Brockhampton "The Family" (2022)

 With wounds still fresh, Brockhampton supposedly returns from their recent post Roadrunner breakup. In less than a calendar year, this resurrection paints a sour flavor in its expressed explanation of existance. Dominating the airwaves, through commentary and production, The Family arrives like a Kevin Abstract record for this outsider looking in. Peeling off scabs from a painful separation, the woes of using drama for content seems lost on the nature of this dissection of their unraveling.

On one hand, The Family plays as a wonderful self analysis, a raw reflection. Like a fly on the wall of a therapists office, we cycle through events and dramas that tore the group apart. Its candid, unabashed and sudden. The other hand, an eerie postmortem called while a pulse can still be felt. This unease is steered by Kevin, lopsided in representation and drowning the music with early era Kanye West imitations.

Often do his vocally directed instrumentals reek of Kanye's genius. So do the flows, cadence and expressive schemes play uncannily alike. Its not found at every turn but throws what could of been a luminous reflective concept record into the unease based on imitations and a questionable timing that seems to retread some of the lessons its trying to learn through this open autopsy. Despite that, there is class at play, music to be enjoyed. Production is well rounded, topicality interesting, engaging yet that lack of self awareness breeds the inescapable odd tension, throwing all feelings into doubt.

Rating: 4/10

Nas "King's Disease III" (2022)

 

Finalizing a stellar trilogy, Nas falters not on delivering this inspired prominent stride for a third time running. King's Disease III suffers its own familiarity but wins one over with its articulate excellence. His timeless flow, lacking filler, spits commentary thoughts over past, present and future. Housed in consistent architecture, this third round of musing grabs and engages once again. Tales of the youth, lens through age and wisdom. Well wishes, ambitions of action to revive community values and an indulgent helping of nostalgic reflections on the culture that informed his artistry.

All topicality gets delivered through that tight unwavering lens, a razor sharp focus keeping lyrical narratives firmly on track. The main theme, a stance affirming legendary status, echos again as the King's Disease. Retreading these ideas on certain verses, the firmness of this flow glows brighter, its digestibility and ease to follow still a goldmine, despite circling this particular theme. I wonder could it go a forth round? Unlikely, other topics rise head above shoulders in their freshness.

Behind him, Hit-Boy returns to handle production, their relationship still apt. Resurrecting 90s vibes with modern production, a plethora of pitch shift soul singing snippets give the third chapter a warmer distinction. On a couple cuts, percussion is subdued, or dropped entirely. Nas' cadence serves as the rhythm. This chemistry comes ripe, picking plump verses for voice to resonate on its own pacing. Other tracks reminisce It Was Written, Nas' second album. Undoubtedly a bias for me to adore.

Beef echos I Gave You Power, a sublime track where young Nas inhabits a pistol behind street crime, rapping from the weapons perspective. Twenty Six years later, a complimenting instrumental tone helps center his rhymes from a view of beef itself played well. Thun delves into similar tones too, with its rainy, sinister string section. Michael & Quincy furthers this darkly avenue. The beat switch shifts gears, amounting a contrasting nostalgic reflection on the 80s duo's significant trajectory.

Blessed by distinctive songs to pluck as favorites, the whole album still fits the glove. Now a familiar project, its greatness becomes difficult to distinguish in its similarities. Time will two, the last to chapters still sound stunning. One point worthy of notation, this entire record has Nas go at it alone. No features or guests. Another signal of this remarkable level of greatness so deep into his career. Whats next I wonder? I do think a shake up in theme, approach and aesthetic is required. Although in a bold artistic stride, all good things come to an end. Best to get ahead of that reality while on top.

Rating: 8/10

Devin Townsend "Lightwork" (2022)

 

After two dubious lock-down escapades, Devin Townsend returns to form with familiar footing. Leaning into his glossed up, cloudy yet punchy production style, Lightwork makes fortunes of his friendly craft. With a familiar melodic styling, empowered voice and shimmering aesthetics, a listener is lavished with the finest, matured, wines.

After the rampant revival of prior paths walked on his Empath amalgamation, Dev's Heavy Metal antics of past get channeled to dramatic drifts and subtle surges of might potently deployed when asked of the music. Even extreme screams get buried, a deep rumble to electrify this synth tinged mesh of melodies resonating up top.

A theme of healing runs throughout. Dev's often soft timbre and gentle words stir a compassionate call to calmness on many occasion. The serine nature of steady acoustic melodies woven with sparkling synths seem a perfect match. Humble yet firm percussive grooves command the pace as a variety of instrument voices chime in.

Despite being so typical, once again Dev wins me over with his charm. However, Lightwork as a whole struggles after Call Of The Void. A shift to unsettled rhythms and quirky temperaments may be brief but the charming flow of its opening four isn't resolved again until a scaling epic, ten minute closer, Children Of God.

Rating: 6/10

Polyphia "Remember That You Will Die" (2022)

 

Last I heard of then Texans Polyphia, they were lumped in a then emerging Djent camp. Still echoing time signature grooves and the guitar styling of the scene, a clear evolution beyond it has served them well. Now they perform a smart, sophisticated game. Rocking jazzy, Progressive arrangements and mixing what would often be snubbed as technical "guitar nerd" music with Pop sensibilities. It commands ones attention, the two often opposed ideals meld invitingly when this quartet perform.

With an intricate approach, dazzling technicality and performative tenacity, crafty compositions of dexterous notations gleam with satisfying melody atop sharp percussive rhythms. A simpler key focus always captures ones attention while around it a whirl of showmanship embellishes an inviting idea into a wild ride of tricky performative art. Bass guitars slap and pluck away with impressive precision. Alongside, a three armed drummed who fleshes out tight fills and jolted hi-hat rhythms between electronic drums that snap and kick with a modern punchy brightness.

The records opening songs focus on the instrumental aspect with guests bringing pianos and horns to the mix. With ABC the focus shifts as quest vocalists and rappers really sell the pop appeal. Its a warm fusion, where the band revolve around that focal simplicity their friends bring. It gives the album another dimension to dip in and out of, keeping a fresh flow. Interestingly its most memorable moments are birthed from the catchy hooks guests bring. Not a surprise if you think about it. These things do tend to trump the incredible gifted abilities they have as musicians. Steve Vai signing off on the album closer is a real testament to their accomplishments as musicians.

Rating: 7/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Lorna Shore "Pain Remains" (2022)

 

With the huge springboard of viral success from last years To The Hellfire single, Lorna Shore have ample opportunity to stake claim in Metal's legacy with this new full length, Pain Remains. Leaning heavily into their breed of attention grabbing breakdowns, the lush orchestral thematic extremity on display gets smitten by sudden barrages of unmitigated brutality. Opening with a symphonic piece echoing Death Cult Armageddon vibes, its dark fantasy orchestration swiftly falls mercy to sporadic, murderous crashes of cold and cruel aesthetic abuse. Brazen pummels of lightning blast beats and unearthly demonic gutturals intrude, lunging its musicality into blunt, primitive howls. Carnal and crude in nature, its offering are slim past its inception.

And thus a truly interesting elevation of symphonic extremity gets subverted. The mighty, triumphant and mercilessly aggressive union has its fantastical themes abruptly diminished by these unconnected inhuman roars from an unforgiving abyss. Identity is lost as synths are stripped out, so to do melody and rhythm fall wayside to simplistic noise barrages. Seeming worlds apart, the immersive lather of strings, trumpets and horns integral to world building, slips into a void, in favor of brutal tropes.

For this listener, a sense of identity and direction for these songs failed to manifest. Where progressing with musical ascends and crescendos might be expected, all I found was the sudden dissolution of magic in the wake of its breakdowns. This was likely the intent, that all roads lead to their ugly abandon of over the top extremity. For me its a novel trope that undermined everything else. Fortunately its final three part title track ads a little saving grace, the best songwriting on the record where they have an opportunity to shine. But at the end of a grueling slog of intensity, it too wains.

Rating: 4/10

Old Sorcery "Dragon Citadel Elegies" (2022)

 

In concluding the "castle trilogy", Finnish composer Old Sorcery masters their mysterious craft. Perhaps one to be labeled a modern Dungeon Synth classic, Dragon Citadel Elegies culminates its finest aesthetics for an epic adventure. Woven with elements of Fantasy, Dark Ambience and soft touches of Berlin School electronics, a diverse arsenal of instruments converge on glowing visions. Both its lurches into foreboding darkness and deliriously majestic daydreams find cohesion. Across five mighty songs we explore the peculiar crevasse of an imagination so rich and lucid.

In spellbinding fashion, the grandeur of its themes smother the listener, a fine craft of composition and execution where very minute detail of design seems articulated with brilliance. The balance of intensities, reverberations and tonality of its instruments illuminate otherworldly tunes. This elevation of components seems steeped in unbounded inspirations. The quirkier, playful melodies seem almost Harry Potter akin, as magical bells jostle and chime in nightly gusts of wizardly winds.

Either lurching in cold shadows or bustling through night skies, a zest is always in the air. These paths are well walked as the music bestows a clear vision of fantastical realms home to magics that don't lean into the atypical moods this genre has become accustom with. This has always been a part of what sets Old Sorcery aside. Still growing as a musician, these stunning forty minutes gets at the essence of its identity.

The final song, A Haven, does linger somewhat on its lengthy exit. An intriguing start drifts into its most subdued passageway, however a transition to a final majestic curiosity seems intentional in design. Perhaps leaving us with an appetite for more? Its clear we have been treated to the best offering yet. Who knows what could follow?

Rating: 9/10

Machine Head "Of Kingdom And Crown" (2022)

Flying on the spirited shoulders of front man Rob Flynn, Machine Head's one soul surviving member, a renewed lineup embark on a mission of defiant intent, to reaffirm their iconic demeanor boldly again. Pulling no crafty surprises, Of Kingdom And Crown rekindles the throttling metallic edge explored over their now lengthy history. Sadly, it arrives on shores of apathy. as my diminishing interest in the Metal treadmill grows. Its song writing may be cunning, the attitude ripe with passion and riffs as intoxicating as ever but a lack of originality breeds only serves a familiar serving.

Its one defining encroachment seems fitting to fail. The "woah-oa-woah" chorals, intentionally epic in shape and crudely catchy in execution just happens to be a cliche I'm not keen on. More commonly heard among cheery Electronic tinged Indie Rock of the last decade, Rob weaves it well into the aggression. As for everything else? A typical assemble of Groove and Thrash, woven in with iconic obnoxious fret harmonic abuse. It serves to paint its climaxes in a stale familiarity, fun but lacking freshness. Although wonderfully directed songs, catchy with steady progressions, the satisfying structures assemble an arsenal of riffs thoughtfully. Yet they blunder, as rehashing classic riffs from past records sours the potency of these peaks they strive for.

Where the record crumbles is in its mediocrity. Only a handful of tracks partially navigate these momentous intentions. Its darkly interlude muster little excitement and Rob's political resentments seem contrived, emerging as stiff frictions between words and the musical attitude. Of Kingdom And Crown may have octane aesthetics and lively execution but its contents are bamboozling, a case of deja-vu intent on a frothing urgency dulled by a lack of something new to say. Sure, one can have a good head bang and enjoy the energy, but ultimately its the same old Machine Head.

Rating: 5/10

The Comet Is Coming "Hyper-Dimensional Expansion Beam" (2022)

 

Obnoxious rhythmic fluctuations take lead, the Saxophone sits central, a lone expressive voice articulating simple expressions over a surreal synth landscape of cosmic majesty. With Metal adjacent syncopation, the pulsing of minimal notes sways in brief repetitions. Looped hooks and grooves groan in its textural might. Voiced like sequences of chorus lyrics, they bounce and chime off the lavish densities rumbling below, a contrast that constrains its fluttering presence to a narrow linear path. Sadly, its a weak spot. As the record traverses its modest temporal trajectory, the blunt Sax expressions become monotonous and grating. Although exploring tonality and envelope, too often do the short phrases unleashed grind down into a rigid form.

 Casting a lengthy shadow over its complimentary backing section, the wild tapestry of electronics and shuffling percussive arrangements play second fiddle, despite being superior. With an attentive ear, a spectacular array of astral events emerges. Unfolding with shimmering synths and lively drum patterns, the latter jostles with airy ambience and dynamic unraveling of waveform leads. On occasion they gush and ooze in delightful spectacles of musical chemistry. Its mostly heard within a bold string of strong opening songs. As they pass, so to does that spacey wondrous charm. Retreating into routine, unimpressed ideas dominate, it drops off sharp, sparks fading.

Transforming into an uneventful jam session, Hyper-Dimensional Expansion Beam descends into itself. Brief arrangements conjure aesthetic curiosity but direction, progression and creativity seems simply lost. Such a shift from the lively magic it opened with seems sudden around the forth track or so. It rarely returns and thus leaves a sour taste in ones mouth, or ears. Trimmed to a brief EP, this would have been fantastical fruit. Unfortunately, the majority of the crop yield isn't up to scratch and thus leaves much to be desired. The Comet Is Coming are still one to watch with a unique musical arrangement however they have shown the best and worst of themselves here.

Rating: 4/10

Slipknot "The End, So Far" (2022)

 

Breaking from lengthy absences between their prior two efforts, Slipknot storm back onto the scene with haste and inspiration afoot. Reestablishing themselves on We Are Not Your Kind, the nine mature into comfortable territory, able to deliver the goods and encroach on new ground. Adderall beautifully misfires the record start, a torturous lyrical piece on drug abuse juxtaposed by gentle melancholic pianos and Post-Rock guitars. Uplifted on the march of its warm baseline, a pivot into bluesy gospel chorals tinged by shimmering, wailing guitar texture states intent for something different.

One has to await these finer wines as swiftly we crash ashore on maniacal aggressive batterings Slipknot are known best for. A smattering of triple percussionist force punches out classic grooves on uncanny familiarity with The Dying Song and The Shapeltown Rag. These are the crowd pleasers, with bite and vitriol at the ready, the hounds of frightful frustration are unleashed among bouncy infectious brutality.

As the record matures, so do its broody atmospheres and textural treats between the swaths of metallic onslaught, mostly cunning guitar riffs and stomping drum breaks to headbang along with. In this expressive space, Slipknot thicken the fabric of their identity, exploring the creepy, unruly dimension that blesses their distinction. Cracking crates ajar, unlocked are new depths of this mid-tempo, mood led focal point. Explored in degrees, an overlap with convention yields quite an enjoyable variety.

So far, The End, So Far, has been spun without a single skip. It ebbs and flows, leading to a grand conclusion with De Sade and Finale. The former proposes gratifying links between ends as texture, aggression and Corey's clean emotive singing unites different extremes. Venturing then into a string of exchanging classic Metal guitar solo stylings, the fiery energy deconstructs itself, dissipating into silence.

It sets the stage for a grand bow out, Finale offers sombre strings and graceful pianos on slight unease to brood into an emotional climax as Corey declares emotional attachment to his darkness. Its expressed through catchy wordings, to get stuck in the mind. Again, a textural experience. The song breathes alongside its creepy choral chants. Expanding and contracting, it feels like a link to the albums opening.

Consistently does one feel a sense of expression and inspiration. Perhaps loosening the shackles of expectation, Slipknot gracefully venture onto new lands. The production is sublime, a typical modern marvel, managing to cram in nine loud voices in its loud onslaughts. Best of all, I felt Sid Wilson's input was made visible. Often you can hear the turntable textures working in a little extra magic at no expense to anything else. This has been a delight. The best since Volume 3 as it stands.

Rating: 7/10

Sabaton "Father" (2022)

 

 "Father of toxic gas and chemical warfare", no surprises here, more plain faced descriptions and tunefully cheesy lyrics. Sabaton have returned with additional songs from this World War I themed era of theirs, which I have enjoyed immensely. Its the first of a few EPs to be packaged with additional tracks from The Great War and The War To End All Wars. Although only hosting one new song, the grouping of relevant tracks is a niche touch, another reason to their music once again.

Father is dedicated to Haber Fritz, a figure well worth learning about. Creator of synthesized crop fertilizers and chemical weapons he has brought about both suffering and flourishing for humanity on a grand scale. He is given a somewhat ambiguous reception by the band. The song has a soft lurching darkness and sinister tone as its guitars take a subdued roll, letting its symphonic tones roar. It pivots to quite an uplifting reprisal, led on by a brief guitar solo, the vocals roll into a brief swooning. Perhaps these contrasts are reflective of the scientists contributions to humanity. Weight is certainly put on the suffering he caused. Its a reasonable song, fitting snugly into their current focus. Can't wait to hear more on the coming EPs!

Rating: 4/10

Yeat "Lyfë" (2022)

 

Riding a wave of hype, this up and coming youngster Yeat builds on top a direction the likes of Playboi Cardi, Future and Lil Uzi Vert have established before him. The latter Uzi features on this EPs opening track Flawlëss, the two melding as such bt Cloud Rap standards. Vibeing with subtle psychedelia and mellowed out aesthetics, these beats pair clicky, tinged percussion with zany synths and flat bass rumbles.

Going heavy on the auto-tune, Yeat's voice electrifies tonally, blurring synthetic boundaries. Its a stylistic evolution, words play second fiddle to the feels of cadence and delivery as his flow melds melodically with backing instrumentals. Trendy slang and slurred annunciation lead way, bending vowels and consonants to the whims of self expression. This groovy, easy, laid back gelling is a pleasure to observe.

Sadly, the attention on his unique presence equally highlights seemingly knee deep lyrics. Sleazy slang, cheap nauseous rhyme schemes and a heavy reliance on braggadocio paints a shallow portrayal of the moment. There is only so many claims to success and flipping stacks one can endure. A lack of variety and substance leaves one with little to take away in terms of food for thought. Obviously its not the point.

Despite this, the moods are hypnotic. Songs play like low key bangers. Letting his voice spiral off like an instrument, the beats resonate in their unusually synthetic take on the current direction of Hip Hop. Simple loops with short melodies sink into the contagious aesthetic with ease. The bass stomps find apt moments to drill thumping repetitions, a niche touche. Producer BNYX seems to consistently have hands on the better tracks. In general, they seemingly "glow" more than his contemporaries.

The further utilization of vocals in this auto-tune chemistry is somewhat reminiscent of how Kanye West once brought the harmony of voices forward. This time, the script is flipped. Zany, odd and alien, yet mellow, chilled and groovy, the style being evolved here has something to offer. Lyfë however falls a little short as a record. Its final songs drag, recycling ideas which are wild and exciting in its opening stretch.

Rating: 5/10

Chaosbay "2222" (2022)

 

Built on top of the 2 Billion EP, 2222 expands horizons without a renewed distinction. A few recycled riffs and lyrical themes present deja-vu moments, drilling the theme down ones throat. Otherwise, its a fair effort maintaining its demeanor. Still playing out the Periphery formula, its glossy, crisp production and juxtaposition between jolted aggression and gleaming melodic gets to play out opposites on occasion. A couple bright poppy tracks get a lone run, as do the regular stomps of polyrythmic Djent brutality. The later emphasized by some ridiculous bass noise rumbling in tight spots.

A handful of guest voices spice things up along the way but with the bands dynamic so firmly established, I found myself simply content on many a spin, lacking that craving to climb back in. Boxes resembled a viral infection upon contact. 2222 has not had that impact. Flowing song structures and the sparkling dynamics of electronic manipulation didn't lick like before. Its odd, an attentive rundown reveals nothing but quality and craft, with plenty of stunning singing yet somehow the gravitas was lacking. Its more likely to be a reflection of my mood, more so than the record itself.

Rating: 6/10

Revocation "Netherheaven" (2022)

 

 Four years on from The Outer Ones, Davidson returns with another matured refinement of fleshy metallic complexities, toying darkly atmosphere against angular aggression. The opening Diabolical Majesty embeds a soft warmth in tone and groove, grim melody flickers through flushes of entangled guitar menace as a beastly portrait is painted. Putting its greatest effort first leaves a bitter taste as the following songs suffer its shadow. Delving deeper into a tapestry of dexterous guitar work, attempts to pry apart Metal convention and piece it back together fall flat.

This terrorizing meld of Death, Prog and Thrash flounders as its supposed arcane architecture hits the treadmill of repetitious unpredictability. Twists and turns run amuck, losing sight of what makes a song stick. The endless labyrinth of riff work dispels its own madness. The brutal glumness of grinds dispels its sporadic flourishes of magic in the form of Davidson's incredible solos and occasional acoustics.

Netherheaven arrives on the heels of my despairing disappointment at Metal's continued stagnation. Despite once being my darlings for Metal's future, the years have rolled by with the band burrowing deeper into the road they've carved for themselves and I've frankly become bored with a lack of freshness. The endless wind of sinister riffs, throaty howls "technical" percussion becomes a dispassionate blur, completely unable to peak my interest on this outing. At least its opener had a spark!

Rating: 4/10

Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022)

 

Author of the Command & Conquer music, a keen nostalgic staple from my childhood to present day, Frank Klepacki brought renewed excitement to his classic soundtracks during the games 25th anniversary remastering. Best of all, he united with tribute band The Tiberian Sons, breathing new life into old songs. Hearing them go it alone on The Only Winning Moon was an unexpected pleasure! Have linked up again, these four original songs feel several steps removed from the origins of their collaboration.

Lay To Waste is a mismatch of fun, energetic ideas. Swaying from the meaty Industrial grit of C&Cs assailant glory to gleaming surges of joyous metallic melody, its glossy symphonies and chunky guitars fit aesthetically like a glove. A bold complimenting force, split in direction. The misnomer lies in mood. Mischievous aggressive riffs underwrite uplifting emotive theatrics most prone to fantasy driven VGM.

 Personally, I loved both aspects, yet together a sense of ambivalence prevailed. One can hear Frank's militant ideas blazing along but frequently they meander in tone from war and destruction to might and magic fantasies as strings and tunes take reins from the rhythmic brutality presented beforehand. Its a strange dichotomy that has eased with familiarity and repetitions yet still dominates the directorial feeling. The opening Gun Metal makes a half baked attempt at incorporating explosive sounds to the mix, then its main theme gets handed off through a string of these instrumental pivots.

Its been one of the stranger encounters on this musical journey. I'm left unable to pick a favorite track as every song sways between contrasts. Its the swaying that makes me seasick. Taking the analytic hat off for a moment, its a fun set of songs pounding with energy and vibrant noise. Plenty of twists and turns along the way! A tight curation of ideas not outstaying its welcome. It will be a matter of time to see how often I return to these tracks as I do love to with their previous material.

Rating: 5/10

Megan Thee Stallion "Traumazine" (2022)

 

Roped in by her catchy Thot Shit hook, Megan struck me as a subversively talented artist overcast by the provocative lane she resides in. Sometimes referred to as "stripper rap", the reversal of overt objectification in Hip Hop often leads to bigoted conversations. Brushing that noise aside, there is a lot to enjoy here on her sophomore effort Traumazine, my jumping in point and a strong introduction.

With a lengthy string of tight banging beats, the appeal is strong. Lean aesthetics and slick execution takes on a reflective roll as many of these songs reminisce on classic Hip Hop vibes and beats from years gone by. If you're a keen listener, you'll hear a lot of familiarity. My personal favorite is Not Nice. Stealthy baselines and ambiguous ethereal sounds between the firm percussion give me some serious 2001 vibes.

Fronting the instrumentals with power and confidence, a crisp flow and swift articulation makes for breezy listening when it comes to understanding the topicality. Megan brings fifty plus minutes of focused, narrative driven rhymes. Braggadocios status affirming and showboating aside, a significant substance emerges as legal battles, personal struggles and emotional distress brings depth to her talents.

Although mostly voiced through a fierce, fearless front, a few vulnerable moments let the guard down. These stories tie up many showy sentiments to a human aspect, putting feelings to the exaggerated persona. Its a story of struggle and hustle, often playing out through explicit lyrics. With Traumazine she weaves in the person behind this success game, balancing out the boisterous with meaning and direction.

Although fun, fresh and powerful, its superbly recycled Hip Hop vibes and somewhat saturated topicality have these fifty minutes feeling stretched on each spin. Although lacking obvious weak spots, curation may have aided. Her tone and cadence has its range, explored early on and maintaining pace throughout. The decent consistency holds much of its material on par and leaves one wondering which tracks will survive memory? Its been a fun record but I'm unsure that time will favor its lasting power.

Rating: 6/10

Karl Sanders "Saurian Apocalypse" (2022)

 

Extending his Saurian series into a trilogy, American musician Karl Sanders returns with a sinister chapter for his Egyptology inspired world crafting. Centered around exotic acoustic guitar tones and Middle-Eastern instruments, cultural soundscapes straddling the cinematic and performative arts are forged. The tang of dense strings persist, plucked with vigor, they center the experience, an expressive voice melding soft accents of western groove and melody into the foreign, eastern dialect.

Deep gong strikes, cries of pain, possessive chants and eerie audio disturbances paint a ritualistic world alongside riffs and tunes to guide us on this ancient journey. With the timbre of tribal percussion ever present, only An Altered Saurian Theta State strays with its use of a modern drum kit breaking the spell. Unlike its underwhelming inclusion, the wailing distortion guitar solo feature on Divergence, cries with despair and fear, a drama to further heighten the tensions. A far greater fit in my opinion.

Mask Of Immutable Self Delusion offers respite from the mostly mystic, shadowy mood with uplifting acoustics fondly reminiscent of Humanoid. That calm deludes us to whats in store as the final piece lines up a glum, rainy setting for intense theatrics. The apocalypse arrives, a destructive event leading to a hopeless recital of despair.

Its great voice acting to sum up the albums trajectory. The dark atmosphere, and narration reminded me of Decard Cain and my adventures in the Diablo universe. Karl has forged a very gratifying record here, vividly visual and inspiring. The vigorous guitar performances stave of its ambient potential but perhaps that is its strength, to be engaging whilst forging its mystic, lively and cultural soundscape.

Rating: 7/10

Soulfly "Totem" (2022)

 

 Four years back Ritual failed to make a lasting impression with me. Prior to its release Max had caught my ear again with Cavalera Conspiracy's Pyschosis, a powerhouse of a record. Tuning in once again, I find a lack of distinction for why this should be called Soulfly, in comparison to Max's other projects. Long gone are the bounce riffs and Nu Metal hallmarks that defined the name. All that's left now is the distinctive cultural sounds of its twelfth self-named instrumental track Soulfly XII.

Totem is in essence another fiery sprint of razor-wired metal dashing across the danger fields. Foaming at the mouth with rage, Max roars forever youthful. Intense, ceaseless drums chase along a dense wall of thrashing guitars that pound out beastly riffs. Its a riot of energized aggression. A veteran pulling out the old stunts with renewed vigor and an infectious spirit. Little is new, novel or even surprising but the execution is hounding, throbbing with attitude. A lot of fun when in the mood.

Like with Pyschosis, its the production that raises the bar. These riffs and atypical arrangements could be rather stale in a different environment but the dense, smothering tone simply engulfs all in its path. Max churns through the motions with Death and Thrash riffs leaning on chunky stomps of palm muting and chugging, occasionally drifting into a bouncy groove, although these are always short lived.

Rot In Pain and Ancestors have flashes in the pan textures, hailing Sepultura's Roots record. They are among a string of competent songs firing with firm intentions. Then Soulfly XII offers up its dreamy acoustic flavors and the tone is reset for Spirit Animal. Its the albums best song, soaring in with tribal entanglements and going out on a high as it unravels into a weary mess. Not Max's best output but consistent and fun to spin.

Rating: 7/10

Arcanist "Hyperborea" (2022)

 

 Through forages of retro psychedelia synth know as Berlin School, and an artistic encroachment upon the forgotten dusty crypts of Dungeon Synth, Arcanist firmly caught my attention with their stunning debut Poseidonis. My knee jerk reaction to Hyperborea waned after a sour taste induced by spurious inclusions of esoteric Black Metal and sludgy abominably Doom Metal. As successive repetitions settled spirits across its four epic songs, I grew to love how musically ambitious this record is.

Unwilling to rest on laurels, Hyperborea brews its story telling with cinematic stride to journey vast and various musical landscapes. Unruly lulls of Dark Ambience hold over its forays into Medieval and Heathen acoustic folk. The aforementioned metallic spurts scale the summit as its valleys are navigated by captivating synth solos in the spirit of Progressive Rock. Best of all, The Coming Of The White Worm's plunge into the cosmic has another delightful reminiscence of my treasured Oscillotron.

A flow of engulfing atmospheric magic gushes forth, with sudden splashes of color, wild twists and dramatic soars along the way. Despite having different temperaments and aesthetics, the music is guided wondrously as these distinct musical spaces get woven together in a single narrative. It has the pay off only an album experience can offer as one traverses its eerie, bespoken wanderings into lavish drips of exotic synth. Ending on a loud and frightening conclusion, I am often startled, awoken to start the adventure over again. Its has been one of the best musical experiences this year!

Rating: 9/10