Kyros "Celexa Dreams" (2020)

 

Kyros have delivered fresh magic, a new "song of obsession". The epic ResetRewind gave me pause to go deep with this band. Their bold, unabashed exterior and enthusiastic tone would of been easily glossed over. So with their third album effort, the spins of Celexa Dreams have been numerous. The result? A keen, warm sound carving space where I knew not it could go. With the explorative spirit of Progressive Rock, the punchy, hard hitting instrumentation inches into with metallic territory. The vibes arrive with unshakable echos of performative 80s Synthpop and a subtle sense of VGM influences, perhaps from the likes of a Nobuo Uematsu and his Black Mages.

Built with both lengthy ten minute plus epics and short songs too, the record oozes its instrumentation like a river gushing. As a constant flood of musicality throws big punches, dazzling melodies and harmony, we are never far from the fold. With slapping baselines and big gated reverb percussion every idea is rhythmically powered along by a theatrical momentum. The ever-present synths both sing melodies and gently chime into a glorious wall of sound. The treatment is bright, a constant punchlines permeating as its aesthetics sparkle with a powerful persuasion.

Its clear, crisp, precise and full of character. Unsurprisingly the song structures can reach far beyond convention and on that adventure many exciting arrangements and dynamics are summited. Best of all Shelby Warne frequents these peaks with fantastic vocals. Soaring high, some of the albums best leads are in tandem with dramatic surges of catchy human wordings. The whole affair is a delight, reaching beyond its own moods, Celexa Dreams often steers one into its realm. With every familiar listen I've been sucked in regardless of where I was at before!

Rating: 8/10

Malcolm Horne "Mending" (2022)

 

Shedding the antiquities of Jazz Hop's established union of styles, this third stroke rids itself of percussive burdens. No longer hinged on crunking snare kick grooves and subtle boom bap rhythms, Mending arrives at the source of inspiration. An orchestra of instruments croon. Luscious, resonate and gently woven they harmonize at a place of healing. Soft airy reverbs and atmosphere indulge as soothing calm sweeps over every track. Minimal, spacious percussive lines subtly hold tempo, an evolution felt between Infinity & Volume II. With Mending, a conclusion of that trajectory is met. Malcolm accomplishes inspired moods free from shackles of the genres tropes.

The delicacy of performance is a delight. We are spoiled to baselines hinged on texture and feel, over power and force. Many instruments follow suit, perusing, swaying with persuasion. Capturing the essence, a symphony of minimalist parts amassing a serine outcome. Mending's warm calm is evening sunlight, the yawning death of a beautiful day. Cool airs breeze by, so welcoming in its gentle demeanor. This outing is an inspired refinement on the instrumental magic heard twice before.

Nothing is perfect and for all the praises, Mending does serve its conventions to sooth and relax with formulas. On inspection, the looped nature of compositions emerged, highlighted by instrumental drop ins and outs, a key song structure utilized. Lead instruments are often absent, leaving space in the music for a voice to shine through.

The moments where a guitar solo steps up are grooving, variation aids its purpose. Like before though, they cropped up before fade outs. Grander directions would be very welcome but perhaps not as suited as one might imagine. Lastly, the Synthwave and 80s Synthpop influences are amiss. Constellations treats us to this charm again but its brief stay perhaps signals the style no longer has a place. Quite a shame as I enjoyed this take greatly yet its absence makes sense given what Mending is, a cohesive record of introspective healing. This is definitely my favorite of the three.

Rating: 8/10

Tamaryn "Cranekiss" (2015)

 

It took but one listen of Cranekiss's euphoric Shoegazing title track to win me over. Spotify's algorithm has figured me out! Serving up a slice of the finest Dream Pop, I felt the warm fuzzy charms of Cocteau Twins alongside an effeminate apparition resonating an eerie similarity to Erin of Autumn's Grey Solace. Those heavenly fragile breathy voicings, ascending over top the bustling baselines and stiff drum machine grooves gave me chills. The song is awash with shimmering reverbs its melodies get lost in. Best of all, the song comes in hard with dense bendy effect drenched guitars, a fond reminder of ideas introduced with My Bloody Valentine's influential Loveless.

Cranekiss is an 80s love letter. Its aesthetics rears the nostalgia with a lean grip. The brilliant song writing captures all the charms of Art Pop and modern conventions. On its venture, the crevasses of influences part. Post-Punk, Ethereal, Synth Pop and all others mentioned so far unravel on catchy songs ripe with stark punchy melodies woven through a dreamy web of ever shifting reverberated sounds. The wonderfully indulged singing makes for many a memorable chorus on the Cranekiss journey.

 With a strong Electronic maturity in composition and execution, Tamaryn reaches into the past for inspirations, shedding her music of any cheese and dates ideas. Although it lacks originality at every turn, the nostalgia dance is a beautiful one. Its vague and shapeless rumblings create a mask for potent percussive grooves and dazzling instruments to punch through, best of all her voice sits central to all the wonder.

Its emotions are powerful, a curious love, often emanating a contagious warmth yet peering off into ambiguous moods of unsettled footing. As the album plays its deviations and themes keep the tone flowing with fantastic cuts Softcore and Sugarfix to be found towards its conclusion. The last of which has an uncanny resemblance to Elizabeth Fraser's wordless musings, followed by a lush, smothering choral hook.

I've sung Cranekiss's praises. That's because all its avenues of sound touch on my favorite ideas within these overlapping genres. It has a handful of songs a grade above the rest but not every track needs to be a hit when the mood flows so slick. It may lack surprises but the main show is the excellence in which ideas from a few decades back are executed. For me, this will be a great record to return too.

Rating: 8/10

Kalandra "The Line" (2020)

 

This gem almost went amiss. Its subtleties slithered to a silence, a withdrawn instrumental softness letting this listener go by. Lacking gusto, bite or immediacy, only the striking resemblance to fellow Nordic queen Aurora held me in. If not another charmed, utterly gorgeous voice, the likeness would border plagiarism. Timbre, temperament, flow and inflections all swoon like a deja-vu. Its why I stuck around. With each listen I felt further from the words I initially wanted to share in this space.

The Line is a record of awe inducing landscapes, the resonance of which expressed aptly through its album art. Crimson skies lurch, whispering clouds part, the sunlight aches in to bless the primal earth beneath. We experience tits wonders as heathen inhabitants, devoid of technology and gods alike. Clearly a part of the growing Nordic Folk movement, Kalandra's strings pull on an endearing warmness. Unlike fellow contemporaries Wardruna and Heilung, they peer not into the northern darkness.

One could pen them as Soft Prog, gentle foragers of atmospheres with felicitous moments of Post Rock swelling and Etheral dreaminess. Tranquil, soothing and calm in nature, its rare flashes of hurried pacing, harmless brooding and climactic roars seem perfectly architectured, as if a force of nature. On its weathered journey outpacing the storm, occasions of rest incur with folkish tunes and tales. It all speaks to the ancestral human, married to mother earth, one that rumbles deep within us all.

And so with every passing listen, my initial foolishness, a deluded disappointment, fortunately grew distant. Somehow I was rustled by these "over indulged" instruments. Keen for vibrant melodies, a punchy baseline or tribal percussive groove, I was aloof to the atmospheric magic unfolding. Quiet is a strength, one that passed me by. The instrumental craft, a careful curation. Licks, grooves, riffs are subtly snug, every inch of aesthetic measured, fit together under a masterplan where nothing overpowers.

There are no particulars that leap of the page. Every song is a journey blossoming from a perpetual mellow flow. The record thus becomes river. Drop in, let its coolness wash over you and chill out. With at least a bakers dozen of spins under the belt now, it still grows on me. No doubts here, this could be honey that sticks for time to come.

Rating: 8/10

Suspended Memories "Forgotten Gods" (1993)

Fancying another foray into the works of Steve Roach, a musician with too many records to count, I couldn't help but notice its popularity on Spotify alongside the pivotal works of Structures From Silence and Dreamtime Return. The latter leaves its legacy on Forgotten Gods with the consistent jabber of worldly, cultural and ancient percussive sounds. The construct, like before, is beautifully disjointed, deconstructed and abstract from the norms of groove and rhythm found in western music. Although in any moment its strikes and hits seem free and sporadic, its arch find a meditative pace, holding the atmosphere together with a steady, easy temperament.

Suspended Memories is the name for Roach's collaboration with fellow ambient artists Jorge Reyes of Mexico and Suso Saiz of Spain. A cultural tie to the Aztecs feels beyond relevant. With distant native chants and baking dusty echos, the musical pieces delve into the shamanic mystique the mysteries of lost civilizations can conjure. Both warm yet nightly, one can envision the blistering heat of desert sands, secrets laying in wait under weathered tombs. Equally, its drafty tone and dreamy presence has the cautious calm of night. Dangers lurk in the shadows yet the listener is always safe within the ambience. These contrasts co-exist, allowing one to hear their own adventure within the music. It may not be intentional but has been remarkable.

As the title Forgotten Gods hints, its theme evoke celestial wonders lost to the decay of time. As expected the record explores a variety of temperaments. Snake Song and Mutual Tribes appealed strongly to desert vibes I initially thought of as Egyptian but on further study, the inspiration was likely a historical middle American. Ritual Noise was the darkest track on offer, a lone song where a nefarious presence gets a little to close for comfort. Despite its devilishness, all the music is beautifully soothing and meditative. I've heard these sounds encroached on prior, yet the trio handle it so masterfully. This is absolutely another favorite for the ambient collection.

Rating: 8/10

Warpaint "Radiate Like This" (2022)

 If this title were literal, then one would glow. With radiance in abundance, a deep warmth, a crooning sway, Warpaint resonate sensuality with this casually persuading swoon of blissful songs. Its ten cuts ooze with luscious ease as dreamy aesthetics drift by. Captive to Emily Kokal's gentle endearing voice, she rides the soulful breeze her compassionate presence creates. This performance makes the record whole. For all the gorgeous instrumentation, vibeing in the lofty heat of an easy chemistry. She steps boldly into each song with a tender soul, soft in tone yet powerfully charming.

Once labeled as a Post-Punk band, its only the forward baselines, punching high notes on the fretboard that resemble the umbrella sound. With calming beats, loose grooves and shuffling hi-hat rattles, a subtle percussive performance houses all other instruments from a quiet yet foundational roll. The acoustic guitars, in dense washes of reverberation, gel with keys and electronics. Swept up in a swelling production, the atmosphere of each song punctuates a soulful, dreamy mood with stunning ease. Its tone is part Ethereal, part Dream Pop with a light touch of Shoegaze indulgence.

Radiate Like This is far from perfect however. Navigating all ebbs and flows, frequent detours into halve measures of the magic occur. Often when Kokal is withdrawn the spark is dulled. Despite this, the allure is ever present. A soothing persuasion pulls one in as simple melodic loops revel in the dense ambience they sink through with echos and reverb effects dialed to perfection. The aesthetics and textures are stunningly captured by the group who self produced the record. Its a triumph, as the best cuts, again championed by Kokal, hit the sweetest groove after every repetition.

Rating: 8/10

Tiamat "Wildhoney" (1994)

 

Upon reading comments and critiques on Almost A Dance lay proclamations of a broader movement in Metal at the time, one that promised more of that niche, early The Gathering sound. If Wildhoney is anything to go on, it seems these musicians were expanding on the slow brooding gloom of Doom Metal with a contrasting lushness through symphonic melancholy. With a tinge of Gothic mystique, it seems between the crevasse of Metal's many sub genres, lies another calling my name. Hailing from Sweden at a time when the Melodic Death Metal scene was blossoming, Tiamat developed their initially Doom and Death Metal sound in this renewed Gothic, Symphonic direction. Wildhoney being their commercial peak and my entry point.

Delivering on exactly what I was looking for, the opening tracks lunge forth with broody grooves in slow tempos haunted by darkly effeminate vocals. Drawn out power chords lay foundations for the keys to chime and adorn the mysterious chemistry that once spellbound me on Always... . Soundscape alike tangents gets the imagination turning with shadowy horrors early on. A curiosity in Johan Edlund's challenging vocals hint at something more. His sway between wretched doom gutturals and earthly heathen "cleans" show an artsy side to the music. It gets its moment later on after a string of big atmospheric songs, sailing deep emotions, a swelling mix of loss and beauty.

After the rocking sway and colorful gleam of Visionaire, the music descends from peak to valley as interlude Kaleidoscope puts the break on all momentum and sets a new tone for its final songs. What wordings come by feel more poetic, performative, so to say. Do You Dream Of Me? leans into European cultural sounds. Planets dwells on mystery, pivoting from loneliness to wonder in its progression. Then we have A Pocket Size Sun. Performed as a tender poem on the loss of innocence, its whole framing feels so profoundly different from all that came before. The exchanges with an effeminate being highlights charm well but again, feels like a complete departure.

With every spin this record has always felt like it had more to offer. A third of the record is its final four songs and although they are instrumentally wondrous, the obvious shift leaves one feeling like not enough was explored early on. Perhaps that is just a burden of slow, doomy music. Tiamat navigate something beautiful here, finding the sweet spot between its dark gloomy distortion guitars and all the lush keys gathering around. On the journey, there is much to marvel at. Its ending though, somewhat derailed. If this style of Metal is your cup of tea, as I have discovered its mine, then Wildhoney is a gem to be adored! This one can only grow on me, I'm sure!

Rating: 8/10

Kendrick Lamar "Mr.Morale & The Big Steppers" (2022)

 

 Spoiled by the swift succession of Damn from To Pimp a Butterfly, A patient five year wait returns this generations goat on yet another artistic stride, an expressive streak manifesting into a lengthy double LP. With no doubts to his genius, Kendrick navigates his life through introspective expression whilst drawing a broader through-line with societal issues. That seems to be the key structure with Mr.Morale, many difficult issues are tackled. From racism to transphobia, child abuse and molestation, Kendrick takes on hard topics, often putting himself front and center. Relating from his own life experiences to society at large, he candidly displays both the good and bad of himself in a morale challenging framework. Hence the name, Mr.Morale, examines it all.

With a meaty seventy five minute sequence through eighteen tracks, reoccurring themes and melodic jingles tie together a broad depth of topics. As described, they seem to resurface flipping between the two perspectives, personal and external. With his lyricism refined for substance, it rarely passes by without food for thought. Each listener will find their own moments of both tension and insight across its spectrum.

Production wise, this is a tight craft of snappy beats that lean on a talented array of musicians. It keeps the music organic and expressive while still retaining a percussive Rap energy for Kendrick and his guests to lay down fiery verses where apt. Woven between, the music ebbs and flows into cinematic calms and dramatic tensions ushered in by classic instrumentation. Scenic emotive strings and pianos brake out with their own voice. It sways from the repetition of beats with expansive interludes.

Some personal highlights include the excessive cursing of We Cry Together. A blunt exploration of relationship and communication skills that life's struggles wear thin between couples. The piano loop brilliantly expounds its brittle, hostile energy as it releases tension in the songs pivoting conclusion. Auntie Diaries is an honest exploration of gender identity within his own family. The warmth Kendrick emanates is endearing, getting across his simple, compassionate acceptance for others.

On the flip side, the "reverse racism" of Worldwide Steppers is a contentious eyebrow raiser deserving of deeper examination. That alongside his addressing of an incident shared with a white female fan on stage seem less clear and vague. I haven't studied the lyrics but they are certainly packaged for shock value in their striking delivery. Again he grapples with his actions and the backlash from media and fans alike.

In comparison to his previous albums, the length of Mr.Morale does feed into a broad range of experiences that become a little less distinct, more like a lengthy mood. Each listen has been enjoyable but with that less punchy, pointed tracks you can point to as the peaks. My ultimate takeaway? Kendrick is still sharp and keen, reveling in his expressive capability. We should be ready for more as his talent seems in-exhausted in this, his fifth full length. Not quite as high as he sailed before but certainly class.

Rating: 8/10

Carpenter Brut "Trilogy" (2015)

 

Stead and with patience, Ive been enjoying this lengthy eight minute juggernaut known as Trilogy for some months now. When first recommended the debut album by Carpenter Brut, surely a nod to John Carpenter? I was taken aback by the sheer volume of listeners visible on Spotify. To my limited knowledge, this might just be the biggest artist in the retroactive world of Synthwave? That was excuse alone to invite me in. My caution however, came as a result of fatigue. The genre had established its identity swiftly and now an army of adoring clones has been ushered in, emulating the sound and its tropes to a point where the music can feel stale. At least to this listener.

It took time, but with repetition, then familiarity, the class of these compositions emerged with gleam. Frankly, there is a thematic horror on offer that goes beyond the typical synth tones and nostalgic electricity of Synthwave. Energized baselines prop up steady dance floor grooves for a body moveable warmth to be found in every track, as excursions into the nightly mystique unravel. Often spearheaded by its more extravagant and experiment worbling synths, Brut cracks open whats possible with these dense oscillations on more than one occasion. These moments expand on the mood, with theatrics and noise manipulation turning tunes with twisted expressions.

After a handful of tracks, starting specifically with Roller Mobster, intensity amplifies and the execution tightens up. Although the following music explores temperaments and scenic passages more chilled and cautious, its synthetic instruments arrive with gloss and glaze, a slick polish for its liveliness. The density and weight is stunning as rapid pulses of jittering melodies dance macabre atop its dark thumping percussion. Many instruments interchange, taking center stage , giving voice to the cyber dystopian atmospheres conjured. Trilogy is truly is a wild ride through the neon lit night life of cities but Brut's music takes us much further than the established tropes.

A sense of horror and spectacle permeates as each song finds its avenue. To be fair, they are not to distant from one another but they find a character. At its end, Anarchy Road introduces a one of vocal performance to lukewarm reception. I'm uncertain of Brut's singing. Neither good or bad, the voice is simply present with little in the way of power or persuasion. He sounds like a softer Ulver, waging in meekly. The music so works so well its hard to imagine a voice bringing much more to the table but that wasn't it. Anyways, my conclusion? One of the classiest Synthwave records I've heard. Trilogy is solid front to back and surpasses any tiring that clones brought along.

Rating: 8/10

Marvin Gaye "What's Going On - The Deroit Mix" (1971)

 

Stepping outside the Motown framework and operating as an individual artist, Marvin's personal expression reflecting the struggles of African-American life during the Vietnam War birthed a beautiful moment in musical history. Often considered one of the greatest records of all time by critics, What's Going On left me enamored by its grace, humanity and sorrows. Since then, its always been an enduring warmth to return too. Marvin's timeless voice a charm tragically lost from this world all too soon.

Hearing of an alternative mix to the record intrigued me greatly. Turns out this "Detroit Mix" is the original mixing before his associate Barry Gordy stepped in, who was against the album's theme long before it materialized. The subsequent changes elevated the symphony elements, the first change I noticed upon listening. It will be forever impossible to truly assess which mix better suits the music. On paper this more roomy, closer mix has an intimate quality, further authenticating Marvin's views.

Its string components are pushed back, the baseline feels neighborly, the saxophone more prominent, pushing forth the Jazz component. With a rawer voice, not overstated by layering and reverbs, this mix is admittedly less grabbing in tone. All nine songs are still beautiful and moving, reaching still through its intimate aesthetic.

With a deeply ingrained memory of the original as I knew it, this mix will always feel inferior despite offering up a cleaner take on the music. The spaciousness unlocked by its later design gives a crooning energy to the string sections. Marvin's overlapping vocal lines are magical, softer and soothing in presence. Although accompanying singers feel distant and a little less personal, pretty much all of the changes were for the best to my ears. Rawness and authenticity are not always the key principle in production. Embellishment and studio magic can bring so much if done right. For me, the original record is still the way to hear it.

Rating: 8/10

Old Man's Child "Revelation 666 - The Curse Of Damnation" (2000)

 

If Galder's previous effort Ill-Natured Spiritual Invasion in anyway informed the direction of Spiritual Black Dimensions, the inverse in beyond obvious with this next installment Revelation 666. Now working alongside Peter Tägtgren of Hypocrisy, who produced SBD, the albums aesthetic blueprint is practically a mirror image of Dimmu's lavish symphonic wonder released the year prior. In my youth I absolutely adored this one without considering its construct under any scrutiny. After all, the record is full of over-the-top extreme metal embellished by walls of glossy synths in pursuit of evil.

It is a massive step up from his previous records, which seem all a touch bare in the wake of this wall of sound. Galder's melodies and knack for groovy riffs gets wrapped up in the moment. Barely taking foot of the gas, its a sonic assault from start to end. With frequent plunges into manic blast beats, everything is amped up on their momentum. Its twists and turns onto synth leads and dazzling piano licks is a riot. Most notable are how much more animated the percussion is. If everything has been amplified, the biggest advance lies in the drums which deliver the blasts unlike before.

Overall, the album toys with vivid darkness, a cheesy sense of evil as instrumental arrangement push big and bold melodies off the back of pacey power chord shredding and chugging palm mute grooves. The melodies often interchange between lead guitar and keys with big stabbing synth punctuating with potent emphasis. Early on, some chord progressions and synth tones emulate SBD quite closely, however as the album grows Galder's identity dominates the direction over its appeasing aesthetic.

With that said, his constant barrages of melody, pivots into big riffs and general song writing approach has its formula, one which I enjoy. Lending a critical ear it could be said these ideas do manifest within a narrow scope. In comparison to Dimmu's SBD, there is a notable lack of variety and progression present. These songs churn through the riffs with little in the way of a bigger picture or sense of direction. The opening Phantoms Of Mortem Tales experiences a little of this with its big opening sequence and guitar solos either side of a tense interlude. More creativity could of served it well.

I must conclude that Revelation 666 is more of a personal pleasure than an objective recommendation. In my youth it was exactly what I was looking for. Me and my friends would binge it endlessly. Looking back now that magic is still there however its flaws are more obvious too. The best is yet to come but for me, this Old Man's Child album is a treasure, a part of that Symphonic Black Metal niche I just simply adore.

Rating: 8/10

Judas Priest "Defenders Of The Faith" (1984)

 

Understanding Judas Priest's legacy through the impact of their extensive discography can be a tricky one. Expressed through classics like Breaking The Law, Painkiller, Turbo Lover & You've Got Another Thing Coming, their brilliance is all to evident. As a point of entry, excuse the pun, British Steel may be a Magnus Opus that says it all but much is to be left unearthed in their now eighteen records. For all my youthful adoration I barely scratched the surface of what Priest had to offer. With Defenders Of The Faith I find Priest in their prime, with an unassuming stance.

Just about every song creeps up on you. The flash and flair of Tiptop & Downing waits in lurking. The edge and thrill of their sharp, metallic Hard Rock riffs and razor blade guitar solos is a treasure rewarded after the steady build of well paced song writing. Such does Halford follow suit, baking in fantastic chorus and hooks fit for a Heavy Metal fans identity deeper into the track. No song bursts out the gate with the bluster of rock and roar. Most sound subdued as they get going, yet all find their stride.

This is Defenders Of The Faith's charm. Its rampant cries of "Rock Hard, Rock Free", "All Fear The Sentinel" and "Some Heads Are Gonna Roll" are Metal anthems without seeming directly intended to be so. They bloom from stable foundations, giving the band an undeniable stature as they chew through sturdy riffs, tuneful licks, piercing falsettos and electrified lead guitars. As Turbo would pivot into the cheese of these tropes, Priest command them with an integrity and intent to endure on this one.

 Its eleven songs march at their own pace. Variety offers up shifts in tempo and tone with Love Bites and Heavy Duty offering up these burly dense guitars alongside the slow crash of reverb soaked snares. Priest have so much swagger and braggadocio in these moments. Their metallic musical beast lurches on with a grin. The latter pivots into the title track, carrying on the slow bass snare groove as Halford is accompanied by a choir of voices gleaming as together they cry the albums name in utter glory.

It honestly feels like a missed moment to build into an unfathomable rock out of epic proportions but alas the ninety seconds of wonder gives way to a harmonious outro. Foiling us with gentle harmonics and lush dreamy leads before shifting into one last blaze of Hard Rock Heavy Metal glory. For all the subtly remarked on, it has to be said Freewheel Burning kicks off with a real blaze of attitude. The opening riff very reminiscent of British Steel however quickly does the record move into a matured and progressed priest, one I never enjoyed in my youth. With two records wedged between this and that, I know exactly where to head next!

Rating: 8/10

Ghost "Impera" (2022)

 

 

Ghost's evolution through the shades of nostalgic Metal has been remarkable to say the least. With humble beginnings emerging from the lurching fog of old-school Doom Metal, the band have navigated a musical history pinching inspirations from Heavy Metal, Scandinavian Pop and Psychedelic Rock. Led by the outfits brainchild Tobias Forge, this fifth full length Impera strides forth boldly off the back of Prequelle's Arena Rock encroachment. Fully embracing American Rock vibes of the 70s, they dazzle once again with a little touch of Glam Rock echoing in the passing winds.

On the first few spins it all felt so obvious. Kaisarion's intro baked by sun soaked guitar leads, an ascending falsetto yell and the epic build to crunching Hard Rock riffs felt like a page out of someone else's book. But who? Spillways's piercing piano chops and Tobias's vocal line again echo's some creative genius of the past. It goes on throughout the album. Queen, Led Zeppelin, Boston, Dio? These songs continuously evoke the emotive rumble of classic Rock anthems. Yet not once do Ghost plagiarize.

As more repetitions sunk in, I couldn't deny how fantastically written these songs are. Even the initially disappointing Hunter's Moon finds its place in the track listing. The album swoons through one vibe another another. Tobias's impeccable singing, both in pitch and persuasion is accompanied by a fine and expansive instruments. These arrangements have their key distinctions glistening in the forefront with a lush backdrop of soft synths, organs and glittering acoustic guitars. The whole affair is a slick and dynamic groove, adapting to a songs purpose. Instruments drop in and out to perfectly compliment one another when it is apt to do so.

The variety is stunning. Most song pivot of the Arena Rock vibe with detours into Power Ballads and the like. The one true Metal song that hails back to Opus Eponymous, Twenties, suffers its own stiffness. Led in by a dramatic break in tone, Dominion's grueling trumpet orchestration bluntly pivots out of the utterly anthemic Watcher In The Sky. The metallic lurching riff and ghoulish key tones set a stage for Tobais's creepy groans but the chorus is woeful and garish. All to kitsch for my taste.

Other than that blemish Impera is a mostly flawless embark further into the depths of musical history. Knowing this is their angle made me initially skeptical but pure class of songwriting is undeniable. Every song is flush with sing along hooks, stunning melodies and memorable lead guitars lines. Its got me excited for where they might venture next but as for now its another quality collection of song to enjoy for the coming months and years. Ghost have more than proven themselves as legends!

Rating: 8/10

Old Man's Child "Born Of The Flickering" (1996)

 

Embarking on what will be an emotionally nostalgic musical journey, this first full length record from Old Man's Child is a rather fractured memory. Over the years I seemed to have formed the impression that Born Of The Flickering was a failed debut running counter to the magic of the In The Shades Of Life demo EP before it. Half of this record I remember fond and vividly. The other half brings a rush of excitement as new songs from a classic era enter the consciousness. My suspicion is I heard some of these songs in the piracy days of Napster and individual song sharing.

Born Of The Flickering is charming in its rawness and appetite. The production is rough around the edges with the vision emanating from within. Being mostly guitar led, the album kicks off with old earth castly songs of medieval kings, crusades and combat. Ancient magics are suggested by its garish purple record cover surrounding a vampiric bat and song themes fit for a nostalgic tone not far from Dungeon Synth.

The guitar dominance is bold early on, its mostly power chord slaying riffs not consistently accompanied by symphonic keys and heathen choral vocal chants, however their arrival is always timely. Along the way Galder picks up a knack for groove and bounce, subtly working in moving riffs between the drone of shadowy candle lit menace. Its abrasive for the time but doesn't lean to heavily on blast beats.

Along the way, Galder experiments with deep pitch shifted guttural groans in a beastly fashion with choral uplifts alongside his throaty howls. Its a welcome variety embellishing his vision. The productions rawness bolsters punctuating bass lines that sound amateurish and overpowering in their loose rumble yet seem only to aid the experience. Again, his Spanish acoustic guitar licks cropping up periodically are smooth and slick. The music outshines its mishmash of tones so often, leaving one to ask is fidelity really an issue? Although its obvious low budget, it seems nothing is lost!

Christian Death sticks out a thorn with its rehashing of Burzum's classic Stemmen Fra Tårnet riff, something a lot of early Black Metal bands rehash with their own inspiration. The following songs converge on some of the albums best moments, the ones I remember vividly. Old Man's Child stand impressively on its own at this point in time. Released the same year as Enthrone Darkness Triumphant, its the following releases that start to walk in the Dimmu Borgir vein. In this moment however, Galder forged a mood of his own.

Rating: 8/10

Ozzy Osbourne "Bark At The Moon" (1983)

A stark realization has dawned upon me, I've completely neglected thee Metal legend's solo career. My youthful exuberance for extremity had me turn a nose up at many of the older acts. Despite loving his timeless voice, I'd only fumbled my way into The Ultimate Sin. Now dawns an opportunity! Bark At The Moon has lured me in and blown me away! I've got Heavy Metal fever and the Ozzy journey shall now begin.

Working with the same lineup as The Ultimate Sin, the blemishes of its older recording swiftly diminish as that same fantastic song writing emerges. Don Airey's keys have a stronger relevance, rising up to give each song a couple moments of glossy sparkle as they resonate alongside power chords. Ozzy's voice is timely and mighty, right in the prime. He has a knack of flowing with the music, the two bouncing of one another.

One track sticks out like a thorn. With golden strings and gentle pianos, So Tired embarks on a ballad of sorts. It has a strong sixties soul accent. Ozzy just doesn't seem a fit for the instrumental that embarks on a warm emotive stride. It would of been more fitting for Dusty Springfield than Ozzy, who's voice suits something more loose, less classic. The guitar solo too feels at odds with the songs soft temperament.

The other nine songs are all cut of the Heavy Metal cloth with blazing guitar solos and all. Mostly fun, upbeat tracks with pace, good vibes and a little groove. It never runs short on energy and gusto, up to the end do they bang out hits, each song hinging on a memorable chorus that Ozzy nails every time. I particularly like how Spiders lets the bass guitar lead the song to embellish its creepy mood with its brooding prowl.

Giving an analytical ear to the record there is a sense of trying to embellish the music with a somewhat, horror, Halloween or cheesy evil tone. It comes from its retro synths which jive in quite often for a few bars. They just sound dated and "of the time" to me now but perhaps were heard differently then. Either way it just works, the great songwriting beats out any dated tropes which it has a few of in its composition.

 

Rating: 8/10

Dimmu Borgir "Godless Savage Garden" (1998)

In the imaginative realms of "what could of been", Godless Savage Garden always haunts me with its utterly majestic, fantastical offerings. One can only dream of what a full length may have sounded like. Wedged between Enthrone Darkness Triumphant and Spiritual Black Dimensions, the two original songs of this mini-album are remarkable. Both in tone and composure, its slower pacing, drenched in esoteric symphony, the dynamic and spiritually memorizing guitar solos of Astennu. It all marks a band advancing boldly into new territory. Although recorded in the ETD sessions, to my ear they lean towards my all time favorite record, SBD.

Chaos Without Prophecy is an utter delight, its slow beefy power chords and altering drum intensities let the synths set a darkly atmosphere. Shagrath storms in with phenomenal screams on the back of bouncy guitar riffs, resonating with a glorious bell chime. In its lengthy seven minute duration, the back end of the track embarks into a slow brooding drudgery of mysterious intent. Its haunting, creepy and rife with witchery. Moonchild Domain has a comparatively upbeat tone, more of a colorful voyage through dark arts and cryptic magics as the ride is punctuated by glorious pianos and bursts of lead guitar. The drums its housed in batter hard at times with big pedal grooves and lots of complimenting intensities. This all leads to a gratifying guitar solo, blazed by Astennu and his ponderous nightly character.

The other tracks consist of two fine re-recordings from For All Tid. They do an inspired repurposing of the bands once glum and odd atmosphere to this mighty powerhouse sound of rocking Metal and satanic darkness. A cover of Metal Heart by Accept plays a fantastic tribute to their influences. Although the song is not their own, parts of it feel very fitting for Dimmu. Beyond lies live recordings. Not in the greatest fidelity, they are a fun insight to the live experience but sadly feel like filler. Perhaps plundered around obligations to release a record.

As described, Godless Savage Garden brings two of Dimmu's finest songs at the crossroads between records. The particular spirit they share is defined enough to create a glimpse of something special that could of taken place. Maybe in another universe. Who knows. Anyways, I think that about raps up my tangent back into the origins of the band for now. Someday I will get around to the other three or so records I'm yet to cover on this blog. I look forward to it!

Rating: 8/10

Stormtroopers Of Death "Speak English Or Die" (1985)

 

This classic record has been on my radar for years. Having finally plunged in and gotten to know its flavor of chaos, the year of release endows a context of immense appreciation. Before Slayer unleashed the unbridled fury of Reign In Blood, here stands one of the first Crossover Thrash projects encroaching on that timeless intensity. Stormtroopers Of Death is somewhat of a "supergroup" uniting musician from either side. With an intentionally unsavory and controversial, politically incorrect theme, they converge at a furious intersection of Thrash Metal and Hardcore Punk. The result is a wild, uncompromising assault on extreme music of the time. Perhaps Metallica's Kill Em All was the cutting edge before this? Although it may seem tame today, I find myself stilled stunned this was released in 1985!

Boasting big gritty distortion guitars, the fast and choppy slaps of power chord shuffling gets amplified by a fantastic percussive performance. Charlie Benante is a powerhouse of Hardcore groove and Grindcore blasts as his drumming often derails from mosh stomps into loose thumping rattles of chaos. Its an old-school flavor of blast beats so uncommon now yet it sounds utterly fantastic when unleashed. Its the duality with Scott Ian of Anthrax who, for a Thrash guitarist, gets the Hardcore energy just right. The constant shuffling between moshing grooves and unrestrained extremity is fun and fast. The songs blitz through an arsenal of riffs and ideas that simply excels.

The majority of songs clock in around two minutes. A helping of very short stunts chime in too. The six second Anti Procrastination Song a particularly fun one, an idea preceding Napalm Death's Guinness world record holding "You Suffer". All ideas are explored swiftly, rarely lingered on for more than a grasp of whats going on. They tend to roll into one big wash of frenetic aggression as its pummeling charges roll out the punches over and over again across its twenty one tracks. It does end on a bit of a whimper, limping out on a string of jokey seconds long songs that don't land well.

Often abbreviated to S.O.D, I realized the song Pussywhipped was mistaken for System Of A Down back in the file sharing days of Napster, a common issue with the service. It brought quite the smile to hear an oldie from my school days. I always thought it was an early band demo or something along those lines. Its also one of the albums best songs with razor fast riffs switching into big bouncing grooves as the drums batter down hard with snare rolls. I'm left with no illusions about how significant this record is in the landscape of extreme music. I reckon it will only ever grow on me with time. If id discovered this in my youth, I'd probably be worshiping it till this day!

Rating: 8/10

Dimmu Borgir "For All Tid" (1995)

Released ten months on from Inn I Evighetens Morke, my Norwegian darlings Dimmu Borgir debut with a peculiar mix of ideas on their full length album. tIn my youth For All Tid charmed me with all its dingy oddities. Many years later, that magic is still present but more so does the amateurish performances and dire production fidelity. It once seemed less like an intentional mystique but now, more like a band with growing pains who managed to land a record deal as Symphonic Black Metal emerges alongside the explosion of attention the scene received over its controversies of the time.

That's not to dismiss the music, Its littered with symphonic magic between some glaring flaws. In my youth I never dissected its offering, just enjoying the odd glum atmosphere and flushes of esoteric melody loosely held together with spurts of aggression. Now I hear a more mixed bag of ideas. Less of a cohesive vision as Dimmu would execute masterfully with every following album from Stormblast and on.

Perhaps it is the opening Det Nye Riket that emphasizes some disparity. Its Korg keyboard driven intro akin to the now established Dungeon Synth. Mostly comprising of power chord and tremelo riffing with varying degrees of symphonic involvement, a couple songs stand apart for feeling off pace with the more common mood. Over Bleknede Blaaner Til Dommedag deploys awful clean vocals. Out of tune, stretched and folkish, me and my friends would always chuckle whenever it burst out. A minute or so later Silenoz howls a ghastly scream out of nowhere. Its loud presence in the mix makes it all seem so haphazard. Even at its worst the songs still have charm.

The two minute Stein is an oddity of snarling darkness countermanded by a fantasy flute melody. Its a glaring reminder that much of the extremity of the band seems more quirky than dark and evil. The following and exceptional Glittertind instrumental, housed by another garish scream erupting loudly out of nowhere, is an upbeat thrust of melody. Its warm mood and fond guitar melodies so opposing to the blast beats that drive it along. Again the band have such a peculiar vision of darkness. Perhaps all that has developed over the years in extreme music since has softened its edges.

The final four songs are class. Homing in on a gloomy chills and a rain drenched atmosphere, the composure of power chord riffs, acoustic strummed chords and eerie synths meet on the back of great songwriting as its structures feel directional and gratifying. I can't help but feel some Doom Metal vibes along the way, perhaps its synth tones reminiscent of The Gathering's classic Always...

This revisiting was heard through its original recording. In my youth I had the Nuclear Blast remaster, a service performed just two years later. Oh boy does that make a huge difference! Everything has more punch and grit, the volume disparities less prominent the harsh vocals have their energy inline with the renewed intensity of the guitars. Had I not thought to listen to the very original No Colors release, these thoughts may have been very different. These songs are invigorated by its remastering and it really serves as the better way to experience the songs. Low fidelity doesn't always work in your favor! For anyone else curious, listening to both is an adventure but I'll leave my heavily bias praise based on the legs the remaster gives it to go. Without it, I'd of knocked this "rating" down a peg or two.

Rating: 8/10

Zeal And Ardor "Zeal And Ardor" (2022)

 

If Metal has stagnated in recent years, then Zeal & Ardor would be at the forefront of bands exploring new avenues for the genre. This self titled sophomore effort rides the wave of their profound chemistry, an unlikely marriage of anti-christian Black Metal theatrics and the historical struggles of an African American experience housed within its dark relationship with slavery. Clearly mastering both the inspirations and aesthetics Manuel Gagneux has carved for his band, this latest forty four minute effort feels strongly leveraged on a new idea. Frequenting the record are sharp, hard hitting, precise breakdown riffs that levy its personality with thrusts of mean anger as angular guitars jolt fast and choppy riffs, executed with a cold mechanical precision.

The gamble pays off wonderfully as a rather atypical metallic approach exchanges with bluesy Blackgaze and folksy Gospel music with a grim grounding. Its brutal rhythmic force and precision timings play up the fun of obnoxious Metal yet never truly escape the weighty emotions of the burdensome soulful experiences that precede them. If anything they seem to give them a sense of conclusion as a lot of slower paced and gloomy atmospheres are given a fist of fury to punch the listener with.

Its what initially grabbed my attention and with subsequent listens the music between began to open up. A lot of similar ideas and compositions are heard again as on Stranger Fruit and Devil Is Fine. Usually the most interesting chemistries emerge when the light straddles the heavy and the two exchange. Early on in the record I also felt as if I were hearing far more electronic vst experiments. Springy unsettled sounds chiming in on breakdowns and big riffs. Götterdämmerung strikes me as the albums best track, a brilliant exchange of devilish melody, chuggy guitars and chain gang blues. This self titled record is a fine execution of their now established sound but its left me with one of those "time will tell" feelings as to the impression it may leave.

Rating: 8/10

Judas Priest "Ram It Down" (1988)

To compliment yesterdays The Ultimate Sin, a dive into classic Heavy Metal, I thought I'd pick out another personal favorite. Again it comes with a streak of irony. After receiving backlash from fans with the experimental Turbo, Judas Priest decided to give them exactly what they wanted, a run of the mill metallic showdown. Ram It Down is a bastion of fist pumping, head banging Metal anthems navigating a lack of depth as its peaks and valleys do come with some contrast when the album wains in its mid section. When throttling forth with vitality and enthusiasm, it rocks with an infectious spirit. When tempos slow and atmosphere leads, the grooves get somewhat stiff.

Ram It Down's aesthetic rides its rigid and hard hitting backbone as the group chose to deploy an aged drum machine to handle percussion on this outing. The drum sequencing has both charm and limitations as a lot of arrangements are limited to big bass snare groves, which pound away wonderfully. The finesse of drum fills and more intense beats are drastically limited and it shows as any organic dexterity is a rarity. Massive tom drums chime in with large feedback reverbs, a big feature of the 80s sound. I am quite keen on how its utilized, it suits Priest well!

Around the drums hinge bright and brimming overdrive guitars. Loud bold and ambitious, the duo bring a lot of audible clarity to the tight rhythmic chops of classic palm mute chugging and power chord shredding. Behind them the bass guitar pounds away with strength, pulsing hard with power and punch in the rhythm section. Upfront, Rob Halford is a gem as always, gleaming with his ear piercing falsetto, having his finger on the pulse for turning these fine instrumentals into arena Metal anthems.

The music roars out the gate with a string of its best songs. The themes and concepts simply a self realization of their rock star personas as a band. I'm A Rocker and Heavy Metal hit hard on anthemic, sing along feelings fit to steal a live show. Come And Get It speeds on in a similar tone with a cheeky, raunchy spirit metaphorically adjacent to the music. In its best moment the music rips hard. The cover of Johnny B Goode another goosebumps track to flip a Rock n Roll classic into a Heavy Metal riot.

In my mind this could of been a finest hour among others for Priest but sadly the album stalls going into Blood Red Skies and never quite recovers. That's not to say its a bad song but the pivot to focus on atmosphere driven by its repetitive drums and subtle bass synths doesn't match the faster paced material. Monsters Of Rock best showcases this as the group try to flip the anthemic narrative into a lunging beast of slow moving weight. Its a half to Ram It Down's concept that doesn't quite land but for what they get right I simply adore this record. It gets the adrenaline going fast!

Rating: 8/10