Horsebeach "Things To Keep Alive" (2024)

 

Befitting of its mellow breezy aesthetic, Things To Keep Alive navigates through soothing, strolling tempos keen on a dissecting introspection of ones present situation. Direct and unambiguous, Kennedy's lyrics warms the heart ache and pains to the positive powers of reflection. Its felt instrumentally first, a steady current sails buoyant, soaked in the glow of effortless sunny skies. The tang of surfing guitar licks over simple drum grooves croons in gentle optimism. Whimsical melodies and softly Ethereal reverberations anchoring a little melancholic sour with the sanguine sweet.

Occasional chirpy synths and stiff 808s add an enjoyable quirky disposition to the dominant temperament, which across these ten tracks treads familiar footings. A couple of songs toy with subtle build ups, calmed climaxes and fuzzy distortions but mostly its an easy breezy affair to mercifully manipulate your mood. Pure Shores stood out, immediately giving me a sense of nostalgia. Convinced it was a cover, I was reminded of the All Saints hit I heard plenty times over in my youth. I liked that one but seems dulled in comparison to the life Horsebeach breathed into it.

Rating: 6/10

Ministry "Hopiumforthemasses" (2024)

 

This sixteenth chapter, proclaimed as their second to last record, Al Jourgensen's Ministry strive onward with their current temperament. Similar in tone and aesthetic to AmeriKKant and Moral Hygiene, the band issue another set of disgruntled social political observations. With vocal snippets and dystopian instrumentals, the hot topics and events of the last few years in American life get a familiar treatment.

Thudding, punchy, repetitive drum beats guide groovy mid-tempo metallic riffs through the barrage of Al's shouted snarls and keen sampling. A subtle collusion of deranged synths and odd instrumentation line the core elements on occasion with a distinctive flavor. Mostly, it falls within expectations, Cult Of Suffering ventures boldly off the track with soulful singing and dreamy guitar chords over a warm crooning baseline.

Otherwise, its been business as usual, fun, predictable but lacking the bite of its predecessors. Aryan Embarrassment struck a nerve with an astute point aimed at paranoid antisemitism. As to be expected, not all messages resonated. Just Stop Oil's fun anthem couldn't stir much compassion for their ridiculous message. Hopiumforthemasses is fair but milder, ending with the tacked on Ricky's Hand. A stiff piece sounding like a re-recording of a lost composition from their Synthpop days.

Rating: 6/10

Kyros "Mannequin" (2024)

 

Is this our first heavy hitter? An obvious contender for my album of the year, Kyros deliver on an enticing Esoterica teaser. All three tracks our found nestled snugly among this lively set of exuberant songs bursting with colorful energy. After a quaint, folksy introduction - reminiscent of classic Prog Rock acoustics, the album roars to life with Showtime. Steel drums rapid a melody suggestive of time passing by, in chimes a big aggrandizing tune fondly reminding me of Genesis in the late 80s and one by one the instruments pile in. Grooving baselines, bustling drums patterns and dazzling keyboard leads paint a theatrical thunder birthed in cheese decades ago.

Kyros however, embrace this bold, tenacious execution of punchy note-to-note refrains and execute them with stunning swagger. Each track brings flavor and distinction, their commonality an undying dexterity of craft that fleshes out many sections with animated instrumentation. That's not to suggest the record doesn't have its timely lulls and respites. The balance is wonderful, a fruitful execution of ideas.

Ghosts Of You has become my standout track. Again the 80s reign supreme with big grinning melodies. One could re-imagine this as an ear worming theme song from a daytime television show. Again, executed with class, the lyrical tone and cadence chimes with its punchy percussion reminiscent of Michael Jackson's Bad. Its a common theme for the record but this modern vibrancy invigorates these old themes.

Its final two songs take a subtle departure, focusing on big metallic stunts between more middle of the road arrangements. Although great entertainment, the increased aggressive might, reminds you of a coming end to the session. Not a blemish but observation as that 80s cheese I'm so fond of gets stripped back. This foursome are awsum and I'm not surprised they have pulled together such a strong cohesive album.

Rating: 9/10

Darkspace "-II" (2024)

 

Surprise evaporates into disappointment. After a decade long hiatus, Darkspace mysteriously re-emerge from the void armed with negative two, a singular forty seven minute epic that adds little to their repitour. With a particular breed of cosmic Black Metal, this trio forge dense, unforgiving walls of bleak sound. A droning masquerade of astral oddities channeled through unsettling grimace. Condensed guitars thrum and whir in discontent, bleed with subtle stellar synths to brood an aesthetic mesmerizing an eerie embrace of the vast measureless void. From endless shadows, beastly groans and guttural howls malign themselves with steely tremolo plucked melodies, descending with a sinister stance. Powered on by shuddering, thudding sub kicks, the music groans, burdened by its union with the abandon of an infinite nothing.

The track is suited to ambient appreciations of its darkly flavor, maneuvering between mellowed lurches and impending brevity in bleak lengthy passages. The album feels like three distinct sections with intentional retreats from its darkest plunges. Despite this, the crawling pace didn't birth a sense of reaching anything climatic or conclusive. It simply arises, then sinks back into the black. Not to suggest the ride was sluggish, more of a suspended astonishment that never arrives. I recall being enthralled by their prior effort III I. After ten years hoping a return might one day occur, this record felt as if no time had passed at all, a very familiar sound reignited without a sniff of evolution.

Rating: 6/10

Little Simz "Drop 7" (2024)

 

Simz' output is already steeped in creativity. This EP series serve as a niche place to drop any variety of flavor and this seventh installment arrives in shapely form. Working with producer Jakwob, the pair unleash a hypnotic current of cultural instrumentation, conjuring suggestions of Spanish, Mexican and Latino music with selective percussion sounds. Arrangements flow with sharp rhythm and lean bass thudding, fitting for club vibes. Atmospherically sparse, the music feels open and minimal yet the drums shuffle and snap on dense arrangement of complimenting chromatic textures. Its simply slick.

Fever reinforces this cultured embrace, rapping a verse in Portuguese. Mood Swings affirms the club beat as the songs motif drifts through an exploration of escaping into night life. Other lyrics also hint on a therapeutic angle, the music being a means to vent life's frustrations and difficulties, although I didn't dive to deep into them. Drop 7 represents a lean fifteen minutes, one of fruitful creativity that may be a stepping stone to a fresh chemistry. Sim'z masters this new dynamic tone just wonderfully.

Rating: 5/10

Ziggurath "True North" (2024)

 
With a swift and sudden departure from their prior Jungle Synth effort, Ziggurath pivots again. Now venturing on a chilly expedition, True North tentatively explores desolate atmosphere from a sullen, lone perspective. Glacial pace sets tone as broody bass synths, howling winds and distant gulls guide lonesome melodies on its journey. Pace is sparse, its ninety minutes frequently linger, drawing out its main sound design. The album sleeve feels fitting, a ghostly ship on a lost voyage, the lingering presence of icy death incarnate through a menacing skulls gaze.

Aptly named Hearthfire Inn, fire-crackles and lutes warm the bones, a refuge from the relentless frost that awaits. From here on, only glimmers of cultural instrumentation echo in the distant fog. Howling dogs, swirling winds and rehashes of its brooding atmosphere drag on. Through Halls Of Ruined Splendour offers shimmering sounds of wonder over the backdrop of crashing waves and the creaks of aged floor boards.

From here, iterations on the established sound design intensify, shying away from anything vivid, only offering glimpses of music to latch onto. Then Someone Dies offers a passing funeral dirge, a glum, drained march of sadness. The final track, True North, goes all in, attempting to offer a gratifying conclusion but coming up short. A surge of melodies underpinned by choral synths and soft organ hum doesn't quite land as intended, given the lack of build up to this final concluding moment.

Its obvious to see the intention here, to really lean into this chilling abandon. When giving True North little attention, its somewhat achieves this. Its sparse moments of melody and scenic sounds perk the ears but its sluggish pace and lack of animation doesn't carry much gravitas in the forefront of ones attention. Curation and more musicality could of elevated its presence. Otherwise, this is a soft miss to my ears.

Rating: 4/10

Kid Cudi "Insano" (2024)

  
Keeping steady pace, Kid Cudi returns from Entergalactic with a loose concept. Taking twenty one shots, these shorter cuts seemingly throw out ideas to see what sticks. Linked together by recurring buzzy sub-base lines, the referenced insanity is heard instrumentally as the aesthetic experience explores an unusual spectrum of melodic presentation. Repetitive tunes often run through mild manipulations, playing into an artsy atmosphere. Trap beats bustle harder than usual. Kicks, claps, snares and hit-hats from all directions chime in, amping up the sequenced rhythmic energy. Its these base oriented tracks that mustered my attention as between them, Cudi leaned into his established style, smoothing out the records exit with a string of colorful songs.

Running commentary from a boisterous DJ Drama and lack of lyrical focus gave me little else to latch onto. Insano feels like a round up of studio time spent without direction. Vocally, Cudi spun his style with the records best hooks feeling almost recycled from previous records. Nothing offensive, the record just lacked anything with shock and awe. Electrowavebaby perked an ear for its redesign of Ace Of Base's All That She Wants. That's the second record of 2024 to include this memorable 90s hit. Its a fun track, flush with zany zapping sounds and some endearing singing. The second track Keep Bouncin' is a banger, the baseline melding with crisp pianos is a classy conclusion to its dark, speedy energy. Other than that, its a mediocre record with flashes of distinction that fade among its extensive tracks. Good for a mood tho.

Rating: 6/10

Trevor Something "Archetypes" (2024)

 
My introduction to one man band Trevor Something was through a handful of delightful re-imaginations of 80s Synthpop and Alternative classics. I wasn't pulled into his original music, so this new record of twelve cover songs suited me well.

Trevor's built a unique sound, treading a line adjacent to Ethereal, Synthwave and Electro-Industrial. Like a dream inducing sedative, subdued and sluggish, his soft, distant voice steers us through hazy atmospheres. Layered arrangements of textural synths dance, often with chunky bass wobbles. The usual culprit of echo and reverb masks an otherwise sharp set of steady melodies into a concussive daze.

In this reshaping of originals, a unique soothing, slightly dystopian crooning is birthed. You want to stick around and indulge. Not knowing a track wasn't a barrier to entry either, the warmly dystopian aesthetics, lingering tempo and Cyber-Goth vibes maintain across its duration. Closer and No Ordinary Love where my favorites.

All That She Want's is a surprising throwback but record ends with Change (In The House Of Flies), which I thought would be a lay up. On this occasion, a sterile overindulgence approach lost the original spark. Its smokey, cumbersome stride swiftly dulls. Strange ending to an otherwise unique and enjoyable record.

Rating: 6/10