to embellish us in ancient settings. Ever twisting and turning through champion riffage, soaring melodies and a barrage of clattering drums an experienced listener can hear tinges of many bands and styles teetering from Black, Death, Pagan and everything in between. The rhythm guitar muddies through hazy distortions and chunky riffs as the leads coarse over with inspired wistful tunes. Charging like a beast into battle the drums constantly bear down with endless blast beats and nimble batterings that can seep into all the creeks with its bellowing echo and reverb. The records voice comes commonly in two forms, shrill, distant howls reminiscent of In The Woods... classic "Heart Of The Ages" and burly lower ranged half growls. There's also a fair few helpings of Greek choir chants to drive home the records heritage. Its inspired and travels through its motions with plenty of spectacular moments that is helped along with an undercurrent of carefully placed symphonics.

Its a record to remember but not without its flaws. Although distinctively Pagan there isn't much beyond a handful of strikingly obvious moments and the song titles to define the Greek mythology theme, maybe in the lyrics but not much can be said of indecipherable howls. "Man Of 300 Voices" however does this with a lengthy acoustic interlude to set the tone. "From Son To Father" is where the record shines brightest. Epic in scale and tone we are lavished with inspired lead guitar melodies and a memorable group chant chorus to conjure the gods.

At just over an hour its a lengthy record, that can be felt as it draws to a close. Eight lengthy tracks of which a handful do take their time to progression through the motions. The production is also a little slack and forgiving of itself. Although the fidelity is key to its atmosphere and ancient feel, the drumming can be overpowering and constantly competing with the guitars. Its a bit nit picky, but where this record aims high it achieves it musically with an inspired touch that fell short on execution.

Favorite Songs: God's Of War, Hellene's Do Not Fight Like Heroes, Heroes Fight Like Hellenes, From Son To Father

Rating: 7/10

Abigail Williams "The Accuser" (2015)

American Black Metal band Abigail Williams has stormed through a catalog of band members in over a decade of history. Led by lasting front man Ken Bergeron, their forth full length record shows signs of stability for a band that's changed its identity a couple of times within the context of its genre. Formed as a Deathcore Black Metal crossover, Ken's true intentions have been made clear over the years having used the once popular Deathcore scene to kick start his bands career to a hungry audience. On their debut record the sound of the trending scene was lost to a lush Symphonic Black Metal sound, which has gradually shed its symphonies in favor of a rawer, darker sound.

"The Accuser" is an unfocused and messy onslaught of vicious black aggression. Furious blast beats and shredded tremolo picked guitars barrage the listener through a menacing, claustrophobic wall of noise. Dark, dingy and mammoth in scale the perpetual plunging is met with shrill hate filled screams and cries that bleed into the haze of sound. It can be uninviting for an already difficult sound and as one grows into the record its best moments are where it takes a moment to breath, slow down and try some different ideas from the atypical bludgeoning. The songs structures do enough to keep the record flowing but it does through flawed aggression that holds it back from the sparks that crop up between its hate fueled onslaught.

Its a rough, sloppy production, bleeding instruments and buried sounds don't aid the low fidelity aesthetic but through its glaring flaws, ie the imbalanced tom drum sound, it does find some charm, especially in the screams that are illuminated by their descent into the warmth of guitar distortions. As the album stretches on the diabolical-ism lets up for more interesting, atmospheric moments and the final track has to be the records best with a unique fusion of styles that offers some brilliance you wont find elsewhere. "Nuumite" lets reverb soaked acoustics moan out over oozing ethereal synths, like a cross between Ethereal Gothic Rock and Black Metal's "evil" quality. Its a stunning song, like a darker Lycia, lost in a swooning dark movement. Enjoyable but flawed record. I hope the final track defines a new sound for the next record, whenever it may be, but that is quite unlikely.

Favorite Song: Nuumite

Rating: 5/10

Jan Amit "Hyms" (2015)

Inspired by "Flowertraces" and unimpressed with "Around And Above" I see Jan as an artist who's vision doesn't fall inline with the quirks of his unique identity that makes his music enjoyable for me. This short EP was a mixed bag of fruits not yielding into anything solid but showcasing a few ideas. The opener is a short atmospheric track of dark unsettling eeriness, a soundscape painting the aftermath of an oblivion event with electronic glitches devising the voices of alien insectoids. Its opening moments strangely reminiscent of Burzum's "Svarte Troner", a creepy dark ambient piece.

"Enter Faceless" follows and its an atypical track of Jan's style. Glitched out spacious beats hurtle over dark, illusive ambient noises that drift in and out of focus. It follows the darker theme and with a break for fresh air in the middle it drops back into itself for a second run that leads to no climatic or significant moment. The next track shakes up the formula with some strong House and Downtempo influences forging deep looping dance grooves and simplistic linear notation leads, droning over and over while featured artist Quork lists he hates through a morphed voice that gets buried into the groove on "Flaming Youth".

The records closer "Mass" tickles the ear drum with more alien sounds, wet slippery glitches slap and sway with a watery tone over a vanilla baseline before jumping into glitched out breaks over more void like ambient noises. Once again it feels like it doesn't amount to much, I'm left with what I expected, interest in the aesthetics, atmosphere and glitched approach in the rhythmic department but disappointed with the lack of progression or direction in the songs and their structures.

Rating: 4/10

Between The Buried And Me "Coma Ecliptic" (2015)

This post will be short and sweet.. Or short and bitter? Its been about a month or so since I last gave this one a listen and I still find myself emotionally distant from it and that's a real shame. Between The Buried And Me are an American Progressive Metal band from North Carolina who just under a decade ago transitioned from a generic Metalcore, Deathcore band to into a Progressive outfit that made waves with the release of 2007's "Colors". With shades of their Metalcore days lingering the band have been sharpening their tools over the years and producing better and better records, refining their sound. I was excited when the release of "Coma Ecliptic" was announced and its been quite the disappointment.

I could comment on the intricacies that make up the compositions, the details in the aesthetics and instruments but it would all be in vein as little of is inspired by the events that transpire through this seventy minute Prog fest. There's a plentiful amount of transitions between the chugging heavy guitars and lighter melody led leads with a a whole host of playful music ideas in between. They move from one to the next and between a couple of swooning moments there's very little to connect with. It all feels a touch uninspired, mediocre and like a band going through the motions. There's nothing to be found that's unexpected or jumping out of the speakers to grabs you. I don't know where the passion is, and often it drifted off into the distance, unable to hold my attention. There's nothing offensive here, plenty to nod along with but it left no lasting mark past one or two leads or vocals. Disappointed but I don't fault the band, I just couldn't connect with this one.

Rating: 4/10

Kauan "Sorni Nai" (2015)

Browsing the catalogs of record label Blood Music, which I found through Dan Terminus, I could not miss the praise that was being lavished onto this record. Having fallen in love with it, I can firmly say its justified and possibly the best record I'll hear this year. Doing a little research on the record today I have learned its based on the Dyatlov Pass incident, an unsolved, mysterious death for a group of seasoned snow hikers who lost their lives in Soviet Russia 1959 during the hike. Learning of the records inspiration has added a new sense of clarity to the events and moods the record drifts through. I could always hear its voice, but now I know of the tale it cry's. Unsurprisingly the band are Russian, however the bands name is Finnish for "A Long Time". It's their sixth full length and the bands maturity shines bright on this stunningly crafted piece of music.

Sorni Nai is a serene and lush journey to experience as these pale soundscapes calmly sway through inspired leads and indulging atmospheres of the beautiful cold. With the pace of Doom Metal and atmosphere of Post-Rock the record finds a blissful balance in slow suspended states for gorgeous musical moments to erupt and blossom from. Dense guitar tones meld and fade under sensuous choral synths the paint the winds with pale colors for melodies to dance through. The record can smoothly shift between its lighter moments and Black Metal inspired darkness with snarly, contained screams and ripening of distortion guitars when the times call for it. Every moment this record experiences us with is a continuation of the previous moment, even the tracks seamlessly transition, barely noticeable as another natural shift occurs, changing and turning through its deep inspiration.

And now for my favorite moment in the record. In "At" we hear the cries of a native spoken woman, her words carry much emotion under a beautiful piano melody and I now believe she represents the female hiker on the expedition. This slightly tragic moment leads us into the records dark and evil moment which now I know represents the unknown death these souls faced in freezing cold temperatures. The swaying hums and acoustic guitar fades into black as a crunching guitar penetrates the silence with its unwelcome presence, striking out with force. Hellish synths eerily descend with a menacing tone and before you know it the most theatrical moment paces into a melodic, unsettling limbo.

Its a brilliant moment that is also one of the most indifferent in what the album offers, but it summarizes the genius at work throughout. Its stunning, rich in atmosphere and littered with magic as we drift through the snowy, frozen mountains of mother Russia. Its inspiration could be felt through the music alone and I love it even more now I know the tale behind this brilliant record I have been enjoying continuously for weeks. Its hard to call a 10. It takes time, but I feel with age ill grow to love it more and more.

Favorite Track: Khot

Rating: 9.5/10

Deafheaven "New Bermuda" (2015)

American Black Metal or "Blackgaze" outfit Deafheaven from San-Fransisco have been both critically acclaimed and at the center of hate fueled controversy with Black Metal elitists and keyboard warriors of the web who believe the bands music taints the supposedly puritanical nature of Black Metal. Jokes aside I never find myself offended by music, which is what many comments, articles and online ramblings would suggest fans of traditional BM are when it comes to this band. Their breakout record "Sunbather" in 2013 was one I cared little for and despite its praise I found myself somewhat puzzled to what the "magic" was, however this time around its hit me like a firm slap across the face. I don't care much for the debate as to if this band is "true" or not, I came here to enjoy some filthy dark music.

The bands sound is somewhat deceptive, harsh, threatening screams penetrate the pummeling, rattling blast beats and menacing guitars that glaze through darkness at a racing speeds. In the bleak, cold and unforgiving sound there is a sense of something warmer that steadily emerges with each passing phase of the song, blossoming into a gorgeous Post-Metal soundscape of transcending serenity. This was my experience of the first song. In breaking it down I felt a lot was to be learned about what makes this record tick and much of the same can be said for the following four songs that make up the record.

Aesthetically the relentless drumming, dark distortion tone and vocalist Clarke's sharp, sinister screams create a harrowing black accent but the guitar work transforms them with Shoegaze and Post-Metal / Post-Rock ideas, techniques and song structures. They create quite the enigmatic experience as the dark and light are held in a unique, original balance. They toy between one another, stretching, elasticizing as songs themes move back and forth in a singular progressive motion. Not all the songs move on the same path. "Baby Blue" starts with acoustic guitars, shadowy blues in color and cuts rather immediately into its dark counterpart. I especially like the mysterious synth at the end with a woman making an announcement about the George Washington bridge. Its eerie and unsettling, seemingly because the message shouldn't be? Its odd and I like it.

The record sounds fantastic, the guitar tones are especially dense, magnetic and immersive. My only quarrel were the vocals, although fitting and powerful, the cut like a knife and never let up, sometimes it felt a little much with a singular delivery style. The five songs have zero filler and take us on a unique journey that fades out with a satisfying melodic climax. The heart of this music is traditional Black Metal and I see how it gets some fans up in arms but that attitude of elitism and "true" is only holding a listener back from an expanded experience. A stunning record which I've barely put down in recent days.

Rating: 9/10

Dan Terminus "The Wrath Of Code" (2015)

Browsing through upcoming releases for games on steam I came across NeuroVoider, a fast paced rouge-light top down shooter with a dark, atmospheric and synth heavy soundtrack. My ears immediately perked up and with a little research I found the soundtrack was made by one man band, French musician Dan Terminus. It was this record, "The Wrath Of Code" and if it was composed with the games soundtrack in mind? I am unsure but my impression is that this is another record, his third, in his discography that the developers picked up to use as a soundtrack for the game.

What was initially striking about Dan's music was a lack of predictability. Despite being relatively mild and traditional in composition style for modern music, I found myself mostly at the mercy of uncertainty to the direction it was heading. I found this experience extremely enjoyable and now after many listens I can put my finger on it. The "Dark" side of this music isn't what I'm used to, normally I gravitate to emotionally darker music, where minor, pentatonic and other such scales prevail. In this music we find a playful retro fantasy of dark cyber realms where the atmosphere create visions of movie-like heros adventuring through the electronic landscape.

The music itself is well realized with lush electronic tones oozing retro buzz saws and sine waves with a balance of harsh and softer tones that meld together in a smooth array of reverb. The atmosphere creeps through from behind with quiet ooh and aah choral synths playing in the distance and cueing the biggest moments between the the songs lead instruments. The drums are quite contrasting, with highly compressed, cutting snares and thudding kicks that lack reverb or cushion. They cut through the mix and it ends up serving as a key component in the records chemistry, the contrast in style holds the music in a unique balance.

Another notable distinction is the manipulation of dense snarly synths that roar and moan like demonic monsters, they crop up in some tracks and do wonders the further enforce the fantasy cyber world scenarios these songs conjure. I feel i should also mention this is an instrumental record, something I neglect to do as it feels irrelevant, it wasn't until writing this that it crossed my mind. "The Wrath Of Code" has been a fresh and entertaining listen however with familiarity it has lulled somewhat. It was nice to find something new, but despite being a well rounded record, there is a lack of gems or stand out moments to ascend this release into something great.

Favorite Song: The Chasm

Rating: 6/10

Sikth "Opacities" (2015)

With the recent touring reunion of infamous English metal outfit Sikth, its no surprise to see this mini-record released after nine years of silence since their second full length in 2006. It consists of five songs and a brilliant acappella performance in the vein of 2003's "The Trees Are Dead And Dried Out..." weird and eccentric closing track "When will the forest speak?". It has been great to hear the group back together however nothing here stuck quite like the classics of their past but didn't stop it from being an exciting listen and a welcome return.

Opacities bares the signs of a band getting back into the groove of things, but not quite where you'd expect. What they have got right are the aesthetics. Their identity is intact, mostly in the vocal department with Mikee and Justin reuniting their distinctive chemistry, dynamic range from clean to guttural and theatric, playful performances, sounding as youthful as the decade gone by. The guitar tones are on point with many of the notable techniques, like hammer-ons, sounding the same as where they left off. The underlying music however doesn't follow the same flow as before and sounds somewhat more generalized of a modern Metal band.

Opening with a bombastic groove riff they quickly conform to more comfortable metallic styles unlike their previous unpredictable nature. Where they were once spectacular in the spectrum of unusual or unfamiliar musical ideas there are now echos of these ideas surfacing between the groove heavy poly chugs that take charge for most of this record. Given their track record and the sparks of excitement that crop up through the EP they sound like a band still reconnecting with their identity. 

It may sound a little gloomy but this is a band that have set high standards for themselves and Opacities is a charged, energetic ride of a record that never settles for a dull moment. Its ripe with enthusiasm and punch, plenty of atmospheric moments and inspiration to soak in, but its still just a sign of where they can go. If a full length is in their plans they have certainly shown the signs of getting back into their prime.

Favorite Song: Under The Weeping Moon

Rating: 6/10

C418 "148" (2015)

C418 returned late in 2015 with a lengthy, two hour epic record titled "148", the rearrangement of numbers slightly confusing. Initially cited as a "departure" from his traditional sound I found myself at a loss to what this departure was, with a big dose of new sounds and ideas there is certainly a freshness in the air but this record is about as C418 as It gets. Its starts at a strolling pace with a trilogy of down tempo sleepy numbers breezing in with the sentiment of "I don't need you to agree with me" on the opener. It concludes with a gradual climax as airy, dreamy synths grow around his vocals gently musing the lines along "life's illusion" before returning us to a familiar setting on the next song. C418 distinctive melody style and pallet comes into its own here as it does throughout, often shifting between his more traditional sounds and some of the new ideas this album plays with, which often revolves around the beat.

Its not long before the records longest and most delightful track "185" kicks in and sets us on an electronic dream world journey through a continually grooving baseline led dance groove that plays out like a drone. Unusual quirky synths slowly grow and transform alongside the other instruments while the groove hammers on and on in a trance like state. The following "Jimitention" plays around with sleepy lullaby melodies in the beginning before finding its way to a harder groove following the principles of its predecessor, transmuting and morphing around the core.

"Tsuki No Koibumi 2" brings in one of the albums brightest moments with some beautiful, unusual and softly sung vocal lines from Laura Shigihar and her charming foreign language. After "Friend" the record drifts into a string of House tracks that play out in the typical C418 manor, full of slow and sweeping transitions between steady thudding kicks leading the beat and unraveling synths that stealthily change. They are deep and atmospheric, lengthy, spectacular and having an entrancing quality that's calm and relaxed. The track listing gets broken up a little with some different songs, "Divide by four add seven" bringing some bright bells to the forefront to play a soothing melody directly and the remix of "Beta" an energetic transformation of the classic minecraft song.

Its long, lengthy and full of tracks that take their time and surprisingly it holds up across the two hours. Its the kind of album you can dive in and out of and although their is no overall theme or uniting concept it has a lot of continuity and flow. His traditional style is met with some stronger House and Drum n Bass influences but overall its still the same style and charm we are used to from C418, or Daniel. Looking forward to whatever is next.

Favorite Tracks: 185, Jimitention, Tsuki No Koibumi 2, Aria Economy, Divide By Four Add Seven

Rating: 7/10

Native Construct "Quiet World" (2015)

Recommended to me as a cross between Haken and Opeth I couldn't pass up the promise of some epic Progressive Metal which Ive been enjoying over the festive season. This is the American three piece bands debut record released on Metal Blade Records and they will no doubt go on to become a popular band in the Progressive Metal scene that never seems to be short of new and promising acts.

The records colorful, lush and bountiful cover is a fair representation of the music that's full of bright and imaginative adventures unfolding within the organic flow of its ever changing passageways. Its quite an atypical and expected sound for the scene, but executed to a high standard within a flawless production of instruments captured in a luminous glory that's a simple pleasantry for the ears.

The record falls short in making its mark, defining what makes it unique in two different senses. Firstly no distinct characteristics in tone, delivery or composition jump out, for example a band like Opeth have Akerfeldt's voice and recognizable character in the guitars. On a second front the broader sense of themes within the songs never made themselves known. With a wide range of ideas and genre bends the record effortlessly flows and transition between extremes but it never make much sense of itself. Moving from doom blast beats and growls to serene ethereal synths and chilled, laid back rhythms sounds brilliant but its following a path that leads nowhere. As much as I enjoyed every listen, the songs never amounted to an experience where I could see the full picture. I don't want to put this one down yet, I hope with a few more listens it will make sense but it feels unlikely.

Rating: 6/10

Cloudkicker "Woum" (2015)

 At the beginning of the year I enjoyed my first Cloukicker record "The Discovery" from the Pittsburgh based one man band. Seven years later "Woum" is unrecognizable from the noisy metallic Djent-fest I knew this project as. There is no disappointment, "Woum" is an inspired project, its only hint of the past is felt through the intricate, tight guitar performance and use of abstract noises in rhythmic synchronization with the percussion. Its got the feels of a Djentleman but is an acoustic Post-Rock affair that effortlessly flows through peaceful and calm compositions of melodic delight.

The guitars are light, bright and colorful, plucking away with reverbs and echos that feedback on themselves, masking the layers of quiter guitars that mingle underneath. They expand and contract as the intricacies unfold secretly before your ears, steadily growing in momentum and detail. Its held together by a loose and spacious kit that rocks untypical beats in a gracious and distant manor, at times feeling almost irrelevant, but still welcome. On select tracks there is a thick and textured bass underneath rocking grooves that work of the kit, and at other times it is more subdued in light of the lead guitars which were the focus of the record.

It all makes for colorful and bright listen that has a few notable moments like "Threaded", a guitar piece that makes fair use of a continually expanding reverb as the song gets lost into itself in a lurking flood of ethereal ooze. Its ambition and direction is short of the bigger picture for despite all its pleasantries nothing jumps out and grabs you, although you feel it may at any moment. Its a well realized and put together piece of music but it only goes half the distance it has the potential to do.

 Favorite Songs: Trim Splint, Threaded

Rating: 5/10

Birocratic "BiroMakesABeet" (2015)

Back with an appetizer, a whiff of a record that clocks in at just under 10 minutes, Biro teases us with four of his finest beats to date. The charming Jazz Hop vibes flow in a stride of creativity and inspiration as Biro lets these beats swoon and groove in their moment, capitalizing on an excellent selection of samples and intertwining them with plenty of additional instruments to guide the songs through a few progressions that drown out a common sense of repetition. Gone are the trademark vocal cuts and missed they are not, where once the Nujabes similarities took hold there is now a great sense of individual style shining though the chemistry of lush whirly synths and jazzy piano driven samples.

With some great baselines and drum routines there is a strong undercurrent of jive and groove to move to under a dazzling array of jazzy, dreamy music. These songs are short in stature but maybe that's their strength? Biro has reinforced his loops with a pallet of instruments to keep the songs growing and evolving, but maybe it works so well because its in the shorter context. Either way its got charm, soul and is one of the best 10 minute records I've ever heard, although that's not many to compete with its got me hyped for what I hope will be a full-length release in the future.

Favorite Track: Next Stop

Rating: 5/10