Ixion "Return" (2017)

The slow burly jaunt of burgeoning gloom that is Doom Metal is both a charm and curse, often undoing the grasp on my attention in its prolonging of halting moments. With a luscious chemistry of thick, cushioning distortion guitars and light airy synths, Ixion paint a vivid pallet of soft and serene climates insulated within the void of space they theme their music around. Hailing from Brittany France, this is the bands third full length, continuing on a trajectory to polish their already smooth, inviting tone which is comparatively a little stiff and low-fi on the past two compared to the gorgeous production encapsulated in these forty four minutes.

A range of elegant pianos and synthesized sounds compliment the slow, bleeding melodies the guitars as the drums steadily drone out in a lethargic stride. With a plummeting scope of pace there are brief musters of fire with relaxed blast beats but its mostly a temperate stroll, descending into frequent disperses of crawls that have the kicks and cymbals of the drummer sound like a stranger in the distance. Its the backbone of the music, with almost all melodies unfolding in tandem with the drums.

Its mood lingers on sorrow, teetering on the void yet never plunging in. Its an interesting tone for music that so easily lets its self slip away. With moments of uplift and emergence of gleaming melodies, Return rests in a precarious place trapped between the void of black and gaze of heavens light as beautiful, serene melodies hold back the frozen pace from freezing over. Its a marvelous record I have great appreciation for if not a little disappointed in how the pacing so often losses my attention, otherwise its an inspired execution of ideas.

Favorite Songs: Into Her Light, Contact, The Dive

Rating: 7/10

Trivium "The Sin And The Sentence" (2017)

This is actually the first album I've listened to from the American band who are arguably one of modern Metal's most successful acts. I first heard them back when they broke through with their sophomore Ascendancy in 2005. In my naivety I cast them aside for reasons time has forgotten and there in the back of my mind they have been out of sight until a friend recently remarked on the quality of this record. What did I have to loose by checking it out? Nothing, but once again a reminder that closing out music is a fools game. I'm guessing it was probably the clean vocals that turned me off in my youth and so Ive missed out on the journey of a clearly brilliant band, once hailed "The next Metallica", something metal critics and fans alike seem to do so often.

The Sin And The Sentence is the bands eighth and a remarkably heavier record than I expected, the lightly rounded, crisp production lets pummeling pedals and blast beats erupt in moments of frenzy between measured and temperate arrangements of tone setting riffs that lead into satisfying guitar solos and grooves. From front to back Trivium deliver tantalizing guitar action that ranges from grizzly low end chugs to dazzling lead guitar melodies dancing above empowered baselines. Its all stitched together with a good ear for song structure, the songs never out stay there welcome and play through with a sense of anticipation of whats to come, often a climatic guitar solo.

Singer Heafy illuminates this record with a robust presence at the front of the music, dropping in fiery screams and shouts between his sturdy and mighty harmonious clean voice. His band mates chime in too, backing him up with energetic gang shouts and fleshing out the range. The choral variety is continually refreshing but the delivery compelling, stringing so many lyrics into memorable hooks that resonate of the instrumentals. Peaking and scaling with the music, following its climate the words leap to life, a pleasure to sing along with practically every song having its moment in the sun.

Its a potent record for a band deep into their career but no trajectory is linear, these are musicians, sometimes they evolve, and other times they burn out. Being unfamiliar with their catalog I can't make comparisons but I find myself a little taken back by the twelve songs of which you'll struggle to find a favorite. As the album draws on you might expect a dip but it never comes, track after track holds you in its grasp and when its over you'll happily spin it back to back. Excellent introduction to the band, I am now obliged to head back and see what Ive missed out on all these years!

Rating: 9/10

Eminem "Revival" (2017)

It feels crazy that I've never written before about Eminem on this blog before. He is pretty much thee musical name of my generation. Making his break around the millennium with Dr.Dre at his side, the Detroit rapper rose to phenomenal levels of success no thanks to his unrivaled talent and unique persona. I fondly miss the self loathing days of Slim Shady, the adopted rap personality of a desperate individual, framing his suffering on stage to the point of self mockery in an unwavering drive to make it in the Rap game. We've come along way since those early days, I checked out after Relapse, Em's reinvented self not quite to my taste. With sparks like Rap God on his previous record I found myself very keen on hearing this next chapter in his story.

Opening with an intrinsic string of words to set tone, Em's mission statement raises the bar high for a musician who constantly doubts himself in a pursuit of perfectionism. The sounds of paper ripping between his words of anguish paints him as a failure in his mind, perhaps disconnected from the reality that his name like his will always feel relevant in music. It gives way to more self indulged lyrics that come off sharp as snappy the snare which he rides with a jolted flow. Moving into Chloraseptic he hits the mark, turning to fiery spiteful battle raps over a viscous slick beat but after a tight, witty opening verse that swiftly subsides to a string of crude, sleazy rhymes.

Tracks like Untouchable and Like Home go in hard and political, Em getting fired up in defense of Black Americans living in institutional racism. He makes no mystery of his liberal leanings here, his rage and anger fueling strings of rhymes to serve his message as he takes shots at president Trump and republicans. Hes frank and blunt, spelling out the situation as he sees it raps that seek with others to take side with him. These topical track are far more meaningful and relevant with much food for thought however that probably depends on if you agree with how he sees the situation.

The focus shifts around through the track listing, Remind Me and Heat stick out as throwaway rump tracks with spews of crude and lewd lyrics that border on childish at times. Em jumps from topic to topic with old themes cropping up, revisiting his struggles with Kim. The three closing tracks are rather endearing, they play like another chapter in a chronology of songs about the unique relationship he has with his daughter Hailey, always fueling a deep passion he can't help but put to the microphone. His regrets and conflicts culminate in a musical suicide attempt he raps his way through the consequences as he perishes away in hospital, a very Eminem therapy style of song, ending with a hint this is his last album as they throwback the beat.

 There are flashes of his brilliance littered and his talent props up a lot of lack luster topical schemes. The first listen through felt fresh and exciting, a lot of his throwbacks to themes from his roots really drew in a distanced fan. His loose mouth and shots at Trump felt like the rebellion I expected to hear from Marilyn Manson who dropped the ball on relevancy. Unfortunately a lot of the tracks fell through on the second and third spins before much of the record felt tired and spent. A lot of this could be down to the weak production which is in all fairness well put together but behind the curb of excitement with dated ideas, even more so with the inclusion of his collaborations.

Eminem had so much to say and prove in the naughties but now he sounds trapped in the same internal struggles, the difference is he believes its now all his too loose. The irony is the albums best comes from the most personal themes we've heard before. There's an EP's worth of good here but this material is loosely stapled together with sub par songs, fluff and seemingly name sake features to bolster his reputation, I think only Beyonce and Skylar Grey made a positive impact on the music. Other features like Ed Sheeran felt very positional. Mildly disappointing, some good things to take away, I just hope that Em doesn't give up on trying to hit the mark again.

Rating: 4/10

Favorite Tracks: Walk On Water, Untouchable, In Your Head, Castle, Arose

William Patrick Corgan "Ogilala" (2017)

In absence of a new Smashing Pumpkins record we have a solo project by Billy Corgan that is essentially the same musical source stripped of percussion and distortion guitars. Ogilala is a folksy acoustic rock record with a lush touch of dazzle and spark. The bustle of acoustic chord strumming and Corgan's passionate voice is enriched by piano keys, strings, organs and even light synths akin to the ones heard on old Pumpkins records. Gorgeous production acoustics give it a earnest, inviting tone but after four good songs at the opening the album lulls into a spell of mediocrity once its best ideas are exhausted.

My biggest qualm with this record is most noticeably absent in my favorite track, "Aeronaut", a toned down vibe alike to The Verve's classic Bitter Sweet Symphony. The track drops the acoustic guitars for a string, voice and piano triplet that feels more comfortable with out the busying strumming of distant chords. The acoustic guitar is film and limp, its chords underwhelming and quiet, the sound of the pick flexing on the strings cast a shadow on the musical make up and empowers a rhythm that's one dimensional and not required.

With that In mind the failings of the record become sorely obvious, the strings or organs lay soft backings to these chord arrangements and the inclusion of pianos often just accent particular notes in the chord. The music revolves around an instrument that's just not working and despite Corgan's sincere singing the songs fall into the flat and narrow of simple compositions. With a lack of depth in that department, repeated listens yield little reward. Its unfortunate but you could possibly chalk this down to a distortion guitarists approach to acoustic not coming off well as many of these songs feel a step away from being Pumpkins songs with blaring guitars! An honest effort but it didn't work for my ears.

Favorite Track: Aeronaut

Rating: 4/10

Godflesh "Post Self" (2017)

The clamouring chunks of battered carcass crash and collide as the desending weight of Godflesh's signature sound, the building blocks of noise that boom and blare as bloated chunks brimming with thudding guitars and rumbliung baselines, thunder in frieght between the fracas of furious dissonance thats wails between the roar and flails. The two pillars that support their iconic sound are tentatively pulled apart, the opening metallic grooves of "Post Self", "Parasite" and "No Body" find the discordant breaks between low end riffage stretched, expanded and pulled apart as the albums songs steadily plunge into harrowing, dark and introverted atmosphers of self psycadelia where guitar noise soundscapes reign supreme as experimentation strikes inspirational gold.

The listening experience of an album comes to life here as track skipping and attempted plucking of "moments" spoil the intensity of letting the forty seven minutes of music unfold into itself. The blackened hands emerge from the shade, grasping, smothering dragging one into the shadows of introspective ambiguity, the light that shines on but does not illuminate. The loud, visceral nature of the record is like a morbid curiosity that swells in your conscious, the fixation on an ugly mechanical beast lost, wounded in your paradise. Suffering, pain and anguish scream in agony as we observe from a distance, the industrial rumblings that motor and drill away as soundscapes of punishment play themselves out.

Broadrick's return to Godflesh in 2014 with A World Lit Only By Fire was rather disappointing. After such a long hiatus, a stripped back, bare bones, riff orientated metal album felt lacking as the most explored and obvious side of Godflesh was resurrected. With Post Self a wild pallet of tone and texture emerges as all sorts of influences and links signify themselves from the purpose of the music. The Industrial drum beats frequently pump and thud like decelerated EDM grooves, the deep textures of sound intensify viscerally like Power Noise, the sonic soundscapes of dissonant guitars echo Post-Punk bands and ravishingly stark synths in the closing tracks pull the likes of astral ambiance to the center of a bleak and harsh experience.

This record has reinvented the excitement once heard on Streetcleaner and Pure, the immediacy and indulgence of the record is sublime, a moody, sonic textural exploration peaked by endless strings of ideas that spark, the wailing, desperate screams on "Post Self", the intertwined noise and depraved screaming that burrows into hell on "Be God". The record is loaded with vocal work that masks itself into the wall of sound, even taking on robotic, electrified distortions on another track. With attentive ears many percussive abuses and glitches meld into the smothering sound... oh and how can one not delight in the glory of the guitars that rediscover themselves track to track in the rich density of effect drenched guitar tones. Its simply a stunning record with an obvious direction that really lets the entire album serve as an unfolding experience to leave one in awe of its apex.

Favorite Tracks: Post Self, Be God, Mortality Sorrow

Rating: 9.5/10

Cavalera Conspiracy "Psychosis" (2017)

"From beneath the slums of a third world, a two headed Brazilian Godzilla was born, destined to leave permanent sound scares on all under pale grey skies. Hell, chaos, pandemonium, the massacre continues and with no end in sight". That's the records closing lyric and It would be equally fitting as a tone setting mission statement. "Psychosis" is one heck of a record from the Cavalera brothers who have cast a lasting influence in the world of all things Metal, between them they have amassed around thirty records since their debut with Sepultura in 1985, a phenomenal output. Cavalera Conspiracy was a chapter in the legacy I could care less for, back in 2008 their debut Inflikted was a mediocre release and I had since failed to follow their releases and so I very nearly passed this one by.

What a mistake that would of been! Psychosis is one of the tightest, mean and hard hitting Metal records Ive heard in some time. The riffs are roaring with intensity, the grooves mammoth, full of swaying rigor and the album steadily sinks into the depths as the ferocity of sound borders into Industrial territory, even Black Metal with the frightening "Judas Pariah". The whole record is tinged with a retroactive ideology once heard on old Thrash Metal records, the demonic reverberations of vocal lines have been resurrected and executed with utter class and inspiration. Max's screams and shouts can creep in from the distance or shuffle across the stereo spectrum and often shatter into the vast chambers of space these effects can muster. Its a demonic pleasure that shrouds the record in classically evil overtones while shedding the cheese that old sound carried.

The records production is a treat, everything is loud, present and punchy without feeling "overloud". A crisp creation that squeezes the texture and power from the guitars alongside a devastating kit with a deep thudding base kick and ear piercing high pitched tom rolls that burst into the music, cutting like a devilish cascades of daggers descending upon the listener, gives me chills every time. The album's songs are pulled together for an album experience with atmospheric interludes of ambiguous dystopian obscurity. Vague voices can be heard in the rumblings of sound too, these cryptic themes often creep into the main sections of songs too, providing another layer of depth to the onslaught of riveting, thrashing music.

The album starts to push hard with "Hellfire", loading clattering industrial drum stomps behind the harsh, over distorted guitars that seem to intentionally peak the mix as supernatural synths drop in for a outlandish wall of sound that has grown on me much with familiarity. Its unusual amounting of sounds satisfyingly leads into a stomping breakdown groove with a violent snare drum striking like the snap of a whip. It leads into the aforementioned "Judas Periah", the deployment of blast beats and satanic snaky tremolo guitar riffs lead give it a very Black Metal tone that diverts us from the diabolical storm into another romp of a breakdown, big slamming guitars and light synths accenting the bounce will have your head swinging!

After dragging us through fires, the title track offers respite in an equally impressive esoteric soundscape track that slowly leads its rich layers of swamping sound, vibrant synths and effect soaked acoustics, into a collapsing of noise as the track falls in on itself. These ambitious clattering of experimentation in noise finds its final statement on the following and final song, ending with hellish alien sounds of suffering and a malevolent mechanical heartbeat that's truly as terrifying as it is vivid. This dimension gives the album a depth you can't help but feel can be peeled back to reveal more. Whatever vision the two have behind such a frighting ordeal becomes irrelevant in the impact of its reality. This is an all around flawless record that I have yet to tire from an inch in my binging of the hailstorm that is "Psychosis". Kudos Cavalera brothers, the fire still burns bright in Brazil.

Rating: 9/10

Ulver "Sic Transit Gloria Mundi" (2017)

To use Francis Bacon's horrifying "Screaming Pope" as a record cover is an ambitious statement. For a band once associated with Black Metal I half expected this to be a transition in sound but this three track EP is simply additional songs from the The Assassination Of Julius Ceasar recording sessions. Despite being left out, these may be some of the best songs from the album released earlier in the year. For Ulver's lush and serine re-imagining of 80s Synth Pop I do not understand the relation with the dark and harrowing painting of Fancis Bacon but its the least of concerns given there are three new songs to enjoy.

"Echo Chamber" treads on unearthed ground, an atmosphere of unsettled tension, cautiously guides us through a mid-tempo night time drive of synthetic atmosphere. Slow, winding melodies scale up against Rygg's lyrics siting terror events in London as a catalyst for the current social political climate. "Bring Out Your Dead" ironically brightens the mood with a fast bustling hi hat to shift things into cruise control, although the lyrics have a sad tone, the songs melodies and synth revolve around an uplifting emergence for the dark.

"The Power Of Love" gently unfolds with archaic pianos soaking in a rich reverb, Rygg softly sings with passion to lead us into a ballad as the instrumentation unfolds. Delicate deliveries and a sincere performance give it quite the charm and class to let an underlying string element lead us into a climatic conclusion in the songs second phase. Its a remarkable track but I can't help but ponder what a cheesy synth pop ballad it could of been. The same music, retrograded back a couple of decades, this would of been a blueprint chart topping cliche track, yet with the right approach and tone its an entirely different, very enduring song. A cracking EP, three solid songs, would love to hear more!

Rating: 4/10

Moonspell "1755" (2017)

The blunder is real, as you can imagine I was filled to the brim with excitement when I caught wind of a new album from Moonspell. Id never heard the Portuguese Gothic Metal outfit before and upon my first listen to 1755 I found myself thinking "this doesn't sound like them". Well that's because I made the catastrophic error of confusing them with Moonsorrow who's last record was a true gem, one to remember, unfortunately I had trouble remembering their name and so we embark on an expected journey with another band also inspired by the moon!

Getting past the initial "This wasn't what I wanted" phase, a strong record is to be found here. Drawing from symphonic, orchestral and fantasy influences Moonspell craft an inviting breed of Metal tinged with Gothic, Doom, Heavy and even Black varieties that never goes to strongly in any direction. Its compositions are heavily involved with the keyboards which elevate otherwise mediocre arrangements of riffs to cinematic, adventurous levels. The snarling beastly scream of front man Ribeiro cuts through with a commanders presence, steering the ship. Unfortunately his impact is muted by the language barrier, the lyrics could of made better sense of lively symphonies which create quite the sense of unfolding events. Given the name of the album I can't help but feel It may be about the earthquake that killed hundreds of thousands of people in Portugal's capitol, Lisborn.

The record plays with varying intensities and tempos, never a dull moment as its rich tapestry of strings, keys, distortion guitars and vocals forge imaginative songs but as the record comes to an end its best is in store, the closing "Lanterna Dos Afogados" elevates the record a deep and brooding passage of music in its build up, moving from a whispering voice over a soft piano into a dense wash of sorrowful instruments mourning in harmony. The back and forth between these halves culminates with an exotic guitar solo and then the song is plunged into a passing of darkness it recovers from with the returning theme drenched in thick organs and gothic male choirs. A very memorable, satisfying song from a decent record with little to fault.

Favorite Track: Lanterna Dos Afogados

Rating: 6/10

Blut Aus Nord "Deus Salutis Meæ" (2017)

Harrowing, sinister and damn right ugly, the flailing torment of souls arrives in audio torture form as the damned "Blut Aus Nord" arise once again from the depths with another hellish installment in their derivative hybrid of Black Metal and Industrial. Taking on a new savagery, the French outfit assault the senses with nonsensical, bizarre guitar work that sacrifices melody to madness in a highly ambitious project one can tire from in its unsettling perpetual darkness. Its a big shift in sound given the last album was the third chapter in their Memoria Vetusta series, a comparatively "brighter" sound rooted in more traditional style. Here we see the group twist the nails for another stab at satanic absurdity.

The record kicks off with a frontal aesthetic experience, squeezing its texture into dimensions that feel oddly expansive and yet narrow as a diminished guitar distortion chugs a single note groove that feels massive within its distant, meaty bass rumble. It stretches back and forth, surrounded by thin synths, the rattling clatter of devious drums, nefarious gargling screams and ritualistic chats of corrupt worship passing by, poise the atmosphere in a temperate position for which it can choose to go.

If any sense of potential groove, or traditional Metal was lurking the following "Impius" hurtles us into the cacophony of heinous demonic noise as the utter agony of guitar screeching sludge is swarmed and strangled by abhorrent voices, vile screams roaring from the abyss and the wicked screeches of odious witches. They assault with a vivid flavor fit for the worst horror scenes and beyond your imagination. Its a truly frighting sound, the tapestry of nightmares. This wretched dissonance of discord dances on the grave of melody as it takes every opportunity to punish the listener with its unrelenting apatite for blackness. Its inclining of musical coherence, twisted in deviation as the continuous displeasure becomes its focal point.

There are mid-tempo moments, the blast beats do scale back occasionally and on "Abisme" the chants of fallen priests can be heard calling from the depths of hell but in these calmer moments no sense of respite emerges. The atmosphere is anxiety riddled, poised on a bed of blades unable to sleep and that is a "disaster art" unto itself but one that I can only be appreciative of, rather than enthralled by. With musical sensibilities cast to abandon the experience only goes so far before it can feel novelty. After many listens I feel as if its made a mark as a horrid, grotesque experience I'll probably never revisit with any semblance of frequency. As art its utterly fantastic, as part of my musical map I'm not sure it can claim a place.

Rating: 6/10

Samael "Hegemony" (2017)

From way back when I was first discovering Black Metal, I fondly remembered Samael's "Ceremony Of Opposites" for being rather different to the traditional scene, infectious doses of groove and sprinklings of synths gave it a memorable edge. That memory was my motivation to check out this release marking thirty years since the Swiss band's inception. Hegemony hasn't charmed me and much like most of their music I can't be critical, for some reason there will always be bands you don't vibe with, despite appreciating what they do. As a hybrid of Symphonic Black Metal and Industrial Metal you'd think this is right up my street but for unknown reasons it doesn't click.

The records plays with social themes and rebellion packaged onto an unworldly stage of theatrical lyricism delivered through the one dimensional, thin scream of Vorph, rarely altering his intensity or texture. The songs strive forward at mid-tempo, the thump and snap of the drums driving the pace as big clumps of blasting drums and busy guitar work sets a thick industrial metallic tone for the synths to resonate off with there lively range of sounds often empiric and epic, heightening the sense of scale wonder that strives for the feel of an evil empire on the warpath.

The compositions are rock solid, the music cohesive but never sparking more than a muted emotional response from me. Bar the loud drums all of the instruments are given equal footing in a mix that muddies them together. The guitar work doesn't jump of the page yet with a keen ear you can hear some interesting leads and riffs burred in the heaving of sound. The synths suffer a similar fate with only the big backing synth chords making their way to the forefront of attention and over details creeping through with the listeners attention. There might be a good record In here, I don't have anything bad to say as every listen was enjoyable but little was memorable and without an emotional response it paled in comparison to other records Ive had on spin recently.

Rating: 5/10

Cannibal Corpse "Red Before Black" (2017)

You shouldn't think of this as a musical "review" of sorts, this blog is about the musical journey, exploration, discovery and how my relation with Death Metal's most infamous band most is surely exhausted. Approaching thirty years as a band they have offered up classics, stinkers and a fair amount of variety but they and both the genre seem to be stagnating from an evolutionary perspective. Stylistically its the same formula, approach and brutal mindset repeated year after year, failing to make it feel exciting or adventurous anymore. Given my disappointment with "A Skeletal Domain" I was going to pass this one by, that wouldn't of been a bad idea.

I first put the record on during a very adrenaline fueled mood. The bludgeoning pelt of the drums racing along, the thunderous menacing roar of visceral shouts howling at their victims and the blistering, razor sharp distortion guitars shredding carnal madness had me head banging like a loon. To good to be true? Mood can always effect an experience but it only took four or five tracks for the intensity to die down as it became monotony. My absence to this sound gave me a rush of excitement but once that settled and the record drew on, the business as usual reality came to be so.

Red Before Black edges forward again with a slightly more intense sound than its predecessor. Everything a little tighter, more intense and kudos to Corpsegrinder for somehow maintaining that inhuman roar through the years. The music is technically cutting, littering the album with all manor of intricate riffs and challenging music but its all packaged within that same Cannibal Corpse intensity they refuse to let up from. Tempo changes and slightly "expansive" twists are always chained down by the identity they have stuck by relentlessly. Whenever a moment comes that it might sound like the song could open up, or go down a new avenue its always pulled back to that blast beat led pummeling that has become utterly boring for me.

I'm glad I enjoyed it for a brief moment but past that first listen its been nothing but a slug of unexciting brutality that feels so pointless in the bands decision not to challenge themselves or move on from what they perfected years ago. Even though I love this sort of music, there is only room for so much before it becomes hard to get into anymore. I wasn't expecting them to move forward and I got exactly that, the only positive I can give them is the production, probably their best aesthetic to date.

Rating: 2/10

Gothminister "The Other Side" (2017)

Ive always had a soft spot for this unheard-of Norwegian outfit. Fronted by the distinct face paint baring Bjorn Brem, they would typically tick some of the wrong boxes on paper. Their breed of "festival rock" style Industrial Metal has those big stage tropes. Simple and plain lyrics shape overly dramatic themes for pumping up a crowd with easily sung along hooks packaged into Pop Metal song structures. Despite these observations I find myself getting caught up in their world, the music itself strikes a chord a chord with me, compensating greatly for some supposed shortcomings.

The Other Side is their sixth full length in nearly two decades as a band. 2008's Happiness In Darkness was where I joined them and this new release may overtake it as my favorite. A sense of a big arching theme creeps in through unimaginative lyrics that take a literal, descriptive path to build its sense of personal and communal struggle. "Taking Over" is hard to ignore with its tale of a girl who can communicate with the dead, they question her love for her father who's a killing machine and she is creeping death? The whole thing feels like a hash of dramatics coming together incoherently yet I find myself singing along every time, the delivery infectious and easy to pick up. This example is much of what I have to say for this record, the words don't add up but they drop in with power and infectious that elevates the already booming music.

Opening with "Ich Will Allies" the influence of Rammstein becomes so obvious. The pounding militant snare and German lyrics really hint to influences overlooked by the dominance of Trance and Aggrotech synths as a stylistic marker. Gothminister rock hard with the fast, sharp chugging of power chords on crisp distortion guitars that play alongside bustling EBM synth lines, often dropping out entirely in verse sections to let the dark electronics forge the atmosphere. The tight, snappy drum kit whirls away with thumping, repetitive grooves that drive the songs forward and set the tempo in its slower, calmer passageways. The production is strong, everything pulls together, loud and energetic instruments firing together.

At thirty five minutes its short and sweet, all killer no filler. Each song has its edge and across all ten tracks the Pop Metal song structures always lead to climatic choruses with great vocal hooks or power smashing drums, big moshable riffs and bursts of lively, infectious synths. With its theme rooted is the darker sound of Metal an uplifting undercurrent always broods from the synths, creating a satisfying emotional energy culminating from these big outbursts. It has the measure to wind down in some of its choruses and "Aegir" entirely. It makes for a smooth flowing record that burns through its short songs without a dull moment!

Favorite Songs: Ich Will Allies, We Are The Ones Who Rules The World, All This Time, Taking Over

Rating: 7/10

Fever Ray "Plunge" (2017)

I dreamed but never thought it would be so, eight years on Swedish musician Karin Dreijer releases a follow up to her critically acclaimed self titled Fever Ray. In the three years since my discovery of her debut It has grown to be one of my all time favorite records, the sort you have to always consider when making top tens and playlists. Her sophomore Plunge comes entirely out of the blue, a rouge email in my inbox I thought to good to be true but alas it is so. With only a video single released a week prior, this surprise release is more than just a pleasant one.

First impressions were wild, all I could focus on was all that was different. Plunge felt dissonant, avant-garde and ambiguously adventurous with its entrancing electronics. Working with more ambitious, experimental sounds the textural journey continually weaves webs of intricate noise arrangements flailing from Glitch to Electonica, with hints of Industrial in its noisy, less melody driven passageways. The atmosphere shifts and varies from one track to the next, conjuring obscure, spacial vibes that can delve into gentle unease and unearthly sounds with the measure for calm, soothing relaxation. On its other hand these songs can become animalistic, dark and paranoid in their abrasive persuasions.

All of this often revolves around a sturdy backbone of stripped back club and House beats. Hard thuds detached from the conventional pop of a snare and tempo setting hi-hat let the dense instrumental arrangement absorb the attention a club groove would often dominate. A hand full of songs, maybe four to five of the songs feel straight of the back of the last album, utilizing the same bell and siren-like synths but deploying slow and steady kick and snare grooves in contrast to the more polarizing, experimental tracks. "Red Trails" being one of these songs you could slip onto Fever Ray has to get a shout for Sara Parkman's stunningly, morose, harrowing violin solo that seeps itself into the atmosphere like a parasite, eating the song from the inside out, carving its menace through an otherwise chilled, if not dark track. Stellar moment on the record.

The production being of this modern era is unsurprisingly crisp, no thanks to the state of technology but balancing all that heard is done with a touch of class. The record can feel almost clustered in moments with all the rattling of intricate sounds swirling around, from start to end its all managed and put together in a lean and easy setting. Karin's singing is infectious, her unique, estranged voice is unleashed with the wit to spin her expressions into elevating hooks, radiating the music and lodging themselves into your consciousness. Lyrical themes are entwined in sexuality, charged by identity and eroticism, the sometimes coarse but often poetic lyrics rub up against some obviously political statements, see "This Country" to hear unflattering commentary that's hard to ignore.

Ultimately, Plunge is a superb record, little to fault and plenty to rave about, Its an endearing listen. My main point of questioning would be in its two halves, distinctly alike to its predecessor on half the tracks taking a big leap forward in experimentation on its other half we essentially get the best on two worlds. To repeat yourself or be inconsistent on a record can sometimes be a hindrance but neither of these possible considerations seem to matter in the case of Plunge, which will probably go head to head with Sikth for my favorite release this year!

Rating: 8/10

Fief "III" (2017)

A wave of excitement took over as news of the third Fief record graced my inbox. It was the sort of enthusiasm for familiarity that has since been my focal point of thought beyond enjoying the alluring atmosphere of the record. Fief graciously invites us to relax in the luscious gardens of kings and queens, courting in the magical fantasy lands of yonder. It was precisely what I had expected and hoped for, another swooning set of short songs to indulge in. Visions of jesters, minstrels and dancers entertaining their masters in cordial company or a young adventurer, journeying through the forests of friendly creatures and ancient fairy tales, Fief sets the tone perfectly for an ancient world of eternal wonder without worry or fear.

I however find myself distracted by the lack of evolution or expansion in the sound, I am always interested in new sounds, ideas and for exploration into what music can offer. Had I listened to this directly after I and II I may have found myself disappointed but the distance in time has been healthy for my apatite. Fief is executing this idea, this vision with brilliance and there is no complaint on my behalf, I am perhaps all too aware of my own attention span, that eventually I will exhaust this fruitful experience and wish for something new.

For now though I have really been enjoying the immersion into this fantasy realm, pleasant, bright, uplifting and soothing its the perfect soundtrack for relaxing and letting your mind wonder. With no major change in sound it is once again a typical affair of layering lush instruments together with inspired melodies alongside the occasional tambourine shuffling percussion. The songs can build and fall, with up to five instruments singing together at once, and in calmer moments a single lead instrument can path the way, whats nice is the fluctuation, the elevating and calming of songs lets its best melodies charm you when the songs reach their respective peaks. At thirty minutes this is the strongest installment yet!

Rating: 7/10

Winds Of Plague "Blood Of My Enemy" (2017)

I checked out from this band pretty much immediately after their attention grabbing debut album had worn out its attention span. After a shoddy demo record the group got signed to Century Media and bolstered the symphonic aspect to their sound, setting them aside from other Deathcore bands at the time. Crunching breakdowns, filthy screams and empiric symphonies collided to form a cheap and flashy sound that would have you for a few listens. Over the years they have become a mockery to critics and this newest release will probably be no exception. Bar founding singer Johnny Plague, a complete line up change could of given the band a chance to evolve but its business as usual, the same music they were making a decade ago.

Blood Of My Enemy isn't awful but its constantly swirling in mediocrity where moments of chemistry found between the tight chugging guitar and rich orchestral synths are continually dispelled by the arrival of Johnny's tone deaf vocals and impact-less gang shouts. Its a solid sounding record where the modern production gives room for the instrumentals to vibe easily in their audibility. Crisp, snappy drums drive the rounded guitars which deploy a variety of riffing styles stretching from choppy thrashing, to mid tempos grooves and slower chord led passageways. The synths bring cultural echos and atmosphere fit for epic battles as they stitch in sounds around the guitars direction, occasionally coming with Gothic tones that accent and expand the sound otherwise not heard.

On there own we would have a reasonable record but like with their debut there is something about Johnny Plague I just don't vibe with. His scream is always fretting on the same anger with a lack of range or inventiveness in his delivery. A lot of shifts and turns hinge around his break out screams and gang shouts which continuously dispel any charm the instrumentals where building. His lyrical style focuses entirely around the "life is war", "stand your ground" hardened mindset heard in Hardcore music but the constant grotesque swearing and obsession with pairing it to actual war leads it into the unfortunate territory of "cringe" lyrics given his committal to lines like "I will give my life on the battlefield, drowning in the blood of my enemies". Simplistic language, a lack of depth and turning the same idea over and over tires instantly.

There is merit in the instrumentals but the whole vocal aspect is awful. A guest feature on the title track shows how much better this could be with someone else, I believe the voice is Courtney LaPlante formerly of Iwrestledabearonce who elevates the song. This record is massively hindered by its lead member, who is employing the same ideas that faded away ten years ago. There's more shuffled and rearranged breakdowns running on empty, sounding flat and lackluster when they jump into a song. Poor record, doubting I will be back again.

Rating: 3/10

Cradle Of Filth "Cryptoriana - The Seductiveness Of Decay" (2017)

The twelfth chapter of Cradle's legacy has been unleashed with another upturn in form that feels almost bizarre for Danni Filth's band who for the first time in their twenty six years release consecutive records with the same lineup of musicians. Hammer Of The Witches received a lavish amount of praise that I was equally impressed with, yet surprised to hear them turn it around after decades of patchy releases since their best output back in 1996. With Cryptoriana I again find myself taken back by how little there is to fault here, the real disappointment is in the familiarity of their sound, after fifteen years as a fan their isn't much of a surprise or freshness left.

Cradle don't venture much beyond their comfort zone, the guitars usher in the occasional thump of groove or tinges of Post-Metal in shredded tremolos but otherwise they stick to their guns. Eight tracks of solid songs around seven minutes play like back to back mini epics, well constructed songs with plenty of twists and turns, returning melodies and theatrics that end in satisfying conclusions. This lineups chemistry pulls together the best of their musical ideas, flushing out the mediocrity and settling for nothing less... for the most part, it has to be said the last two songs do drag a little in comparison.

They might be executing the same ideas heard plenty times over in their old records but the quality is undeniable, tight performances executed on a crisp production sounds gorgeous. It may be aesthetically pleasing but its true charm is in the inspiration. Genuine and passionate, the gleam of romanticized gothic melodies weave these songs together between there wanderings into the darkly shadows that manifest in metallic mania. Theatrical, vivid and bold each so is an adventure waiting to be known! Everyone gives a fantastic performance and the result is arguably their best in nearly two decades! I do however hope in the next release they could experiment a little! Cradle's defining sound has barely evolved a fraction over the years.

Favorite Tracks: Achingly Beautiful, Wester Vespertine, The Seductiveness Of Decay

Rating: 7/10

Wolves In The Throne Room "Thrice Woven" (2017)

Hailing from Olympia Washington, the Weaver brothers offer us their sixth full length release since forming the band back in 2003. It is their first Black Metal release in six years given that their last, Celestite, was an electronic astral ambience piece and is also the only record of theirs Ive heard before this one, so I go into this one with fresh ears and an appetite for the rich and soothingly dark atmosphere in store.

Thrice Woven hasn't formed a particular vision in my mind, instead different shades and tones illuminate the passing of time as the temperate becomes tempered into different forms. Although the shifts in sound have some flow, they measure against one another with distinctions that remind me fondly of other artists. "Born From The Serpant's Eye" has echos of Panopticon with its folk like undercurrent, resonating in the buried, sombre melodies that have cultural inflections. That opening passage transitions into traditional darkness, shredding fast riffs under pummeling blast beats before breaking for a quieter, calmer interlude. Eventually it finds its way to the passing of sludgy, mammoth guitar riffs wailing demonic groove under a howling scream of evil, a real highlight in the record.

Consisting of five tracks, the flow disrupting interludes really make it feel like a couple of songs were unnecessarily stitched together although the lyrics may offer some context there. The featuring of sublime female vocals in two melancholy interludes have such a spellbinding quality that the records angle is transformed entirely in these moments as we are lifted from the darkness to another realm of beautiful moonlit wonder. "Angraboda" has this interruption too, although made memorable by an awful inclusion of guitar feedback, it cuts into an eerie silence marked by a lonely melody similar to that of Burzum before returning to Metal, bouncing a slow plodding riff between a colossal scaling riff that ascends with median blast beats. "The Old Ones Are With Us" again has a familiar distinction, its opening passage with shimmering, lonely melodies reminiscent of I Shalt Become.

My favorite moment comes on the closing track with its utterly menacing "breakdown", half time drums, the crashing of some hideous cymbal screaming away under slow, punishing, sludgy guitars makes for a memorable moment in a record loaded with good music. Unfortunately it doesn't come together with a grander sense of self. All the shifts in tone and intensity don't amount to a bigger picture or even progress with a sense of direction, instead it feels like a string of musical ideas pulling each other along. Its still a very enjoyable record but no one song felt commanding as a whole.

Rating: 6/10

Kauan "Kaiho" (2017)

Their former release, Sorni Nai, was a riveting listen, an emotional journey of stunning peaks and swerving valleys born from a wealth of inspiration based around the mythic Dyatlov Pass incident. The record is a complete entity that blossoms into a cinematic soundscape, leaving a resounding impression on me that is still unwavering. The Russian five piece are back with their seventh and first self published record, "Kaiho" which has unfortunately disappointed to no fault of their own.

Listening back through their discography the band always had a unique, soft and sombre tone, slightly cultural but distinct and melodically persuasive. Over the years the Doom Metal tropes of snarly, guttural vocals and slow, sluggish distortion guitars, heard on Lumikuuro, gave way to the lighter, artistic, richer sounds of Post-Metal which heavily complimented their melodic side. Its wasn't uncommon for these tropes to subside entirely, in fact the majority of their music has mostly been made up of the "clean" passageways which this album naturally embraces with a move away from its Metal roots.

"Kaiho" is the heart of their melancholy put out to bear. Long drawn out movements of sorrowful strings and soft airy synths paint the glorious, yet gloomy atmosphere for vulnerable singing and delicate melodies to play out. Its pace is temperate, treading on ice as every song drops with the softness of snowfall in a setting of pure ease for the listener. Everything is calm, soothing and gloriously relaxing with plenty of room for introspection and reflection as this serene sombre takes hold.

For all its slow and delicate, beautiful composition, every song is meandering, wandering without direction. The lack of urgency or event steadily drains it dry as the album draws onward without a sense of meaning or story, little feels unfolding or even heading anywhere and so the subtlety and softness fades from focus and each song feels like a point without destination. Only "Kasvot" musters a sense of something grand ironically from shimmering Post-Metal guitars resonating with the airy synths. Its a rare moment for the record as most the guitars are slowly plucked acoustics, any distortion found is heavily buried under already gentle instrumentation. Aesthetics, mood and tone are spot on here but the lack of event or direction, change in pace or upturn in mood has this record seeping out of focus, leaving each song feeling like the last.

Rating: 6/10

Erang "The First Age" (2017)

The vast and rapid output of Erang continues, a man with an unwavering inspiration for the vision of his kingdom brings us another installment, the forth this year? Seventeen in total? I'm loosing count but alas, The First Age may suggest a return to roots but his evolution as a composer sounds aroused and fertile on a handful of songs littered among a cast of temperate mood setters. Years of experience have blossomed into a craft for intertwining layers of simple melodies on reverberated instruments that hits home every time, commonplace yet spell bounding in the right mood. The First Age is memorable for its strongest tracks which jump of a track listing that doesn't stick to one direction.

A loose concept of returning is presented with the albums titles and knowledge of the various ages within the kingdom. Album opener "1986" has Erang narrating a diary entry under the downpour of soft rain as an industrious click clack bustles away on the typewriter. As his entry draws to an end a storm erupts, leading us on a retroactive journey, replaying clips and soundbites from past records as we swirl through a portal of sound, ending on the first Erang song "Another World, Another Time".  The concept of returning to the origin is explained but thrown off balance as a couple of tracks, notably the gloomy yet enchanting tones of "All Kings Must Die" & "Everything Is A Lie", deliver the ancient wonder of more traditional Dungeon Synth sounds, both their aesthetics and theme strike close to the classic Trolldom by Lord Lovidicus. Its found again later in the record but Erang's inclination to richer, luscious sounds has the vibes expanding into different crevasse.

"Birth Of A Shadow" hits a ghastly, dark note as graveyard bells ring out over a fog that creeps in as the night falls and we fall witness to harrowing screams and roars emerging from pain over the mischievous chanting of bells. Its cinematic, gripping, the music paints a scene to embellish in, one of his best. Followed by "La Nuit Noir" we change direction with another wave of inspiration as a stunning piano piece cries out its burden of mortal agony on crimson chords. Its lead hand far more developed than usual, given fluidity to break to conventional loops that dominate the music.

For me the record is marked by standout tracks, "Escape The Lonely Madman" another that needs mentioning for is slow and grueling of withering dread that collapses into ancient eastern cultural sounds that has one envisioning trade and travelers indulging under the desert stars, the shimmering of fires lighting their midnight engagements. The best of this record seems to be pulling from different sources and I'm not sure how I feel about that, the opening sets it up to be a nostalgic rewind which I didn't feel past a few tracks, on the other hand its an excellent set of songs where Erang continues his progression as an artist, yielding more fruits of the labor than ever. On a final note I just have to say the synth in "Unmasking" very similar to the Concrete Jungles game soundtrack, took me a while to make that connection, very similar synth instrument, had to boot up the game to confirm it.

Favorite Tracks: All Kings Must Die, Escape The Lonely Mountain, Birth Of A Shadow, La Nuit Noire, Unmasking The Dead Oracle.

Rating: 7/10

Marilyn Manson "Heaven Upside Down" (2017)

There's little bad to say about Marilyn Manson's tenth record. I could get critical and say it gets off to a moderate start but as the wheels get spinning, they don't slow down! Best known for his culture shock records Antichrist Superstar and Mechanical Animals, Manson has seen a steady decline in recent years that got turned around with The Pale Emperor, a change of pace, an introspective artistic piece that turned his observational musing inwards. I was sorely disappointed at first, "Heaven Upside Down" was not continuing in that direction but with each passing listen it grew on me substantially. He may be approaching his 50s but the fire for his breed of intelligent rebellion still burns bright in this fellow.

The most obvious comparison for this change of pace is the Antichrist Superstar era. The vibes, instrumental aesthetics and attitude is similar in many spots with a helping dose of anger and aggression. His poetry is witty, sharp as a blade with cutting lines like the opening "fuck or fight" on "Jesus Crisis". I could make lists but this is Manson, his reputation needs no examples, hes on his best game here with cracking lyrics that turn in on themselves as the words unfold. His ability to write and deliver hooks elevates the instrumentals as you'd expect them to do but always catches you off guard.

Instrumentally things start off aggressive with crunching guitars leading the songs. Dirty, Industrial thumping riffs on steady repeat. "Tattooed In Reverse" experiments with gritty, buzzing baselines and sharp, often shrill oscillating synths for a rattle house of dystopian blues. "Saturnalia" Is the turning point, the music becomes expansive with echoes of The Pale Emperor distance the aggression for spaces to breath in as the moods start to flow. Its as the album winds down from its aggressive start that I find myself captivated, Manson's chemistry with his band mates seems to electrify as his performance resonates with lyrics carrying the burden of dramatic emotions.

This albums flow is a strength played to. It starts with a bang to lure you in and steadily evolves into a much deeper record. The density of the instrumentals, aided by rich electronics, plays to the versatility Industrial music can provide as the songs collectively share a space with quite a variety of textures and flavor to throw your way. It can shred distortion guitars and find its way to bustling acoustics too without loosing the heretic energy. Everything comes together on this record, the group are on fire and give us the all killer no filler treatment. I will leave this post with a favorite lyric I can't get out my head. "And I tried to look inside you, but ended up, looking through you, now you try to tell me, your not a ghost!".

Favorite Tracks: Say10, Saturnalia, Jesus Crisis, Heaven Upsidedown, Threats Of Romance

Rating: 7/10