VNV Nation "Noire" (2018)

Admittedly I had fallen behind with VNV Nation. Of Faith Power And Glory is the last record of theirs I own, that was almost over ten years ago! It is long overdue and I return to a lengthy album, over seventy minutes of new material that does not fly far from the nest, or even leave it. Every song sounds sweetly akin to a style perfected many years ago. It is only the a lone piano piece, Chopin cover, Nocturne No. Seven, that has any distinct resemblance to any theme portrayed by the name Noire.

The other twelve tracks are a keen collection of aptly tuned, finely crafted intelligent pop songs, structured through inspiration and channeled with aesthetic synth tones that pay eternal homage to Kraftwerk through layered arrangements of oscillated notation. That connection only struct me now as Ive only known of the German outfits legacy for a few years now. The track Guiding is a percussion less interlude piece that may in one moment show shades of a dusky Noire but can't help reach an uplifting stride through its warm and empowering string section that casts its light upon the music like rays of beaming light breaking through overcast clouds.

Its the one thing I can't put my finger on. As in the name, victory not vengeance, VNV Nation are continually uplifting, resolute and principled. This is the expectant working out of thought and lifes emotions through intelligent lyricism and sharp, crisp music. With a contagious dance thud and dose of inspired pop melody they stand with composed, broad shoulders, singing with sincerity as the atmosphere rises around them. None if it seems to verge towards anything resembling 40s Noire

Like many of their previous records VNV tend to dip toes into the various degrees of their formulae. Impresed leans into their meaner, Industrial side with a focus on the pounding beat. Collide rises itself from a longing sadness. Lights Go Out drives home a hook for the club life and Only Satellites reaches its arms to the sky in a eutrophic wander. Its all shades of a design they know all to well, soft airy and choral synths building atmosphere around dance-able EBM beats executed again with a familiar fondness but also made greater by absence. It does feel like little has changed.

Favorite Tracks: Armour, God Of All, Lights Go Out, Only Satalites

Rating: 7/10

Dance With The Dead "Send The Signal" (2014)

Getting back to the Retro Wave goodness we tune in again with the Californian duo for a disappointing successor to the wonderful and vivid Into The Abyss record. Released at the end of the same year its a little longer in length at twenty nine minutes but feels stripped back in comparison. Gone is the enigmatic impact of guitar leads and solos that guide the songs direction. The electronic instruments don't feel as layered or dense in both texture and composition. Its essentially tapping into similar moods with darkly night life moods inspired by horror movies and "things that go bump in the night", without a specific characteristic.

Perhaps its a case of fatigue from two sets of songs that both stick very rigidly to formulas that work, bright and punch synths playing simplistic short melodies on repeat. Phasing synths and drum rolls help build up suspense and alleviate tension as the music raises and lowers the intensity frequently as it explores its melodic direction. Without a standout track and minimal impact from the muted use of guitars I came away from this record wishing that something could of defined it better since its blueprint is essentially the same as before. Disappointing but only in comparison, this style and sound is still fun and enjoyable.

Rating: 4/10

Fever Ray "Plunge" (2017)

I dreamed but never thought it would be so, eight years on Swedish musician Karin Dreijer releases a follow up to her critically acclaimed self titled Fever Ray. In the three years since my discovery of her debut It has grown to be one of my all time favorite records, the sort you have to always consider when making top tens and playlists. Her sophomore Plunge comes entirely out of the blue, a rouge email in my inbox I thought to good to be true but alas it is so. With only a video single released a week prior, this surprise release is more than just a pleasant one.

First impressions were wild, all I could focus on was all that was different. Plunge felt dissonant, avant-garde and ambiguously adventurous with its entrancing electronics. Working with more ambitious, experimental sounds the textural journey continually weaves webs of intricate noise arrangements flailing from Glitch to Electonica, with hints of Industrial in its noisy, less melody driven passageways. The atmosphere shifts and varies from one track to the next, conjuring obscure, spacial vibes that can delve into gentle unease and unearthly sounds with the measure for calm, soothing relaxation. On its other hand these songs can become animalistic, dark and paranoid in their abrasive persuasions.

All of this often revolves around a sturdy backbone of stripped back club and House beats. Hard thuds detached from the conventional pop of a snare and tempo setting hi-hat let the dense instrumental arrangement absorb the attention a club groove would often dominate. A hand full of songs, maybe four to five of the songs feel straight of the back of the last album, utilizing the same bell and siren-like synths but deploying slow and steady kick and snare grooves in contrast to the more polarizing, experimental tracks. "Red Trails" being one of these songs you could slip onto Fever Ray has to get a shout for Sara Parkman's stunningly, morose, harrowing violin solo that seeps itself into the atmosphere like a parasite, eating the song from the inside out, carving its menace through an otherwise chilled, if not dark track. Stellar moment on the record.

The production being of this modern era is unsurprisingly crisp, no thanks to the state of technology but balancing all that heard is done with a touch of class. The record can feel almost clustered in moments with all the rattling of intricate sounds swirling around, from start to end its all managed and put together in a lean and easy setting. Karin's singing is infectious, her unique, estranged voice is unleashed with the wit to spin her expressions into elevating hooks, radiating the music and lodging themselves into your consciousness. Lyrical themes are entwined in sexuality, charged by identity and eroticism, the sometimes coarse but often poetic lyrics rub up against some obviously political statements, see "This Country" to hear unflattering commentary that's hard to ignore.

Ultimately, Plunge is a superb record, little to fault and plenty to rave about, Its an endearing listen. My main point of questioning would be in its two halves, distinctly alike to its predecessor on half the tracks taking a big leap forward in experimentation on its other half we essentially get the best on two worlds. To repeat yourself or be inconsistent on a record can sometimes be a hindrance but neither of these possible considerations seem to matter in the case of Plunge, which will probably go head to head with Sikth for my favorite release this year!

Rating: 8/10

Drake "More Life" (2017)

Canadian rapper Drake is arguably one of the biggest names in the modern scene and given the old guards distaste for him I never actually listened to the guy until Youtube's autoplay feature spun a few tracks. I like his style, its easy and inviting, with him being from my generation you can hear strong influences from the likes of Kanye West and Eminem in his approach to the craft. This newest release was possibly an odd place to start, the better lyrical themes revolve around a man who's climbed to the top and is now mystified to the pressures and contradictions of those heights, as he says you get praise on the way up and when you reach the summit everyone takes aim.

After four albums "More Life" is classified as a playlist, it even says "A playlist by October Firm" which I find odd given the lack of flow the album has. There are three or so different themes and ideas colliding here on a lengthy release that amasses eighty one minutes without a sense of direction. Between a collection of more "traditional" tracks Drake dives into swooning soulful vibes on tracks like "Passionfruit" as some subtle auto tune singing plays sweetly into a summery, jazzy laid back instrumentals fit for relaxing in the sun. Breaking up the pace, the inclusion of English Grime rappers like Giggs and Skepta sets a contrasting tone for another theme that takes hold, the "badman" raps, acting mean and menacing on the beat, dropping laughable rhymes like "batman! dun-nu-nut neh-neh".

The album opens with Nai Palm of Kaiyote Hiatus singing, a sample lift from their latest record, slightly confusing as it doesn't provide much of a link for the banging "Free Smoke" to roll of from. After a dark badman track with Giggs the album rolls into a groove with a string of indulgent songs boasting some Jazz, Downtempo and Dance influences to blur the Hip Hop lines as Drake flexes with tuneful sung raps. As the flow is broken up we get a track from Travis Scott, who's Rodeo album has massively grown n me. In his typical style we get what feels like a leftover beat, an insentient flute melody loops all the way through as excessive reverbs and auto-tuned vocals drone on. A cringey "skirt skirt" slang cries out in such a cliche way for these sometimes tiresome trap songs. Its a low point in that album that track to track goes all over the place.

"Teenage Fever" was surprising track, moody, slow and introspective vibes are pulled together for a fantastic chorus lifting lyrics from the Jenifer Lopez song "If I Had Your Love". Its a diabolical Pop song from the naughties that I never thought I would enjoy, even in this abstract way. After this point the music slowly winds down with spacious tracks that don't stir much of a reaction. The best of the record comes when it detours from the traditional "Hip Hop" song conventions. Drake's lyrics are also engaging when hes not singing, the perspectives on the turn of success speak loud and his engaging style leads you on a clear path through his thoughts. Its been a reasonable introduction in which the talent is visible but the arrangement of this record and inability to focus in a direction often dispels the mood some tracks muster leaving the impression of an hastily assembled collection of songs.

Favorite Tracks: Free Smoke, Passionfruit, Get It Together, Madiba Riddim, Blem, Sacrifices, Teenage Fever

Rating: 6/10

Delerium "Semantic Spaces" (1994)

Id not heard of Delerium before receiving this recommendation, however I had heard the Tiesto remix of their famous "Silence" Trance song. I'm also familiar with Front Line Assembly a Canadian Industrial group who flirted with Metal on their most commercially successful venture "Millennium" released the same year. Bill Leeb and Rhys Fulber of the band formed this side project in 1987, a year after FLA, and released a prolific seven full lengths before this release, which is one of three in the year of ninety four. Its a lengthy record of steady moving electronic pieces tinging on ambience and encompassing a eastern, worldly cultural influences, very much reflective of the times.

With an arsenal of synthetic instruments the two line the back bone of these songs with layers of smooth flowing electronics, light and short wanderings of shimmering melodies, a few select sections of composition interwoven to form a dense music current that runs the course of these lengthy tracks. They are steady, smooth, calming and conjure a mellow atmosphere that's slightly juxtaposed to the actual level of instrumental activity. Looping percussive samples and bold, plump baselines hold the repetitions firmly in place, gluing the instruments together as they set the stage.

The magic happens in the forefront, this thick spine of instrumentation goes through the motions, expanding, contracting, coming and going with the flow of the music. Its the airy synths, feminine vocals, soft pianos and lead synths that inspire direction and determine the path the songs take. Some distinct cultural sounds come to this stage, eastern flutes and Gregorian chants sung by monks and choirs give the record an ethnic root that contrasts its electronic and modern persona.

With a firmly nineties electronic sound one can hear all sorts of influences from Trip Hop, to Dub, Trance, Downtempo, House and all between. Its a melting pot of that eras sound and it comes together seamlessly. There's little to criticize, the music is inspired and creates quite the setting for thought and indulgence however its not particularly thrilling. The smooth and easy flow often stagnates in places as the songs strength beyond the seven minute mark with not much more than a repeat of a previous segment. I may return to this one again, It feels like the sort of record you could grow to adore if it were in the background of some game, slowly drilling itself deep into your mind.

Favorite Track: Metaphor
Rating: 6/10

Ulver "The Assassination Of Julius Caesar" (2017)

Norwegian musician Ulver has an eclectic discography in the making. Emerging from his native native Black Metal scene in the 90s, Ulver gave up the sound after the third record and has since pursued many sounds and styles, often experimental. From Dark Ambient and Drone, to Trip Hop and Jazz, often with a strong current of Electronics, he has quite the remarkable journey. This latest venture outlines its premise and inspiration with the title alone, the music strides into new territory as an intelligent from of Synthpop emerges, rich in texture and dense in composition.

Lyrically its concept is obvious, stated in the albums title. As words often do, they go right past me however like a sore thumb one always picks up on the pronunciation of dates, events and the narrations that tie them together in the pursuit of historical ties. Sometimes we are following Caesar's internal dialog and other times from a third person perspective. Its one thing that caught my attention, however almost all of mine was captivated by the stunning instrumentals and Ulver's soaring, powerful yet persuasive voice.

 An array of beautifully crafted synth instruments unite under an inspired chemistry that brings about a truly swooning collection of songs. They play out like cinematic moments of emotion and event, with the power to transform and evolve seamlessly. The synths interweave bright, pulsing melodies with bold and poppy textures while soft, expansive strings grace the backdrop. Pianos, acoustic guitars and other instruments wage in too, the drumming is especially impressive, holding together and electronic sound without relying on booming thuds and thumps. There is a lot of hi-hat and cymbal work, subtle drum rolls and a good sense of rhythm to really flesh out the percussion without overpowering its way into the fold.

Its as if the level of craft and composition outplay its nearest neighbor, on one level it has the pop sensibilities to draw one in with fantastic hooks and inviting melodies, on another it plays so much deeper with all kinds of whispering instruments waging in, for example very quiet bongos can be heard here and there. With it the songs can be simple in structure and others more complex and evolved, however the album flows effortlessly between the varying degrees of approach. Brilliant record, can't stop listening to my favorites at the moment.

Favorite Tracks: So Falls The World, Transverberation, 1969, Coming Home

Rating: 8/10

Justice "Woman" (2016)

Drenched in the glossy ooze of indulgent synths, illuminated by soft swooning vocals, "Woman" takes us on a retroactive trip through the Disco dance floors of old with an infatuated re-imagining of that era. French House duo Justice probably can't get by without mention of another French House duo, Daft Punk, who's influence can be heard boldly on the noisy crunching club tune "Chorus". Daft Punk are known for their inspirational roots in Disco & Funk music but in their long absences this pair fill the void with no imitation craft. Similar in stature and matching in talent, Justice go down the smooth and swooning path with a bright and colorful set of instruments, electronics and strings  cruising over tight, rock steady softly thudding Dance beats.

With a backbone for the dance floor these songs play out with events, transformations and lucid progressions that may pass you by given their seamless chemistry. With a keen ear for strings many repetitions are brought to life with cinematic strings rumbling in with melodies like a lead guitar. The many layers of instruments interchange their focus to convert what could be simplistic, repetitive dance tunes into woven tapestries of symphonic dance night groove as one instrument takes the lead over from the next and the music continuously unravels before us in electronic wonder. The album has strength in variety and consistency tone, it flows like a river while taking us many places, some with hints of astral vibes as if gazing to the stars above.

 With little to flaw one can only marvel at the balance of elements here. Bright, modern production breaths life into old sounds and ideas. Its romantic, elegant and nostalgic, the duos singing, velvety high pitched harmonies, are sublime. On the song "Randy" they sound very much like the vocal style of Kevin Parker from Tame Impala. This record grew slow on me, which I find rather strange in reflection. With each familiarity the bigger picture became clearer I guess and I get the sense it will continue to grow on me with time. "Woman" is a very sturdy record, I can only sing its praises.

Favorite Tracks: Chorus, Randy, Heavy Metal

Rating: 8/10

Austra "Future Politics" (2017)

Perfect timing! Right as I'm catching up with Austra's first two records, "Feel It Break" and "Olympia" the Canadian trio release their third full length after a four year gap. Not much about the bands sound has developed, even singer Stelmanis gives a routine performance of powerful vibratos between strong yet soft and moving vocal lines. If only wrapped in a touch more reverb, her voice will still win me over every time. "Future Politics" has its charm but only in doses. The bass and percussion has the most notable progression, deeper textural sub synths and thumping bass kicks are frequently occurring as a stylistic backbone, reminiscent of House and Dance, driving an interesting tone that works well. Moving away from the organic approach of "Olympia" the sequenced drum kits find there moment on the prominently House tracks, but feel a bit lifeless on the quieter songs.

The track listing feels split, in one instance they find an easy chemistry with these Dance numbers, steady beats with a thudding drive for easy synth sounds to glide over. The dominant theme of simplicity charms in this setting but the lack of depth in the melodies leaves the record feeling sparse on its other half, a set of quieter tunes breaking up the flow. Most the songs are comprised of short, repetitive melodies and short sounds arranged to a consistently 4/4 beat. Its often Stelmanis who comes to the rescue, making a great hook on the title track and captivating with pillow soft whisper like vocals on the dreamy "Beyond A Mortal". Ultimately she masks some of the underwhelming instrumentals, a pleasant but not riveting album from a band who I believe can to far more interesting places than this.

Favorite Tracks: Future Politics, Utopia, Beyond A Mortal

Rating: 5/10

Yagya "Stars And Dust" (2016)

Days before the new year arrived the Icelandic producer turned in his sixth full length record much to my excitement as immediately took to bandcamp to get my copy. The second post I wrote on this music blog was "Sleepygirls", which was over two years ago! That and "Rigning" have been my go to records for calm and meditative music with downtempo beats and dub baselines that can sooth and clear the mind. The minimalist album cover, open to interpretation, had me excited in hope for more of this sweet ambience, which is what we got.

Initially I was disappointed, hoping for something deep, dense and dreamy the "lightness" of the record threw me off. However with each listen I realized it was essentially the same style, familiarity with that layer of atmospheric density striped back. The result exposes Yagya's wondrous spacial feel for melodies, both in the form of synth strings drifting to and from focus and the inconsequential notes that cut through the atmosphere with intimidate echos on tracks like "The Observable Universe". The unconventional melody style creates a mesmerizing sense of depth as patterns and tunes allude one in the ever murmuring synths, swirling in the void.

The formula is somewhat unchanged. Deep resonating dub baselines stroll with the easy going downtempo beats and a similar selection of instruments layer colors on top. Mostly electronic synths, a few piano sounds, bells and voices make there way in too. There's a slight swirl of atmospheric noise happening subtly in the background, sometimes dialed up on the occasion track. Its this element, shifted in composition, that has been greatly toned down from previous records.

The change gives light to instruments that feel as equally mysterious and illusive, only providing the calming, soothing tone rather than a direct narrative. However that illumination was not previously absent, the melodies were conveyed within the thick atmosphere. It leaves me wondering if it gained or lost anything in this transition. "Stars And Dust" is more of what Ive come to expect, once again with its own pallet that doesn't do much to progress the sound. A solid record for a mood of calm or focus but nothing more.

Rating: 6/10

Shabba Ranks "Greatest Hits" (2001)

Who is Shabba Ranks? For me he is the definitive voice of reggae music, said from a perspective of ignorance. Reggae is a genre Ive never dabbled with much but of what its name conjures is this mans voice. Deep, rugged and slick his steady flow swoons smoothly through a thick textural dialect of slang and lingo in his strong Jamaican accent. I wonder if he is actually the artist that populates my mind from where Ive heard this music before, either way the story of how i found him is mildly amusing for a music nerd like myself. Its from A$AP Ferg's "Trap Lord" "Shabba", "Two gold rings like I'm sha-shabba ranks, sha-sha-shabba ranks" and listening to my favorite A Tribe Called Quest record and a few others I caught wind that Shabba Ranks was not some trendy slang but a person. So I proceeded to youtube for a pleasant surprise and before long picked up this collection of his best songs.

Listening to an artist wildly different from my norms was a lot of fun and I picked up on a few stylish distinctions about Shabba's music. On the instrumental front the songs vary in degrees between Reggea and Dancehall but on occasions come with a Hip Hop production style of sampled beats or even a 90s Dance track in "Mr. Loverman". Although not a proper record it helped to keep the record moving and feeling fresh while showcasing the appeal of his vocal presence which could easily extend further than these styles alone. "Ting-A-Ling" was a shiner, a big spacious track with minimal sounds alongside an already bare percussive backbone that shuffles snare and hi-hat between deep base kicks that sparingly kick to emphases the the undying flow of Shabba's indecipherable word play. He notably won a Grammy for the record this lead single was from.

So who would I be kidding if I were to talk about the lyrical content? No one. It will take a fair amount of time before I learn to decode Mr. Ranks's lingual annunciations but in the mean time I am enjoying the persuasive nature of his sizable verbal presence. The shifts in delivery, pace tone don't come to often but as long as I don't leave it on repeat I can enjoy his voice and the instrumentals for the seventy minutes that make up an impressive highlight of his career in music, of which he's been silent with since.

Favorite Tracks: Mr. Loverman, Ting-A-Ling, Rough Life, Roots & Culture, Shine Eye Gal, Twice My Age

Rating: 6/10

Public Service Broadcasting "Inform Educate Entertain" (2013)

 Thanks to Brady and his Youtube channel Objectivity I was introduced to this fantastic musical project that takes stock audio from national archives and uses it alongside instrumentals to create a retrospective peak into the past using music to guide the mood and narratives of times gone by. Behind the name are two English musicians, Willgoose and Wrigglesworth who have been playing together for five years now and have released an EP and two full lengths, of which this was their first.

An interesting observation to make clear from the get go is that nothing here feels "nostalgic". In the same way Kraftwerk envisioned aspects of society both in the past and future, PSB feels like it "takes you there" more than it does remember it. The electronic leads, dense atmospheric synths and brooding indie guitars build up rocking atmospheres dripped with developing leads that continually grow and interchange with one another in a big layered sound that balances its density carefully.

Each song revolves around a set of samples the instrumentals correlate with. For example "Signal 30" is the records most "aggressive" sound with big distortion indie leads taking charge of the track, strumming out burgeoning riffs while archive samples play out sounds of cars crashing and an aggressive chap who's annoyed at a motorist. It may not be the best example but the chemistry between the two works on every track. Despite this the instrumentals could easily stand on their own.

The record has fantastic production. Each track may start with a few gentler shades of sound, but quickly the melodies and layers build up and a flood of sound heads towards the listener, peaking the songs in the big moments that often end the songs. The initial attraction to this project was its concept, but the writing and composition has revealed itself to have much class and depth that can be enjoyed without the samples context. A strong record that will continue to grow on me I'm sure.

Favorite Songs: Inform - Educate - Entertain, Night Mail, Everest

Rating: 7/10

Raunchy "Vices.Virtues.Visions" (2014)

Danish group "Raunchy" snuck this one, their sixth full length, right under my radar last year. Raunchy are a six-piece group whos sound would lump them under the "Future Fusion Metal" name coined by Mnemic, describing the sound in the European scene. Combining many of the energetic elements of Industrial, Metalcore, Djent, Death and even Progressive Metal, their sound would be atypical if not for the Electronics present in the form of backing symphonics and Trance like leads that add a engrossing layer of electronic melodics. Their 2006 release "Death Pop Romance" impressed me immensely and earned them a reputation as a band I should always take the time to check out what they are upto.

The best of Raunchy comes from their clean melodic vocal lead hooks and infectious, poppy trance like melodies that ring out an uplifting mood along side aggressive, modern Djent metal riffage that pounds and grinds chugging rhythms with aggressive drumming. Its the moments that give way to the electronics that Raunchy find their niche, and they create these vibrant sing along moments song after song, but its the moments between where things don't move so smooth. The Metal side of their sound is relatively generic and the guitars lack a spark to create something with an energy or idea thats fresh to an experienced metal listener. It flicks like a switch as the songs build up with varying riffs and structures that lead to the implosive moment where the electronics drop in and time and time again this is where the magic happens.

"Vices.Virtues.Visions" is a decent effort, one that taps into the best of their unique sound, but drifts into mediocrity when the Metal takes lead. Clocking in at over an hour with a couple of lengthy numbers the moments between can drag, however the hooks and melodies are right on point. Another strength this record developed were some pounding festival like beats, you can envision the crowd clapping and fist pumping along to the bass kick that rings out as the music calms before the storm. Sound wise its representative of modern production, very audible and clear, the drums having a punchy and crisp tone about them. The electronics sounding superb alongside the crunchy guitars. Raunchy do a lot right here, but tiring of typical Metal guitars made a lot of this record dull for me. 

Favorite Tracks: Truth Taker, Digital Dreamer, Anasthesia Throne, I, Avarice

Rating: 5/10

The Knife "Deep Cuts" (2003)

Having adored Fever Ray's only release "Fever Ray", I sought out more music from Andersson who is one half of Swedish duo "The Knife" who sound a different breed to Fever Rays inducing Art-Pop experience. Deep Cuts initially came of as a quirky, retro electro record that wouldn't be to my liking. But first impressions are simply that, impressions, and deciding to pursue this record was the right choice. Upon several listens this album really started to click and my initial dislike of the bold buzz-saw synthesizer and dense buzzing bass subsided as the chemistry between theme and execution started to make sense, and the songs started to reveal there charm. Its since become a favorite of mine in recent weeks, serving as an upbeat, warm and fun record that breaks up the moreso morose music I usually find myself drawn too.

My context of this album in relation to the electronic scene is basically non-existent. I was a little surprised getting ready to write this blog that the album came out in 2003. I'm not sure how but I had it stuck in my mind this was a recent release, but considering its over 10 years old, it seems relevant to point out this record sounds fantastic and I can picture the music itself being of influence to others at this time, however this is speculation and beyond my comprehension. So onto the album, its an energetic listening experience, one which does not repeat itself, and with a measured pallet of sounds explores an array of moods and ideas which range from obnoxious pumping dance, to gentle, ambient strollers. Each track presents and sticks to an idea within its shorter duration, 3-4 minutes, each song delivering catchy leads and hooks its fails to slow down as the album continually moves from strength to strength.

The chirpy, buzzing synthesizers carve the character of this record, but behind their bold intrusive sound lies great composition, creating poppy, layered, simplistic melodies that shift and swap between one another, allowing the focus to shift effortlessly between instruments. The drum pallet its typically dance with the rolling bass kicks, snaps and claps, and also a pleasant of occasional inclusion of tropical steel drums. In front of it all Andersson's off kilt and eccentric vocal performances act like the fusion point between the instrumentation and their ideas. Her leads shift with the songs, delivering the higher rangers with the dance songs and, low artsy readings with the slower tempo tracks, and the unusual use of electronic voice morphing on tracks like "The Cop" is another nice touch in a collection of expressive and artsy performances. The record's production is solid, not a bad word to say about it. Great record.

Favorite Tracks: Girls Night Out, Pass This On, The Cop, You Take My Breath Away, You Make Me Like Charity

Rating: 7/10

Jotun "Learning To Live" (2014)

As if coincidence had a meaning, on the day i decided to review one of my favorite albums "Jotun" the next day Crow dropped a new release! After 18 months of silence Jotun is back with "Learn To Live" which pickups up where "Night" left off. The forth record "Surreal" brought a change to Jotun's sound, retaining the detailed notation and melodic values of the project, and moving in a Trance like direction with sawtooth synth leads and heavily oscillation becoming the focus, which is common place in Trance, House etc... electronic music.

On "Learning To Live" we are bombarded by a loud and abrasive sound as massive walls of textural synthetic leads drip over each other and paint vivid and energetic songs that are driven by a powerful, crushing drum kick and snappy snare. As always lively and free flowing melodic leads build the character of these songs. One of the first details i noticed on this record was the change in the drum kit. Much louder and more involved, this new kit really compliments the Trance direction, building a much welcomed danceable intensity underneath the surface. At time they even become a highlight in these songs. Across the album there is much variety and some great repetitive leads in moments which are not too far from feeling like hooks.

The downside to this great record is the mixing, although the songs benefit from the loud and intense nature of the instruments, they are also drowning one another as they compete for volume, for example the end of "Futile" there is a moment where two leads cross over in what would be a climactic moment of the song, but one overpowers the other in a muddy wave of noise. Another chaotic moment occurs in "The Chase" where the bass kick picks up speed and sound erratic underneath a smothering lead. Despite the negatives, its listen-able record and the musical content is solid, the main highlight for me was hearing Crow find some more trance oriented riffs to fuse with his style as the direction he has taken is maturing. Looking forward to more!

Favorite Songs: Gazing At The Sky, Introspection, Futile

Rating: 6/10