Krusseldorf "Laidback" (2017)

For now, our Krusseldorf venture concludes at a lower altitude. Distant are those charmed curiosities that drew me in. Laidback is certainly calm in demeanor, easy on the ears but much of its lengthy runtime circles over dulled ideas and bland aesthetics. It suggests the artist enjoyed the subtle details of its sound design much more than this listener. Lacking melody and groove, the focus seems to lay in the textural craft of these dreary downtempo drives. They Fall conjures a soothing mood with its dreamy warmth. The following Rebuilding Icarus flips the script for a lean cut, darkly intent with sharp brittle beat. From those distinctions, the record drifts into obscurity. Tracks drone on, seemingly fixated on strange Industrial like samples and breathy snippets. These ideas are scant, ruminated on endlessly, A tired slump I didn't enjoy much.

Rating: 3/10

Willow "The 1st" (2017)

 

Armed with a charming youthful naivety, Willow's sophomore effort gracefully dodges its own awkward imitations as inspiration and "talent" saves its heartfelt expressions from mockery. Venturing dangerously near the pitfalls of teenage philosophy, her introspective self expressions carry an emotional weight and sincerity that is hard to ignore. Sentiments extending beyond herself scarcely play hollow however the personal insights seem befitting of the records peculiar coffee shop tone.

Backed by sullen, broody instrumentals, strings, pianos and acoustic guitars start out on a Classical tone. Track by track the setting inches into different territories through minimalist compositions that leave a lot of airy space for its inconsequential melodies to drift by. Picking up pace and intensity, things brighten up as sounds of New Age, Soul, Dream Pop and Alternative Rock start to color these intentionally stripped back songs. The final few tracks then lean into a folksy current that was always present.

These thirty four minutes drift by without a misstep yet feel just out of reach from something grander. Early on, Willow's singing contrasts the backings, drifting above with a sense of free flowing expression. Later, the two find unison. Along the way, a few obvious echos of 90s singer-songwriters make themselves known. Considering her trajectory, the creativity expressed here is enjoyable but is yet to really click.

Rating: 6/10

Rina Sawayama "Rina" (2017)

 

 It turns out Sawayama was not Rina's debut. This one flew under my radar, a twenty four minute EP released a few years prior. Self funded and independently released only piles on the praise for what initially felt like a tacky take on 00s Pop. Getting past a couple of mediocre tracks, familiarity revealed the subtle powers of brief tuneful melodies and glossy aesthetics centered around her persuading voice.

Early themes paint a sense of glitz and glam, ambitions of a rising star. Cheery, upbeat production with punchy drums drawing on touches of 80s Synthpop and soft Alt Rock guitars opens the record. These nostalgic reaches into the past reoccur through classy production. It flows through a variety of song ideas, none feel original, yet an intriguing assembly of ideas pulling from the past thirty years of Pop music.

 Tunnel Vision drifts into a dreamy avenue, shifting to introspective thoughts. Deploying vulnerable expressions makes for awkward lyrics hinting at smartphone addiction among relationship woes. Its a muddled message. Much of the record has this ambiguous feeling as to which way her words lean. Presenting a bold face with a hint of distress. This lyrical fuzziness is more likely to be at fault with me.

Overall, I'm impressed. This Rina EP strikes me as a leap of faith, a talent unleashed raw and keen, simply getting started and turning up trumps. It doesn't coalescing around a specific vision yet its best songs achieves their own merits. Its been a joyful dive into ideas reminiscent of great songs without being specific.

Rating: 6/10

Motionless In White "Graveyard Shift" (2017)

 

 

Working back through Motionless In White's discography, I've anticipated hearing amateurish songwriting born of their Metalcore roots but this ain't it. Still reveling in a distinct amalgamation of popular Metal from the 90s and 00s, their musical witchery is effortless to enjoy. At this stage, its beefy Nu Metal guitar riffs that dominate overt influences with the legend Jonathan Davis lending a mild feature on Necessary Evil.

With Trance synths and crunching percussion, flavors of Gothic melody and Industrial rhythm weave into the mix around Chris Cerulli's hooks and downtrodden anthemic lyrics. Sadly, their chemistry isn't as potent. Simple breakdowns, gang shouts and throaty screams break apart these spells with flashes of the aforementioned Metalcore roots. Otherwise all the components are in place, a band steadily maturing.

I'm left reasonably entertained but lacking any enthrallment. Soft serves as a fair highlight, obvious Slipknot influences spin a first pumping riff, jolted into action from the start. "You're mine motherfucker" screamed as if from the mouth of Corey Taylor. Its creepy Korn melody counterpart balances out the energy well. Many of its best ideas feel uncannily close to that era. 570, however, plays like a straight melodic Metalcore banger, something leftover from prior writing sessions? Overall, a fair listen.

Rating: 5/10

Andrew Odd "Visions Of Red" (2017)

Wishing to "scratch the itch" from an artist who's discography is unfortunately light, I've rummaged around the mostly one track singles for Visions Of Red, comprised of three soothing space themed songs. Arcadia is a beautiful "pale blue dot" inspired piece. Leaning into the cosmic perspective, yearning string scale the epic expanse of space in a trance like state. A deep yet soft rumble of bass murmurs below, between them heavenly choral voices subtly emerge to peak the musics blissful tone.

Elysium turns a little esoteric, its fleeting voices steeped in mystery as layers of airy choral synths gradually climb an underlying tension. Piano notes smothered in a dreary reverb eventually arrive to resolve this ambiguous enigma. Tharsis leans Psybient. Embracing upfront melody, pronounced synths exchange, brooding towards a sense of eruption. I always anticipate a harder pivot but when the percussion arrives, its toned down, a distant snare kick groove, with narrow aesthetics.

 

 Visions Of Red delivers on this artists ability to cut past the mediocrity this astral music can often slip into, creating three intriguing songs to fire up the imagination. Fingers crossed for more Andrew Odd in the future, their craft is one with distinction.

Rating: 5/10

Spiritbox "Spiritbox" (2017)

 

Four years prior to the brilliant Eternal Blue, then duo Spiritbox arrive fresh on this self titled debut EP showing glimmers of whats to come. Yet to figure out the nuances of their engrossing Ethereal aesthetics, singer Courtney LaPlante spearheads all melodic magic. Melding over a tempered Djent framework, she steers the dense, chunky guitars to tuneful inclinations, an elevating croon in its atmospheric strides.

These remarks speak mostly to The Mara Effect split into three parts. The other four cuts slip into genre norms. Aggressive outbursts led by frustrated shouts conjure atypical riffs. Powered forth by programmed drums, this writing sounds creatively constrained in counterpart to the shimmering sways of ghostly melody heard early on.

The Beauty Of Suffering embodies this as the sways between their two sides of expression feel detached from one another. As the rhythm section descends into a blatant borrow of Meshuggah's iconic Bleed riffs, it becomes all to obvious they are yet to mature their own identity. I'm not sure I would of heard the Spiritbox spark listening to this record first. Cast out of an evolving Djent scene, its not entirely clear what here would separate them from their peers, despite being a decent listen.

Rating: 5/10

Hundredth "Rare" (2017)

 

Opening with shiny crimson acoustics, Vertigo croons on contrasting vibes. Its initial Ethereal glaze rubs against a pacey rhythm section. Thunderous baselines rumble, as lively kick snare grooves set a cruising tempo. Swells of overdriven guitar erupt, reveling in their haze of noisy reverberation. Singer songwriter Chadwick Johnson glides in, calming with breezy harmonization, soothing in his softly presence.

Its a chemistry that persists throughout, as this Shoegazing, Alternative Rock hybrid flickers with fondness for a cascade of influences that inspire an inclusive wall of sound production. Forever sounding like a beautiful fever dream, hints of Grunge, Britpop, Post-Punk, New Wave and Dream Pop emerge in subtle suggestions.

Almost all tracks sail with riveting energy. Ebbing and flowing into colorful lulls, dragged by pounding percussion, leaving room to breath and rebound into epic swells of lead melody and momentous guitar riffs. A consistent experience, yielding a monotone expression. Across its forty five minutes its deeply explored yet spinning the same structures in rotation. Fortunately with such blissful energy it rarely tires.

Early on the music feels uplifting and charged with warmth yet as the record reaches its mid point, both lyrics and emotions tilt to darker subjects. Its a subtle shift, a dreary dourness creeps in, the sprint slows. It feels like the same beast yet moodier, as melancholic acoustics drift in and a vulnerability in Johnson's presence grows.

Rare's merits reside on its songwriting and vision. Initially seeming to fit into a familiar umbrella of genres, the record takes on its own memorable character. I do prefer its opening half, the speedy pace a delight that fades into its brooding counterpart. Overall, Rare is a wonderfully engaging set of songs that don't try to rewrite the rulebook but focus on what works and wrap it up into an inspired aesthetic indulgence.

Rating: 7/10

Maurice Brown "The Mood" (2017)

The Mood, an apt name for a record that can impose its own upon one so snugly. This forth outing of veteran Maurice Brown, composer, voice and Trumpeter, bestows itself so elegantly. The soft swaying swagger of Smooth Jazz. Extended aesthetic pallets akin to Jazz Fusion. A subtle rhythmic groove fond of Jazz Hop. Maurice creates a modern, relaxing take on the classics. Fleshed out with occasional vibrant verses by himself and guest rappers, they somehow cut the instrumental flow perfectly with the sudden arrival of deep, thought provoking lyrics. The silence between barely yearns for more, despite the expressive words and chemistry they adorn.

Past its warm welcoming open cuts that set a firm groundwork, the album moves into a couple of Avant-Garde leaning songs. Its percussion busying and with dexterous, dissonant leaning leads emerging, it end up rustling the feathers of its slick persona. Upon finding a way back with Capricorn Rising, the musical themes and key melodies seem to lack the initial dazzle that captivated ones attention. Despite still possessing an easy charm, loungy vibes and full of good mood, It seems a step lower in energy.

Destination Hope, the album closer, rekindles that early magic. Bringing on a fine R&B singer, the Jazz hybrid template finds another soothing chemistry as Chris Turner swoons in to the forefront. Returning again with an epic, softly reverberated chorus. The message is strong and sweet, the melodies croon again and then a spoken word, half rap cadence, from J Ivy blossoms briefly as a fond unity is achieved. The Mood is a hard record to knock. Despite delivering such delightful magic upon the way, it falls short of a classic album experience despite its remarkable impressions.

Rating: 7/10

Kyros "Vox Humana" (2017)

 

Suffering the meaty bloat of a double disk, lengthy escapade, Vox Humana reaches far. Seeking heavens, with spirit and inspiration guiding, this juggernaut weighs upon itself. As a progressive beast, lunging from epic to epic, its diverse aspirations forge wild strings of temperaments and intensities. Reliving the classic tropes of Progressive Rock, flirting with performative theater, a dynamic metallic energy and even shivers of crude Dubstep wobbles on path, a cluster bomb of ideas explode upon the listener.

Individually, lofty, grandiose themes excels, triumphant roars and gratifying peaks are navigated among an arsenal of instruments keen to show their harmony. Collectively, a broad meandering is endured with no ending in sight. Lacking an arc, a sense of overall direction, its climaxes, dramatic twists and turns, roll of the treadmill linked, a free formation running against its own current. At least that has been my experience.

Despite a sense of disorientation stumbling through the hurdles of its musical might, Vox Humana is littered with gratifying sways into exalted emotive swoons. So often do its musky, gentle lulls erupt, illuminated by surging musical powers. The persuasion of momentous riffs, engulfing dancing melodies and all to often, Shelby Warne's voice, assailing all, Kyros land their adventurous ships ashore upon treasured beaches.

On examination, a culprit emerges, its linking elements. Intensity down-turns, drives into obscurity and the general breeziness between storms lacks charm felt elsewhere. Its where meandering looses attention and the swells of excellence are lost in its over ambitious nature. But the ambition is clear, leading to regular contagions of brilliance.

To my mind, Vox Humana sounds out of ears to its audience, a group of musicians exacting their will, uncompromising in their vision. As an observer, indulges into odd and experimental directions frequently break its flow. Clearly excellence is abundant, with many a satisfying moment along the way. Its peaks show this to be true but the journey? A rocky one in terms of holding over interest and attention.

Rating: 7/10

Billie Eilish "Don't Smile At Me" (2017)

Ignorance leads to serendipity, as unbeknownst to me When We All Fall Asleep, Where Do We Go? was not Billie Eilish's debut. Furthering an excitable confusion, all the songs of this prior EP were already relatively well known, given the extensive air play and commercial application her music as received. Stripped of experimental leaning aesthetics yet to germinate, Don't Smile At Me serves as a slick, slender collection of Pop tracks. Its hard to nail down its attributes, as flashes of various genres pass by. The music mostly leans on Billie's presence and Finneas's keen percussion, which carries the pacing through its spurts of instrumentation.

Both his apt production and balanced compositions are fantastic. Simple, catchy and clean, they compliment Billie's vocal melodies and lyrics so well. The genius clearly runs in the family. Now listening further back into her youth, as a teenager, Billie's lyrics are so surprisingly self certain. Mostly musing her words on the matters of love and relationships, not only does her voice shape luminous feelings into infectious hooks, her sincerity strikes with maturity too. Her massive success is no surprise.

These humble origins are yet to establish a unique tone among the loose and cluttered genre of Pop music. Despite this, the bright, brimming talents of this sibling duo would be heresy to dismiss. Most mystical of all, their youth. Both musical and emotional maturity displayed seems a true rarity. So as of late these nine songs, including a brief feature from Vince Staples, have been on heavy rotation. The downside? This moment in time has surely passed, unlikely to be captured again.

 

Rating: 8/10

Kalandra "Beneath The Breaking Waves" (2017)

 

Seeking more of The Line's immense serine soundscapes has led me here. Beneath The Breaking Waves is lacking its keen persuasion. After many spins, the scent ruminates like a "warmup" EP, a group finding their footing. Released three years prior to their debut, the magic is either sequestered of lacking entirely. Don't get me wrong, this folksy six track charmer cruises in a parallel lane but the chemistry is yet to be arrived upon. Each musician brings beautiful sounds, textures and craft to their parts.

Lacking the drive to swell and croon together like a symphony, much of the music lays its ideas bare. Padded by interludes and gentle atmosphere building, the feistier surges and potent melodies are brief sparks in fields swept by the drab calms that simmer in their own quietness. Unlike the experience of encroaching growth that came with each listen on The Line, these tracks tired quickly. It seems the components are in place but missing an inspiration to bring Kalandra to life, I'm glad they found it.

Rating: 4/10

Stellardrone "Between The Rings" (2017)

 

I was somewhat surprised to see I had not written about Stellardrone before. Then again, all their music was released before I started this blog. The exception being this EP which had passed me by, so the opportunity to delve into this unique space was a welcome one. As a self described amateur composer, Edgaras has a distinct emotive sound, competently channeled into a stunning, inspiring experience.

 Its cosmos theme hinted at in title and album art sets a president that's hard not to absorb. Thinking of whats beyond the stars in the great mystery of the universe comes naturally, unless the suggestion aligns perception? These are slow brooding songs that ride the waves and crash into the beaches with big emotional surges once the momentum has built. A mix of soft adorning strings and synths breath in and out as swirling arpeggio melodies pluck away with a computer characteristic to them.

The percussive grooves are held back, lurking in the shadows and slowly fading in to focus, then complimenting the big surges of emotion that arises. Its fine instrumental ambient but on this occasion feels rather bold and ambitious as its humble beginnings become inescapable, the curious endless inspiration of space and time takes over.

Its probably the absence of Stellardrone in rotation that made these five tracks so potent. It was a welcome experience to get back into this sound again. Between them the variety isn't massive, the formula describe plays out with a few aesthetic and compositional differences but its mostly about the meditative mood that can be achieved with their music. And yes, it turns out I had written about this artist before! Seems I made a spelling mistake with the name "Stelladrone", what a derp!

Rating: 6/10

Dark Sky "Othona" (2017)

 

My resistance to the algorithm was foolish! Once again I've been served up a fantastic electronic artist delving into the Ambient, Ethereal, Downtempo vibes that I just adore! Othona is a soothing record of deceptive simplicity and meditation, a series of soft synth resonances exploring unraveling energies. Gently gathering its gusto, these surges of groove and melody flourish out of the soothing states, morphing into animated flashes of color, sometimes in passive friction with its slight dissonance.

These tones and aesthetics achieved through configuration of saw waves and synth osculations, seem to always carry a slight unease. Its as if something is always marginally out of tune yet also fostered by the other instruments, at a distance. The vision and inspiration at play is clear and thus births a sweet magic from this careful curation of the subtle dissonance. Its brilliantly handled, steered to a warm place.

Othona's array of buzzing synths aren't the soul focus! Across this record, the pace holding percussion often morphs into classic House and Dance beats with deep pumping bass and tight shuffling grooves. Its always a gentle process, as much of the music incrementally grows through the motions, so do the percussive lines. It allows these songs to be in a consistent state of evolution, moving us from calming serine meditative soundscapes into easy crooning Downtempo drives of flow.

I'm impressed at how this record comes together. Song after song holds my attention with a soothing nature. I could drawn attention to some similarities in style with other artists but I really think Dark Sky holds their own for the most part. Just one song, Angels, could hold a candle to Brian Eno's legendary An Ending (Ascent), as quite the comparable vibes emanate. This one is worth checking out if you're even mildly curious from my words. The mood it educes is worth it alone. Great Stuff!

Rating: 7/10

Wampyr "Wampyr" (2017)

 

This will be the first of three records I will cover on the topic my newest unearthing, Vampire Synth! Whats that? Apparently a subset of the micro-genre Dungeon Synth. Can you imagine my reaction upon stumbling onto a massive list of this so called "vampyric" music. Excitement alright, Ive often yearned for artists to look for new avenues in this easily accessible genre flooded with amateurish attempts like my own Forgotten Conquest. So far we are not off to a good start with this brief EP of three originals and a cover by James McKeown, the man behind the Wampyr moniker.

These lonely, sombre songs lean heavily on their Casio synth keys and low fidelity aesthetics, sounding fumbled and off the mark. Meandering and directionless whatever solemn piano, gaudy choir synth or cheesy tone takes focus the music can't escape its design. The brash and awkward percussive strikes on the opening track seem like a failed rouse to arouse mystique. As it passes the yearning atmospheric synths that arise usher in a new phase seemingly unconnected. With barely more than two instruments chiming in at any one time, its possible minimalist ideas fall flat in forging anything meaningful out of the subdued setting it occupies.

I'm being harsh here, individually some moments do conjure that ancient dungeon feeling but its all to brief and interspersed by the swiftly transitioning music. It doesn't create a sense of theme bigger than any one moment that's passing by. To pile on the critique a little more, where is the vampirism? I picked these records at random, unsure of what to expect, hoping for a new nostalgia, gothic and cruel, drenched in blood, exciting the imagination for mythic legends of Counts and Countesses, dwelling in darkness and conspiring nefarious plans for their victims. This had none of that and thus my disappointment. Even removing my colored expectations I hear little distinction.

Rating: 2/10

Soley "Endless Summer" (2017)

 

Endless Summer somehow doesn't seem a fitting title, perhaps the musics charm simply engulfs the current environment. With cold, pristine, shimmering pianos, a spell of calming serenity is ushered in. All too perfect for this winter and Christmas season. Its been my recent walking music of late, making it hard to not associate it with the cold weather and anticipation of spending time with family. Most the songs blossom with strings, percussion and deeper piano notes bubbling up in the later parts of these songs. It light a warmth under its brittle high keys where the tracks start from. In these denser moments one can feel the smile of the sun, a carefree spirit of summer. For me though, its been cast as a snowy record fit for early sunsets and chilly breezes.

Icelandic musician and charming singer Soley has somehow escaped my grasp. Stunned by her debut We Sink, I've managed to folly the simple task of following her output over the years. That will have to be corrected. I remember her music having a twisted shadowy edge in moments, its not present on this outing. She forges a genuine warmth, the chemistry between these graceful serine pianos and her soft, vulnerable voice is endlessly uplifting from a place just shy of melancholy and sadness. It is most often felt in the elegant piano performances, which tend to start a song drifting, bare and lonely. Soley rescues them with human expression as her voice and accompanying instruments lift them to a safe, warm and carefree place.

The playing is wonderfully dynamic. Chords and melodies weave with quite and loud dynamics, inviting measures of reverberation and a timely sense for where the music will suddenly grow with an ushering in of synths or percussion. Not hinging on any given pace or structure, the pianos lead, playing of itself, music that blossoms of its own accord. Although there may be patterns and structures, rarely does it feel obvious or like repetition is running its rotations. All of its eight songs tend to sweep you up into its own moment and hold you there. A truly captivating listen, always as a whole.

If I turn my mind to criticism, I can only turn it to myself. Her wondrous voice holds a curious space, feeling adjacent to both happiness and sorrow, childlike innocence and reflective maturity. I should of perhaps taken time to read the lyrics as her singing is not of the discernible sorts I am usually exposed too. Somehow I always listen to the emotion of a voice, not the actual words. Here there is emotions in droves. Having been spellbound for a while now, binging this record on every walk, I am now left with that familiar sentiment of wondering how this will hold up in time to come. I'm pretty certain this ones a keeper. Great record, will have to dig up another one!

Rating: 9/10

Old Sorcery "Realms Of Magickal Sorrow" (2017)

 

Dungeon Synth can almost seem like a cliche of itself at times. With the similarly Old Tower fresh in ones memory, the haunting grayscale cover, a gloomy castle and cryptic band logo sparked my amusement, especially the name. It was as if a "starter pack" meme had been taken to heart. This is no fault of the Finnish musician but having consumed an abundance of this music, its tropes are often laid all to bare. I'm glad I didn't pass it over, Old Sorcery does indeed have a magic worthy of attention.

Opening with its decrepit lurching synth and lonely washes of airy ambience drifting from its piano chords, the slow paced drawl of decaying nostalgia unfolds without surprise. Its atmosphere holds majesty and wonder, a sense of lost grandeur, magic and might, buried by time and dust. Its at eight minutes that the artists flair comes to light and a new dimension is steadily pried open with a deepening sense of wonder.

Reminiscent of Tangerine Dream, Jean Michel Jarre and the likes of early electronic acts, the hypnotic whirl of a lopping oscillating synth seemingly rises from the ashes. Although standing at odds with its stereo panning, heightened pace and differing melodic intent, its steadily gains a foothold with the contrasting sound. At this point a psychedelic journey has begun. Realms Of Magickal Sorrow makes its distinction as a record with something different to offer the Dungeon Synth scene.

It would be quite straightforward to deploy this technique of swirling synths, wavering in pitch and volume, to induce an entrancing temperament. Old Sorcery however redeploys the power of oscillated synth tones with powerful subtlety that clings so frailly to this hallucinogenic vibration. One can envision secrets kept in keeps of cold stone as plants and herbs, guarded secrets of an esoteric cult.

The second track, Vaikerruksen Portti, uses a similar synth setup to the first track but with laser zaps and more electronic instrument design accompanying it. Both halves go strong, the Dungeon Synth side toys with mischievous melodies in the forefront, backed by dark organs and deep choral voicings. Its a loud and powerful outing to play up the unique union. A Lost Soul Amid The Listening Trees finds eruptions of gleam and glory, horns and glistening synths dazzle between the long and yearning stretches of shadowy ambience. It has a foreboding presence devoid of electronics.

In A Forest Trapped, those glistening synths return for a sleepy track of yawning pace with a dreamy persuasion. It builds to playful melodies before we arrive at the final track, possibly my favorite. Further Beyond The Melancholic Horizon opens like an Old Tower track, deep drones of devilish dreariness, lost in the distances. One can hear the deep gong strikes and an eerie fuzz of ambiguity. Suddenly it gives way to a different composition, then taking a few minutes to arrive at the final destination.

The next few minutes ponder the infinite, the synths ripple into the void, minimalism and subtlety slip into madness. Its a glorious moment in a song that goes through some vivid transitions that work masterfully. I did not expect to find such a rich experience within this genre I feel can so easily be overplayed. Old Sorcery has brought a sequence of deeply curious ideas that play into the dark, spiritual, meditative flows I just love. With another two albums, there is more to discover now.

Rating: 8/10

Milk Teeth "Go Away" (2017)

My recent disappointment with the bands self titled album brought my eyes to Go Away, a four track EP I overlooked that plays counter part to Be Nice. It too is a step away from the glory of Sad Sack & Vile Child but this direction is one I can vibe with. Its a similar theme of reckless self indulged emotional reflect, lively and unhinged.

The tone is way better suited to a coarsing Pop Punk energy. These thrashy vibrant power chords resonate with a 90s Green Day loudness, a sound I am admittedly not all that familiar with. Their lyrics float of these crashes of thunderous energy with a punchy resonance. Lines like "I'm drinking just because its there" and "Maybe these choices will backfire on me" cruise through the choruses with a catchy knack.

Pumping basslines and slamming aggression from the drums give the whole thing a real kick in the right direction. Lilian and Nearby Catfight have fantastic build ups in the end with some creative lead guitar to see the songs out. A throw back to what they do best can be felt in the closing track, Big Sky, a slower, moody track with a big sense of atmosphere. These songs are driven and fun, there is little here not too like!

Favorite Tracks: Nearby Catfight, Big Sky

Rating: 5/10

Ocean Grove "The Rhapsody Tapes" (2017)

This five piece Australian Alternative Metal outfit known as Ocean Grove have been my absolute binge of late. I discovered them through the Punk Rock MBA's video essay on the revival of Nu Metal. A blessing but also a blur. Letting Youtube play endless songs and discovering them right as a new album drops has made the whole experience overwhelming, now having a plethora of songs I adore to engage with. Narrowing my focus a little, I've been getting my head around this one, their debut full length released seven years on from their inception as a Post-Hardcore band.

The Rhapsody Tapes is stunning, perhaps the reasons a little less obvious as to why in the shadow of whats to come. Youthful, spirited and brimming with emotive energy, somehow they avoid the follies of sounding like a nostalgia trip. The 90s sounds run strong with this band. Nirvana, Oasis and Nu Metal can be heard melding in the melting pot with a vibrancy of modern Metal and ideas brought about in the decades since. Originality isn't in question here, these short and punch Pop Metal songs are so vibrant and well written, they simply work, to be enjoyed without need for reflection.

Without a defined formula nailed down, the twelve songs play with a dynamic range of temperaments exploring groove, emotion and fun within the bright template of crisp distortion guitars resonating massive quantities of energy. A couple of interlude tracks play as expanded elements of style, odd ball collaborations that for the most part work. The occasional inclusion of synth or drum machine adds a little flair. The rest of the music however often has a distinction from the realms of Grunge, Metalcore, Djent, Nu Metal and so on. I could write a list of bands, its as if each song plays tribute to particular artist and genre, sometimes mixing, all of which I happen to be a fan of.

Their singer Luke Holmes may be just getting by on the occasional Rap Metal moments of the record but when letting loose he soars and croons with a stunning sensibility for elevating tone. The duo of Jimmy Hall and Mathew Henley on guitars write sensational vibrant, bouncy riffs brimming with energy. Everything they try is a treat and the chemistry between these three sails the record to a height where I simply can't put it down. Its everything I love, done again and with a renewed youth!

Favorite Tracks: Beers, The Wrong Way, These Boys Light Fires, When You're This High You Can Say What You Like, Stratosphere Love

Rating: 8/10

3TEETH "Shutdown.exe" (2017)

Aesthetically speaking this band are absolutely my cup of tea. On this record we step back a fraction from the metallic element with a tonal shift towards the Electro-Industrial hilt. Distortion guitars are dialed back in presence from the meaty Metawar. A stronger emphasis is placed on the sonic pallet of busying robotic noises. Font man Mincolla sounds no less of his own, although the Manson mimicry is minimal, his voice is drenched in distortions and dystopian effects that have him drift into the middle of attention, like another layer of detail in the web of machine like constructs.

These songs are dense and textural, a tapestry of whirling mechanical, electronic and alien sounds that coheres into a cyber punk world of neon lights and endless smog. Its slightly uneasy, unsettled and futuristic, capturing a detachment from the natural world as one could imagine it the soundtrack to a dystopian vision of the future. With a plethora of sounds they decorate the blood pumping baselines and smashing thuds of kick and snare grooves that propel the songs forward. Softly screeching synths play rattled melodies and potent power chords inject force through the guitar element. It holds together a firm atmosphere that reminds me fondly of my favorite Industrial acts but doesn't go to far in defining itself.

As mentioned, Mincolla finds himself in the middle ground with all the other instruments that never seem to leap out at the listener. They all work on the same temperament and thus the album is short on attention grabbing tracks. It is most notably apparent with a lack of sing along hooks as his garbled voice often blends into the wall of sound. Atrophy manages to pull off a killer number as its elements are laid bare, chopping in and out. It gives the guitar a real kick when it drops in and the lyrics to seem to ride that wave. The rest of the songs make up a passing experience that comes in various degrees but under closer inspection it doesn't bite quite as hard.

Rating: 6/10

Favorite Tracks: Atrophy, Tower Of Disease

Death Fortress "Triumph Of The Undying" (2017)

My excitement over this record has simply failed to ignite. I found myself enthralled by Reign Of The Unending and its mighty, Immortal inspired freezing Black Metal! I was keen to get into the previous chapter by the New Jersey based outfit but it has not been so. All the hallmarks are intact, pummeling blitz drumming, icy tremolo guitar noise, the vocals have both the shrill screams and the jaunting burly discernible roars. What it doesn't have nailed down is production. Its a scratchy, low fidelity affair that seems to fall folly to the fumbles Immortal did too on records like Blizzard Beasts.

On the other hand it could a case of "not in the mood" or burn out. I exhausted myself on the Immortal sound many moons ago with over indulgent binges. Death Fortress's previous record could of benefited from the charms of a nostalgia trip, resurrecting the fond excitement of unearthing this mysterious Black Metal music in my youth. The record does have a moments or two tho, Wisdom Of The Unspoken musters up a whirlwind of ferocity in the middle of the record after a slow build up. Its not enough though and flicking between the two records highlights some clear issues.

The overall tone and aesthetic is dulled by a scratchy convergence of sound where the intentional collision of instruments goes a little too far, leaving a certain frequency range sounding like white noise. It is all to easy to focus on. Its predecessor doesn't have this issue and I always notice how much clearer the drums rattle and the snare pops on that record. The guitars too feel denser where as here everything feels loose, sloppy and lacking in definition. The record passes without any interesting song structures or musical moments, it tends to just imminently drift from my focus.

Rating: 4/10