Wampyric Solitude "Lost Ages Of Darkness" (2020)

 

As the third of three attempts, this may be the best of "Vampire Synth" so far. In title alone it defines itself. Solitude... not a word that often comes to mind with music, even though it can be so inherent in the quieter arts of Ambient and Meditative music. As is the activity of listening, if not at a party or concert of course. The Curse Act I sounding so reclusive and illusory with devilish piano notes conjuring a cinematic presence of murder or death, now confined to the loneliness of lifelessness. At times this record strays from the mystique of its esoteric minimalism straight into the arms of a despairing solitude. As for its Vampiric half, I definitely get chills that suite a serious entertainment of the nostalgic, blood drinking folk lore myths.

The castle of its cover alone seems perfect. A decrepit Transylvanian castle in ruins... the grainy black and gray image casting the gloomy mood. Being so akin to the Black Metal scene its no surprise to hear snarling groans of grave sadness cry out across a lonely void on its closing track which musters a the most of its instruments as the gentle percussive beat and its rainy synths conjure a feeling quite similar to Noir Jazz. The rest of the record, however, makes its way to this darkly conclusion through the bleak, pale and terribly lonely minimalism its housed in.

The Lost Ages of Darkness aesthetics are so soft and subtle that even in its culminations of brooding synths, the quiet sounds feel as desolate in tandem as in there lonesome, which many singular melodies explore. With The Curse Act II the music pivots to a new kind of terror. Two minutes of dense reverberated bass kicks leads us too spacey, zany synths that wobble with an almost extra terrestrial threat. Is so carefully crafted as to not over emphasize its unnaturalness. Waltz steers us to the Jazz Noir again and the title track experiments with foggy ambiguities before The Last Wampyr charms with a little childlike melody... with a chilling undertone of course.

This record has revealed itself to be deceptively simple, chilling to inhabit and leaves me with a curiosity has to how long its spell will hang over me. So often can Dungeon Synth hinge on its tropes but this record feels deeper than any of that, yet its bare starkness say perhaps not? I think it takes real talent to make music like this strike a deeper nerve and so with this artist I shall persevere through a few more albums. It will be interesting to hear what lies ahead!

Rating: 7/10

Public Enemy "What You Gonna Do When The Grid Goes Down" (2020)

 

Maybe I should of passed on this one... but I couldn't help myself right? The legendary Public Enemy collaborating with Ice-T, Cypress Hill, Run-DMC, The Beastie Boys, Nas and George Clinton? Well it is to good to be true, as one might suspect there heyday is long behind them! What You Gonna Do When The Grid Goes Down is loosely themed to the pandemic and global issues, asking questions of the audience and our reliance on modern infrastructure but It does little to elevate the music. Where this record falters isn't so much its topicality but the execution of outdated musical ideas.

 These instrumentals, handled by C-Doc not DJ Lord, fire up the old formula but lack the sharpness or urgency. Sadly it comes off as exactly what it is, a bunch of older guys who haven't update their ideas, spinning the same tricks with less excitement than ever. Many of the beats house a mediocrity of samples that layer up noisily without the bite and grit of classic Public Enemy attitude. To give it some credit, there is a lot of creativity shaping up the songs to be varied and fleshed out with shake ups between the main loops. This goes out the window on a handful of tracks as out of tune Rock guitars, both rhythm and lead, frequent the record with this tone deaf presence of half baked 80s aethetics rattling off under the raps and drums. Its not flattering.

Chuck D and most his guest are as sharp as ever, his voice sounding aged but the energy is there. Sadly he falls into the trappings of artists from his era, getting hung up on the past with many passing remarks and even a whole song rattling of a list of Hip Hop traditions lost to time. There is little wrong with this expression but it adds to the lack of fresh ideas on offer. Its merits are ironically the resurrection of old songs with varying success. Fight The Power Remix 2020 has some bite as Nas steps on the mic with rhymes sharp as ever. Its home to some of the records best verses but also the worst as YG's flow just doesn't match the energy here. All in all its a tolerable listen but mostly disappointing for failing precisely where you'd guess they might.

Rating: 4/10

Clipping "Visions Of Bodies Being Burned" (2020)

 

Its album number four by Clipping, an experimental Hip Hop trio doing remarkable things with their mashing up of Industrial and Noise with Horrorcore Rap and spoken rhymed monologues. So far I've developed a great appreciation for the artistry and craft but lacked an emotional connection. The same is true again with another fifty two minutes that seem to emphasize the same response from me. There is a difference this outing though, more of what I connect with. That's mostly a banging beat to elevate the obscurity of these minimalist noisescapes that house the rhymes.

Clipping's unsettling and grim take on urban life and crime has its apt tone again. Either expressed through rhyme or Industrial dissonance, Say The Name brings it to current events with a gripping power to address the death of George Floyd. The most notable track however is found in the lurching paranoia of Check The Lock. The John Carpenter-esque melodies and haunting bells are an illuminating compliment to the click, clack and rattling of sparse and distant industrious world building noises.

Alongside the lyrical talent of Daveed Diggs, who's sharp as a blade with his despairing narratives, a host of features fall short of adding something memorable to the mix. I was delighted to see the inclusion of Ho99o9 but even their shout raps felt at odds with the abrasive instrumental below the pair. Beyond these points of remark, much of what I've written about Clipping before remains true, its mostly a jarring experience of conflicting instrumentation that paints physical discomfort.

 Its best exemplified by slabs of white noise between tracks and the maddening Eaten Alive, its loose percussive performance seems perfectly dialed up to maximum confusion as its dislocated pace grows with the clattering of kitchen utensils. When Diggs drops out we are treated to a couple minutes of completely unhinged sound. Its a novelty, one this band are capable of channeling into convention with thumping base and a sensible kick snare groove but it too is sparing on this outing, with much of the record being chalked into that particular confrontational space again.

Rating: 6/10

Burzum "Thulêan Mysteries" (2020)

 A year late to the party, this supposed final album from a musician of genius, wrapped in controversy, encompasses ninety minutes of estranged, spiritual and Nordic inspired ambient music. Labelled as a compilation, I initially passed it up. In fact its a compiled collection of original works from the six years since The Ways Of Yore. In the post-prison era of his career, Varg's ambient leaning creations had not sparkled with the magic of a Tomhet or Hliðskjálf. I wasn't expecting much but found myself pleasantly surprised to hear the peculiar sound that captivated much of my youth emerging again. Alongside a couple of reworked melodies from classic songs, much of this loosely arranged music dives into that special, lonely and timeless place.

With some solemnly spoken word and slightly sung sections, Varg brings a little Norse culture to a handful of songs that break up the flow with a tone rooted in heritage and mythology more so than the mystic. All his songs share the minimalist approach, a handful of simple melodies, steady in pace and calming in their presence. Repetitive and droning, many of these songs need little complexity to hold ones attention. Textural experiments with raveling distortions and whirling psychedelic synths droning on a handful of the longer tracks show he still has the knack for that deeply mysterious and nature inspired sound of a lonely darkness. Both chilling and soothing in its unforgiving starkness and archaic presence.

A Forgotten Realm stands out as a unifying track to bring all thees concepts together. Lumped in the midpoint its arrival is like all the others, without intention. The albums flow is unstructured yet enhanced through repetition as familiarity sets in. The lack of direction tends to aid the already lonesome and wandering mood these songs conjure. With many short one to two minute cuts in the first half there is an impression of ideas left unfinished. In the second stint where longer pieces reside, a notable shift to the denser tone fleshed with experimental reverbs and droning instruments takes place. In this stretch the music enters an entrancing meditative magic I simply adore.

I barely knew what to expect going into this record. His previous ambient works had been a disappointment. Given the nature of its release it strikes me as music inspired and composed without future thoughts to release it, despite that eventually happening. Given its lack of structure or focus the sound feels more lending to a mood than experience. It will be one to put on from time to time in search of that curiously esoteric yet relaxing sound linked to a Norse Mythology that only this guy can capture.

Rating: 7/10

Jessie Ware "What's Your Pleasure" (2020)

Nostalgia revival has been a recurring theme across the musical spectrum in recent years. Strangely, the better of it all doesn't feel nostalgic at all. That's what we have here, a plunge into the past that pulls out the finest moments with precision. What's Your Pleasure looks back through the aesthetics, ideas and instrumentation of Disco, Dance, Pop, Soul and Funk's glory years and brings them to life once again with twelve stunningly charismatic songs, all with something unique to offer.

 The record is a classy affair. Kicking off with its catchy dance floor numbers one will be lured in by its attitude, jive and confident energy. A general sense of the eighty and Synth-pop resides here. A pivot in the midsection runs through some modern downtempo driven atmospheric tunes to relax the tempo. These deep moods recur again in its final phase shuffled between more classic vibes culminating in the timeless Remember Where You Are, a song for the ages. Its cinematic theme and swells of warm, sunny smiles are utterly classic and moving every time it closes the album.

 Jessie is the glue. The stylistic pivots and musical diversity are held together by her unassuming voice. With power and emotion she sings without an obvious distinction most singers catch my ear with. She is well composed, strong and sings with confidence through the ranges that stretches to the breathy voice on occasion. Her attitude and posture matches the tone of these numbers on every track and her common presence unifies. Tracks like Ooh La La and In Your Eyes sound miles apart separately but with her guidance its all comes together in the grander experience.

The instrumentals are a delicacy. Aesthetically every sound is lavish and stunning. The tone, and temperament of these instruments are gorgeous. The bass guitar oozes with texture as it prowls along as the musical backbone. Brief ushers of guitar licks shimmer in the breeze and the diverse pallet of percussive sounds get worked in to suit its songs main stylistic focus. The synth work too is sublime, from big and bold to soft and subtle everything is a joy to indulge with and take in.

Musically, many of the ideas lack true originality with its roots in the deeply explored styles of past but in execution the song writing hits the mark with a stunning sense of charisma. The best comes from the overlaps of 70s and 80s era moods with the more modern House and Downtempo beat frameworks. Another stunning aspect is the deployment of these upfront, in your face cheesy synths. Once a retro stain of the 80s, in this context it is wonderfully worked around the attitude of Jessie on a couple of songs, making much fun of a once dated style.

These songs have life, soul and experience to them. Ranging from boisterous fun and flirtatious struts to weepings of heart breaks and pains suffered, Jessie puts her personality into every moment. It all comes with a gleam of uplift. Often fun and playful, even its reflective, melancholic tracks resolve to a positive space.

All in all this is one heck of a production. What's Your Pleasure sets the bar high as it explores some nostalgic ideas, bringing them back in style and with relevancy. Ive delved into this one deep. Its got swooning spells throughout although favorites do emerge as some of the Synth-pop and Funk tracks tire on many repetitions. Its Downtempo and classic old school string section, diva led pop tracks are a delight, occasionally tugging on my heart strings. Its dance-able throughout with plenty of groove and attitude to boost your spirits. This is the sort of record you can recommend to anyone who isn't pegged into a musical corner.

Favorite Tracks: Spotlight, What's Your Pleasure, In Your Eyes, Step Into my Life, Mirage, Remember Where You Are

Rating: 9/10

My Top 10 Albums Of 2020

This year has undoubtedly been one turned upside down by pandemic turmoil running amuck among the globe. Fortunately the music still flows, perhaps not as it would of been without covid. Having listened to less than usual this year, there was quite a few additional records I considered for the top list. Ordering out records is arbitrary anyways, Id say the top five here where the clear favorites that had defined some of the best music I encountered this year, although of course, this list only focuses on releases from 2020. Tomorrow I'll cover musical discoveries as is tradition.

 
(10) IGORRR "Spirituality And Distortion" link

As one of the more interesting takes on extreme music in recent memory, Spirituality And Distortion sets a landmark for once experimental ideas blossoming brightly into wonderful music. IGORRR has come a long way, evolving from a bedroom experiment into a band and now finding what ticks beyond the novel on a cracking record with little to fault.

(9) Plini "Impulse Voices" link

Its inevitable that a Plini record will end up on my top list. With such a high level of curation I will undoubtedly by engulfed by this Progressive Metal indulgence of melodic delight. Although little can surprise in terms of style and direction, Its always a masterclass in guitar and composition that I am a sucker for.

(8) Backxwash "God Has Nothing To Do With This Leave Him Out Of It" link

Fantastic discovery this year with Canadian rapper Backxwash making a fine impression. This short record is concise, to the point yet wonderfully artist and dynamic, fusing the darkness of Metal with keen Raps and trendy percussion. A fantastic take on crossover between the two genres. One to watch out for in the coming year!

(7) Haken "Virus" link

Having followed Haken for a few years now, they had yet to really strike a nerve but this record did that! Having hit a stride on their last outing, Virus arrives continues in a similar vein as these now seasoned veterans deliver a Prog Metal masterclass! Riveting record.

(6) Deftones "Ohms" link

The Deftones will always muster excitement from me. Gore was one of those records that initially seems exciting and fresh but with time tired to sound like one of their worst. I'm certain Ohms wont suffer that same fate. Their pivot in tone and inclusion of retro synths yielded something fantastic and lasting. Its amazing how this band keep reinventing themselves.

 (5) Zeal And Ardor "Wake Of A Nation" link

Zeal And Ardor have been one to keep a close eye on since their inception and this EP, despite being short, was a brilliant and fiery reflection on the racial movements spreading across the globe this year. The manifestation of anger and frustration into music darkness was simply brilliant and keeps me excited for whatever they will do next! 

(4) Code Orange "Underneath" link

A force in the world of brutality, Code Orange return with a focused vision, steering into Industrial territory and terrorizing all who listen with their manic ferocity. Infused with synths and glitched production magic, this is a real meaty slab of aggression to pick apart. The songs behind its aesthetics and design have really lasted the year well.

(3) Tame Impala "The Slow Rush" link

Loving this synthetic fusion with Psychedelic Rock, the return of Tame Impala gave me exactly what I wanted, which was more of the Currents magic! These songs felt a little sharper and the reflective tone of the recording was endearing. Over the year the songs have really held up well.

(2) Myrkur "Folkesange" link

Utterly charming from the offset, this pivot to pure nostalgic Scandinavian folk tales was stunning. I let it simmer for a while and then binged again in the winter months. Amalie Bruun's voice is sublime and together with the instrumentation they conjure a vivid sense of rural, heathen life surrounded by natural beauty. Truly endearing, Vinter was a favorite to play during Christmas. 

(1) Ocean Grove "Flip Phone Fantasy" link

Something felt special about this band right from the offset. Hailed as a Nu Metal, Rap Metal revival I had to check them out. What I found though blew me away. These guys are more 90s than the decade itself. The energy and nostalgic vibes are no tribute but a reinvention of old ideas channeled through a brimming wall of sound production that gives off endless energy. Initially it was my workout record, binging on it for months on end and since then I've been astonished at how its magic hasn't tired after so many repetitions. Even learning to play it on guitar now! Just makes it even better. Can't wait to see what they do next!

Kid Cudi "Man On The Moon III" (2020)

 

Oh boy do I wish this album had arrived earlier in the year! I can't help but feel It would of made my up and coming top albums of the year list. Right now I'm intoxicated by its particular mood, an airy mix of club and urban street vibes, subdued by its laid back pacing and dreamy, psychedelic tinge. Records like this need time to mature and given how much I loved my introduction to Kid Cudi through Kids See Ghosts, a collaboration with Kanye West, I wouldn't be surprised if this one delivers its magic for time to come. After binge listening for days on end, it still has a sparkle.

Kid Cudi's voice is a charm, soft and moody, he drifts between casual R&B singing, spoken word temperaments and monotone raps all interwoven with spacey auto-tune both flavorful and expressive. Not one to linger to much on lyrics which generally go in one ear and out the other with me, I picked up an introspective individual reflecting on a moment to pause and expresses life with a kind warmness. Anchored to reality in its uplift and happier vibes, the music comes across with a slight sense of melancholy, humanistic and soulful, a connection to the reality that all good things come to pass.

The instrumentals compliment his tone well, these beats are tight and snappy yet spaced out with a keen sense of where silence has power, Quite often do they drop entirely for bars at a time. With a modern percussion design, one might mistake these drums for subdued Trap beats. Although they share some textural similarities the patterns being sparse and complimentary tend to serve the bigger picture, rather than dictate groove and bombast through the rhythmic drive. Behind them, bass kicks articulate the occasional melody and whenever given some direct attention one can really appreciate the art of subtlety at play on pretty much all these songs.

One number that stands apart is Show Out. Teaming up with London rapper Skepta and Pop Smoke it crosses over into Grime territory with a lively kick drum rattling off and grittier raps to lean on a darker mood. It slips in well to the overall tone which is more upbeat, led by Cudi's swooning sung vocals and synthetic backdrop. Many airy synth tones create these easy going atmospheres. Soft organs, choral voicing and all flavors of osculation in between forge a setting for subtle melodies to gracefully breeze with the easiness. A variety of instruments, pianos, guitars and keys give each track its texture and perhaps acoustic guitars that struggle most on Elsie's Baby Boy.

Somehow they seem to rub up against Cudi's voice, his held notes seeming off from the brightness of plucked strings. It illuminates that for all the praise, nothing is perfect. It seems wherever the main formula, which has plenty of variety, is strayed from, things don't quite hit the same heights. In praising the subdued percussion, the rattling Trap hi-hats of Sad People sounds a little grating. As an album it loads its better tracks in the front but given tracks are short and sweet, some not even crossing the three minute mark, its meaty eighteen tracks, just shy of an hour, it gets by as its weaker cuts tend not to linger for long. Given the mellow, indulgent fragrance of Man On The Moon III, it gets by but curation could of really elevated the experience.

Rating: 8/10

Eminem "Music To Be Murdered By Side B" (2020)

 

Another Eminem record already? Technically this is just the "deluxe edition" of Music To Be Murdered By released earlier this year. Labeled as "Side B" we are treated to sixteen cuts, the majority of which are a grade better than the original lineup. With references to Coronavirus and the global pandemic, Its obvious a portion of this was recorded after the original release. Its had me curious as to why these songs where packaged and released this way. One thing I'm sure is, I've officially brought it twice now, the second time to get my hands on these new tracks which I am happy to say a far swab of are pretty fantastic and just fun.

It doesn't need to be iterated that much of Ems topicality revolves around his stature and split from the universal adoration his fans once gave him and the peak of his popularity. Its become a dull hindrance over the years but not so much this time around. It does comes up, as well as media beef but something seems keener in these raps. Book Of Rhymes perhaps embodies this spirit, a track about getting all the words his written off the page an into the music. I remember his struggles on Revival, clearly battling with his output and listeners perception of it.

On Side B he sounds releaved and free of that stress. Much of his material breezes on with a clear concept in mind, manifesting into structure, flow and puns in a variety of ways. He goes off on many narratives with plenty of word play and crafty raps that have you checking the connections as he rattles them off. Not all of its great, one rhyme about "Channeling like the panama canal" is a stretch but this lack of filter balances out Ems talent shines in many spots with strings of fantastic links. At plenty of times he gets into it with swift raps, loading and weaving rhymes and puns together. His talent is still very much there.

The record brings with it a DJ Premier feature and Dr. Dre out from the shadows. He lays a classic piano laden beat on album closer Discombobulated but his rap is mediocre. His name will always spark excitement but the best is in the past. Its mostly Em that makes the record fun. Side B's instrumental production brings a variety of modern beats with hints of auto-tune and Trap influences on a couple song but its mostly unremarkable, run of the mill stuff. Its been a fun handful of spins, no doubt a couple songs will bring me back on occasion but the thing of note is that this material seems better than the first half. It is also fresh in the mind and hasn't have the majority of a year to fade from aswell.

Rating: 6/10

Ocean Grove "Dream" (2020)

 

Reporting on this three track release of b-sides is more so an excuse to remind you all this amazing band exists. Flip Phone Fantasy has to be my album of the year and Dream brings a little extra from that session for us to enjoy. Its title track is another 90s vibes extravagance, fulled with rich octane guitars strumming out power chords in a stride and bursting with lively drums, its cruises sweetly to the sun with mid tempo late summer vibes. Led by Dale Tanners soaring voice, it very much reminds me of Liam Gallagher in spots. The song however is rather one dimensional, with little variety and a routine crescendo to see it out with a simple melodic overtone, its easy to see why it didn't make the cut.

That's not to say its a bad song, it just doesn't reach the heights on the album. The accompanying acoustic version of Shimmer is a nice touch that holds up on the songwriting front. The glossy production with layers of airy reverberation gives it a similar wall of sound feeling even without the brimming distortion guitars. Sunny is notably labeled as a remix, its distortion guitars stripped out, a Trap drum groove thrown in too. It exposes the other layers of sound from the mix with more clarity. A nice way to enjoy the song on a new level. Again, the songwriting holds up, just affirming my love of this record I have binged hard and its magic still persists! Go check it out If you have not already.

Rating: 3/10

Old Sorcery "Sorrowcrown" (2020)

 

Concluding our journey for the time being we arrive at Old Sorcery's third album Sorrowcrown, a lengthy epic wading into Black Metal territory. Its unsurprising given the natural link between it and Dungeon Synth, however in my mind it comes a bold and unexpected move given how such a distinct style had been harnessed. This is no flirting affair but a full on plunge into bleak darkness, adopting many tropes of the genre and its modern flavors. Phantasm is the lone synth song, the shortest at thirteen minutes among three other gargantuan songs. Its opening half consists of brooding strings yearning for warmth, spelling a shadowy caution of unease felt under its majestic gleam. Its suddenly pivots with a minimal delayed synths echoing off the tense atmosphere over a quiet percussive pattern. Giving way to a rich, gleaming flood of suspended pan flutes, the ice thaws in a moment of beauty. True magic before descending into the esoteric unease of monk-like Gregorian chants, distant to the lurching whispers and lonely winds. That later part feeling somewhat stitched on.

Its other three songs are of the Metal persuasion, with only a couple of notable breaks into Dungeon Synth interludes. Leaning to the pale and narrow, its mostly of the Darkspace production style with a lack of high frequencies and clarity in scarcity as its bass, drums and shrill guitars become a muddy momentous force. Over its three songs the unending roar of blast beats and shrill howls finds a few notes of intrigue while mostly being reminiscent of artists who have walked thees paths before. Closer track Blades Of A Reflection manages to conjure a guitar and synth aesthetic almost mistakable for the classic Det Som En Gang Var, something I have strangely not encountered an emulation of before. Voidborn is a track toiling with maddening synths and mischievous melodies to encapsulate a devilish environment. After a meandering interlude it concludes with a beautifully slow and lunging riff playing out under glistening astral synths that swell brighter as the tempo drifts apart.

Fortress Of Molten Silver has perhaps the most interesting opening. A cryptic voice makes shadowy utterances as the guitar fuzz melds with synths. It feels short lived as the arrival of hazy lead guitars pluck sad, lonely melodies through the mud of sound, much like I Shalt Become, which tends to be the nitpick of this record. I don't think Sorrowcrown would have lured me in alone. Much of what it offers are ideas I've heard fleshed out well by other artists before. The chemistry Old Sorcery has didn't seem to apply to this project. Its a lengthy behemoth that slugs through tones of fantastic musical extremities toying with the black and beauty of night. In length it feels more like a meandering journey, fantastical but also a collection of ideas lumped together. With a lack of originality in the mix, its sudden pivots to new shades of intensity feel reminiscent of others. The mixing is also questionable, although low fidelity in nature, its blurry guitars and quiet drums always seem tough to get used to.

Rating: 6/10

Plini "Impulse Voices" (2020)

 

 

As one to keep an eye on, news of another Plini record could only bring joy. Over the years this Australian guitarist has steadily brewed an exceptional sound of serine, beautified Progressive Metal. Embellished by dazzlingly colorful instruments its both aesthetically indulgent as it is musically deep. Impulse Voices, his sophomore record, follows up on the highly praised Handmade Cities of four years ago. I've relished in the anticipation of this one as Plini's philosophy is about taking time to cultivate the best of his creativity for our pleasure. With eight tracks just shy of forty minutes, its a rich experience that I've steadily grown to know and love. Each spin yields a new insights as one picks apart its many elements, while growing to love these songs. Its easy to enjoy from the offset but providing a lasting magic.

 

Not to dissimilar from what we have become accustom too, the fruits from a labor of love blossom again with every moment feeling cared over. Dazzling melodic guitars swoon, cruising on soft winds with sweetly elasticated grooves rustling up from below to add a moments energy to this warm and inviting music. The instruments are colorful and bright, an unending expression gushing forth from the lead guitar that sings its glory over much of the music. Subtle synths chime too, swaying with the breezy motion, swelling with the tides of change, adding unusual aesthetic persuasions in places, see the rave synth rise and fall on Perfume towards its conclusion.

In its opening half everything feels just right. Papelillo delivers a wonderful swell of heaviness at its ending. The current of djenty groove lurks and prowls throughout the song but its climax lunges into a remarkably dark yet approachable conclusion that glosses up the gritty metallic techniques of old. Its in the second half that something notable emerges. Unsurprisingly yet possibly a link I've overlooked on previous records, a strong Jazz Fusion vibe opens in a handful of moments, the guitars get stripped away, the keys take lead, expressing dexterous melodies with a bolder tone giving it a notable contrast to the usual array of subtlety playing with volume and intensity.

A saxophone solo on Pan further embellishes this Jazz link, a lovely, fitting climatic moment exchanged against one of the record best guitar solos. However in those less seamless keyboard switches it seems the cohesion is dialed down a touch. Experiments toying with space and syncopated silences towards the end of Ona / 1154 carries a little friction too. These are hardly blemishes though, Impulse Voices is an indulgence from an artist in their stride. Stunning music, beautifully produced with drummer Chris Allison seeming like a perfect fit to bring as much magically intrigue to the percussion as Plini does to these scenic songs of melodic fondness. Simply wonderful.

 Rating: 9/10

Future & Lil Uzi Vert "Pluto X Baby Pluto" (2020)

 

Of the handle of spins I've given this one since its release, I'm left with little positive to say. I'd checked out Future before, a big name in Trap music, very much enjoyed his approach to the sound. Lil Uzi Vert is one of the more exciting modern artists, his Eternal Atake that dropped earlier this year was mostly disappointing but had some undeniably interesting stylistic choices in its opening third that I'm still enjoying when they pop up on shuffle. The two coming together under this florescent space themed album art was enticing but across its sixteen tracks nothing matched the curiosity invoked by its trippy record cover.

If a theme is present, these instrumentals do have a flavor detouring from the club and street vibes but holding all of those conventions. My cosmic leanings are more to the liking of an Aeons Confer, however for fans of Hip Hop I can see how this has an astral tone softly worked in there. Either way the beats handled by an entourage of accompanying producers are this projects saving grace, if it has one. Deep, slow subdued bass grooves, rattling hi-hats with shuffling inflections and timely pedal kicks prop up the framework for loose fitting samples and soft instruments to play out laid back melodies. Its a moody design for the backdrop, laying down the vibes and rarely pushing bold leads or musical hooks upfront.

This sets the stage for Future and Lil Uzi Vert to shine however both seem to be on autopilot as not a single track brings anything of worth verbally beyond the river of self affirming swagger. Perhaps the pacing of some flows and auto tune accents bring a little excitement but on the lyrical front this project is hollow. Its unfocused braggadocio at its finest. An aimless stream of consciousness rapping revolving around sexual exploits all to often. The rhyming is lacking and so many lines set off alarm bells for the lack of self filtering. There are countless lines that "work" but for what? "Bitch I'm plugged into the wall like a phone charger" after rhyming the word charger twice already seemed like a low point. However there are plenty of lines like this through the record that should of been trashed.

Its hard to hate on an album and that is too strong a word anyways. Every record I buy with love, I want to get into music, not find myself walled out. These two are both capable of so much better and there coming together seems to be without purpose or intent. Their union doesn't yield anything of artistic note. Instead it just seems like a run of the mill, autopilot creation. I'm sure they enjoyed themselves putting these tracks together and speaking their minds but as a listener this really lacked anything of merit. Even though the beats are competent its hampered by these incessant vocally manipulated voices that say little of interest and the whole thing quickly becomes a dull drone in the background.

Rating: 3/10

Old Sorcery "An Inkling Of Void" (2020)

 

As the second of two, one track EPs between the albums, An Inkling Of Void immediately identifies itself as soft, reverberated, smooth oscillating synths play out minimalist melodies of eerie calm. Its the melodies of limbo, caught between sadness and rest, glimmering in the moonlight. Although its design is gorgeous and the aesthetic timely, its all to reminiscent of Burzum's twenty five minute epic, the first to my ears to establish this niche. That shadow looms as the spell cast is not as potent, however the song grows into its own as spacious bass saw murmurings usher in yawning starlight synths to steer the opening portion of melody to a scenic route.

Its then, that richer arrays of synths arrive to create a curious atmosphere. Its faintly reminiscent of Steve Roach but with an uneasy underbelly typical of Dungeon Synth. In this stretch, the meditative mood takes over and time drifts slowly by. Past the midpoint a brief heavenly uplift is teased when new tones shift the temperament but it plateaus and we return to the normality again. Eventually the music steers back around to the opening melodies, embellished by all that came between. This plodding ending feels conclusive and satisfying as it fades. I was Initially put off by the opening construct, it took all but a few spins for any preconceived notions to be shattered. Inkling has got a soft, sweet, secluded magic of inanimate shadows and starlight glow. A fair treasure to behold if you value this ambient temperament and sequestered mood.

Rating: 5/10

Arkhtinn "Astrophobia" (2020)

 

As one of my favorite discoveries from last years music journey, Arkhtinn has returned with another colossal twenty minute ravishing of extreme Black Metal fury from the void. As the first release to have a name of sorts, Astrophobia plays perfectly into their established astral tinged sound. One halve of a split record with Starless Domain, this lone track was a little difficult to love at first, its shear, howling screams an ear-piercing blunt force attack assaulting my mood. With some repetitions and adjustment, the music beneath its tropes and aesthetic harassment are quite brilliant in moments.

The format is as to be expected. Passageways of darkly scene setting build up tension for slabs of thumping rhythmic bass to drive us to expectant plunges into despair as walls collapse with the pummeling of instruments on full throttle. Channeled through its low fidelity aesthetic, one has to adjust attention to pick out the finer crafts of sound between its perpetual blast beats, manic assaults on the fretboard and devilish howls of pure exhilarated despair that penetrate it all with a vile menace.

Maddening whirls of astral synthesizers twinkle through the gaps like stars shimmering in the night sky. Its symphonic component is most exciting as the guitars tend to thrash into a drone of fury. When deploying demonic melodies in syncopated shifts, the music takes form akin to the like of Dimmu Borgir. Another ear catching element, a recurring operatic voice, was slipped in the distant regions of this dense mix. Cropping up inline with the howls and screams, its human intensity distinguished it from the synths with an air of cryptic mystic. Not utilized often but on the rare moments it arises the song found renewed energy.

The monstrous sprawl of a twenty minute song, perpetually plunging us into dizzying depths of extremity has its limits. The broader structure didn't seem to other much more in its duration than the elasticated of easing tensions to simply strike again. Although some elements reoccurred, the lack in differing extremes tends to drone on, most of the compositions making its mark early on. The format is as such but it does feel like room to forge something a little grander. As for the other half of the split I didn't care as much for it, so this blog simply focused on the band I was most interested in. I've never really brought into split releases and the pairing of tracks here doesn't convince me.

Rating: 6/10

Dizzee Rascal "E3 AF" (2020)

 

Finding myself mildly entertained, a flick back to Raskit and Don't Gas Me confirms a dip In my personal investment. Coming of the back of strong releases, the Rascal returns with this brief thirty three minute stint that lacks a commanding grip on the listener. Flipping back and forth between dirty Grime bangers and warm friendly tracks with brighter vibes, it feels all to routine. Last outing, sixteen tracks indicated an artist in a fruitful moment, yielding invested emotional lyrics and challenging himself, pushing his craft to the edge. It had me excited for this next one.

With E3 the edge is gone, his hooks lack a spark, relying on the puns and loose rhyme links to punch a theme into the songs. Although there is topicality and Dizzee has plenty to say, his verses often fall off into the routine of braggadocio and stance affirming that doesn't seem routed in anything deeper. Moments of technicality and swift delivery are impressive but its been heard before. He has his moments but with the mediocre production of atypical beats the record feels dull and run of the mill.

With guests on all but two tracks, Dizzee gets out shined on occasion. Although not to my liking, the hyper masculine, violent raps of his friends have so much energy and immediacy they become the most memorable parts of the record, possibly for being new and fresh voices to digest. Ocean Wisdom catches the ear with his hasty wordings. The vulgar, over the top back and forth on the mic is a blast. A highlight among a record that failed to grab me despite plenty of spins.

Rating: 4/10

Pallbearer "Forgotten Days" (2020)

 

Doom Metal is not my forte however this young and highly praised band caught my attention with their Progressive approach to one of Metal's older incarnations. They've struck me as a band that take time to love and Heartless grows on me still with each occasional return. Forgotten Days, the groups forth outing, may just suffice a similar fate. After many listens I find myself stunted by its opening stylistic halves, in awe of one, dulled by the other. Fortunately the album quickly moves beyond this fumble.

The opening title track illuminates their chemistry with its dull contrast. It kicks off, churning out burly descendings of southern swampy groove from its hazy distortion guitars. Its a sound all to akin to New Orleans based Down, a similarity heard on occasion. For this song the band focus on raw groove within a monochromatic tone. Sludgy low end riffing takes a slow, measured approach, building momentum among steady chugs and palm mutes. It of fair craft but a damp and stale, colorless delivery.

Its refrain brings relief as illuminating chorus soaked guitars light up the scene with color and emotion, singer Brett Campbell opens up his tone after sounding very much like Ozzy Osbourne beforehand. Fortunately, Forgotten Days doesn't return to this rhythm oriented stint. Of course the music is laden with interesting grooves that sway within the changing temperaments. Its main focus is the swelling saturation of melodies and harmony that emerges from this inherently gloomy aesthetic.

Where it could be all to easy to feel burdensome and sluggish, the band bring a weighty emotion that toys with beauty and struggle as a strangely uplifting melancholy permeates these scenic songs that journey through stunning musical ideas, each track building to its own crescendo of sorts. The inclusion of a zapping synthesizer on Stasis, droning in to add texture to the punch is timely. Short bursts of it appear on other songs too but its not an indulged idea on this record.

Silver Wings losses a little steam at the mid point with its gloomier setting but otherwise Forgotten Days is a fine record delivering thoughtful music that only dulls in the greyer shades of its aesthetic design. The inflections of color through melody and plucked chords are enchanting, Campbell often acts as the voice to unite it all together under is soaring, yet grounded presences. He has an endearing rawness that's quite capable of delivering delightful harmony with his fellow band mates. Having already plucked a few favorites, more may yield with time and familiarity. I am not completely swooned but I feel its always possible with this band.

Rating: 7/10

Amynedd "16-Bit Adventure" (2020)

 One to be wooed by the sway of nostalgia, Birmingham based Amynedd's sole release had pull for an era I didn't personally experience. Familiar with the Sega Mega Drive aesthetic, its lovingly crafted array of saws, sines and triangle wave synths fit the bill fronted by its contrasting album cover. Half retro game, half scenic view not entirely fitting of VGM. The musical lure were the compositions. Its limited array of tones are somewhat tiring but in paying tribute to an era gone by, some creative liberties in its glossy production, embellished percussion and soft reverbs hold it over.

Unless indoctrinated by hours of adventure, glued to the TV set as a child, a lot of this console gaming era's music can be gaudy and harsh in my experience, especially on the original hardware. 16-Bit Adventure initially avoids that folly with its firm bass pummeling opening track and subsequent mellow melodies conjuring spirit through an adjacent formula, free to greater expression on the following numbers. Its mood is scenic, intriguing and emotional yet as the record grows it seems to hail back to Synth-Pop inspired punchiness on tracks like Tractor Zone, Boulder Zone.

Popping drum beats, snappy percussive sounds and rigid executions lack subtlety, variance and measure as its instruments work on full velocity, forcing its way through the notation. Between them, Merrily Boats and Lilac Orchard swoon with mystic melodies of carefree warmth and adventure. Its this tugging back and forth the spell is often broken. When working with warm synths applied with timely decays, the music transcends as its layers of melody and rhythm pry into fuzzing warm spaces.

Between these more interesting numbers lay the songs akin to the Sonic soundtrack. They in their own right are fun compositions with great chemistry between the various layers of sound chiming together in good spirit but that shift in energy is jarring to the overall atmosphere. It leaves me with the feeling of finding enjoyment in a niche that's not mine, pretty self explanatory given my opening remarks. This is an era I missed out on but if you did enjoy it, you'd certainly get along with this. If not, you'll probably hear the inkling of something more meaningful and inspiring than just carefree fun. Its weaved its way into the more loving compositions, of which I enjoyed most.

Rating: 6/10

Erang "Imagination Never Fails" (2020)

 

Last year was the first since Erang's inception that passed without new material released. The French Dungeon Synth musician now brings us the eighteenth installment in this lengthy saga. The brief absence is perhaps explained in its eclectic opening songs and lack of manifestation to new territory. Unlike the direct pivot to another aesthetic like Songs Of Scars and Anti Future, Imagination Never Fails toys with new ideas before providing a variety of flavors from this mature, distinct sound.

With sampled narration, or presumably voice actors, its opening title track, A New Age Is Rising, Far Away and New World Slave adorn the music with promise of something carefree from the lands beyond limitations. Digitized voices reminiscent of Daft Punk and retro synthesizers whirling in astral majesty rub up against the atmosphere led by ethereal voicings. Crashing onto triumphant horns and percussive drives of ancient war, fleshed out with shouts and battle cries, Its as if anything is possible in this peculiar union of inspirations. It is unexpected but attention grabbing and fun.

 Then with Long Ago In The Hidden Kingdom we shift to the Erang of old, mystic and meager instruments play curious yet lonely melodies of eerie nostalgia and beauty with that particular craft. Its lovingly composed and as the songs roll on some excursions into percussion akin to "world music" as it might be called, help shape up its narrative, building up momentum and dropping out aptly, giving rhythm and movement to the fantasy worlds these tunes do conjure.

These songs are certainly nothing to gloss over, Shipbuilding Memory has a powerful uplifting sense of melancholy to it, reminiscent of Ascent by Brian Eno. The issue is simply familiarity, after seventeen records these additional numbers simply slip into the vastness of all that share their distinction. For a new listener however, these may be fresh and exciting sounds within the world of Fantasy and Dungeon Synth music.

I Would of liked to hear more of that opening intrigue. The narration gave a sense of direction and adventure, only recurring briefly on one other song if I recall correctly. The whaling overdriven guitar resetting the momentum on the opening track before returning with an arpeggio was a delight but a lone moment. Those initial retro synths helped shape a new path too but alas it was not walked upon for this listener. Listening to Erang is always a pleasure and always will be. I am just hoping in the future they can find new avenues to explore as that's where the excitement is! As it where in the opening four songs.

Rating: 5/10

Old Tower "Plague Harvest" (2020)

With a history of patchy release in Old Tower's beginning, a stride of good form developed into a unique craft of darkness, culminating with The Last Eidolon. It is a stellar record, the apex of the Dutch musicians scenic Dungeon Synth spell. News of fresh music excited but ultimately disappoints as its lengthy, fourteen minutes halves dabble in the black ambience that usually builds to bigger and grander things. Plague Harvest however, meanders in the moments before, its shadowy reverberated sounds of eerie mystique and foreboding despair barely enriched by the creaks and cracks of movement in the tunnels of darkness ahead. Being a creature of atmosphere, the music drags its way into denser constructs, with only a flicker of melody and brief sense of event as lightning strikes under the downpour of glum rain and howling winds.

These details of particularity return in the second stint as distant clanks echo against the crackle of a dying fire. Its light stays as light, airy synths of temporal presences sway in against the gloomy weathers, overtaking it to eventually hear the trickle of a river and sounds of life in the distance. Eventually the flickering returns and darkness prevails on a rather uneventful affair. Writing these thoughts out makes it all seem more obvious that this is an exercise in a different approach to story telling. Against the backdrop of what came before it, Plague Harvest often feels like the calm before the storm this artist had forged before. On their own, it does feel underwhelming but its temperament is its own. Expectations may of caused disappointment but I don't think so this time around.

Rating: 3/10

Bring Me The Horizon "Post Human: Survival Horror" (2020)

 Last outing with Bring Me The Horizon we got to experience the first of their now preferred EP format for releasing music. Supposedly being done with albums, Music To Listen To... suggested an experimental, carefree direction for the group. At thirty two minutes, Survival Horror feels like an album but it is just the first of four releases under the Post Human banner. Formats and definitions aside, this is undoubtedly a great listening experience that explains itself regardless of how its packaged up and sold. There is also the price, can't complain about saving a few quid to pick it up!

With these nine tracks, BMTH step back to the cutting edge. Their fusion of Electronic, Metal and Pop thrives within the throttling production that gives all instruments a punchy clarity whilst retaining the wall of sound energy. Most these songs land between Amo and That's The Spirit, poppy hooks and structures with splashes of electronica just about everywhere. It Kicks off with a notable dip into exhilaration as the blast beats and lively guitar work show strong Extreme Metal influences.

A fascinating collaboration with Babymetal stands out, Kingslayer, a song that could of easily fit on the Japanese groups record as it utilizes their song style and aesthetic quirks. The rest of the record mostly toys with different temperaments of Pop Metal, the loud quiet dynamic and many creative ways of delivering catchy ear worms. Its still fondly reminiscent of the Hybrid Theory formula, the song Teardrop practically a tribute to that record with a its parallel guitar tone and ideal song structure.

The band constantly sway between tuneful swoons and doses of heavy, often punctuated with dense synthesizers droning in syncopation with the guitars. The percussion too has an entanglement with drum machines and samples that give the songs a textural weight to bolster the music with aesthetic intrigue. Its made revisiting these songs fun as the depth has one picking apart the layers that make it up.

On the lyrical front its opening songs seems poised to reflect on the internal stresses and turmoil the current pandemic is putting many people through right now. Its a middle of the road, unpolitical take that wrangles out frustrations caused by the situation. It could just be coincidence from a band that frequently deal with the negative spectrum of emotions through their words. Its all a little to uncanny though.

Survival Horror is a sharp record, concise, creative and at the edge of cunning, the group have managed again to evolve their sound in exciting directions. With a handful of guests to bring on extra voices and no shortage of ideas it ends out being a fruitful affair with something for everyone. Its been stated that each of the four parts will have their own identity. I'd love more in this vein but the idea of pushing something different with each release has me excited for their future! This band have long defied the odds against their origin and watching them continue on is simply fantastic.

Rating: 8/10