Chelsea Wolfe "Birth Of Violence" (2019)

Singer, songwriter Chelsea Wolfe returns again and with each passing album a new approach is found. This new chapter is a sombre, calm and almost soothing affair. In all its alluring abandon, Chelsea graces us with the haunting softness of her voice. Treated by shadowy reverberations and armed with a desolate acoustic guitar, she strums through the eerie and dreamy atmospheres the two conjure together. Lurking percussion, elements of noise and ambiguity converge on occasion to dial up the mania but much of the album explores the loneliness in voice, mirrored in minimalism where soft airy synths and grave strings may be the only backing.

The records pacing is drawn out as it lingers tortuously on the sadness each song seems to swallow itself in, its temperament dreary and drifting. There is little uplift, light or reprise but despite wallowing in the shadows her beautiful voice gives a sincere weight to the darkness that follows her. It makes for a mourning listen, a doom always present, yet its grace and musical harmony is welcoming. Its a strange dimension, a limbo for all pains to be laid bared and observed but for the listener to remain distant from. Its as if shes shut the lock and thrown away the key.

Birth Of Violence is a finely felt, crafted and expressed experience but for all its stunning harrows, it tends to pass one by in the best of ways. I kept listening to this record over and over. It would always drift towards my subconscious attention, birthing an atmosphere softly dark and painfully warm mood. It was pleasant yet full of suffering. Perhaps that is precisely what she was aiming for, It wasn't until the lens of writing examined my experience that I realized how particular it could be. I couldn't give you a favorite song or stand out moment, the music just exists, engulfs and then its gone with the storm! To say that feels like a conceptual through line.

Rating: 7/10

Ghost "Seven Inches Of Satanic Panic" (2019)

My ignorance in the absence of information has birthed an amazement of these seven minutes. Ghost are one of my favorite bands and between records they tend to divvy out EPs with cover tracks that give quite the insight into their influences. The title is either a topically suggestive or a co-incidental pun on the format or length. This stemmed from my astonishment of the lyrical crudeness on Kiss The Go-Goat. That song and Mary On A Cross both sounded like the blueprint to this bands sound. You see I had purchased the record in a surge of excitement. Its only now that Ive dug deeper in preparation for this post that I learn these are originals! What a derp, what an assumption, here I was thinking I was about to discover some hidden gems from the 60s singing what would of been utter filth for the time.

The two tracks sound even better now. Ghost have mastered the principles of Rock and Pop music from years gone by, reviving them in service of their playful satanic exterior. The result is a luscious and gorgeous wash of harmony and color that's deeply infectious and swooning. Melody is ripe and Tobias Forge relishes in the moment his hired guns have crafted so stunningly. Its so Ghost and still everything I want to hear. The thing is, if these are B-Sides, what on earth do they have in store for us next? These might be two of the best from their catalog to date! Maybe I am still a little dazzled from the excitement of new songs to internalize. Absolutely fantastic none the less, a stellar seven minutes you can spin over and over.

Rating: 4/10

Korn "The Nothing" (2019)

Its going to be a common theme that I mention how time is flying by. Already three years ago now, the Nu Metal pioneers Korn released a positive "come back" record, The Serenity Of Suffering. Although the soaring heights of the late 90s and their MTV dominance are long gone, it was quite the surprise to hear a band that had struggled over the years to regain the spark of their youth and even more so in this new chapter The Nothing. Where the last album delivered powerful riffs and good song writing again, Jonathan Davis seems to have excelled past his band mates with another riveting "tortured soul" performance. At this stage in his life the recurring angsty themes and narrow use of language that again has the word "why" posed all too often seem more genuine than routine. With his band mates on fire they unite again and again with really good hooks for their "Pop Metal" format that drives songs frequently from chunks of groove and quirky melodies into swells of thick, smothering emotion.

The record grew on me slowly. It was familiarity with the actual details of the songs that blossomed the giving magic of music. With a style and identity so ingrained it can be a little to easy to gloss over. Fortunately around the fifth or sixth listen the charm started to sparkle. Korn have a fantastic dynamic of crunching riffs and odd emotive melodies that lean into the moody and brooding. With their front man JD on form, the narrative is illuminated. I would never question his authenticity but with the recent passing of his wife one can see how his eternal battle with inner agony has laid down fresh wounds that brings out the best of his unique talent. Its a sad reality but pain has always been what invigorated his iconic voice.

 The record does get stretched through a few routine songs in the midsection, however the tracks either side always offer up a spice to define it among the general theme, something they haven't achieved since Untouchables. Ray Luzier fits like a glove on this record, his drumming proficiency finds a sweet spot to give percussive detail to the momentum, driving groove with an animated structure. The Monkey and Head dynamic isn't as striking, more like a fine wine, the subtleties tend stick around longer. There are plenty of thumping riffs but the classic style heard on You'll Never Find Me really sounds like stiff a reworking of Ass Itch. The creepy melody aspect tends to linger in the background and through the synths which get a moment on Can You Hear Me for the band to move their atmospheric side into new territory.

Opening with bagpipes and JD's agonizing cries and screams the record sets the tone for whats to come but it wraps up with one of the saddest songs, Surrender To Failure. It ends with a chilling vulnerability in his voice as he confesses his failure with fragility. Its everything Korn has ever been about and although gravely fueled by tragedy it has birthed a band able to re-arrange themselves with fabric of their greatness and a bold statement moving into a new chapter. This won't make waves and revive a former glory but anyone who's ever been a fan will adore this record giving it a chance.

Favorite Tracks: The End Begins, The Darkness Is Revealing, Idiosyncrasy, Gravity Of Discomfort, Surrender To Failure

Rating: 8/10

Bæst "Venenum" (2019)

Not long on from discovering this gem of a band, the Danish Death Metal outfit Bæst return, monstrous as ever! Continuing with the brutal Mikael Akerfeldt era Bloodbath sound, they have assembled a collection of lean and powerful, fist clenching tracks to crush and menace listeners with its evil guitar riffs and gut wrenching demonic screams. Broken up only by an equally mediocre Spanish guitar interlude, like before, the record marches through its punishing line up of songs that hold together a brutal atmosphere. Either thumping steady tempos or thrashing hardened sprints, its deployment of intensities always result in gripping gruesome ride through the carnage.

With Nihil the lead guitar emulates Egyptian vibes similar to that of Death Metal legends Nile. Its a true moment of distinction, its winding, unraveling guitar lead is tantalizing and the brooding atmosphere birthed is something to remember. As Above So Below achieves something similar with less of a cultured direction. Again its lead guitar slowly unwinds in a gratifying manor as the song takes its time moving into a crunching dash of grinding aggression. Ending on a Bolt Thrower cover was a nice touch. I don't know the original but the flavoring of this bands aesthetic seems to work wonders. This feels like a steady improvement upon their debut but I think it would serve them well to land on something to stylistically separate them from Bloodbath.

Favorite Tracks: Nihil, Heresy, As Above So Below, Sodomize, No Guys No Glory

Rating: 7/10

Ho99o9 "Cyber Warfare" (2019)

Less than a year on from one of last years favorites Cyber Cop, the vicious Punk Rock fusing and Hip Hop grooving duo Ho99o9 return with another vivid, conceptual EP that experiments with eerie cyber space hacker aesthetic. Opening up with Master Of Pain, gothic organs conjure an unsettling hallowed horror soundtrack atmosphere for slow tempo percussion to brood and then pivot into a riotous romp of synthetic guitar riffs fit for the pit. The back and forth is fantastic but this new gothic element sets a desire for more that is left alone on this one song. With Plexiglass a smothering, repetitive, obnoxious baseline fills the void akin to something you might hear on a TV commercial. A ridiculous mania of hurling frantic screams quickly stops this in its tracks as it turns up the intensity alongside scratchy discernible noise. At this point it may be hard to stomach for many a music listener.

Shadowrun slams into the Punk energy with fast and energetic guitar riffs, burred screams and pummeling drums. Its ecstatic and highly intriguing as the distortion and production techniques mask much of the instruments in layers of unusual aesthetic. From their the good songwriting emerges as the song leads into a fantastic closing groove played twice over. The end of the song introduces a layer of technological theming as a pitch dropped voice talks of internet connections. There is a few other bits like this but they fail to be interesting in my opinion. The next few tracks brings out the mean and gritty raps, delving into gloomy, dangerous street vibes akin to similar songs heard on their Horrors Of 1999 sophomore EP.

F.O.G. wraps up the record with some serious metallic stomping and tight drum patterns not far from something heard on a Extreme Metal record with its tight double pedal working. The song gets progressively heavier and distorted synths lead up to a ridiculous climax that maybe falls a little short of its intention. Overall this record is another fantastic chapter in what I hope will produce more of this paranoid cyber theming. Its not reached quite the peaks of Cyber Cop but it has produced some remarkable songs once again. This band are very much in a stride and I find myself dead excited for whatever it is they will do next.

Rating: 7/10
Favorite Tracks: Master Of Pain, Plexiglass, Shadowrun

Post Malone "Hollywood's Bleeding" (2019)

His previous efforts Stoney and Beerbongs & Bentleys showcased the young artists unique voice and songwriting ability but the best came in fractions. This time around Post and his crew have elevated their game. After a handful of thoroughly enjoyable listens I initially turned to the credits, expectant of new names in production and song writing. There is a couple, however its the same core of people turning up the quality in all the places that fell short the last time around. It's a noticeable ten or so minutes shorter and perhaps that played a part in its fluidity but the reality is the instrumentation here is of a higher fidelity and its got a warm fussy atmosphere to it.

As the songs stroll from one to the next there is often something bright and punchy at work. Either the bold basslines, snappy percussion or glossy guitars illuminate alongside Post's voice. This can be heard best on the Pop leaning songs because of course he has an eclectic taste which has subtle flourishes as the music sways across the spectrum. When delving into the Hip Hop avenue Post brings a plethora of guests to spice up the vocal variety as lyrically he is pegged into to his usual themes. Between that and Pop it is mostly the classic singer songwriter vibes and acoustic guitars that dazzle however he shows his roots in Rock on a fantastic collaboration.

Teaming up with Travis Scott, the voice of Ozzy Osbourne engrosses one again on Take What You Want. The Trap Pop song brings his iconic voice to a new generation and ends with a stunning crescendo reviving those classic Randy Rhodes leads. Possibly the best moment on the record however Post really comes to life with his infectious hooks and singing. We saw it in glimpses the last two records but here it feels like every other song has him deploying some sort of ear worm to get you singing along. These songs dig in the way good Pop songs do.

Where the album falls short though is again with Malone himself. The lyrics are much to be desired, especially when he works in his rap mode. They are mostly the over inflated feelings of relationship problems articulated through loose profanities, often circling the emotion with little reflection or introspection to make the words interesting. Its knee deep and thus tends to drift out of focus and that is where the glossy production and good instrumentation picks up the slack. This is a huge step forward for the young artists and Its been a blast seeing him get here. Hollywood's Bleeding will most likely pick up some awards this year!

Favorite Tracks: Enemies, Circles, Take What You Want, Staring At The Sun,

Rating: 7/10

Brockhampton "Ginger" (2019)

Hip Hop collective and self proclaimed boy band Brockhampton of Texas are unsurprisingly back at it again, given their prolific output so far. This fifth album in the span of just over two years has probably been the most endearing and unique to my tastes. The bombast, flair and rugged attitudes get toned down on a couple of tracks. In its place emotional narratives play out over instrumentals that draw upon classic sounds of eras gone by, classic R&B and cultural acoustic guitars that make for striking moods. Of course, when the drums are dialed up, quirky synth and sampling pitch in its not as obvious. A track like Dearly Departed is the pinnacle of these ear catching current. Its plays like a slowed down Delfonics classic, its strings haunting the lyrical out poor. The closing song, another stunning expression rapped decisively.

Reflecting on Iridescence, the group do tend to sway in between these ends. From the dark and raunchy Vivid to a swooning sing along San macros, Brockhampton operate on levels. Immediate to enjoy and tantalizing to dissect their music is refining to a continual giving of change, compared to the Saturation series. Creative percussion, an ear for unique sampling pallets and developing rap styles had me locked in. On the latter part, these emotional narratives and introspective lyrics give so much meaning to the music where once boisterous and wild rapping tended to fall a bit hollow, now the songs come to life. A feature from Slowthai was a pleasant surprise and overall the group have really locked me in this time around. I hope they continue to evolve as greatness surely awaits if they do so, another great set of numbers.

Favorite Tracks: No Halo, Boy Bye, Heaven Belongs To You, Dearly Departed, Big Boy, Victor Roberts

Rating: 7/10

Tool "Fear Inoculum" (2019)

For many fans its been a feverish wait. Thirteen years since 10,000 Days the Alternative and Progressive Metal juggernauts return with a might eighty eight minutes of music. For me its been a matter of months, having only dived into their records this year. It was a slow process to come around to their genius but a sublime performance at Download Festival won me over. Being new to Tool, Fear Inoculum is just another chapter to my ears, only the crisp audio clarity explains a thirteen year gap. Its most technically impressive fetes feel like a band continuing to inch forward but large sections of the music stagnate on the workings of Ænima and more so Lateralus.

Its ten tracks can be split into two halves. Firstly five interludes of musical quirkiness, noise and ambience experimentation that drifts in and out of focus with little to note of. Chocolate Chip Trip does however muster much excitement from Danny Carey who plays an animated drum solo over the looping synths playing tonal melodies in an odd time signature. It could of been an indulgent guitar riff, however performed through the cold mechanical synth tone it is a stiff and disenchanting tune that would drive one slightly mad if it were not for the impressive, dexterous percussive display.

The other half consists of lengthy tracks ranging from ten to sixteen minutes. Two of these, Descending and Culling Voices excessively elongate a minimalist approach that has the scenic, sprawling journey of a Tool song stretched to its upper limits. Descending does have some beautiful guitar work in its mid section, a dazzling synthetic conclusion but takes a lengthy meandering walk to get to its powerful moments. Much of these two songs feel dragged out and thus any suspension and build up gets fizzled out, Culling never really getting of the ground at all.

The title track and Pneuma are fantastic, sprawling songs mastering the suspension and tension that it so delicately holds close to frailty. The records best and longest song, 7empest, reeks of Undertow in all the best of ways. Its psychedelic bells prime the atmosphere for a resurgence of crunching Alternative energy and anger to lead the music into lengthy guitar lead tangents of textural solo playing and technical riffing that eventually births the equivalent of a break down. Its utterly riveting and indulgent, the sort of music you want to let wash over you. Over thinking it may break the spell.

For the most part, Tool are sticking to what they know and crafting lengthy epics in the way only they do. In moments of reinvention they engulf the listener but its a game of hit and miss, when the songs work they are some of their best music to fate. When missing the mark the lengthy nature comes back to haunt as some sections drag into a frivolous lull. It is however aesthetically gorgeous, right on the mark. The bass guitar is stunning throughout and the textural chemistry between it and the guitars is a treat of its own, enhanced by a stellar production. Danny Carey gets a little quiet in places but when animated he fuels the music with another dimension of intrigue. Having warmed up to Keenan I'd say I considerably enjoyed his presences and loved his ability to charm in at the musics peaks.

Its such a curious album given the thirteen year absence. It plays little bearing to me though, having relatively fresh ears to the band, a little bias from decades of adoration many fans have this feels like a very flawed movement forward, certainly developing the Tool sound and forging new gems but also with a lot of unnecessary baggage. One thing I can be certain of is that this band have solidified much audio time from me in the future. I hope this is not the last work they create together. They still have more to offer.

Favorite Track: 7empest
Rating: 7/10

Horsebeach "The Unforgiving Current" (2019)

Ive been eagerly anticipating this release. Two years back Beauty & Sadness blew me away, one of my favorites that year. I still fondly return to it, hence the anticipation. The Unforgiving Current continues in a similar vein, Post-Punk baselines drive breezy atmospheres echoing Indie & Psychedelic Rock. There is a closeness to Dream Pop in tone, a touch of Brit Pop and 80s vibes influencing chord progressions. Its a beautiful melting pot from which slow and soothing, inviting songs nurture its serene and sunny warmness. There is a vulnerable core, journey on the soft and expressive voices that filter in and out of focus.

Its unimposing presence makes for an easy, relaxed listening experience where one can indulge in its exotic tone. As the album unfolds, elements of R&B, Soul & Funk even present themselves subtly. Shimmering guitars ring out, creating swooning swirls of breezy color over the grooving baselines. The track Trust opens up with a chilling similarity to The Isley Bothers song Voyage To Atlantis, other songs to have echos of that classic era of mainly American music from the 70s and 80s.

The record follows a similar blueprint to its predecessor, the songs flow with similar temperaments and shifts in mood. There are tracks with drum machine and those without, its all very familiar territory. Deploying beautiful melodies and unfolding riffs, occasional burst of experimentation, the music does a lot to warm your soul but it falls short of being remarkable on the production front. In comparison they are both very similar records but the initial reaction to discovering a new sound to adore masked the obviously amatursih production and that became rather obvious this time around.

It starts with the baseline, a noticeable amount of clunk roughens up its presence and the drum strikes land a little cluttered in the presences of other instruments. Every now and then a drab and fuzzy distortion guitar rumbles in, bleeding into the other instruments and soaking up the fidelity. With a lot of reverberations at work the instruments mostly sound like they are recorded with a different sonic blueprint. When mixed together its comes off a bit disjointed. Perhaps I am nit picking, initially the low-fidelity was a charm but this time around its tame. Listening back to their older songs I think a noticeable shift to subtler styles of singing misses that element of a voice rising up above the melody to peak the vibes and hold your attention. Its a very enjoyable record but a noticeable step side ways, with the sound remaining in a familiar spot.

Favorite Tracks: The Unforgiving Current, Yuuki, Trust, Unlucky Strike

Rating: 7/10

Hocico "Artificial Extinction" (2019)

Its more than fair to say the Mexican duo Hocico have a sound set in stone. Their Agrro-tech tone and temperament hasn't budged in a over decade. 2017's Spider Bites offered some b-sides and inconclusive experiments that made for an interesting listen as a fan. This new album however sticks rigidly to their hard hitting and darkly formula, churning out another eleven four to five minute tracks of thumping drums, aggressive synths and harsh screams. What's different this time around isn't much. A noticeable switch up to Drumstep style beats on a couple of tracks, however they are the most generic of samples, ones which I enjoy of course.

With the mildest of change ups, the record as a whole fails to produce much that sparkles. Its a very routine album where you can simply drop in if your in the Hocico mood. It delivers on that, another installment of driving dance floor kick drums, heavy hitting, the backbone of many songs, steadily thumping through just about every track. Around that drive, harsh and filling clicks, clacks and buzzes of percussion and Industrial noise create a thick barraging wall of unearthly sound. Layered looping arrangements of unnerving melodies dance of the variety of synth tones tuned for each track. The vocals are one dimensional, every word delivered through the same "whispering scream" that tends to blur into the music in a drone.

It occurs to me now that even its interlude tracks stick to the blueprint, being interchangeable with others from previous records. With each song deploying a repetitive arrangement pummeling dark EDM, it takes an emergent melody or break to elevate the mood and that seems to take place every other song or so. Only one song excelled, Damaged. Its shift in percussive style exciting and the stand out melody with its spacey bells is thrilling every listen. Otherwise its the same old thing from this duo. Next time I wont bother since they seem set in their ways, even if I like that sound.

Favorite Track: Damaged

Rating: 4/10

Jinjer "Micro" (2019)

While working on their forth full length album, Ukrainian Djent and Metalcore hybrid outfit Jinjer have put out this short, twenty minute five track EP. It was easy to dismiss at first, with less bombast and groove the songs rattle through waves of brooding intensity in the form of tangled jangled riffs that wobble through untimely shifts and poly grooves. Its singer Tatiana Shmailyuk who draws one in past the metallic dissonance which offers little melodic relief. Between angered, roaring screams she opens her voice up with a touch of vulnerability and wash of resolve, taking spotlight in an otherwise monochromatic aesthetic of cold crunch Metal instrumentation.

After themes of primitive behavior and childhood trauma Teacher, Teacher grabs the ear with a pratical use of language, plain and descriptive yet telling quite the powerful story. The use of language is either artistic or obstructed by language barriers but either way it has a strong persuasion that drags you in. Its line "don't let the school make a fool of you" sticks out like a thistle. The way she soars her ranges in different temperaments is endearing, often sucking you in like a gravity well. Again it ends on the broken and charming English of "I Smile to you". Fascinating song from the lyrical perspective, not something I experience that often.

Its a rather dark and painful piece of music that progressively opens up and eases of the agression steadily from the instrumental perspective, ending on a non-metallic interlude. Jinjer have delved deeper into the eclectic side of their influences and come up with a more artistic expression where these songs give far more food for thought. The cold and stomping, jaunt guitars create quite the unsettled atmosphere for Tatiana to resolve. The battering and relentless drums are a joy too! A fantastic chemistry, I'd prefer to see more of this direction from them!

Favorite Track: Teacher, Teacher

Rating: 6/10

The Contortionist "Our Bones" (2019)

I will forever have an eye on this band after their timely and glorious Language. Their following effort Clairvoyant was a fair record but has not stuck as deeply with me. Our Bones is the newest material from the American outfit. It consists of three original tracks and a sweet cover of 1979 by The Smashing Pumpkins. Its a comforting, warm cover with a sunny and smile inducing vibe, a perfect fit for singer Michael Lessard who sings with a soft sensitivity. Beautiful tribute.

The three originals are lucid and fluid. The songs groove to their own identity as the constrains of an ambitious album concept have been set free. No long and winding atmospheres of crafty progression, or overly complicated concepts. The first two tracks play freely with the dynamics of their heavy metallic aggression and melodic serenity. Bouncing between riffs in simple song structures the creativity emerges in the cracks between and variations that let a little lead guitar move forth and flourish, or a bassline rumble and rise. I especially love the reverberated scream that echos like a chill into the atmosphere of Early Grave. The creativity here feels very natural.

All Grey brings in airy melancholy synths and lush pianos for a delicate and sensitive interlude track that has but a single moment before gently fading out. Its a great bridge to the cover. Although Our Bones is a short thirteen minutes, it makes quite the mark as back to back listens still have me excited. It sounds unlikely that these songs will shape a new direction for their next full length but its shows they are very capable of a different approach to the particular chemistry these artists have forged.

Rating: 5/10

Slipknot "We Are Not Your Kind" (2019)

The masked Metal juggernauts Slipknot return once again to make another ferocious racket but this time it is a return to form of sorts. Five years since the underwhelming Gray Chapter, the Iowa nine-piece outfit seemed to have found their peace as a band. Having once stated they would only ever perform as the original line-up, a promotion cycle parading unity among each other and the three newest additions seems so as the music reflects fondly of this time and place. Even the surprising dismissal of Chris Fenn hasn't derailed the Slipknot beast. Rumors of greed may have tarnished some perceptions but their sixth full length bares none of this burden.

There are not many records that come out the gate screaming and kicking, refusing to let up. Thinking back to the bands explosive self-titled and extremified Iowa record, they both open with daunting ambience introductory track of manic dread and terror before erupting into a string of unrelenting aggression and energy, birthing five unforgettable tracks each. With exception to the friendlier Insert Coin introduction we have four songs that really kick the album into life. Unsainted, Birth Of The Cruel, Nero Forte and Critical Darling spur of the best of the bands traits. Wild metallic riffs loaded with punch and groove barrage the listener as the sway between the infectious hooks Corey delivers with his charmed singing voice.

Its the best of their first three albums rolled into one, slickly produced and neatly polished into a digestible package. It may lack some of the immediacy and imminent frustration from the bands youth but as seasoned song writers the group hand pick some of their best ideas and redeploy them tastefully. Seasoned fans will hear similar compositions, timely keg smashes and delightfully an audible Sid Wilson who is keenly involved in adding a textural level with his scratch and sample that often peaks involvement in the "breakdowns". Couldn't of asked for more, we even get a revival of Corey's maddening shouted raps, beautifully juxtaposed with a little incoherent fire against his most pristine vocal on Nero Forte.

A Liars Funeral marks a shift in tone as Slipknot focus on the expansive, slow moving and brooding atmospheres. On this track alone they execute it stunningly as the music moves from its foggy, lonesome acoustic guitars and rainy singing into an intense drive of restrained, stalking pace wonderfully complimented by these pitch phasing electronic drones. Its a powerful song, A brilliant work of progressive writing, perhaps akin to the likes of Gently if not better? After this Red Flag pulls it back to a quick and snappy pummeling of Slipknot aggression, then from this mediocre by comparison song the album loads in a lot of ambience that took a little longer to come around to.

Death Because Of Death and What's Next certainly feel like underwhelming interludes. Its an expansive move for Slipknot's sound pallet and as we head into this final phase of the record this temperament opens up. My Pain feels like the dud, its toying with ambience and bright xylophone lead by a jolted hi hat is all fantastic but perhaps out of place on this record? The unsettling, crooked piano melody of Spiders lets this angle manifest perfectly and Not Long For This World has a ambient build up but ends up with one of the albums best crescendos as Sid Wilson again gets teeth in with vinyl scratches alongside Corey's "I was not born for this world" screams.

Although writing a blog is usually the turning of a page on an album I will certainly give this one more time as I found I differed in this final phase from the exuberant response critics and fans alike have given this release. The thing is, writing this blog and paying a little closer attention made me realize how much these songs had sunk in despite feeling unsure about the atmospheric avenue in the end phase. Orphan and Solway Firth pop in the middle of this slow temperament and they too are hard hitting tracks. Time will tell for sure but and this moments its hard not to feel excited as this album delivers something to truly fit in with the bands first three exquisite albums.

Least Favorite Songs: Insert Coin, Death Because Of Death, What's Next

Rating: 8/10

Hexenkraft "Deep Space Invocations: Volume I" (2019)

With an album titled Permadeath looming in the distance, actually to be released the day the masses storm Area 51, this Dark Ambient two track record caught me by surprise. It is reminiscent of both the Starcraft and Diablo OST's, which Matt Uelman had a hand in both. Its janky spacecraft industrial noises and synths mixed alongside sinister strings, foreboding horns and eerily plucked acoustic guitars sounds like a natural allegiance of the game themes. The two eight minute songs share a brilliant aesthetic pallet primed with complimenting instruments that bridge classical sounds of isolated pianos and warning strings with gaunt bursts of electronic buzzing and mechanical whirling synths. Its held together with spacious percussive sounds, often lingering in reverb and leaning into Industrial smashes and strikes as spurs of tempo muster up brief and claustrophobic surges of rhythmic pounding, mostly dispelling back into uneasy temperament.

The songs are lengthy, slow in pace and forever brooding, usually on a sense of dread or void drifting loneliness. The songs progress swaying from one moment to the next with no arching conclusion or consequence. These are snapshots of time, danger lurking, sometimes growing to close for comfort but never arriving. Its underlying tone setter, the strings, sometimes pianos and guitars too, tend to linger on a few musical themes that lack a sense of evolution. As backing music this undoubtedly sets a vivid atmosphere to be indulged in. At the forefront these instruments lack of progression or movement into an expressive phase becomes quite frustrating. There are many moments and opportunities for the swells of mysterious sound to bust into life with a melody or chord progression. That however is what made the aforementioned soundtracks so fantastic. This doesn't have to be that, but it certainly broods a particular atmosphere ripe for deployment.

Rating: 5/10

Sabaton "The Great War" (2019)

And now for the mighty symphonic gleam of the one and only War inspired Power Metal outfit Sabaton! This album has been an absolute U-turn for me. I checked out Heros a few years back and despite always trying to open my heart to music, I was not swayed. It took my favorite war historian Indy Neidell teaming up with the band to win me over. The united to create a documentary Youtube channel that dives into the historical inspiration behind each song and It really brewed a connection. These guys are history nerds too and now the thematic nature of their music felt very genuine.

It took but two or three listens to engulf me. No longer did these cheesy lyrics act as a deterrent, I now understood that each song had a slice of the past inspiring it and that I could get behind! The wording does get somewhat literal and plain in places but I now find myself enjoying that aspect. "Lead the charge, our leader has entered the battlefield". There are plenty of un-poetic, descriptive wordings at play like this but when its lined with dates, names and locations you have to admire the dedication to keeping it accurate. Ive ended up singing along on many an occasion!

Joakim Broden's mighty and anthemic charge as a frontman is fantastic if not flawed. His deep voice in spoken sections can sound a fraction goofy but he knows how to deliver the energy. With power and conviction in his gruffly sung voice he constantly elevates alongside the music to create ear worm hooks that you just can't shake! Behind him the music is especially energetic and beaming with a triumphant might. Its Power Metal that leans on thicker guitar tones, classic Heavy Metal shredding and a delightful weight of symphonic keys that back with choral voicings and synths.

With the driving percussive force of Dahl, many of these songs move forward with a rocking tempo, cramming in a lot of sound. The rumble of textured bass lines creates a sturday foundation for tandem guitars to interchange colorful licks and variations over the top of power chord chugging riffs that batter in time with the drums. Its a big and bold sound always lined with a symphonic glow from the keys and just about every song encounters exciting breaks from the verse chorus structure.

Its mostly in the form of solos that shred classic wailing 80s Heavy Metal styling to give one goosebumps if your a fan of classic solos from the likes of Ozzy's guitarists. They are bright and beaming, colorful and played flawlessly. I also hear echos of Judas Priest in the solo's but I'm sure that's probably whats to be heard in a lot of Power Metal considering it developed from that sound. I also hear a now toned down Dimmu Borgir on the albums last Metal song. Its lavished in hysterical singing, horns and trumpets, the ramped up energy has some similarities to their Eonian.

The album bows out on an emotional note as a choir sings the memorial poem In Flanders Fields by John McCrae. The singing is simply gorgeous and ends the whole experience on a very humbling note. I absolutely love this record! I have had so much fun with it and will continue to spin it for weeks to come! I now feel rather incentivized to back track over Sabaton's discography. This album ticked so many boxes for me on things I like about Metal music, it seems almost mad I had dismissed them as not being for me. Its the same old lesson, gotta open up and learn to love cause hate and negativity means you miss out on fantastic records like this one.

Favorite Tracks: Seven Pillars Of Wisdom, 82nd All The Way, Great War, A Ghost In The Trenches, Fields Of Verdun, The End Of The War To End All Wars, In Flanders Fields
Rating: 8/10

Batushka "Hospodi" (2019)

Yesterday I covered Panihida by a different artist, the founder, under the same Batushka moniker. The situation is somewhat rotten and this record, backed by Metal Blade records, will probably end up with the legal rights to the name however its very obvious these musicians can't quite do it the same way. With a bigger production budget a cushy aesthetic makes for a clearer separation of the elements. Rather than the extreme clattering barrage of its counterpart the instuments stand tall with clarity, making it easier to hear where this album steers from its originators vision.

The first few songs hold over a tone steeped in dark religion. Ritual bells plays between songs that brood the Orthodoxy atmosphere with the choral clean vocals lingering a fraction behind Drabikowski's original. The guitars have a space to breathe and boldly they occupy as a focal point above soft symphonics. By the third track a diversion unfolds, big chunky riffs unleash mosh grooves akin to Khold, a fusion of grim distortion and bombastic riffs in tune with Nu Metal and Groove Metal. Its the albums most stark brake in stride as other directions feel much closer to the darkened core. Its always the guitars that step outside expectations and expand the horizon. It would be a niche touch for the band to progress if under different circumstances.

With its cleaner production and expansive set of songs Hospodi offers a derivative experience, drifting from the Eastern Orthodoxy template that made this band so unique. It holds on to Clergy chants but it feels like dressing around a set of songs that have an anchor in a similar strain of darkness. Its more exciting given the diversity but you can hear the different minds behind it. Yesterday I wrote that Panihida was the better but only as a Batushka record. This one is has more dynamism and swells of intensity. Both are worth your time and different is my conclusion I guess!

Rating: 6/10

Batushka "Panihida" (2019)

This post will be the first of two covering a pair albums born from an odd and unfavorable situation. The mysterious Batushka, a Polish Black Metal band inspired by Eastern Orthodoxy, is now split in a strange legal situation where the original artist has be shunned and seemingly screwed over legally as his hired band mates leveraged ownership of the band itself. Panihida is the record released by original artist Krzysztof Drabikowski, its a notch lower on production value as he does not have the resources a record label like Metal Blade does. They have also been dead silent on the situation, no response to Drabikowski's claims have been made.

I will kick it off by saying the tone and temperament of this follow up record holds true to Litourgiya. It lacks the impact the Gregorian clean vocals initially wooed fans with but that is to be expected. This time around another listed set of eight tracks go through the typical motions of extreme music, blasting drums rattle the cage and meaty rhythm guitars chime in duality with shrill tremolo picking that scales tarnished melodies. Soft choral synths and theologian singing softly line the crevasses but the best moments always seem born of their uprising to the forefront.

There isn't much in the barraging of evil metallic onslaught that feels special. Its well performed but tends to go through the motions sustaining the evil orthodoxy atmosphere. All the best moments are birthed through breaks from intensity. On occasion softy guitar leads bring melodic uplift but they are scarce. In the right mood it can be very enjoyable but it lacks that ability to suck you in regardless. The impact of the first record had that but this follow up is simply more of the same. I will write on the other record tomorrow and say now this is the better of the two but not by much.

Rating: 6/10

Tycho "Weather" (2019)

Laid back tempos, hypnotically chilled atmospheres and exotic summer melodies. All the hallmarks of American musician Scott Hansen's distinct sound remain intact on this newest project. It is however a clearly watered down version of his immersive sound that broke out with Drive. Softer synthetic tones and less of those dreamy waves of hypnotic sound, it marks a departure perhaps. In comparison the percussion is subdued and many of the gorgeous sounding instruments play on the leaner side, letting timely reverberations carry the atmosphere over building songs with dense melodic design. Its all sweet and luscious but the swells of thickening sound and driving tunes that once made this a very special project seem to be absent.

A lighter temperament of whats been done before is no bother but for me the record slips away with the inclusion of Saint Sinner. I don't like to dwell on negatives but I find her voice all to plain and vanilla for a record in need of an energetic swell. With a flat, soft and airy singing style she doesn't convey much emotive expression. A few inflections and whispering words break up a rather monotone approach. She fits in around the instrumentals but I feel nothing other than mediocrity from their chemistry.

In the shadow of former work the magic this new chapter just feels tamed with a lack of new ideas. The best tracks are undoubtedly those without Saint and with more room for expression some of his classic alluring melodic style illuminates but its often brief. This is a well produced record tho, with indulgent tones and aesthetics it could chill out anyone in the right mind, however the vocal aspect doesn't work out well. They span five of these eight tracks and clocking in under thirty minutes its really lacking any spark. As an introduction to Tycho's sound it would probably fare well but as a fan this direction just feels toned down, offering nothing new.

Favorite Tracks: Easy, Into The Woods

Rating: 3/10

Billie Eilish "When We All Fall Asleep, Where Do We Go?" (2019)

Here's a fact that makes me feel drowsy, Billie was born after 9/11... Let that sink in, what a reminder of how time gets past you... Her name has circulated past me plenty of times and after hearing she broke records for youngest performing artist at various festivals I had to check this one out. When We Fall Asleep is her debut album and the Teenager's hype presents itself swiftly but lasts after many spins. With a charmingly soft and subdued voice, this fusion of Pop and Electronic music stands apart with an Avant-garde edge in vocal experimentation that toys with distortion and more.

The norms are present, typically sensible and poppy melodies linger throughout. Warm and easy pianos drop in chords to chime with airy synth tones in easily digestible arrangements. Softly strummed guitars and easy percussion make for light listening too, its all good stuff. Each song has its temperament and the charm emerges mostly from these snappy crunchy beats, that bite into stereo spectrum, crisp and brittle. With sharp attacks and swift decays they carry quite the subtle persuasion, infusing a keener edge that sticks into her mostly approachable music.

Across the songs her voice shows quite the dynamism, often breaking from the breathy and softly sung words that malign most the instrumentals. Heavenly choral harmonization and quirky pitch shifting, many of the songs have a twist that ends up being a focal point of delight. Playing with echos, reverbs, stuttering delays and distortion its clear that a lot of experimentation takes place in her process. Whats wonderful is how it lands on the target. Never does a vocal quirk feel forced, its all very inspirational and fluid, emotional and riveting in authenticity.

Her songs seem to be able to take these abstractions and flesh them out into living entities that feel and express. This even extends the spectacle of including samples from the Micheal Scarn episode of TV show The Office. On one hand it seems unrelated to the lyrics but somehow fits in. There isn't a moment of this record I don't love. Its well fleshed out with exciting musical experimentation that flourishes, swaying between emotive surges and bursts of percussive force. On a couple of tracks her vocal style almost borders ASMR, a slight irritation but a possible influence on a young artist who undoubtedly knows of the phenomena. This has been a fantastic record and I can't wait to hear what she will do next!

Favorite Tracks: You Should See Me In A Crowd, When The Partys Over, I Love You, Goodbye
Rating: 8/10

3TEETH "Metawar" (2019)

Hot damn do I love Industrial Metal and what a big meaty slab of electrocuted industrious filth this record is! Metawar is the Californian bands third full length and its undoubtedly my cup of tea but I can't praise it for originality. A fine tuned titanium studio production and good songwriting holds it up well against the obvious influences worn proudly here. From Nine Inch Nails, to Marilyn Manson, Ministry to Fear Factory and all in between, everything at play here feels but a fraction away from vibrations and moods conjured many a time before them, however it does have its own stamp.

The one place they excel is with the thrilling eight string guitar sound. Its dense, tight and lavished in a bludgeoning tone that inches towards sounding like moving parts of an industrial piston powered machine of death! They ring out with big chunks of booming momentous noise, taking influence from the likes of Nu and Groove Metal in its rhythmic sense of bounce. Its a delight mixing in alongside the harsh and jarring synths blare out anti-melodies. They feed into the unsatisfied, angry and dystopian feeling of rebellion these songs cry like anthems. The battering drums and deep baselines ram themselves into the condensed wall of noise being propelled your way, its a cohesive force of destruction that batters with its industrial metallic might.

Singer Alexis Mincolla has a firm and defining presence in the limelight. Roaring with fiery, strained screams between twisted, tormented spoken words of infliction he sounds apologetically like Manson. If they shared a third factor its the ability to put a sung hook down in a nature that grabs your attention but living in the shadow of such an artist he only occasionally escapes that mold of seeming like his influence. Its so well executed that its no drawback. If your looking for originality it may only be in one department but when it comes to the music this will easily win over Industrial fans.

At forty six minutes it does run through a fair few mediocre songs. The energy and temperament shifts through aggressive, atmospheric and alien vibes to keep it flowing however after a handful of listens you'll suss out your favorites. Its best comes on a handful of tracks and despite sounding utterly sharp and pounding the songs don't quite reach for the stars. There is much too love here, much promise for this band and if they continue improving I could see this sound being pushed further.

Favorite Tracks: Affluenze, American Landfill, President X, Pumped Up Kicks

Rating: 7/10