C418 "Wanderstop FM" (2025)

With fresh flavorful fruits flowing like a faucet, the lengthy quiet since Excursions seems like no absence at all. Creativity has been bottled up and unleashed, as another two hours gets bestowed upon unsuspecting listeners. Complimentary to the traditional, acoustic instrumentation of Wanderstop, a scenic, humble tone setting video game soundtrack, the other side of the coin drops. Caught adrift in nostalgic charm and ambiguous notions, Daniel's melodies arise again with his signature collision of EDM and Ambient. Familiarity runs amuck, as synthesizer tones, bass textures, production techniques and percussive arrangements brood with the fondness of his Minecraft hits and many memorable solo album songs.

 

It is only now, as I fumble over the track listing, I realize the eye grabbing quadrant album art represents four "channels", presumably the games radio stations. These temperament shifts were felt in listening sessions, as its initial run of quirky, upbeat "signature style" songs described above, suddenly pivot to cool mellow ambiences, temporal stints ruminating on the soothing calmness emanating from its core textures. 

 The third channel, "Sugar Cube" takes quite a stylistic leap. Melding its innocent melodies with a rural, farm life flavor. Competent but far shy of remarkable, these themes end up yielding to Daniel's EDM synthesizer instincts, progressing with House inspired beats. We drift further again with the last chapter, which lacks a particular theme or identity, seeming more like the leftovers from ideas explored before.

 

 Wanderstop FM is such a treat for fans. The core soundtrack gave us an particular avenue to enjoy but with these radio stations, we can revel in the broader spectrum of an artist who's set of sounds is always a pleasure.

 

Rating: 7/10

Krusseldorf "Laidback" (2017)

For now, our Krusseldorf venture concludes at a lower altitude. Distant are those charmed curiosities that drew me in. Laidback is certainly calm in demeanor, easy on the ears but much of its lengthy runtime circles over dulled ideas and bland aesthetics. It suggests the artist enjoyed the subtle details of its sound design much more than this listener. Lacking melody and groove, the focus seems to lay in the textural craft of these dreary downtempo drives. They Fall conjures a soothing mood with its dreamy warmth. The following Rebuilding Icarus flips the script for a lean cut, darkly intent with sharp brittle beat. From those distinctions, the record drifts into obscurity. Tracks drone on, seemingly fixated on strange Industrial like samples and breathy snippets. These ideas are scant, ruminated on endlessly, A tired slump I didn't enjoy much.

Rating: 3/10

Spiritbox "Rotoscope" (2022)

 

Succeeding their stunning debut Eternal Blue, this lively three track EP stands apart with a unique embrace of dance groove rhythms and EDM. Stepping aside from Ethereal atmospheres, two step grooves and subtle modern synths intertwine to bolster pummeling Djent guitars. Title track Rotoscope embodies this best, concluding with a burly monstrous break down to contrast its persuasive dance floor energy. 

Sew Me Up hints at heavy, guitars start with a stomp but swiftly pivot into the magic of LaPlante's voice, sailing into heavens. It too finds an outbreak of aggression, led by a rhythm section that syncopates to thuds with aesthetic satisfaction. Hysteria withdraws from these ideas somewhat, feeling like the typical track of the bunch yet ends with an utterly filthy and devastating, disgruntled song deconstructing break down.

From the outside listening in, Spiritbox achieve clear creative distinction here, a succinct snapshot of musical vision yet seemingly unfit to develop further into a full album. Its a curious approach for a Metal band, to focus on singles and individual songs. I'd originally glanced over a lengthy list of singles, assuming they were on an album so now I'm going through it all and this one turned up a couple of gems!

Rating: 5/10

Apashe "Antagonist" (2023)

An album of distinction and merit, Antagonist emerges from our times as a triumphant victor of eclectic musical tastes. Transcending obvious machinations, the Belgium musician unites the ages. The tight, bright and snappy percussion of EDM and blaring bass synths walks with Classical, Baroque and Renascence era music. With grace and vision these compositions revel in a found chemistry across two periods. Working in junction with the Prague Symphony Orchestra, songs are fully materialized. No scotch tape sampling and manipulation, these tracks were written for the real thing!

Apashe has a knack for understanding limelight, which elements are taking focus and how the narrative is steered by them. As such, stern strings within a strong symphony imposes powerful emotional sways and dramatic narratives. Hard percussion picks up the slack, allowing for stellar pivots into jolting groove and dance floor drive.

The arsenal is impeccable, from haunting shrill choirs to low-end dirty bass wobbles, all instruments, virtual or performed, have stunning fidelity. A case of fidelity highlighting how well built the foundations of these songs are. Apashe finds his own persuasive voice through this unlikely fusion, a word perhaps undermining of how sweetly this tracks ebb and flow. Chemistry is ever-present, at all degrees of emphasis on the aforementioned genres. I'm fondly reminded of IGORRR's brutal abominations.

Moving with another ace hidden up the sleeve, the thumping kick snares groves have a knack to subtly transform with a Hip Hop sensibility. As such, a handful of rappers pop into the fold at opportune times, delivering energizing verses. He gets a great one out of an aging Busta Rhymes. The record has a lot of guests, with a variety of singers lending their voices. At the mid point this soured a touch with sombre singing on Kyptonite and Rise At Nightfall lacking a connection with the instrumentals behind.

Its a minor blemish on a fantastic outing that revels with a sinister energy in its best moments. More grandiose thematic in nature, I found myself enjoying the spectacle immensely but not developing those deeper connections. Something about its flavor just lacked an infectious edge to wedge these songs in like ear worms. Fortunately, it does nestle in a couple of bangers! Apashe is one to keep a close eye on!

Rating: 7/10

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

 

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

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

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

Rating: 4/10

Dark Sky "Othona" (2017)

 

My resistance to the algorithm was foolish! Once again I've been served up a fantastic electronic artist delving into the Ambient, Ethereal, Downtempo vibes that I just adore! Othona is a soothing record of deceptive simplicity and meditation, a series of soft synth resonances exploring unraveling energies. Gently gathering its gusto, these surges of groove and melody flourish out of the soothing states, morphing into animated flashes of color, sometimes in passive friction with its slight dissonance.

These tones and aesthetics achieved through configuration of saw waves and synth osculations, seem to always carry a slight unease. Its as if something is always marginally out of tune yet also fostered by the other instruments, at a distance. The vision and inspiration at play is clear and thus births a sweet magic from this careful curation of the subtle dissonance. Its brilliantly handled, steered to a warm place.

Othona's array of buzzing synths aren't the soul focus! Across this record, the pace holding percussion often morphs into classic House and Dance beats with deep pumping bass and tight shuffling grooves. Its always a gentle process, as much of the music incrementally grows through the motions, so do the percussive lines. It allows these songs to be in a consistent state of evolution, moving us from calming serine meditative soundscapes into easy crooning Downtempo drives of flow.

I'm impressed at how this record comes together. Song after song holds my attention with a soothing nature. I could drawn attention to some similarities in style with other artists but I really think Dark Sky holds their own for the most part. Just one song, Angels, could hold a candle to Brian Eno's legendary An Ending (Ascent), as quite the comparable vibes emanate. This one is worth checking out if you're even mildly curious from my words. The mood it educes is worth it alone. Great Stuff!

Rating: 7/10

The Weeknd "Dawn FM" (2022)

Having made waves with his retro inspired After Hours, The Weekend returns two years on with Dawn FM. Leaning deeper into the nostalgia of 80s Pop music and aesthetics of Synthwave, this sixteen track dive sustains more of an album experience that its predecessor. Equally, without a spearhead song like Blinding Lights, it endures with consistency of mood. One can simply dip in at any point and relax with easy vibes, breezy cruising instrumentals and wonderful falsetto singing. So often do those high notes become the peak in this narrow range of creative avenues explored.

Thematically structured around the concept of an ethereal radio station, a handful of its spaced apart interludes play like broadcast ads. Decoded, its theme of suspension in limbo signals a direction out for the listener. Its a wonderful tie in, melding the overall mood with a bigger picture. The album doesn't peer into the unease or eeriness of the situation but essentially forges a link with its retroactive stylistic inspirations, as if the lyrical narratives explored reflect on memories gone by.

The lyrics themselves often linger on relationships, love and heartbreak with a common "looking back" perspective. Luckily his voice is charming, a soft and strong flow that can gracefully sweep between notes, lingering on them with emotion and passion in the vibrations. That's where the feeling is felt for me. Lyrically the concepts are often simple, straightforward and in the latter half of the track listing tend to feel rather shallow in terms of depth. The words recycled are unimaginative lines and sentences from love songs Ive heard done to death by many an artist before him.

Dawn FM shines consistently on its instrumental front. Its glossy, lush, spacy synths bring a sweet indulgence fit for its upbeat tempos and lazy slow riding grooves too. The easy going nature of Pop music is treated to an inspired aesthetic. The balance takes the better aspects of Synthwave tones without hounding them into the ground as many artist in this Retrowave movement do. On occasion The Weeknd and his production team lean hard into the buzz saws, psychedelic synth and punchy drums but its always timely and apt. Rarely do they loose focus on the underlying structure.

That brings me to the next strength of this record, song writing. Without anything to ambitious taking place, the stellar aesthetics and crooning moods seem to zap away the repetition and cycle of the verse chorus loop. Its there with the occasional shake up and interludes creating a series of soft "events" on the journey. Although not involved in song writing, Quincy Jones turns up for an interlude to see in Out Of Time. Its a seriously classic Michael Jackson alike song. It highlights a similarity in his vocal style with the King Of Pop and the instrumental pops like a PYT or Rock With You.

And that's what underpins many of the albums best songs, the brilliance of instrument variety ushering in soft plucks of guitar melody between gushes of vibrant synth and timely rock grooves. Its the subtle characterizations of Funk, Soul, R&B and Pop in the performance, beneath its oozy synth aesthetic, that make the magic. Its a true hail to the likes of Quincy. Sadly that is mostly speaking to the first half of the record as past the feature with Tyler The Creator, the gears shift pace quite notably as that song slows the pacing, cutting out the drums and transitioning us into a gentler intensity.

Its in this second half that the music tends to veer away from the variety and qualities heard on its opening stretch. The lyrics get watered down, pacing lulls on dreamy tempos and the Synthwave aesthetic grow into the main focus. We are not talking about every song but to my ears Dawn FM feels very front-loaded. Its opening tracks are truly remarkable and a peak of this era of music. Short and sweet would of been a better approach here, in aims of a classic. As a longer, drawn out, experience it does do a great job of suspending one in its spell. Either way, an impressive record!

Favorite Tracks: Sacrifice, Out of Time

Rating: 7/10

Hocico "Broken Empires" (2021)

 

Ever since Memorias Atrás, Ive always been in the mood for some Hocico. I've found there output to be somewhat stale despite loving their Aggro-Tech sound. Its in smaller doses I tend appreciate their work more. This two track EP with accompanying remixes has been fun! Both offer up hard banging beats and harsh synths to revel in a little cyber goth dystopia. Both songs run through the expectant arrangements, typical build ups and flows but its the aesthetic detail that catches the ear on this outing.

Title track Broken Empires hints at its killer bite early on as dense chunky bass synths ride up against a stiff hi hat on swift repetition. The cymbal is interchanged with that classic 90s House hi hat tone and when the song peaks the two resonate off one another with a relenting energy that's hard to resist. The dark spooky melodies that accompany are decent but its really the labored texture of that bass synth that drives the song along, drifting in and out of intensities with a helping of atmospheric design.

The other song, Lost World, is a production powerhouse of driving density, all the sounds are crammed into gaps between its thick rhythm section of pounding kicks and engulfing bass synth. Its a rather linear push of dance energy fit for the club floor, mostly ebbing and flowing around its main catch while also throwing in a little niche audio gimmick as the shouted words get cut and shuffled into the crowded mix.

The additional cuts of Broken Empires offer some alternate version but with little deviation from the original they add little to whats already been offered. These two songs are tight and well written. I wonder if in the duration of an album they would be lost on me given the mediocrity of Artificial Extinction. Having to focus on just two songs really let me digest and enjoy them! These will be songs to return to.

Rating: 3/10

Bring Me The Horizon "Music To Listen To…" (2019)

Having announced a planned departure from the album format, the Sheffield outfit Bring Me The Horizon swiftly follow up on Amo within the same calendar year. It is their first EP, a format which they've announced will be the new norm and surprisingly its the groups lengthiest release to date clocking in at seventy five minutes. Its no serious affair, the eight tracks stack up the run time with two ten minute songs and another at twenty four mostly consisting of a glitched vocal snippet on loop with some accompanying rambling dialog. Its an experimental piece, unstructured output paired with a ridiculously long record title. Its song names too tend to steer to the obscure.

What's obvious on first listen is the lack of format, a lifting of restraints. Music To Listen To... plays more like a collection of jams and experiments from the studio, perhaps a window into the process before the real writing takes place. Mostly devoid of its metallic component, the groups influences from Electronic music and Ambient play out in experimental fashion, showcasing the more eclectic taste as musicians. A Devastating Liberation is simply the backing track to Why You Gotta Kick Me When I'm Down. How the two came together would be a fascinating learn. It holds up well as a dark, foreboding electronic, symphonic hybrid of monstrous magnitude.

The songs mainly showcase a variety of shades from the massive web of styles that is Electronic music. For the most part it plays well, in a laid back relaxed context. There is little in the way of direction that feels expressive or envisioned. It is mostly a mood, tone or temperament that is established and then droned out at length. Snippets, moments and textures shine like elements of the bands normal dense tone, however they are simply laid bare on their own. Its an interesting insight to the bands process and creativity but as a record it makes sense to not call this an album. I've mostly enjoyed each listen but with that lack of structure, much of the music just floats in the present, making little impact or birthing ear worms for the subconscious afterthought.

Favorite Track: A Devastating Liberation

Rating: 5/10

Fever Ray "Plunge Remix" (2019)

My disapproval and contempt for this record mainly stems from my own impulsive purchase of what often lands a loss in the hit or miss equation of the contentious remix album. On the whims of pure excitement, the promise of a new Fever Ray record had my handing over my cash without thought, not even a quick stream to see what this Remix of 2017's exceptional Plunge album would be like. As you might guess, I am not impressed. The bar is set low as these ninety six minutes seem to have little in the way of a quality threshold. A whole host of names, none of which I know, jump on board to tear apart the instrumentals, with Fever's voice held together to form mere semblances of the original material. She is the highlight, her singing holds up to some of the monstrosities on here. It feels like a dumping ground for half baked beats and b-sides that have been lumped together, making little of interest to find new avenues through old roads. Its a wasted opertunity.

For the majority of songs, melody or song structure seems to be of little importance. Much of these remixes play like experimental exercises in rhythmic noise, abstractions of Dance and Club music. Electronic percussion patters around aimlessly maligning the samples and vocals snippets of the source material with uninspiring results. The energy is dull and with its reasonable songs squished into the first few numbers, its a long and painful ride. I can empathize that this isn't my preferred style of music, these sub par tracks may offer some intrigue to fans but Id be hard pressed to believe anyone would enjoy such stinking lows as Rip Me's "rework" of Idk About You. Its stark baselines, minimal whirl Trance synths and desolate deployment of harsh kicks is an absolute calamity of anti ideals assaulting the listener.

There is unfortunately a couple of equally bad songs that test my tolerance. I hope this serves me as a remind that Remix albums can be foul. This might be one of the worst in recent memory, perhaps it could rival Meow The Jewels. The take away is that this is a novel record, maybe not even for the die hard fans. I'd like a refund but the music economy doesn't work that way. I'm joking... or am I?

Rating: 2/10

The Comet Is Coming "The Afterlife" (2019)

I'm struck with a sense of disappointment as an exciting discovery, Trust in the Lifeforce of the Deep Mystery, has been swiftly followed up in a matter of months by the London based Jazz Fusion trio. I was dead keen to get on this record, it kicks off with the familiar voice of featured collaborator Joshua Idehen who loaned his voice to Sons Of Kemet. He brings a hype with poetic cries of thought invoking rhymes but bellow him the murmuring base fuzz, spacious percussive grooves and Smooth Jazz saxophone fail to strike a nerve beyond the reasonable. From there the rest of these thirty minutes seem to fall into the same rut of mediocrity. Gone are the tantalizing grooves of obnoxious Metal and thumping EDM music, it recoils back to its roots, dissolving the spice that made this band so interesting and inviting. A dip in form may exacerbate my reaction but a closer analysis seems to further these feelings.

After its opening number, the next two tracks meander through the directionless wandering of low key playing on an ambient setting of bassy synths. Its great background music but little of the musics unraveling is captivating. The first half of Lifeforce has a similar sense of lurking in ambiguity, mustering some suspense for whats to come in the second half where temperate drum grooves and lively two note grooving intertwines with sparse melodies through the saxophone. Its just one song among sleepers. Its final piece reminds me of Vapourwave vibes in a good way, however it too is a sleepy track alluding to an atmosphere that just doesn't engage me. There is nothing bad here, the aesthetics are as gorgeous as before however the low key nature of the music itself turns the whole thing from a jam to a lull that didn't capture an ambient charm, which may have been their intention.

Rating: 4/10

Hocico "Artificial Extinction" (2019)

Its more than fair to say the Mexican duo Hocico have a sound set in stone. Their Agrro-tech tone and temperament hasn't budged in a over decade. 2017's Spider Bites offered some b-sides and inconclusive experiments that made for an interesting listen as a fan. This new album however sticks rigidly to their hard hitting and darkly formula, churning out another eleven four to five minute tracks of thumping drums, aggressive synths and harsh screams. What's different this time around isn't much. A noticeable switch up to Drumstep style beats on a couple of tracks, however they are the most generic of samples, ones which I enjoy of course.

With the mildest of change ups, the record as a whole fails to produce much that sparkles. Its a very routine album where you can simply drop in if your in the Hocico mood. It delivers on that, another installment of driving dance floor kick drums, heavy hitting, the backbone of many songs, steadily thumping through just about every track. Around that drive, harsh and filling clicks, clacks and buzzes of percussion and Industrial noise create a thick barraging wall of unearthly sound. Layered looping arrangements of unnerving melodies dance of the variety of synth tones tuned for each track. The vocals are one dimensional, every word delivered through the same "whispering scream" that tends to blur into the music in a drone.

It occurs to me now that even its interlude tracks stick to the blueprint, being interchangeable with others from previous records. With each song deploying a repetitive arrangement pummeling dark EDM, it takes an emergent melody or break to elevate the mood and that seems to take place every other song or so. Only one song excelled, Damaged. Its shift in percussive style exciting and the stand out melody with its spacey bells is thrilling every listen. Otherwise its the same old thing from this duo. Next time I wont bother since they seem set in their ways, even if I like that sound.

Favorite Track: Damaged

Rating: 4/10

The Comet Is Coming "Trust In The Lifeforce Of The Deep Mystery" (2019)

 In this age of bizarre and unusual musical machinations aided through digital connectivity, this London based trio, The Comet Is Coming, have an eclectic but related assembling of influences. It does however sound as if this could of taken place in the 90s. Jazz Fusion, Progressive Rock, Psychedelia and Electronic music collide with a hint of metallic rhythm styling to the likes of Groove Metal underpinning the approaches to groove and melody. With a drummer, saxophone and keyboard players these three make a rich tapestries of oozing sound, weaving layers of soaring sound between the thudding backbone of rhythm that propels these songs along.

Its typically progressive, winding passages of vividly colorful instrumental tapestry evolves beneath the ever adventuring and freely expressive Sax that jams and howls in the wind. It does however find its way around to stomping drives of primitive minimalism as a couple of notes will rhythmically bounce similar to a Machine Head riff. In these moments one could perhaps hear it as a guitar riff but its execution with the electronic synths hails to EDM and Dance music. Its magnetic and also infects the Sax which occasionally breaks from its advantageous swells of dexterous freting into simplistic dances between a handful of notes.

The three have a sparkling chemistry however its drummer Max Hallett who puts the cherry on top. Oozing, luscious spacey synths aside, the constantly animated and lively percussion seems to anchor everything together. its almost like a third instrument when the beat drops out and an array of symbols shimmer like stars. The range and timbre is enjoyable too, at first its mainly a more Rock oriented kit but as the album develops more worldly drum tones become involved. The only vocal element comes from Kate Tempest who lends her voice and poetry with an impactful appearance that suits the instrumental sound well.

The albums structure and duration feels very tasteful. At forty five minutes it manages to feel lengthy and epic without being a slug. Only one song gets deep into length at eight minutes, most are four five and hold attention from start to end. With slick transitions each song ends up feeling like one part of the bigger picture making for an engrossing listening experience! There isn't a dull moment here however a couple of tribal bass thumping grooves certainly get my attention the most. Cracking record I think will stay with me for years to come!

Favorite Tracks: Because The End Is Really The Beginning, Blood Of The Past

Rating: 7/10

Hexenkraft "Hexenkraft" (2016)

With the discovery of Hexenkraft Ive stumbled upon one musicans diabolical answer to the retro inspired Synthwave scene. The music already tends to lean towards shadows given its origins in 80s Horror through the soundtracks of John Carpenter. Dance With The Dead embody that spirit and others like Dan Terminus takes it in a night life, cyber punk direction. This project however takes a clear inspiration from video game Doom with its satanic iconography and similarities to the soundtrack.

Its "evil" inspiration is far more thematic than felt, the record deploys no low fidelity ambiguity, wretched screaming or ripping guitars. It turns in the opposite direction, its synths cut hard buzz saw waves with instantaneous attacks and minimal decays for harsh envelopes to deliver a punchy, snappy, high octane experience of electronics. It initially turned me off, the aesthetics came across sterile and clinical but through its construct does emerge a sense of atmosphere and partially devilish semantics.

 The music has a core of firm tempo drum patterns that rattle off slick, hard, thumping percussive aesthetics over a triad or more of basslines. They groove in the form of razor sharp waves toting dexterous, textural oscillations off one another. Its a driving force in the low range that leaves room for its lead synths to queue in the melody and direction in the spaces above. Once again its achieved with slick and pristine wave forms, often transitioning through some form of phase effect on its journey.

The Hexenkraft name and evil intention is a little overplayed in comparison to the musics tone. Its final of four tracks does strike a nerve with an audio sample, probably from a horror movie. Two figures exchang dialog of diabolic inspiration and the ferocity of the possessed individuals voice brings a menace and danger the instrumentals don't muster on their own. Its been a fun listen but the name and nefarious artwork oversells itself in comparison to what other artists have done with this theme.

Favorite Track: Inspirati A Diabolo

Rating: 4/10

Bring Me The Horizon "Amo" (2019)

Ive been highly anticipating Bring Me The Horizon's return since their monumental That's The Spirit, a modern day Hybrid Theory. Its unsurprising to hear the band further move into the Pop realm, the continual direction shift is fruitful and exciting. Inviting larger synth elements of EDM and Electropop in to subtly tune out their distortion guitars in places, they manage to retain an intensity and heaviness associated with the band. Its the songwriting that triumphs once again as infectious catchy hooks take hold center stage in much of the music. Oli is a huge component to its achievement, taking his voice to many harmonious places with many infectious lyrics. Amo is a logical move forward but perhaps not quite at the same grade.

BMTH certainly have a finger on the pulse of current music and an uncanny ability to evolve their sound and infuse these fresh Electronic and Pop ideas. The transition is utterly seamless and its broadened pallet of sounds gives a depth to the experience as key songs stick out with a defining character. Title track Amo and Mother Tounge pulls in 90s Dance pianos and punchy strings for a Pop epics that spans the decades. Mantra, Wonderful Life and Sugar Honey Ice & Tea, bring in sonic seven string guitar groves in the choruses offset by lighter overdrives between. Interlude pieces Fresh Bruises and Ouch dive into some flavored Glitch Hop passageways and only Nihilist Blues sounds behind the curb with a synth sound reminiscent of 009 Sound System.

Its mostly dense and detailed music, cramming many instruments and complimenting electronic tones into the available space, scaling its richness with the ebb and flow of the music which graces between its fluffy, light pop and crunching grooves, both between songs and within them too. Its A dynamic record with a depth of variety and detail for the ears but with many listens the edge is taken off its less focused and atmospheric leaning compositions that slow the stream. Amo is ultimately a great transition for the group, a strong strive forward but moving from one peak to another they loose a little in the quantity of killer tunes. That's The Spirit was a riot from start to end and Amo drifts of on differen't avenues, intensities and styles that breaks up its magic for periods. The variety is great but not each approach is triumphed.

Favorite Tracks: Mantra, Sugar Honey Ice & Tea

Rating: 6/10

The Prodigy "No Tourists" (2018)

Many years on from their hay day, English Big Beat legends The Prodigy bring back their sound again for another round of 90s electronica mashed with booming drums beats on No Tourists, their seventh full length. The project was initially intended to be an EP but the quality of the music led them to a full length release that is noticeably shorter than The Day Is My Enemy. If it is curation or a short and sweet principle, this newest chapter definitely carries a more vibrant energy as it breezes by with a lively energy, charisma and focus on the big pounding drums that you'd expect of them.

The approach to sampling, electronics, melody and vocals all have a strong 90s feel, hailing back to their best era. Its not on par but their knack for jittery synths and the cramming together of intricate sounds to form a whole feels fluid and vibrant. Massive kicks and snares snap and pop throughout and the arsenal of accompanying sounds makes for a fury of body moving energy. Interestingly a collaboration with duo Ho99o9 stands out as an excellent moment where the two acts find a common ground to accommodate one another and produce the records most infectious song!

Beyond that one moment not much breaks expectations or deviates from form. Vocally the group focus more on the hooks and have their snippets on loops for the choruses. A lot of synth setups, tone, delivery and vocal samples hail back to their early days. If you know them well you will hear the links. This is The Prodigy delivering what fans want and if in the right mood it makes for a heck of a listen. Its far from original, a few spicy arrangements are in store but this is a full speed ahead, wild ride!

Favorite Tracks: No Tourists, Fight Fire With Fire, Champions Of London, Resonate
Rating: 7/10

Front Line Assembly "Warmech" (2018)

Fun fact, on my way to a Plini gig I arrived at the wrong venue. These Canadian Industrial veterans were playing there, I wouldn't of minded watching them too. Its been many years since I last checked in with FLA. I remember them as having the classic synthetic, Electronic, Gothic leaning Industrial sound which I grew to love through the likes of Frank Klepacki. In the 90s they flirted with Industrial Metal after Ministry laid the path, just before its commercial peak with Antichrist Superstar in 96.

Being out of the loop, I was unaware that Warmech was the soundtrack to an RTS game called AirMech Wastelands on Steam. That might explain why this record wasn't what I expected. The Industrial sounds I anticipated linger beyond a solid core of modern Electronic and EDM styles that aim to build atmospheres with music that's not in your face yet rich with synthetic instruments coercing an environmental approach that draws in the meditative vibe VGM requires to let the player drift in and out of focus from the soundtrack. At seventy three minutes its a long listening stretch clearly, better suited to its intended purpose of semi-distracted gaming sessions.

Considering these are old, experienced minds at work I did not expect to hear the sub wobbles and drops of Dubstep working angles on the music. Their seasoned selves showed as the drops refrain from being overly bombastic and obnoxious, resulting in a crafty execution of trendy techniques. With hard thudding kick and snare grooves the songs often cruise into EDM territory with some faster percussive loops leaning towards Drumstep. Like with Metal, Electronic music can so easily blur many lines and show influences. Whatever may be on display its composition holds onto that craft for detailed arrangements of instruments and industrial sounds that give the atmosphere conjured a depth of field. Better yet this detail extends into the musics progression as the songs make shifts and breaks with animated sequences of sound that often play like machines firing up their gears and getting into transitional motion.

Across its seventy plus minutes a healthy amount of variety unfolds however it does suffer a little when exclusively in focus, slow tempos and drawn out melodies show a desire to not be intrusive. The best way to enjoy these songs is when focused on a task, then it becomes meditative and helps one focus while creating vivid soundscapes. As a result of that tone its most ambitious melodies and epic synth chords get pushed back in the musics attention as that and a lack of vocals never try to steal the show from the game it was made for. If not for the soundtrack some adjustments and vocals could of made this a great traditional record too.

Rating: 6/10

Dance With The Dead "Loved To Death" (2018)

Right as I feel like I'm clued up on their sound and back catalog, Californian duo Dance With The Dead drop a brand spanking new record which I wasn't particularly in the mood for. At this point their sound is played out on a personal level. The 80s John Carpenter soundtrack nostalgia ride has been explored and so this new collection of tracks does little unexpected or even exciting at this point. The aesthetics sound unchanged if only refined and polished a fraction. Loved To Death doesn't deploy any distinct theme or spin a twist, its another ten straight tracks of dark, dense and melody rich Synthwave playing to its niche.

On occasions the music musters intrigue with some under utilized avenues, Red Moon introduces metallic rhythm guitar to the forefront for brief instances. War deploys some gargling synths that fluctuate like a Dubstep drop. Similar deep textural synths rumble on different wavelengths in bursts but beyond these brief glimpses of places for the sound to expand the music mostly sticks to its guns with the same digestible arrangements of pumping horror soundtrack boldness and neon lit nightlife adventure melodies.

When the music shows signs of something new its always limited to aesthetic and so the record drifts on by at the same pace. Its predictable, yet wonderfully executed. Hard to critique but all to palatable. I did enjoy the occasional cheesy 80s Hair Metal solo, it has a fitting place here but unfortunately none of the tracks stepped beyond what I expected of the band and so it just sounded routine and repetitive. Good music but desperately in need of a new direction.

Rating: 4/10

Dance With The Dead "The Shape" (2016)

After the disappointment of Send The Signal we jump forward to The Shape, the California duo's most recent album, which restores much of the dark and playful, EDM pounding, nostalgic Retro Wave to its prime. This record doesn't appear to revive the guitar leads and 80s Metal accents, instead it finds its form in a leaning towards the fun and comical horror of zombie movies and the like. Its key melodies play like a howl in the wind with a touch of the spooky and creepy, however the audience is kept safe from harm behind the glossy aesthetic of gleaming electronic instruments and the continuous thud of Dance beats.

Its a very likable record, it rests itself firmly within the night club as its relentless snare and kick drive keeps the pulsating energy flowing while its lead instruments explore the themes over top of chugging Industrial guitars that lay behind the dazzling synths to add some texture and force to the sound. Its a squeaky clean sound, polished almost to a fault as a lack of natural feel leaves the music lingering in a sterile environment where its monotonous pounding sometimes loses charm.

The mid song Adrift does an important job toning down the energy and giving the record some room to breathe as its punchy, fast attacking synths rarely break formation. Its organized, mechanical and industrious, all the parts of the machine fire on demand and leave the music without many organic or fluid moments but obviously that's not what its aiming for. Its a finely tuned engine blazing down the night highway, illuminated by neon lights reflecting from the towers of a never ending city. 

As the album draws on it drifts further from the undercurrent of spooky, horror related melodies that gave it some spice in the get go. It starts to feel rather generic and bland however its arrangement of sharp and keen synths keep a high energy engaging. The last two song bring back some guitar fever and Quietly Into The Night hits a high note as soft piano opens up a slow, open, atmospheric song that's engulfed by an epic display of lead guitar shredding. Its far from where the record but a great note to fade out on. Although the records theme doesn't last the stretch its got plenty of good to go around.

Favorite Tracks: Eyes Of Madness, Her Ghost, Adrift, Quietly Into The Night

Rating: 6/10

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