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

Pantera "Reinventing The Steel" (2000)

With a so called Pantera union on the mind, my attention naturally wandered to the legendary Texans final output. Reinventing The Steel is the one record I'd never payed close attention too, despite knowing all its songs from parties and good times with friends. Among fans and critics alike it maintains a mixed reputation, one of the reasons I'd rarely give it a spin. If I recall the lore, its creation was born as Phil and the Paul brothers were drifting apart with Anselmo continuing to prioritize side projects.

 Its easy to see why a mixed reception came about, a soft sense of autopilot, or formulaic writing permeates its mood. These songs shuffle out all the Pantera tricks we love in just the way we know. Despite the lack of flash in the pan, a romp of fist pumping, head banging metallic bangers play out with spirit. Phil rocks a plethora of catchy lines and hooks to get stuck in your head and the whole thing plays cohesively through an arsenal of stomping groovy riffs and Dimebag's electrified signature solos.

In a departure from the trajectory The Great Southern Trendkill's offered, the group ease off the gas when it comes to extremity. Hellbound may kick off with dense guitar grinding, pummeling drum beats and the harshest of screams in its chorus but much of what follows leans on smart song writing, putting curated hooks and riffs front and center with Vinnie and Rex housing the wild spurts of catchy, groovy aggression.

Its a real riff fest, Dimebag clearly not slowing on ideas and inspiration as he chews through all iterations of axe grinding. This is however, the first time new ground isn't broken. No surprises are in store as all its components have a link back to prior songs and ideas. Vinnie Paul does stand out with a stiff, hard hitting presence. His unsubtle performances lacking variation in velocity, pounding away like a machine set to max.

This percussive style may also contributes to a somewhat sterile production. All the instruments miss an acoustic ambience. Lacking depth and reverb, a sense of environmental texture is absent. Despite this, the talent of all personal thrives. Although Reinventing The Steel may not have the youthful vitality or spark of urgency its predecessors had, the attitude is still present. This is a matured band, still capable of performing their stunts, something which may of tired had they routinely pumped records out after this but sadly, this would be their final works together.

Rating: 7/10

Dreamstate Logic "Space Born" (2020)

 

This will be no regular record review. More so a marking for my future self. The purpose of this blog has always been to catalog the musical exploration, providing references to our adventures. Memory is a limited resource and although personally music evokes the sharpest of recalls, it is still a healthy practice that has helped me resurface many magics that haven't popped into the conscious experience.

Keying in the right combination of terms to suit my introspective mood, Cosmic Ambience yielded a stellar find. With a catalog of similar sounding ambient pieces, the idea of a "record review" felt wayside to the simple and familiar pleasures this artist offered. Similar in emotion to Carbon Based Lifeforms and with cosmic tones akin to Stellardone, an especially calming melody of dawning astral synths and lofty reverberations offered a deep wondrous peace in its soothing temporal chambers.

Its seven songs scales the starlight as a sense of drifting beyond time carries one on a gentle glide through the infinite. Dreamstate Logic differentiates itself with a calming temperament that does on occasion stride with gusto as lumbering percussion rumbles up momentum and the odd shining melody pushes itself into focus.

It may be that this artist has more to offer but with a plethora of albums released in 2020, one would suspect these are pallets of spacial ambiences, as opposed to distinct musical experiences. That impression could be a falsehood, so as I revisit this mood, I'll see what I unearth but for now this will be a permanent fixture on my relaxation and focus playlist.

Rating: 7/10

Type O Negative "Slow, Deep and Hard" (1991)

 

Despite having a legendary status in their own right, this cult American band had eluded me until recently. I'd seen plenty of Type O Negative shirts at Metal shows over the years. I may have even passed up the opportunity to see them live a couple times before the vampyric Peter Steele's death in 2010. Having now familiarized and come to adorn some of their best material, it seemed certain a new journey was in wait.

 Starting with their debut, Slow, Deep and Hard breaks out with an unmistakable identity hinged around a willingness to meld new and distant musical ideas. Birthed through Gothic Horror and a crude sadistic humor, cheesy synth tones, gritty Industrial percussion and embrace of guitar dissonance somehow emerges authentic with underlying pains. A crude mix of Hardcore, Doom Metal and all things Gothic, Type O Negative straddle the estranged Avant-Guarde soundscape with oddities, yet land their lengthy songs with chant-along choruses, memorable melodies and rocking riffs.

Its a chemistry of their own making with cheerier punches fit for the 90s spirit. This light rarely departs a depraved side, gloomy and blood soaked as many of these songs lunge into slow and sluggish rhythm sections resting on dissonance and audio horror. Its quite the ride for an adventurous listener. Burly poetic recitals, gang shouts, pained screams and heavenly choral singing, variety is no stranger. Song structures straddle similar constructs as twisted avenues tend to return to the gratifying ideas.

This introduction is a powerful entry point, yet wanes with multiple listens as many of the first two tracks key ideas seem uncannily recycled over the remaining records span. Type O Negative display a unique character fit to bloom into a beast. With thoughtful appreciation, one can hear the previous decades influences. The likes of Swans, Bauhaus and Christian Death among others clearly shape an ever evolving Gothic mood. Industrial and Metal influences present too, this union of genres feels so odd and genuine too, the kind of chemistry that gets me excited. I can feel it already, this journey will be one of the greats!

Rating: 7/10

Abstract Void "Back To Reality" (2018)

 

What do we have here? A Synthwave and Black Metal crossover. Is this possible? Anything in music is but that doesn't always lead to success. In the case of Abstract Void this union of styles is slick and smooth, a luscious mix of glossy synths, dense guitars and distant shrill screams. Together, they steer Dance grooves into aggressive plunges as Back To Reality gradually layers on the intensity in its opening stretch.

The atypical night life, neon light vibes finds its balance with an atmospheric approach to Black Metal where slow, lunging Shoegazing melodies bridge the gap in composition. Percussion steers the music into its extremes as drum patterns rattle into blast beats and the like. Consistently emanating dazzling melodies from the layered keys, each song has quite a luminous presence. Glistening in its well crafted resonance, they venture to emotive the grandiose with its epic scaling melodies. Very satisfying.

The harsh yet muzzled screams feel like an afterthought. With such synthetic vibrancy steering the musics mood, the vocals arrive like discernible blocks of noise barely contributing to anything rhythmic. Its a minor blemish of wonderful chemistry that does feel somewhat obvious in retrospect. Although a brilliant union of distant realms, its played down the middle, nothing unique or unheard emerges as a consequence. With a little more adventurous spirit this could of traversed new terrain but to these aged ears it mostly resonated with solid ideas heard many a time before.

Rating: 7/10

Warpaint "The Fool" (2010)

 

Crooned by a blissful flurry of soothing sensual songs, Radiate Like This left its impression. An elegant stride through resonant pleasantries that had me seeking more. Disappointed by Heads Up, we lastly arrive full circle, at their origins. The Fool is a subtly engrossing record of broody chromatic Post-Punk, shimmering with dissonant melodies that fracturing its intensities. Through its dreary tapestry, blooms of saturation erupt. Spearheaded by sharp grooves, illusive voices and swelling guitar licks, each song is armed with a convergence from its apparently unsettled nature. Charcoal aesthetics, smothered in ash and rain, the glum exterior harbors gems, sequestered by its overcast skies. I adore the oxymoron. Bleak and pale, lost and aimless yet human colors seep through its pours as the melancholy evaporates.

Its a matter of chemistry that can hit or miss, mostly striking the mark. Composure for example never quite escapes its own shadow, stuck with a soft gloom. Bees on the other hand walks into a trap. Its initial grim frictions overturned with a triumphant baseline chime. Undertow sidesteps the duality entirely with its endearing warmth upfront from the get go. Variety lends itself textually with acoustic leaning songs, some occasional warbling electronics and sparing use of pianos. The Fool has sturdy foundations yet an illusive chemistry, its feet in two halves, a curious glowing charm.

Rating: 7/10

Exhorder "Mourn The Southern Skies" (2019)

 

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

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

 

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

Rating: 7/10

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Ovlov "Buds" (2021)

Accepting an algorithmically generation suggestion from Spotify, I was pleasantly surprised. American Indie Rock outfit Ovlov's third album is a brief one, only clocking in at twenty four minutes. Its eight cuts all inhabit a shared culture. Humble tones, a rural breeze, simplicity and humility scales into roars of lively dissonance. The group compose human, Folk like songs, driven by warm acoustic shimmering and earnest voices. It all gets whisked into dense frenzies. With a sense of routine, over-driven guitars explode, expanding dynamics and shelling the warmth with swells of fuzz and grit. The frothy distortions challenge the listener with harsh, muddy textures that somehow ooze into the gentle foundations with a thick hazy glow.

Its got charm, a sound that sucks one in! On closer examination, its clearly simplicity in writing that is the winning approach. Much of the esoteric and unusual chemistry is derived from the jagged shoe-gazing textures. They cast a magical spell but underneath, the simplistic short riffs and chord plucking loops are what the songs hinge on with just a few simple constructs at there core. The human, raw, personal feelings emanate from superb vocal harmonizations, conveying emotion with a blunt tunefulness that is never overstated or over engineered. Just the tones alone.

One pointed component that mostly lands are the scratchy, harsh guitar solos. Brief and to the point they rattle off like a flair, grabbing your attention and swiftly fizzling out. With an ear for the noisy and unusual, speedy wild fretboard manipulations rattle off at apt times. Its the lens of texture that they push the limits, peaking the audio and inviting the harshest of sounds. Sometimes they inhabit melody and offer times its an exploration of noise. I mostly enjoyed it but the dissonance wasn't always potent.

Not one considering myself to be "into" Indie Rock, this has certainly challenged my notions. The parts of that genre most recognizable are enjoyable alongside its explorations of Shoegazing and Noise Rock. I'd certainly enjoy more on this track. Not entirely original of groundbreaking, its the execution and earnest, humbling inspiration that makes this music glow. An interesting find! I may explore further.

Rating: 7/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Rammstein "Zeit" (2022)

 

Have Rammstein found their footing again? Three years on from the untitled record with a pandemic wedged in-between, they would have had any excuse for another long absence, as bands quite often do with age. Zeit is a potent return, musicians in stride, armed with new inspirations. Their classic fist pumping Industrial Metal might comes with a measure of maturity and atmosphere. The expectant stomps of chunky mechanical groove take more of a backseat alongside brooding emotive tracks. Slow, scenic strides of soft textures, pianos and synths, bubbling up into swells of expansive guitar distortion seems a common format this time out. It feels refreshing.

The eleven songs play so wonderfully for the album experience as the pacing ebbs and flows between its soft and hard edges with plenty of moody melodies and righteous riffs along the journey. The powerful, deep and clearly enunciated voice of Till Lindemann commands the ship on its voyage. I adore his presence, having not looked up any translations, his animated delivery is mysterious and draws one in like a magnet. On occasion I find my own meanings in the drama of his delivery. Then there's the blemish of Lugen, where Till experiments with auto-tune and the results seem.... out of tune? The manipulations are dreadful, untimely, distorting what seemed like moments of personal emotional magnitude. Perhaps that is the point?

Dickie Titten, a title I don't think I'll translate, has another experimental curiosity that I'm not entirely sure works. On the third repetition of its design, these anthemic horns drop in with playful circus vibes. It gives me the impression of having more significance, as is lifted from some historical German song. Anyways, all in all Zeit is a fine construct, a much more "accessible" record with a production that frequently drops the distortion guitars out, putting less emphasis on the heavy, more so on the craft and subtler synth melodies. The good news is the songwriting is fine and its sways from Industrial groove to broody atmospheres keeps one engaged from front to back.

Rating: 7/10

Vince Staples "Ramona Park Broke My Heart" (2022)

 

With a talkative tone and casual cadence, Vince returns on this forth outing spinning his introspective thoughts on a breezy laid back vibe. To say business as usual would understate the emotional weight and expressions from this insightful artists. Again, stories and perspectives are told through the personas he inhabits. Lacking the spark a new dimension can bring, the familiarity of his attitude and lyrics lets one swiftly fall into the easy groove the record presents. Its a slow riding, G-Funk inspired chill out where 808s and percussive beats pop low key and the instrumentals croon gently on the subdued, sleepy leaning vibes that drift by with an eerie lack of tension.

I'm not sure if its in contrast to the gravity of topics discussed in his lyrics as there is a lot of pride and warmth expressed where Vince often uses his words to peers into social ills and societal issues. His words make this record feel more personal than the tales of prior projects. His cadence, which at its sturdiest still seems casual, can slip into a breathy effortless slew of words that almost seems intentionally lazy. The vibe is spot on however! These dreamy toned down beats play right into his hand.

The result is a soothing lofty warmth that drifts by yet any attention given to his words reveals a deeper meaning. I love how he can wrap the most potent words into simple lines and expressions to emphasis a narrative. Its almost in rebellion to overworked rhymes and clever wordplay. Vince uses just a drop of poetry and the apt moments so effortlessly. Seemingly much of it plays of as train of thought, ringing of the thoughts directly but a little study often reveals something a little deeper. I do think some of the Ramona Park Broke My Heart's depth does hinge on its authenticity. Are these more personal tales? Either way, its a very easy to enjoy record.

Rating: 7/10

Sum 41 "All Killer, No Filler" (2001)

Talk about a blast from the past, my teenage days of lounging on the couch after school, watching MTV for hours on end have returned so vividly! As one of Pop Punk's best offerings, the four friends of Sum 41 rose to prominence off the back of two massive singles, In Too Deep and Fat Lip. Both songs still sound fantastic to this day. Banging out the warm bouncy riffs, fun light hearted raps and instantaneously catchy hooks, these songs are so hard not to like, which brings me to musical elitism.

I remember loving these songs, as well as Pain For Pleasure, immensely. I'm also positive I had this record and one other of theirs in my collection. I am guessing as my tastes turned darker and harder, my naive youthful elitist Metalhead mind purged this "pop music" from the archives. Now a couple decades on from those years, I'm quite fond of hearing Pop Punk of that 00s era whenever it happens to pass me by.

Either Green Day, The Offspring or Blink 182, which I supposedly hated at the time, I can't deny my love of their songs I'd heard on the Tony Hawks Pro Skater soundtracks over and over again. Spending time with All Killer No Filler hasn't exactly increased my appetite for the genre, in fact its the same as I remember but at least now I can enjoy the warm fuzzy feelings these guys extract for suburban teenage problems.

As the title suggests, the band blitz through their ideas on a string of briefer three minute songs. Its fast, lean and sharp, with mouthy attitudes shouting off. Its not aimed at anyone, or with any malice. The tone is bright, sunny and upbeat. Its vibes get interspersed with fast tempos, choppy riffs and fun aggression, a typical chemistry for the genre. Most these songs lyrics have the finger keenly on the pulse of ones own emotions, relationships and mental health. A term not in the vocabulary of the times.

Despite being keenly introspective, it all tends to be ankle deep and light hearted, straight forward expressions, often airing out grievances and frustrations over suburban teenage issues, all with a decent spirit. Strangely I didn't find much of the lyrics cringe or typically angsty, the sort you'd find in embarrassing reflections on youthful ignorance. Even the anti conformity lyrical chants of Fat Lip hold up.

Lastly, Sum 41 have a slightly metallic edge. It doesn't manifest often, one or two "heavy riffs" and blazing guitar solos nod to their other influence. They give a wonderful tribute to Judas Priest with the albums closer Pain For Pleasure. Its quite possibly one of the best executed imitations of Priest you'll ever hear. It gives credit to the musicianship of these individuals who step into a genre easy to emulate yet hard to rise to the top of, which they did if you count music sales and chart success as a measurement. I've always been curious about doing a dive into Pop Punk but my time with this record didn't connect deeply. Had I gravitated to it in my youth, I'm sure I'd consider this a classic!

Rating: 7/10

Kae Tempest "The Line Is A Curve" (2022)

 

Formerly known as Kate Tempest, Kae returns after the disappointing The Book Of Traps And Lessons, renewed and revitalized with that magic sparkle heard on earlier records. Always one to cut to the heart of social observations, The Line Is A Curve turns in a personal direction as a love story arcs from origins of pain and separation. Although Kae is often tied up in the observations of the characters manifesting from story telling, this time much of the lyrical feels deeply personal with vulnerability often heard in there voice. The record blossoms from a typically dystopian, dissatisfied, unsettled origin into a warm, endearing resolve found in the love of another soul.

Shadowy, softly glum with a nightly luminosity, the opening instrumentals navigate difficult terrain with terrain as Kae's lyrical journey starts from a depressive state. The mood begins to turn with Salt Coast, its opening gives me an eerie deja vu to Marvin Gaye's Inner City Blues. It must be the same piano chord! With this song both Kae and the instrumental start turning to positive expressions and melodies as the relationship between ones self and the other starts to tangle. Slowly the threads are pulled one by one.

Along the way, These Are The Days land some Pink Floyd vibes with fantastic instrumentation. Mixing a live band with the synthetic melodies has a beautiful resonance. Its something the production achieves over and over, melding different musical elements at the greatest compliment to Kae's words. Things get a little manic with the last couple of songs but landing on the heart pouring Grace, the arc finds its conclusion. One that surely can't be fictions, its such a beautiful expression.

The Line Is A Curve plays with a true album experience, not a collection of songs but a journey cohesive in voice and instrumentation that one can chew on from some time as Kae's lyrics stir the deeper rumblings of thought and the accompanying music setting an apt complimentary tone. The whole thing feels like a hugely personal endeavor to shape the motions of ones life into a piece of art.

Rating: 7/10

Old Man's Child "Vermin" (2005)

 

On the first few spins, much of this record felt fresh to a long forgotten cast. As a reminiscent familiarity set in, fond yet faded memories of its existence began to re-emerge. This was then the newest of Galder's records to be released in the prime of my time enjoying his music. Somehow, it ended up over shadowed by the rest of his records. Revisiting it has been a pleasure, a lost joy I've re-acquainted myself with.

Strangely though, I feel I have the least to say about this record. Following his peak, In Defiance Of Existence, Galder's next move was a symphonic embellishment that has Vermin feel more like a bridge between the aforementioned album and Revelation 666 - The Curse Of Damnation that came before it. Despite my adoration of Revelation 666, it does admittedly drown in the rich symphony and over production.

Vermin is measured in approach, taking the refined song writing of In Definance and bringing a visibly more involved orchestration of darkly synths to its atmosphere. It does however frequently turn to the bombastic throws of evil Metal. Its big riffs are pitted against a careful arrangement of sinister melodies and devious guitar work. The momentum is splurged on simple breakdowns, often drenched in keyboard symphony.

With a lack of stand out moment, the shorter record plays through the defined Old Man's Child sound without anything experimental or unexpected. Perfect for a mood but lacking in anything to grab your attention otherwise. It does dabble with a brief cinematic sound design track to end off with. Its descending tone, hinted at in its titling, is a brief stint but hardly makes a lasting impression in new territory.

Rating: 7/10

Ozzy Osbourne "Diary Of A Madman" (1981)

Rolling back the years on this Heavy Metal journey, we arrive near the decades start with a noticeably shabby rawness gracing the production tone. The music feels a little unhinged with this rugged aesthetic and its stark irruptions of jarring synth. The bold instruments collide occasionally and the baseline rides high in the mix. Yet it all serves the attitude and Metal spirit, what was back then possibly considered extreme music. I'd love to learn more of its historical context when it comes to advancement.

Rough around the edges, Diary Of A Madman is mostly a spirited venture into the Rock n Roll rebellion. Its opening track Over The Mountain is quite the hard hitter, kicking things off with its fast chugging guitar riffs and dangerous melodies, it sets a strong tone where the following songs open up to warmer moods. Randy Rhoads quickly marvels alongside Ozzy's singing as his roaring guitar solos and lead licks illuminate parts of the songs over and over. They unpack that hard hitting start and delve into more musicality with many anthemic vibes fit for the big stage.

The duo are well suited but to be frank they compete with one another on a handful of songs, pulling with different intensities. As the album grows its songs wavier, the ballad Tonight sounding decent but so out of place. Ozzy has a remarkable charm that suits the song style but the change of pace from roaring guitars to emotive piano surges seems to stiffen the flow. The symphonic closer and title track is a great example of experimentation that comes together. Randy and Ozzy elevate the climatic journey with their contributions as the song blossoms with choral voices that turn to gripping chants. Its a powerful ending to a mixed record with many ideas circulating.

 

Rating: 7/10

Haunted Shores "Void" (2022)

 

Out of the dark, a welcome suprise! Misha Mansoor of Periphery and Mark Halcomb have returned, seven years on from their Viscera EP. Void is a technical feat, a high octane bombardment of tight, jolting music set to electrify. As an instrumental, Djent adjacent Progressive Metal project, its guitars and drums play in tandem, tightly woven with both being intensely involved in the musical direction. The pair chew through maddening chops of chugging brutality and feisty rhythmic abuse, only to erupt into emotive surges. The intensity subsides for enigmatic guitar leads to usher in hazy Post-Metal leads and expand the atmosphere from its heavy chains.

This relief aids the records successes, for otherwise it would be a masturbatory exercise in instrumental proficiency as much of the music gets lost in machinations of extreme dexterous performance. Laying out animated, finger bending riffs and inhuman drumming in many sections across the album, it can sound like a self indulged Technical Death Metal record. Fortunately some songs are also propped up by what I can only describe as VGM melody, something about its tunefulness feels distinctly fit for that world where a lead instrument talks with voice as its tune.

The chemistry is apt but balance skews into lonely into the extremity a little to often. Broken up with a couple of lofty atmospheric interludes it plays well into its conclusion Nocturnal Hours. Bringing in the dizzying saxophone playing of Jorgen Munkeby, it infuses a little jazzy madness, a blend of instruments that sounds exceeding good. It may have been nice to of heard more of this! The studio production and sharp aesthetic is pure class, bringing the percussion right to the focal point, Misha makes a feast of whats on offer. All in all Void is wondrous in scale and ambition but perhaps all too obvious in its path to the scenic riff oriented Metal the pair deliver together.

Rating: 7/10