Frank Klepacki "Initiative" (2023)

 Frank Klepacki is back! Not the first post-Remaster release, but one that caught my eye! Picking up his battle axe and throwing down stompy thrash grooves alongside dystopian synths, Frank revives classic Command & Conquer vibes and aesthetics for another metallic romp of his janky Electronic Industrual funk! This outing comes steady, lean and refined, a consistent burn with anything in the way of experimental or out of the ordinary arriving through his guests Glenn Kachulis & Connor Engstrom.

 Gunslinger mashes his cyberpunk Disco thump with slick Mexican guitar licks. An unusual union that somehow persuades despite its dramatic shift in tone. The following Dark Assault showcases Connor's flashy lead guitar talents, a dazzle of steely blazing melodies to act as a voice. Unfortunately it spells missed opportunity, as Frank ditches his unique Industrial sound design for a high speed metallic fodder. The result is a rather generic splash of pacey fire and fury. Slick but again shifting tone.

The rest of the music finds familiar face, an unravel of detached melodies, woven through a web of hard hitting instruments. Arrangements whirl with sequenced mechanical activity as pulses, zaps and industrial clank rub and rattle against its organic tones. The contrast can be enjoyed with little effort. Flushes of Prog Rock leads and Metal guitar accompany its varying temperaments. A solid listen to stir up a colorful dystopian vision of futuristic proportions but lacks anything truly special.

Rating: 6/10

Carbon Based Lifeforms "Seeker" (2023)

 

 Thirteen years on from Interloper, now a classic in my collection, I wanted to hear if Seeker retains the infectious charm this breed of spacey downtempo ambient offers. With many consecutive spins, the dazzling repetition of whirling melancholic melodies did not meld to an intensity felt once before. Perhaps the familiarity dulled its impact. Seeker is loaded with wondrous music to inspire awe and astonishment, its astral evoking leading many compositions on a similar trajectory. Humble beginnings gradually bloom into emotional swells contemplating our mysterious universe and the roll we take within in. Far from existential, these emotive arrangements arouse a glorious curiosity, sparking the imagination on a galactic perspective whilst also reflecting inwards, as such incomprehensible scales often stir introspection.

Its aesthetic design and arrangement of electronic instruments is a web of details and intricacies one can get lost in. Timely reverberations and lofty tonalities feed into the themes tapestry. Human voices weave in on rare occasions, often with breathy wordless interpretations and an occasional hint of lyrics. The driving forces are its emergent key melodies and swells of percussion that amass intensity as peaks are summited in a songs climactic pass. Much of this could be applied to previous records yet despite similarity and familiarity birthed from my many spins, Seeker didn't resonate on that deeper level. Its a high bar to reach for and shouldn't deter from the soothing spiritual moods the music stirs. Definitely one for the Temporal Focus playlist!

Rating: 7/10

Mega Drive "Arc Ascension" (2023)

With a brief chance to catch my attention, distinct dazzling synths with a certain glossy sparkle about them allured me in. Also present in other tracks, a few of its various VST tones come polished with ludicrous cleanliness. It increases a familiar sense of high octane production within the Synthwave niche. This approach steps up game again, refining aesthetic edges but in conclusion probably not offering anything new.

Typical themes and moods evoking the glow of neon lit cities, thrill seeking vehicle speeds and the underworld night life are stirred competently among dense compositing. Jostling among a dense web of busy synths, each track offers up a smothering plunge of pulsing sounds. I ended up falling to its cruising atmosphere as a ceaseless energy drives the music along, best felt on title track Arc Ascension.

It offers a few slower tempo cuts too, often home to big bass and thumping kicks as the mood turns to a darker leaning. Shadow Dancer stood out for its tropical synth selection and unusual percussive drive. A welcome change of pace but stirs little beyond its initial mood as these compositions tend to rotate and interchange its assembly of melodies, lacking progression or sense of destination beyond identity.

Rating: 6/10

Fever Ray "Radical Romantics" (2023)

 

Either searching for the timeless nightly spell of Fever Ray, or listening with open ears for a new avenue, bar a few flashes of light, Radical Romantics plays like a reassembly of proven ideals. Lacking a distinctive spark, the music resemble the past, lacking a fresh feverish persuasion. On one hand I adore the blueprint, Karin Dreijer's unique, slightly quirky but madly primal voice, a transient experience among its oddity arrangements. Zany melodies, mysterious synth aesthetics and disjointed percussion converge on their frictions, birthing an atmosphere only this artist lays claim too.

That once mezmorizing soothing ethereal charm seems absent. In the lulls and quells, an atmosphere lurches distant and peculiar. An out of focus form in abstract forms. Karin's voice is often the unifying element, gluing the instrumental strangeness together with direction and expression. With its elements often on the minimal side, those moments between a human voice often feel lacking, as if awaiting her presence.

Kandy catches my ear with its tropical steel drums intersecting the peculiar nature with a beachy sunny warmth. Its the following Even It Out that excels. A tense bass synth and thumping kick drum creates the drive for warbling synths and her agitated repetitions to swell above. The breezy "woo-hoo"s a wild contrasting tension relief. So gratifying. Sadly the rest of the record lacks a spice to elevate beyond the expectant. A really enjoyable album for this fan but I felt it missed a mark so within its grasp.

Rating: 6/10

Sleep Token "Take Me Back To Eden" (2023)

 

Currently catching a wave of attention within the Metal community, this anonymous collective known as Sleep Token have deployed their third effort, Take Me Back To Eden, like a stealth weapon to subvert fans of metallic abrasion into its soft and glossy gushings of watered down Ethereal Pop. Propped up by the remarkable voice of front-man "Vessel", his enigmatic voice stands in contrast to expectations. Learning routinely into his subtle vibrato tremble, this vulnerable voice emerges strong and self known, a firm assertion of individual expression, unafraid of ones own shadows.

This lengthy hour duration is held together by solely Vessel, the glue for a rather weak instrumental footing. His performance illuminates and engages, a delightful indulgence with a singer exploring their inner self through immense range and presentation that will delight over and over. Behind him a bland assemble of opposite ends of a spectrum. On its metallic side, the groaning slams of Djent guitar noise seem unable to escape the rhythmic shadow of Deftones and melodic oriented Fightstar.

That's actually a smaller component of the record. Instrumentation swings to its lighter side with most of this music. Soft airy synths routinely paint a warm Ethereal breeze for easy percussive beats and dreamy melodies to burgeon within its cloudy Pop design. On examination this is a rather dull and bland passing in comparison to similar Pop music of the day. Its grooves and tunes lack assertion and distinction, the ones that do, ie Are You Really Okay? have an uncanny resemblance of dejavu.

Some occasional interesting chemistries do blossom in this relationship between its two extremes, yet never do they appear entangled with any freshness. One is always an aesthetic compliment to the other, both are oriented in that textural direction. It becomes sterile with familiarity as its shallow blandness seems an extension of current Pop Metal temperaments. With little memorable on the instrumental front, Vessel gets in your mind like a true ear worm, propping its merits up. Despite having such a talent within the ranks, the hype seems oriented around exposure to ideas better explored elsewhere.

Rating: 5/10

VNV Nation "Electric Sun" (2023)

 

A five year gap between Noire and Electric Sun has elapsed, the largest among VNV's twelve records. Evidently a veteran of ones own identity, this re-emergence offers next to nothing new. Its steady stream of melancholic warmth resonates on familiar footing. Harris' soft fatherly voice words lyrics steeped in compassion, introspection and wisdom. The message of victory not vengeance persists, navigating humanist struggles and emotive pains through grandiose metaphors. An easily digested balance of darkly Club synthesizers and thumping Dance percussion whirls up energy. Slick Neo-classical instrumentation ushers itself in, fanning emotive flames with soothing pianos, completing a glossy aesthetic housing both softness and edge.

Its a bright, thoughtfully crafted execution of a familiar blueprint. Its glittery melodies, grand stings and pulsing dance floor drums are left dulled by their lack of surprise. Having acquainted with and grown fond of an unshaken sound so many moons ago, its left this listener with little to love beyond its pleasantries. Both aesthetic and thematically resolute, even Electric Sun's structure felt archetypal. The same rotation of gleaming astral interludes and a dark banger, Artifice, rolled out with familiar feeling. Its a fine record but perhaps not something I was in the mood for. I'm sure these songs would find themselves home on rotation in a VNV Nation playlist.

Rating : 5/10

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Siebzehn "Starship Signals" (2016)

  

 Following up on The Ocean Palace, we have another spacey Pysbient record, interestingly created the same year. Once again its another expectant occurrence in terms of meditative mood and focusing ambience. Like the latter it had an allure of mediocrity that landed it square in the middle of the spectrum. Siebzehn's defining characteristics are built within its busy instrumental nature. Soft rattling synth stabs oscillate alongside aimless percussive noises, held by a steady groove as one is locked in this slice of time. Bass lines brood below with a synthetic textural intensity. With this blueprint, a fair range of astral inspired temperaments are explored.

Under The Radar strikes as a resonant assembly of the spacey tonality heard so far. Illusive melodies strike a sense of momentum frozen in time. Its pulsing bass loops its brief notation as airy occurrences of alien noise drift in and out of focus around it.

Tektoniks is another highlight. Again, lead by a bass line slowly pulsing with a touch of sub, were guided through unease and tension. Observed with a sense of detachment, percussion waivers in and out of focus alongside the sounds of deep space.

Starship Signals has its flavor and as the title suggests its sense of space is woven with mechanical, technological constructs of a future mankind. This is greatly emphasized by its slightly industrial approach to the drums which have a busy roll despite the relaxing nature of the music. I could hear this as a keen soundtrack to a video game, with the right space adventure inspired theming of course.

Rating: 5/10

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

Frank Klepacki "Morphscape" (2002)

 

 

Frank Klepacki, creator of the timeless Command & Conquer soundtracks that have obsessed me since playing the classic Westwood Studios games in my youth. His debut solo release Morphscape is no unknown entity. Yet despite discovering it many moons ago, it seems this musical gem never really registered. Released after Red Alert 2 and Yuri's Revenge, this is clearly a collection of leftovers from those sessions.

 

The unabashed aesthetics and niche stylistic framework remains intact. A jiving fusion of Industrial grit, futuristic Electronic, Funk bass grooves and on occasion, a slab of Metal through distortion guitars. These elements meet on bold ground, punching stiff melodies and rhythms into the fold. Controlled chaos emerges as layers of crowded sound compete for dominance, a familiar yet strange charm resonates again.

On its surface much of Frank's compositions seem tacky and unhinged. Despite its crude union of snappy instruments, immersion emerges through the various pivots that signal intention and direction. Best are the plastic sweeping synths, often arriving unexpected, manipulating a lively adventure with a soft passing emotional depth.

Quality is reasonably varied, as are the particular styles explored. Although I enjoyed all but one of these cuts, only a couple felt they could have offered the original soundtracks something extra. The other songs bore much resemblance to originals, with similar ideas, arrangements and aesthetics being spun with less magnetism.

That leaves us with one song, Gonna Rock Yo Body. Clearly his passion project, Frank pays tribute to legend Afrika Bambaataa and the Planet Rock musical blueprint. It illuminates some vague Hip Hop related influences lurking elsewhere on the record. On first listen, a comical, quirky take. With repeated listens its stark unapologetic nature becomes tiresome. An odd blemish among a fine collection of C&C songs.

 

Rating: 6/10

Aaron Cherof "Minecraft: Trails & Tales (Original Game Soundtrack)" (2023)

 

Playing it safe and getting it right, Aaron Cherof, Minecraft's latest soundtrack composer, steps gracefully upon familiar foundations. With the last three installments, Lena Raine managed the burdensome task of moving forward from C418's iconic musical blueprint. She did so with a touch of magic, encroaching on a new wonder. Inspired atmospheres emerged, darkly yet gratifying tensions fit for nether dimension adventures. Gentle and dreamy surges of melody blooming from humble origins one Caves & Cliffs. And then The Wild Update, fusing hints of location and culture into the music for the discovery of new destinations, both ancient, dark and swampy.

Along with game ambiences, the inclusion of Pigstep and Otherside persevered with praise. Players now had new music discs at their mercy. Alongside the original twelve, they stood in equal brilliance. Relic is now the sixteenth record to join the collection. A reddish brown hue, light blue inlay an alluring look but does it live up to expectations?

Following firmly in Lena's footsteps, Relic works with the vinyl crackle, hinting a soft organic fidelity as buzzing synths resonate with shimmers of wobble and warping. It humanizes the key melody, which conjures Minecrafty spirits. Initially reasonable, it grows with percussion and variations on theme. The bass busies and drums increase complexity on path for a gratifying conclusion as underlying synths glow warmly.

A safe success and the same could be said for the other four overworld ambiences that make up this five song soundtrack. They follow a familiar format built by Lena. Pianos lead with lavish reverbers, building gentle, soothing ambiences that blossom with surges of lucid, ambiguous atmospheres bustling from beneath its main motif.

Bromeliad breaks ground a fraction, intriguing, as its main melody initially alludes. Sweeps of a piano chord get lost among the emergence of soft rhythmic percussive sway. Quite the build up, that leads itself astray as the musical direction pivots into a cloudy conclusion as airy synths and glimmering piano drips steal the focus again.

 Crescent Dunes could of been my favorite! A grand yet distance cram of shimmering instruments sparks a bold stance at the onset. Yet swiftly does the composition sway into familiar territory as pianos breeze in the winds of softly atmospheric synths again. It does find a charming passageway as rhythmic stabs of strings guide its ascending key melody. Not quite the typical characteristic for this game but it does work.

As I said in the opening, these new compositions play it safe, sticking to a proven formula and yielding competent results. There were a few glimmers of something fresh and distinctive on offer but always brief. If Aaron gets the chance to work again on the next updates soundtrack, I hope they get a little adventurous and explore their own musical flair could offer the games atmosphere and its passionate players.

Rating: 6/10

Periphery "Periphery V Djent Is Not A Genre" (2023)

  

 As a band past the peak of their creative edge, the use of this albums title to make a statement was a curious one. I have no idea where in this string of songs it was supposed to manifest. Only the Pop ballad Silhouette and ending Ethereal ambiences of Thanks Nobuo made a distinct departure from their atypical sound. This remark on Djent feels hollow, the music offers up little to counteract the notion as Periphery spin their prominent style again. After all, genre names are an attempt to objectify subjective experiences of difference across a spectrum of auditory distinctions. Djent may have initially been in reference to Meshuggah's extreme guitar tone, yet it has clearly become a catchall for a scene that has since blossomed around them.

So what does this fifth chapter offer? A healthy helping Periphery melting the steel again! With harsh rhythmic assaults, extreme guitar abuse and a duality personified by Spencer Sotelo scowling screams and ascending clean vocals, the band do what they do. This alone explains why I took so much time with this record. After weeks of repetitions, I couldn't unearth what was new and fresh. Many of these songs could slip into previous records. My favorite moment of intrigue was Wildfire's dissonant guitar solo, simple for being a clone of Fredrik Thordendal's rapid alien tapping style.

Its a rarity to hear done right but suffers its unoriginality within the bigger picture. In many intervals do the band detour from metallic thrashings into softer temperaments. With lavish helpings of sweet and subtle orchestral elements woven into their dense wall of sound, they offer up an aesthetic wonder but the songs seem to fall short on new and interesting directions. One could feel that waning on IV, with Blood Eagle being the lone rumble traversing new grounds. Here on V the lack of ascent felt real. Left unsure of favorite songs, despite enjoying the offerings with each spin, Its as if the band has run out of fresh ideas.

Rating: 6/10

BABYMETAL "The Other One" (2023)

 

A lack of anticipation for this newest BABYMETAL record seems obvious in retrospect as its singles and promotional songs mustered little excitement in the build up. Having binged the record somewhat, I've been struck by how underwhelming the music is in comparison to prior records. Where are the banging riffs, cheeky chants and surprises along the way? The Other One seems subdued in approach, toning down extremities and eccentricities, curbing the wild in favor of easily digestible song writing.

Much of the heavy lifting is handed to Su-Metal, who struggles to find hooks and cadences to forge the unforgettable songs heard in the past. She sits front and center with a tame sequence of bland singing that feels so monotone in creative terms.

Perhaps Mirror Mirror comes close to capturing that old magic, a willingness to embrace the wild instrumentally can be heard but referencing the old "mirror mirror on the wall" fable leads nowhere. Elsewhere on the record eclectic directions can be heard but never does a melody, hook or groove converge on something memorable.

Time Wave explores a soft take on Club and Trance aesthetics, Metalizm toys with hard percussion underneath eastern and oriental melodics, Monochrome traverses all too familiar Pop Metal trends with oh-woo chorus chants and a warm guitar melody.

Despite having much of the original band behind the music intact, The Other One feels like a shadow of former glory, a withdrawal to safe territory where ambition is traded for safety. Its an aesthetically treat, a gorgeous mix of Metal, Electronics and J-Pop singing. The songs may be pleasant and welcoming yet their bite is absent. Every song here feels like the one you might of skipped on previous records, to get to those fan favorite tracks like Gimme Chocolate, Karate and The One.

Rating: 5/10

Yagya "Faded Photographs" (2023)

 

I recall commenting previously that Yagya's music, a unique blend of dreamy Ethereal Downtempo ambience, had run its course with me. Still in adoration of the peaceful persuasion this composer casts, this newest installment commanded a curious listen. The soft sway of deeply subdued dub percussion meets a timeless array of cloudy synths again for another sleepy affair in the heavens. Business as usual, the sweetest of routines that leaves me with little to say I haven't already in previous posts.

Where Faded Photographs caught my ear was with its vocal collaborations. A real sense of intended chemistry emerged as these delicate, softly sung voices chimed in as if a new element of the Yagya sound. Its been done before but in a few instances, these unions with Bandreas, Benoit Pioulard and my favorite Saint Sinner, turned out a treat! The subtle saxophone expressions from Óskar Guðjónsson another delight.

With a rather constrained temperament and consistent approach to the composition of these eleven songs, the novelty wears off swiftly but a soothing charm does persist. The Serpent stands head and shoulders apart as the records best song. Grappling with foggy unease and eerie stresses, the chorus moves through gratifying shifts as tensions resolve and elevate with beautiful chord progressions. It commanded me to write this post! The record however did become a rather typical affair for a sound thoroughly explored already. I do still enjoy on occasion though, this was one of them.

Rating: 6/10

Ziggurath "Jungle Majesty" (2023)

 

From Desert Synth, to Jungle Synth, Ziggurath's exotic inspirations turn wet and tropical on this humble second outing. With this friendly incarnation of simple synth arrangements, the music barely resembles Dungeon Synth anymore. Jungle Majesty feels more like a homage to 90s video game soundtracks. With an "at your leisure" pace and ever pleasant mood, the atmosphere conjured is ripe for scene setting.

Further embellishing this era defined soundtrack design inspiration, the simplistic MIDI compositions run stiff with precise timing. Despite this "flaw", a selection of rich virtual instruments, cared for with soft space filling reverbs, somehow washes away that sharp digital precision. Even in its slower paced cuts, of which many have a tortoise like crawl, the aesthetic charm of its gorgeous tonality wins one over.

The song titles are fantastically suggestive, both complimenting imagined events within the game and finding a fun temperament to match. It doesn't lean to heavily into the dark, keeping its light hearted tone throughout. A couple of moments muster more musical layers into compositions with more visual gravitas on occasion. Again its a vague yet fond reminiscence of the worldly Dead Can Dance that can be felt.

The recurring use of some distinctive instruments further highlights the fantastic chemistry at work. Bongo percussion, lone tambourines and voicey choral synth conjure charm again, yet aptly repurposed to this new jungle setting. These new claims to Synth genres are somewhat futile. Jungle Majesty doesn't create new ground but certainly evokes a nostalgic presence fit for enjoyment once again.

Rating: 6/10

Ziggurath "Tales From Southern Realms" (2022)

 

As Dungeon Synth ages, the potential for its maturity and new avenues of evolution is exciting. Despite the possibilities, many branches Ive heard seem a step in front of themselves. The notion and presentation exotic yet execution lacks musical vision. Ziggurath, and the notion of Desert Synth, initially seemed doomed to the latter.

Minimal use of rich tonal virtual instruments, sleepy tambourine and bongo led percussion, the unshakable humanistic choral synths. All too simplistic. My first impressions were as dull and lifeless, as the windswept dunes it was trying to sell.

There are still tracks who's spell seems absent on me. The incessant bird tweet on Assassins In The Courtyard an annoyance. It pulls me from the nightly Ethereal magic, brooding around the saw wave melody, which blossoms into an exotic mystery.

As familiarity settled in, the ancient dusky dune civilizations came to life. Steeped in cultural mystery, lost to the ages, the world building flourished with spurs of foreign instrumental chemistry akin to the delights offered by legends Dead Can Dance.

With ebb and flow, temperaments lull, then pick up pace. A sense of cycle emerges, the lively activity of daytime markets and trade, descending into night as the dangers of moonlit dunes sit softly in the backdrop, awaiting risky adventurous who tempt fate.

The brighter instruments highlight its potent melodies, forging a focal point for the records apt chemistry on this Desert Synth notion. In its calmer spells the minimalism feels lenient on the suggestion but its best sell are the bold, throaty, voicey synths.

They weave in a sense of ritual and spiritual tradition that illuminates a fantasy Egyptian alike culture with esoteric mythology at its core. This is where the record excels, a most gratifying component among a set of songs that work mostly for mood setting. The immersion doesn't quite grab you by the throat but the sell is strong.

Rating: 6/10

Skinny Puppy "Vivisectvi" (1988)

 

Stylized as VIVIsectVI, this fourth machination of darkly Industrial and sporadic electro tones is one I vaguely remember from over twenty years ago. Revisiting it has not rekindled any youthful memories or sparked any further intrigue in Skinny Puppy. Once again the approach of Ogre and Key alludes me. Their dystopian soundscapes running detached from a convention I'd connect with, like groove or atmosphere.

Harsh drum machine percussion pounds its persistent drone, a shuffling assault of stabs and jerking motions as jolty synth basslines busy themselves with energetic resolve. A persistent theme arises once again, the emerging instrumental pallet heard better used by others later on. Vivisectvi has its moments of chemistry, often brief and wedged between Ogre's bare screams, grisly spoken shouts and plenty of sampled snippets that attend to emphasizing a darker side of society and human behavior.

For me, this one barely amounts to more than the sum of its parts, however for the year I can see how fresh and different this experience might of been. Vivisectvi bridges its fidelity into a more digestible format, the music sounding visible. Crisper instruments and synthetic instruments play boldly. Where it looses me is after Testure, another notably Synthpop adjacent song with melodic convention and gleaming bells juxtaposing the dystopian madness with a touch of hopefully, if not naive, light.

With a touch of Dejavu, the record descends into a sprawl of chaotic ideas after this song. State Aid and beyond leans hard into distortion and battering percussion, never quite recovering the atmosphere once flirted with. I've heard these ideas re-imagined by others further down the line and packaged so much better. I can give it merit for exploring these grounds but the end result isn't satisfying, simply of curious nature.

Rating: 4/10

Skinny Puppy "Cleanse Fold And Manipulate" (1987)

 

 

Fine tuning the dials of its industrious abandon for a noteably consistent peruse through nightmarish dystopias, Skinny Puppy loses any spark on this third and fiendishly monotonous outing. Its opening however, suggests new ground as janky and flustered bursts of softening symth seem organized. They spew murky unease alongside subtle sensibilities that suggest a slight Synthpop influence. One can hear a keen sampling of Kraftwork on First Aid. The following Addicition strides to a cohesive expression, where its disjointed elements cast a worried spell of personal struggle and abuse, between injections of obnoxious samples that brake up Orge's snarly shouts.

And then a sudden descent into mediocrity, every following song until conclusion seeming to allude any potent melody or enticing chemistry beyond its disheveled industrial exterior. Broken baselines thrust notes forth between the shuffling of metallic percussion, banging and clattering along without a settled rhythm. In flood samples and crude hissing shouts that too fail in amounting to anything of merit. Despite this extended lull, one hears an occasion echo of some aesthetic chemistry, to be repeated by Industrial Metal juggernauts to come. Other than that, it lacks on all fronts.

Rating: 2/10

Skinny Puppy "Mind: The Perpetual Intercourse" (1986)

Unlike the exploratory oddity predecessor Bites, Skinny Puppy's sophomore reeks of conceptualization. In presentation, aesthetic and an unwavering tone, Mind assaults the listener. With janky, discombobulated elctro-percussion, uneasy distorted samplings and the strained snarky chords of Nivek Ogre, one is plunged into a nightmare realm of their ghastly making. Striding into a rotten discomfort, these songs mostly build from unsettled origins into clusters of claustrophobic noise and howling.

Kicking off with One Time One Place, a restrained Ogre groans as airy synths brood in the distance, quite the spellbinding atmosphere. Its a navigation through pain and discomfort that's gratifying thanks to its soft melodic backing. Sadly, as the most accessible song, what follows descends into a madness with a specific shade lacking the allure to pull me in. These disjointed melodic phrases get roughly pushed aside by punchy Industrial drum kits with an assembly of noises seeming to only loosely fit together. Its hell bent on painting a dark and grisly dystopian soundscape and gets halfway there.

Despite having occasional spurts of curious chemistry to charm and capture ones attention, the janky nature of its inhuman rhythmic drive seems to steer the music into maddening piles of disorientation that ended up being my lasting impression. Some merits lay in aesthetic exploration, where intriguing Industrial textures emerged to be recycled by many more in the genre later on. Sadly though it didn't amount to much beyond the sum of its parts that became apparent after just a single spin.

Rating: 4/10

Devin Townsend "Lightwork" (2022)

 

After two dubious lock-down escapades, Devin Townsend returns to form with familiar footing. Leaning into his glossed up, cloudy yet punchy production style, Lightwork makes fortunes of his friendly craft. With a familiar melodic styling, empowered voice and shimmering aesthetics, a listener is lavished with the finest, matured, wines.

After the rampant revival of prior paths walked on his Empath amalgamation, Dev's Heavy Metal antics of past get channeled to dramatic drifts and subtle surges of might potently deployed when asked of the music. Even extreme screams get buried, a deep rumble to electrify this synth tinged mesh of melodies resonating up top.

A theme of healing runs throughout. Dev's often soft timbre and gentle words stir a compassionate call to calmness on many occasion. The serine nature of steady acoustic melodies woven with sparkling synths seem a perfect match. Humble yet firm percussive grooves command the pace as a variety of instrument voices chime in.

Despite being so typical, once again Dev wins me over with his charm. However, Lightwork as a whole struggles after Call Of The Void. A shift to unsettled rhythms and quirky temperaments may be brief but the charming flow of its opening four isn't resolved again until a scaling epic, ten minute closer, Children Of God.

Rating: 6/10