Cordae "The Lost Boy" (2019)

 

With surprising numerical successes, this young rapper appeals to generations new and old. The twenty something Cordae fly's the flag of a fading art form among trendy Trap and Mumble Rap stylings of his peers. With a sturdy cadence and steady pace, his raps embody the 90s and 00s flows, bringing fresh faced youthful wisdom to his verse. Navigating the trappings of success with an anchoring in family values, his rhymes birth beautiful reflections on upbringings and personal growth as a human.

The backing instrumentals navigate classic vibes. Tuneful, jazzy, soulful moods and bouncy bangers channeled through an updated percussive aesthetic. Snappy snares and slicing hi-hats provide cutting tones to power along a mix of orchestrated sounds and samples easy on the ears and effective. Among its fifteen tracks, a Hip Hop head will find many familiar moods spun to great effect. Spliced with a couple of folksy interludes, roots in Church and Gospel music add an authenticity in roots.

The Lost Boy cruises by on good vibes, dipping into emotional strides that culminate towards the records ending. Family Matters lays down some surprising introspective maturity, seeing the struggles of his family not wishing to burden a young Cordae chasing his dreams. This thoughtfulness is striking, trending as the lyrical highlight, engaging expressions walking you through a reflective artists inner workings.

Rating: 7/10

Motionless In White "Disguise" (2019)

 

Proceeding their latest effort Scoring The End Of The World, Disguise plays through similar rebellious dystopian motifs. Downtrodden and disconcerted, these self loathing lyrics vent social frustrations and systemic critiques. Emerging in a mangled messed, this personal emotional darkness gets tuned up to a feverous anthemic pitch.

Continuing the legacy of key 90s and 00s bands, another energized romp of animated Metal bangers play off Chris' hooky infectious singing. Tuneful synths and stomping guitars set the stage for ghoulish themes teetering on Gothic at times. Its essentially the same architecture, possibly less impressive now familiar with the bands construct.

Early on the band show their Nu and Industrial Metal influences a touch more directly, however the amalgamation holds strong. On the flip side, Broadcasting From Beyond The Grave and following Brand New Numb play like a shameless Marilyn Manson covers. Fun but a stint lacking originality from a band that usually mix themselves in.

Disguise has entertained but failed to impact. Now lacking a novelty, Motionless In White play with a comforting familiarity, flying the flag with a bold stride that's difficult to critique. My teenage self would adore this punchy angered energy yet I've found it hard to pick favorites among its consistent tone barely hitting a peak or valley either.

Rating: 6/10

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Paths Of The Eternal "Search Of True Ascendance" (2019)

 

The allure of Dungeon Synth has sunk in its claws again! Bestowed by the Spotify shuffle, Hidden Scriptures caught my ear. An esoteric passing spell, dream swept and hazy, its layering of mystic melodies keenly reminiscent of classic Trolldom had sucked me in for more. I'd actually passed on Paths Of The Eternal's first demo years back. I'm here now and adoring its meditative qualities, an ancient spooky synth with spiritual qualities that warmly arise from its nostalgic foundations. I have a particular fondness for its opening A Mystic Premonition that deploys virtual instruments distinctly similar to that used on my own Dungeon Synth project, Forgotten Conquest.

Bone Guardians toys with castly medieval magic. Horns shout triumphant, strong and proud, its clattering percussion hinting at the wheels of war yet retaining this cheerful warmth in its grasp. This animated, uplifting start gently gives way to esoteric magics and droning ambiences. The music mulls on its dulled mood, seeking solitary atmospheres over the flushes of melodies that defined its bright opening stint.

Its closing track, The Highest Chamber, seems to unite these ideas, returning elements of its colorful start to this secluded, lonesome stretch. Culminating with human voices, it lands its lengthy voyage with some finality. Search Of True Ascendance has been a riveting return to some classic Dungeon Synth vibes mixed with entrancing meditative qualities. That excitement wore off swiftly tho, the shift in tone and pace midway sadly not as enduring as its opening four songs were.

Rating: 6/10

Këkht Aräkh "Night & Love" (2019)

 

Another early 90s Black Metal love letter! Unlike its predecessor Pale Swordsman, Këkht Aräkh's first full length seems a fraction too generic among the many who try to capture that era. Its gritty aesthetics are harsh, a crisp coldness splattered with clattering percussion over blurry rumbling baselines. Shriek howls, throaty cries and noisy distortion guitars paint a familiar sight of unrelenting Norwegian darkness.

On this debut outing, an arsenal of all to typical arrangements fail to muster excitement in the wake of all that came before. Despite its competency and mastery of the grim aesthetic, the aggressive stints of loose blast beats, shrill tremolo guitar and beastly shouts from the shadows fail to add to the conversation. It left the project feeling like a typical cast iron clone from an era that many have tried to recreate.

Night & Love, however, is littered with lonely interludes, sullen moments of reclusive beauty. Hints of nature intruding on soft folkish lullabies and ethereal acoustic guitars. They play as a treat of their own between the hard shadowy onslaughts. On occasion accompanied by a tender clean male voice, these sometimes eerie and often melancholic tunes swiftly became the most intriguing aspects of the record.

Its no place for me to say what an artist should do with their music but hearing this tandem of a unique voice, wedged between a clear and shared obsession with early Norwegian Black Metal, has me feeling as if their talents are misguided. Këkht Aräkh has caught my attention with an impressionable nostalgic venture yet they clearly have something else to offer. The two are yet to merge in a fruitful way as I hear it.

Redzed "Bohemian Psycho" (2019)

 

Hailing from the Slavic regions of Europe, this young Czech's distinct accent embeds sharp flavors on top his nasal pitch. Loaded with obscenities and violence, his rapid fire shout raps drop sharp and vicious, making quite the impression. As one in a roster of many Trap Metal artists in rotation on Spotify, his maniacal flow caught my ear.

Tight, snappy and obnoxious in presence, the harsh delivery and brutal tone lured me in for more. Sadly, it seems Redzed is somewhat of a one trick pony here, emulating the same cadence for most of the record. In intervals, the pace softens with songs leaning into half sung hooks, looking for a catchy knack that seems out of reach. His pitch and range unable to muster charismatic charm previously bestowed among his venom spitting, ferocious raps.

So to do the instrumentals stiffen. Its somewhat typical Horrorcore theming leans heavily on hard bass kicks, jittery Trap hi-hats and harsh snares strikes. The groves are competent yet narrow in scope as each song circles the previous one. So to did the comprehensible lyrical content seem slim. A race to the bottom! Violent, foul, over the top braggadocio laced with cuss words and graphic obscenities.

Bohemian Psycho was fun for a minute but lacked a reason to stick around once its merits were proven. The closing Bleed For Me / Drumin' Hard had a touch more excitement. The inclusion of distortion guitars and what sounded like a drum jam session had some personality not heard elsewhere on the record. Ultimately Redzed's wild energy on the mic has a punch but lacks a depth to flesh out this record.

Rating: 3/10

Tamaryn "Dreaming The Dark" (2019)

  

Embarking on a forth of four records, Tamaryn's linage becomes crystal clear. From her patchy embryonic origins, The Waves roots in Shoegazing noise steadily blossomed. Culminating with an arrival of infectious Synthpop suggestions on Cranekiss, Dreaming The Dark is a natural conclusion. Steered away from ethereal ambiguities and dense guitar textures, this record lands firmly on the catchy synth driven sound of 80s. As a retroactive sound, it embraces all the glories of modern production, carving ear worms with courageous singing and jiving keyboard melodies.

Angels Of Sweat roars out the gate with an empowered stride, setting a striking tone. Soaring vocals scale the octaves, animated with emotion as Tamaryn lends her words to wild hooky inflections. Hard hitting saw waves bustle and punchy percussive rhythms rock to form a united front, executing this fantastic song writing boldly.

As great records do, Dreaming The Dark explores temperament and mood narrowed to nightly vibes. The shadowy allure of melodies shimmering in cold resonance broods. Stiff drum patterns loop, charging vivid synth leads with a subtle curation of hazy steel guitars in the backdrop. Its a key chemistry, chaining Tamaryn's energetic, upbeat presence. Leading her through shrouded, dreamy drifts into darker spaces.

On occasional, this spell is broken. Victim Complex amps up bold synths, jiving hard on a vibe. Her singing explores a multitude of catchy deliveries, the chorus erupting with charisma. The Jealous Kind hits a similar cheery tone while offering a broody plunge between its bright lead melodies. Another song of note, possibly the records best, is Path To Love. Possessing a beautiful instrumental chemistry, a duet with a brief male counterpart gives it another riveting flavor that gels smoothly.

Dreaming The Dark reshapes the best attributes of 80s Synthpop into its glorious dreamy sway. Tamaryn swoons on a high, backed by a contrast of bright, cheerful infection and hazy Ethereal wonder. It hangs in a cunning balance. When locked in by grasp, the record feels reminiscent to the sways of classics like Black Celebration. Yet in its latter half, a couple songs loose pacing, finding a lull. Otherwise this would of been near flawless. One to come back to again in the years to come for sure!

Rating: 8/10

Exhorder "Mourn The Southern Skies" (2019)

 

If anyone had a claim on Pantera's era defining sound, these neighboring Louisiana's had the framework for a new metallic approach locked in years before Cowboys From Hell. Having disbanded in 94, I was shocked to hear them in rotation on Spotify with new material decades later. More so was the similarity to the "Phil Anselmo" breed of groovy Southern Metal. With a foggy memory I returned to Exhorder's debut, Slaughter In The Vatican. A brief reflective listen had me in awe. Kyle Thomas's cunning vernacular a blueprint for Anselmo to emulate. It's been quite the historical reminder and undoubtedly I'm gonna have to dive into those old records again.

Mourn The Southern Skies is a ripe affair. Reviving classic groove oriented, fist pumping power and might, the southern swagger scales atop fiery momentous. Kyle rides the waves of crushing guitars and battering drums with attitude as they burn through iterations on the arsenal of techniques accustom to this sound. Its secret weapon is quality. With little in the way of innovation, the band churn through sludgy stomping rhythmic grooves. Baked by southern humidity, it oozes style and persona. Guitar solos dazzle but unsurprisingly, can't charm like a Dimebag. Reasonable in theatrics, a couple leads take a more dynamic roll in musical direction, a niche touch.

 

A competent production aesthetic serves its purpose with a touch of rawness, possibly brought on by budget constraints. Exhorder have never been a big name in Metal. Its kind of remarkable to hear they have been sitting on such talent and inspiration. However this return has influences in reverse as the last twenty plus years of Groove Metal's legacy can be heard throughout. A great record but it can't claim originality this time out. Final thoughts? Listening to this record feels like stepping into an alternate reality given the back story. Looks like I'm adding nineties Metal to the playlist next!

Rating: 7/10

Kero Kero Bonito "Civilisation I" (2021)

 

 

 I've been diving into a few Kero Kero Bonito records and loving whats to be discovered! Initially, I didn't vibe as strongly with this other half to Civilisation II until I had the further context of their back catalog. As a quirkier, bold and colorful trio of songs, it seemed offbeat from the marvels of its successor. Released two years earlier, these three songs perhaps signify maturity over the period, however being new to the London based outfit, my passing thoughts are of little value currently.

 

The opening track Battle Lines bursts to life with a barrage of punchy instruments, a disorienting layering of cheesy 80s synth sounds reworked to produce a carefree, wonderus mood. Its zany synths jive unabashedly, jolting into life with sequences of notes that play like guitar solos, often seeming out of key initially and swiftly find their orientation with the music. Ironically its was the most jarring track but now the one I love most. The wildly animated nature of its busy instrumentals is remarkable!

When The Fire Comes drifts into a calmer, soothing temperament, letting Sarah Perry take a little more light with her keen singing voice. The steady percussion gives rise to layerings of gorgeous, vibrant keys. So easy to enjoy! The River follows up extending that warm, easy tone with its breezy synths making a mockery of its jittering percussion and sporadic bursts of odd synthesized noise effects. Its somehow dreamy, yet that drum pattern is so shaken and agitated! The chemistries these three conjure are simply wonderful. They are now the subject of my next musical journey!

Rating: 4/10

Lena Raine "Oneknowing" (2019)

 

Having only gotten to know her music through the Minecraft & Celeste soundtracks, Ive set out to hear Lena Raine's voice through her own lens on this debut album release after the remarkable music of Celeste. Its a high bar of comparison but as a solo artists expressing her own vision, Oneknowing is a comparatively ephemeral experience. Distorting time with its dreamy pace, the soft Ethereal tone has much of the gentle music drifting through lofty ambiences of thick, lush, airy synths. Its the framework for a small variety of ideas in rotation that make up the track listing.

The excitement croons when Lena brings in her remarkable percussive grooves. They rock and rattle with subdued momentum on the back of rather harsh and sharp drum and glitched sounds. The mix is magical and births many of my favorite moments as one is snapped out of the inertia and into the power of her beats. A subtle alternative element at play is the inclusion of strings, in more classical leaning tones which tend to build up with a Post-Rock like growth. A stead swelling which ends up at unexpected intensities in comparison to the songs humble beginnings.

The third of three elements that caught my ear is her voice, something I'm not sure she used on Celeste. I've got to be blunt and say it caught me off guard. She sings with a quite timid and fray tenderness, hinging on either a foreign language or vocal inflections that make he presence wordless and rather shy emotionally. Its an odd performance, possibly all to flat in tone and power as she meagerly drifts into a songs with lots of reverb and effects to carry it through. I like the end result but get a feeling she might be making up for lost ground in some capacity.

Blown away by her other contributions, this solo experience has a mix of that exceptionalism and a more typical Ambient experience which mirrors many sounds Ive heard in recent years. When her music breaks the mold of that softness, like on Insomnia and Momodani, it feels very unique. Along with that I get the distinct feeling the music is packaged through the lens of a story, as if shifting from scene to scene in a computer game. Oneknowing is a strong album but time will tell just how much.

Rating: 7/10

Spellling "Mazy Fly" (2019)

Having been dazzled by an enchanting music experience with The Turning Wheel, this sophomore predecessor suffers the fate a shadow can cast. Its a notable experience Ive had on this journey when turning back the ticking hands of time. Mazy Fly has the same peculiar chemistry, a heart of soul espousing an eclectic convergence of styes and aesthetics. My lack of indulgence came about in its comparatively less nuanced approach. The brash 808 percussive pallet in the opening tracks exemplifying this bare bones feeling where the shades of chemistry seem obvious and separated.

Melted Wings brings out an of tune violin for an ambiguous dance into sorrows before being interspersed with spacey synth tones. Its a little unclear what the purpose is but followed up by more borderline cheesy, brash and bold synth tones, the melding of styles finds a spark on Hard To Please. Rubbing up against stiff percussion, its dreamy echoing Ethereal backdrop reminiscent of Julie Cruise finds much gusto as the strong synths bloom inline with Spellling's charming soulful singing.

For me this mid track was very much the albums crescendo, a peak reached that its successor cruised along. The rest of the record has these peculiar arrangements of Neo Soul, Chamber Pop, Psychedelia and Electronic aesthetics that don't quite align with the singing. The vocals swell with power and cower with breathy vulnerability but for all the orchestration animating away, It didn't resonate on the same wavelength as my first and powerful introduction to this interesting artist. I think I will leave the exploration here and keep an ear out for future releases!

Rating: 6/10

Mayhem "Daemon" (2019)

 

I'm not sure when exactly I picked this record up but with Mayhem confined to the list of adored artists I'd consider far past their prime, Daemon must have been thrown straight to phone for shuffle. It may have taken years but a few months back, a song of this record really caught my ear. What was this chilling cold, deviously devilish Black Metal so reminiscent of the classic De Mysteriis Dom Sathanas? To some surprise it was the band themselves, reunited with Attilia Csihar and conjuring a sinister storm reminiscent of the vision Euronymous's chillingly morbid guitars evoked.

I'd always thought highly of the bands direction post their classic debut. They always looked for new experimental avenues to explore but eventually my interest in the morphing directions dropped off over the last decade or so. Ive read this record came off the back of touring De Mysteriis in full. Clearly those performances primed them for Daemon which conjures that primal darkness within a modern, crisp, sinister production provided by Necromorbus, with one of the worst "evil" names I've ever heard.

The two bonus tracks Everlasting Dying Flame and Black Glass Communion feel like the albums starting point creatively. Both rehash classic riffing styles, baselines and drum patterns from De Mysteriis. In my ears they are songs to get the writing process underway with this particular aesthetic and spirit in mind. The ten tracks that make up the actual record have similar moments but do well at feeling like an extension of that bleak ghostly evil the original conjured. Attila is the champion here, growling raspy demonic cries of malice between authoritative clergy jeers steeped in foul corruption.

Behind him Hellhammer is as on form and exciting as ever, battering away with thunderous intent and a distinct presences that's never left him. The duo of Ghul and Teloch forge moments of wicked and heinous energy between the broodier riffs that run the mills of classic Black Metal. Many moments of brilliance emerge on the likes of Agenda Ignis, Malum, Falsified And Hated and the grinding, unrelenting discordance of Worhtless Abominations Destroyed, a personal favorite of mine here.

My main issues is with whats between. The routine of snakey tremelo picked guitar lines and power chord shredding gets a little stale after many spins. Attila carries it with his wild and varied theatrics but the music beneath doesn't always have the gravitas it needs to be special. This may be a result of a deep familiarity with this style so many others have re-walked over the years. Its not to take away from the overall experience though. This was a fun and demonic ride back into that darkness, this shade however feels more visual and nefarious than its chillingly morbid counterpart.

Rating: 7/10

Howling Giant "The Space Between Worlds" (2019)

Following up on a dazzling four track instrumental EP Alteration, it became swiftly apparent the band are side stepping from their core sound. As part of a growing trend in Metal that is already tiring me, the excitement wore off quickly. Initially spurred on by Ghost, this revivalist sound heard here reminds me of other fond discoveries, Green Lung, Beastmaker and a touch of Baroness vocally. Rather than riding the cusp of whats extreme or current, these songs look back to decades past by to pull together solid fundamentals of songwriting and classic riffage yet for all its excellence, the spark doesn't light a fire for most of the nine tracks found here.

 Ghosts In The Well peaks my interest, stalling the albums starting momentum and general temperament. Its acoustic strum sing along a cold and cautious tone of subtle sombreness. Its a rooted, cultural vibe standing in contrast to the swaths of loose and rumbling groove overdriven riffs that roar through every track. Its brief but welcome as the records aesthetic gets stretched on repeated listens. The soft chime of organs beneath every riff dulls the power of rhythmic guitar ideas, cushioning them into a common corner where one song to the next gets a little bland.

Cybermancer And The Doomsday Express may spice things up with hurried tempos and saw-wave synths but it feels like another idea entirely strung into the mix as its lyrics stand in direct contrast to the rest of the record. They in contrast, continually conjures images of mystic implied rural life from decades gone by and re-imagined, a romanticism of woods, wizards and witches. The vocals do deliver the theme so well, soaring with clarity and conjuring a creativity to resonate of the instrumentals below. Its a keen performance at the front to sell this nostalgic metal ride.

The groove riff that concludes Everlight, its fantastic guitar solos and the creaking Post-Rock build up makes for one wonderful song where the stars align but for much of the record that doesn't happen for me. I don't want to knock the record, My own exposure to this movement has this one feeling a little underwhelming despite clearly being a well written and performed album. To any Metalhead who yet to catch this sound though, it would be a great introduction worthy of checking out.

Rating: 6/10

Clipping "There Existed An Addiction To Blood" (2019)

 
I'm struggling, yet to form a strong bond but on this outing I very much hear a conceptual angle playing out in the form of deconstruction. The picking apart of ideas, tropes and normalites become apparent on a handful of tracks that make up this seventy minute meaty slug of cold artistry. Experimental Hip Hop trio Clipping have been on my radar for a while but I've found myself unable to connect with the critical praise Ive seen heaped upon them. I have however enjoyed the challenge and appreciate the immense talent of rapper Daveed Diggs and their Avant-Garde production style, which raised eyebrows on their debut album CLPPNG, featuring a rigid yet rapid rap riffling off over the grating sound of an alarm clock.

There Existed An Addiction To Blood is the groups third, including a bunch of features which mostly emphasize what seems most obvious to me. The challenging nature of hearing highly involved lyrics over ambience and noise makes much of Diggs raps a harrowing and dark narrative to follow but his guests seem to line up with a strong through line. Rattling off typical Gangster Rap and club hooks over menacing abrasive noise and unnerving screams, Diggs flips the perceived glorification on its head. Many themes common to the gang and club music get deconstructed as both verses and juxtaposed hooks get sung in contrast to the norm. This is where the instrumentals shine, the comfort and tunefulness is voided and replaced by uncomfortable, grating hashes of Industrial and Noise. Its tone molding that paints a picture of the uncomfortable reality behind the topics and narratives shared.

This artistic stride only occurs in fractures for me, between it detours of interlude ambience and crushing noise distortion simply drone on. There is also a fair bit of convention where kick and snare snap into place to form more digestible songs, ironically in this convention they tend to loose a spark. It tends to take place when a guest steps on the beat to give the record some relief between the challenging darkness. Ultimately, the moments of genius play out not quite to my taste and I again appreciate what Clipping do but find myself struggling to create a clear picture of the record with all the chaos going on. No doubt though I will continue to follow this act and see where they go with their unique and crafty music.

Rating: 5/10

Blood Incantation "Hidden History Of The Human Race" (2019)

 
Catching wind of high praise thrown its way, Hidden History Of The Human Race is a well articulated Death Metal record for fans new and old, a bridge between styles within a sub-genre normally tired to the bone after thirty years of evolution that has stagnated in recent memory. Denver based Blood Incantation hit a fantastical stride on this sophomore album, boasting four dynamic, progressive songs, one of which is a lengthy eighteen minute epic that in all reality feels like two songs bolted together through effect soaked acoustic interludes that play up its alien, cosmic theming, both present in the music, song names and on the otherworldly album artwork.

Its Opens up with an aggressive plunge of snarling fretwork deploying pinch squeals, a battering of blast beats and the oldskool roar of Paul Riedl. The groove and bombast lasts but a minute before the atmospheric dimension opens up. Howling guitar leads, frantic drumming and alien melodies drill in its angle before chopping through a riff fest interspersed fiery bursts of guitar lead and crushing growls that permeate the music through its dense reverberations. At times it borders Doom Metal with slow, drawn out groans that brood with intensity in a menacing manor.

This shade of brutality has it all, flickers of Nile, Morbid Angel and Thrash infused era Death show their influences on the guitar work. Whats best is how these songs open up into atmospheric lunges of crawling pace, the percussion breaks down and livens up again in bursts of energy. The albums third song explores these dynamics further with a guitar tone led song, playing into Post-Metal territory as its acoustic guitars get awash in a haze of textural distortion. We even get treated to a flickering of psychedelic old school synths emerging from a foggy synth interlude on the eighteen minute juggernaut. A brief moment but one that signifies all elements have purpose.

The spur of excitement this band conjure is not a short one, every listen has been lively and fruitful. These songs hold up as its alien, cosmic inspired atmosphere holds a lasting curiosity, conjuring mysterious imaginations of what could be out there. It has been a common theme in recent years for bands to play the nostalgia card, yet pulling off truly inspired music. This is another one to add to the pile, Blood Incantation clearly derive ideas, tones and techniques from the greats that walked before them but in this instance they have pulled it altogether with a touch of class felt best in its frequent lunges into shivering atmospheres of alien unease. With great vision and a wonderful execution, the album is one for any fan of the brutal genre.

Rating: 8/10

Old Sorcery "Strange And Eternal" (2019)

Every once in a while a record gives me writers block. Its as if I can't pinpoint where the magic emanates. It is of course from the sum of its parts but on this outing the tranquil immersion into this enchanted realm is so indulging the whole record seems sequestered by itself. Of course sitting down to write, giving focus and attention more of its elements reveal themselves and yet its strange atmosphere still mesmerizes.

 Old Sorcery's staple-mark whirl of psychedelia synth tones is as ever present and more involved on this outing. They embed mystique into scenic passages of warm and airy beauty. Its slightly estranged, with a ghostly, ephemeral charm falling short of spooky or eerie. With a richer set of instruments and layers its ambience feels more direct and involved as playful, mischievous melodies dance frequently in focus.

At the middle track rolls around the clouds are overcast as mood and temperament shift. It brings out a cryptic voice of esoteric conjuring, lurching discernible words from the shadows. The song pivots to a magical moment of colorful madness as echoing pianos and trippy oscilating synths dance in a spiraling tandem. That crafty voice returns again here, and then on its final fifteen minute epic album closer.

After a lengthy brooding of classic Dungeon Synth styling, the voice arises with arcane reverberations, reciting in a tongue and tone fitting of an occult ritual. I believe it is simply Finnish, the title translating to "The Sleeping King On Fire". As a non-native listener, the ambiguity stokes majesty within this deeply mysterious music. Its the one new element that really stood out among the endlessly entrancing normality.

I still feel as if this record is alluding me but whats obvious is with more involved instrumentation and less of a focus on ambience and atmosphere, both these aspects are enriched by the boldness it strides with. It occupies a friendly space yet is still shrouded in mystery. One of its best aspects are the pivots, when sudden transitions arise they feel rather integral to the overall vision and momentum this time out. This is one record for me to return to often as its magic feels rather untarnished.

Rating: 7/10

Backxwash "Deviancy" (2019)

Released prior to the stunning God Has Nothing To Do With This, I had to reel in expectations when confronted by this raw rap fest that doesn't harbor such a rich theme and fleshed out vision. Deviancy is more or less a collection of raps and beats. A straightforward twenty minute record that doesn't yield any sign of whats to come yet musters up its share of memorable hooks and lines within its tailored production.

Lyrically, the use of language feels far more direct and open. Her trans sexuality a topic casually brought forth in livened energetic raps without pause. After a string of mischievous tracks, referencing the devil and affirming as the "witch bitch", the trippy, backwards spun interlude Dying Seems Like Fun pivots the record to a heartwarming pitch, a soulful song led by its intimate piano chords and softly spoken vulnerable lyrics of insecurity in self image. Bowing out with timely anthemic vibes, this transition feels parallel to the structure of its successor which took a turn to the light at the end.

Each of these songs have an identity, some true character that gives it distinction. Across its eight tracks you'll probably find a few favorites. Devil In A Mosh Pot has the wording to birth an earworm and its syncopated guitar lick reinforces the melody deviously over its bustling bassline. Foundation chases dreamy club Trap vibes but the title track would be my championing song. Again these busying gritty baselines whirl away setting a tone of chilling doom as its hook radiates with falling sirens.

Its a killer track but almost amateur in execution like much of the record and I mean that in a charming way. These beats require some attention to appreciate, a lot of praise may be handed out for its theming and design yet they don't seem to leap out at me the listener. Maybe it needs a little more polish and oomph? One thing for sure is Backxwash is a talent and Her raps are fantastic on this keen little project. Given the leap forward to come, who knows how far she can go with this unique persona!

Rating: 6/10

Rich Brian "The Sailor" (2019)

The Sailor is young Indonesian rapper Rich Brian's sophomore effort. His debut record Amen has quite the charm. His deep baritone voice pitched at a steady pace had a strong persuasion over the glossy Trap influenced instrumentals, despite a lack of lyrical substance. With time passed, its youthful immaturity became the spell that kept giving when songs would pop up on shuffle. Fun, carefree with that youthful spirit, I was looking forward to more of the same with The Sailor however this is not just another twelve cuts. Its ambitious, ultimately condemning itself in the process.

Brian has talent, there is no doubt. The RZA even turns up on track two to give the teenager his endorsement. He does however have distance to travel and The Sailor feels wrapped in the idea of personal evolution and maturity that can't escape a lack of it. This manifests not just from personal musing stories in the lyrics but also the Beats. Leaning into classical compositions for a sense of grandiose while borrowing its most stylistic elements from Kendrick Lamar's soulfully sung thematic links, the albums identity lacks originality. Bekon and The Donuts mostly handle production which often sways to the temperament of Blueprint era Jay-Z's upbeat jazzy tone.

There is a few others I could name drop here when similarities arise. Its overall vision draws from a an unoriginal variety that doesn't offer more than its parts. Brian's lyrics often reaching for deep meanings and personal growth seem typically naive lacking in experience and perspective. That being said, hes still a kid and Ive got a few years under my belt so maybe I'm an old fart who doesn't get it? Criticism aside, there is plenty of fun flows and the occasional catchy experiment like Slow Down Turbo's stereo panning speeding up his verse. In all of its short comings this record does have some competence. The instrumentals are broadly on the better side, even if not thematically embellishing his ambitious vision. Its a fair, listenable record but doesn't feel like a move inline with his potential.

Rating: 5/10

Heilung "Futha" (2019)

Futha is more of an experience than a collection of formulated songs. It is what Heilung specialize in, esoteric, bleak and bewildering music that pierces a nomadic spirit with an atmosphere of fright and wonder. Primitive instruments, ritualistic chants and a tribal spirit forge inducing passageways of entrancing rhythms between heathen cries calling to the gods. These Norwegian have taken deep inspiration from a mythic take on their pagan heritage. Reading up on the use of bones, ashes and even antiques from temples as instruments, the music is as vivid as their dedication to it.

The best of the record comes with both the effeminate and male voices chiming, singing in native tongue over driving looped percussion with airy synths steaming into dense smothering atmospheres. With long and lengthy songs totaling seventy two minutes the repetitive nature sets in as a temporal, spiritual mood seeking the roots of a humanity that once looked very different. Futha takes its time, build ups are sluggish, some interlude ambiences steady forward with no sparkle or polish. It fits in so well to the vision but it is not always as captivating the initial charm on first listen.

The nostalgic purity is alluring but that undercurrent of mother natures cold cruelty is always present. In the final stages the record bites its teeth in with a grimness as guttural vocals are drawn in word by word on Elivagar. Its like the beginning of a cursed ritual, ghostly voicing uttering out every breath with a textural viscosity that brews in intensity. It leads into the last two numbers like a portal to the past, one is at the center of a psychedelia induced blood ritual of entranced primitive sacrifice. Futha offers up a remarkable experience in fractions but isn't always captivating from start to end. It is certainly worth your time if cultural music of lost tribes is in anyway enticing to you.

Rating: 7/10

Opeth "In Cauda Venenum" (2019)

I've spent a healthy helping of time getting to know this record and the indulgence won't stop anytime soon. The gravitas of Opeth has not sucked me in quite like this in a long time! I wanted to get deep into this album and the time invested suggests this may just belong alongside the best of their works like Damnation and Deliverance. A bold statement but in this post Death Metal era for the band they seemed to of finally channeled the vigor and sheer power of brutality into swells of luscious Progressive Rock successfully. It swoons in its own glory, the style and voice of the band feeling rooted as their heaviness arrives in its powerful layers of instrumentation that may be a bit much to those unfamiliar with Metals bombast. This has both might and delicacy.

With surges of strings, synths, empowered basslines and the soaring of Akerfeldt's clean voice, the percussion batters out the groove and momentum once propelled by distortion guitars and guttural screams. Its a beautifully executed pivot where the swoon of songs yield over and over as the music gushes from its gentle acoustic build ups into these upheavals of beautiful emotional out pour that reign supreme. It carries what made this band wonderful forward while also opening up new avenues with strings and pianos playing an enthusiastic role. The song Lovelorn Crime is a keen example of King Crimson alike influences taking hold the soft expressive side emerges, shimmering in the truly delicate and sublime, a moving presence.

The songwriting is wonderful, the themes are explored in true progressive nature as the bleeding cries of Pink Floyd alike guitar solos climax the lengthy epics. With most the songs being six to seven minutes there is never a dull moment, things don't get drawn out and the melodies speak to the soul, lingering in the mind. Beyond the music, its aesthetics hold up well too. The strings are especially gorgeous and there mixing with the vocals are just awe inspiring. It feels like a lot of craft and care went into getting their chemistry right as one can revel in even the simplest of moments given the utter luxurious tone they muster together. On both fronts it excels, bridging the new and old alike, Opeth have finally landed their ambitions.

Rating: 9/10