Depressive Silence "Depressive Silence" (1996)

My recent return to Dungeon Synth music via Örnatorpet had me on a curiosity binge, another plunge into the depths of Internet search results, aiming to learn more about the genre. I stumbled upon a treasure trove, a list of over three hundred records leading me to discover this classic cassette released by a German duo in the genres infancy. With retroactive ears the influence is obvious and astonishing, however my enjoyment of such a gem may have been tarnished by hearing the trail of successors to this sound beforehand.

Despite the name, Depressive Silence is a rather mellow and peaceful music project that has a distant haunting of darkness beyond the realm of its ethereal, fantasy driven atmospheres. They may have first steered the genre into more adventurous territory than its gloomy, dark, dungeon alike origins. With big and vivid synths and organs the music brings on a hypnotic persuasion as its think back bone of ethereal fog is graced by luscious, serine melodies that echo Medieval ideals similar to Fief.

 The music transpires in a meditative state, undoubtedly helped along by its low fidelity recording that muddies and muffles the clarity of instruments, allowing the reverb and textures to inspire an allusiveness that feels grandiose, heavenly and deeply mysterious. I find myself often envisioning clouds and pearl white sky cities peaking out between the layers of cloud. Its minimal, and powerful, this low-fi approach lets simple compositions of two to four layers come to life in the ambiguity of their chemistry.

This self titled record is a wonderful, calming and hypnotic listening experience, soothing, mystic with a natural vibe. For its time, a very much unique, visionary take on the scarce Dungeon Synth sound. Its first two songs are utterly fantastic however the following tracks tend to blaze the same trail with a little less magic. They may pale in comparison but it is still magic none the less. Really impressive record, no doubt it would of had a bigger impact on me if I didn't know this sound so well already.

Favorite Tracks: Forests Of Eternity, Depths Of The Oceans, Dreams

Rating: 7/10

Ulrich Schnauss "A Strangely Isolated Place" (2003)

Suggested by a reader, this hour of relaxing bliss was an instant fit for me. In patches its fondly reminiscent of Tycho's Drive with its washes of lavish, serine, sleepy melodies. German composer Schnauss comes off the back of the nineties with shades of Breakbeat, Trip Hop and Electronic scene of that time echoing ripples through his dive into synth oriented Dream Pop that plays like a trip. So swiftly can you fall into the spell of sweetly arranged sounds bleeding into one another with thick drippings of reverberation. Ulrich's voice creeps in like another instrument in the arsenal as his high pitched words are drifted in from the back like a ghostly voice in the distance. Only utilizing words on a couple of songs you can also here him as an instrument in places.

Its drum breaks hold the music together with a stiff injection of life and pace into an otherwise swirling self indulgence of vivid synths loosing track of time as the chemistry blossoms and ripens. These compositions have an organic, progressive element as contractions sweep through the musics wall of dreamy reverberated sounds. It allows for the often static feeling music to go through many transitions and transformations that feel entirely natural and without resistance. It lives, it breathes and the swarm of inviting sound is dense, with finesse and balance that can border on Noise in one or two songs but always its richness is a persuasion to be charmed by.

Everything hangs in the balance and through it all a warm breeze of peaceful intention arises. Although sleepy and sombre its always in awe of beauty, conjuring feelings of an innocent day in the soak of sunlight, a walk in the park, the simple things mother nature offers us. As the title suggests a shade of loneliness or isolation is in there but that's mostly down to interpretation. This record is rather wonderful and a better understanding of the electronic scene at the time may suggest this being a precursor to a lot of Dream Pop influenced electronica that has come by in recent years. Without a weak point or track to pick as a favorite it sits as a potential go to for years to come with the album playing as one big experience.

Rating: 8/10

KMFDM "Hell Yeah" (2017)

I almost passed on this new release from the German Industrial legends "Kein Mehrheit Fur Die Mitleid" and having given "Hell Yeah" a few plays through that would of been wise. Why? Its exactly what I expected, 2014's "Our Time Will Come" was interesting given it had been a while since I last checked in them. Its clear KMFDM have got their sound down to a science, a formula they repeat every few years and so the music was predictable. This is their twentieth full length and its actually the second longest gap between records which is kinda remarkable considering they have been consistently at it for over thirty years since 1986.

And so we have another fifty minutes of fist pounding Industrial Rock loaded with harsh EBM beats and electro synths that don't offer a lot of depth in terms of replay value and subtly. Its all upfront, in your face with all of the instruments compressed, loud and very audible. The compositions interweave electronic melodies and samples backed by hard ripping distortion guitars and the incessant steady thudding of club kick beats. Its reasonable but no surprising or memorable moments arise from a sturdy set of instrumentals mostly arranged in verse chorus.

The most interesting aspect is the typically anarchistic social-politically minded lyrics which take current topics and stir them into statement ridden lyrics, making it very clear where on the left they stand. They do provide a few catchy hooks or lines with insight to ponder on, IE the "Fake News" bringing up an idea of "news addiction" which I found to be an insightful statement. The albums cover further enforces the current topical nature of the music but its not much to save this from being the same sound spun again. Not even the production seems to have progressed and so we have a predictable record. Although I like the bands style and sound, this record offered nothing new bar one or two intriguing lyrics.

Favorite Tracks: Freak Flag, Fake News

Rating: 4/10

C418 "Dief" (2017)

German electronic producer Daniel Rosenfield, AKA C418, composer of the Minecraft "Alpha" & "Beta" soundtracks, brings us a comparatively short thirty two minute EP under the name of "Dief". Unsurprisingly its a far more coherent listen in comparison to last years "2 Years Of Failure". Mustering his inspiration a collection of calm, soothing and spacious songs emerge with a deeper layer of ambience than expected, based on his distinct identifiable style of modern electronic fused with lush pianos and strings.

"Work Life Imbalance" might be the records most lively track, feeling as if it could fit into many of his previous works with typically sweet and luscious pianos chiming over the driving, shuffling percussive track. From this point, every other track can be seen heard in a Downtempo setting. Gentle yet strident drums keep otherwise lucid melodic notations in motion as lead instruments drift into the layers of ambient synths with a typical dose of lush reverb.

"Blank Cubicle" steers from the path with more prominent, textural saw synths chirping melodies as Daniel brings his voice into the backdrop in an opaque manor as he straddles the line of attention, sinking behind other instruments with quietness. The opening track is my favorite, classic string sections build up a cinematic atmosphere the blossoms into a rich, dense experience as deep, underwater synths slowly engulf the opening strings. The final track revisits a moment of this wonder to tie the seven tracks together, but between them nothing too remarkable occurs beyond establishing a placid and calming tone to indulge with.

Favorite Track: Texture Prayers

Rating: 5/10

C418 "2 Years Of Failure" (2016)

An initial wave of excitement hit as the release of a new C418 record hit my inbox, upon seeing the records name that quickly faded as "2 Years Of Failure" is obviously a packaging of b-sides, leftovers, tidbits and so called "failures". At an hour run time its a fractured record of experiments, unfinished tracks and alternate takes with a hidden gem at the end. "Stranger Think" is a wonderful remix of the Stranger Things theme song. It adds some density with extra layers of sweeping synth and a deep house percussion to absorb. Id almost prefer it too the original as it only enriches the atmosphere without altering or drifting from the original mood.

The record kicks of with six "90s" tracks dabbling in vibes and styles you might not associate with C418. If it wasn't for some of his distinct techniques and manipulations they could be anyone's songs. A touch jovial and with a touch of VGM chiptune these songs breeze past without purpose or direction despite being colorful, bright and enjoyable little numbers they don't particularly amount to more than the sum of their parts. Then follows "Pizza" a more experimental and unusual track, mixing break beats with Italian folk music that had little chemistry for me. It actually reminded me quite a lot of IGORRR, without the demonic, hellish intensity.

Its followed by a couple of halfway there tracks that lay down a pretty solid foundation for memorable songs but they seemed to have been left incomplete. Then rolls in the alternate takes which are a treat if you know the originals well. Its interesting to hear how changes in the composition don't obscure the bulk of the vibe and mood but let you really appreciate the level of perfectionism that went into the final output.

And that's it really. Unsurprisingly there is little cohesion, not much to get excited about in terms of the songs, however there was at least one thing to take away, the Stranger Things cover. I also very much liked the "185 pre", a favorite C418 song of mine. Not much of a tie over, I will always be very keen to hear whats next from this brilliant musician.

Favorite Tracks: Choice Broken, 185 Pre, Stranger Think

Rating: 4/10

Vinterriket "Der Letzte Winter - Der Ewigkeit Entgegen" (2005)

Multi-instrumentalist Christoph Ziegler is the man behind the German Black Metal project known as Vinterriket, Swedish for "winter realm". Recommended to me by a friend it was something I already had in my collection from the days where Black Metal was all I would listen too. I didn't remember it particularly well and it hasn't suited my mood of late but I can appreciate the bleak workings of this lengthy record. At one hour its a pale, grim and gloomy affair that drones on with a calming, slightly dreading persuasion, as if being sucked into the grasp of ill fate. With short Dungeon Synth like intro and outros their is little respite from the dreary atmosphere, bar one interlude track and moments where the synth escapes the grisly guitar.

Its dimension is narrow and insular, fuzzy brittle guitars hiss away into the wall of sound engulfed by the deep and encompassing synths that conjure the shadowy atmosphere. The drums peter away smothered by the instrumentation, the vocals cut through the setting like a knife, Christoph's approach is much to my dissatisfaction. Dense, sharp screams are muzzled in distortion from peaking the microphone, they sound loud but are lowered greatly in the mix however their harsh abrasive nature and lack of any reverb has them sticking out like a sore thumb and dispelling the mood for me.

The songs are led through their moments by the synths, with the guitars descending into a drone much of what they do is compliment the synths through tone rather than composition. As a result these songs are very singular, linear, they follow the chord or note the synth lead. Occasionally a second line drops in or distant bells but its mostly constructed from one instance. The tone and pallet of the synths are ancient, nostalgic and mysterious, ripe for inspiring your imagination of what dark secrets lurk beyond its keep.

My enjoyment of this record was mixed, couldn't stand the vocals and the compositions were rather mediocre, the aesthetic wasn't especially fantastic either although it did feel unique and inspired. It isn't until the "Winternacht" tracks that my ears perked up and a couple of eerie melodies creep through on the organ like keys. I've not much else today, this one simply didn't click with me.

Rating: 4/10

Caliban "Gravity" (2016)

Once the heart and soul of Germany's Metalcore scene, veterans Caliban sound so distant from their roots which I am familiar with. Its no surprise that time has brought change but their is little of the once ferocious groove oriented Metalcore outfit I last listened to over ten years ago. Back then they stood out from the crowd with Andreas Dorner's distinct throaty screams and relentless apatite for heavy chugging guitar assaults. Now their heaviness reflects the modern aspects of Metal, heavy polished production and Djent friendly riffing that takes advantage of the mammoth tones that can be achieved. Caliban have also become a lot more melodic, something that started back in the early 00s when Denis Schmidt joined the band to add the clean vocal dimension.

Now their melodic and colorful afflictions would be reminiscent of BMTH's "That's The Spirit" with far more harmonious and pop sensibilities in their compositions best heard on "Broken". However this is in polarization with a hunger for aggression that arrives in slamming, simplistic, chugging, rhythmic grooves utilizing the lush production. Most of the songs go through the motions, some with more aggressive leanings and others throwing in the "whoa-oh-oh" group shouts as they steer towards the pop hooks. There is also a feature from Agnete Kjolsrud of Djerv who's unique voice is a welcome suprise. I last heard her on Dimmu Borgir's "Abrahadabra" where she was utilized in a similar way to her feature on this record.

There isn't a lot to criticize about this record, its very much a case of what your in the mood for and being Caliban's 10th record so there's no doubting their ability to write a decent record. However it doesn't surpass being solid. The heavy chug fest is entertaining enough but where it needs a more emotional side its poppy leanings don't charm or dazzle me. It leaves a bit of a shallow taste, decent entertainment but lacking a deeper connection. Good fun but not something I will return to often.

Favorite Songs: Mein Schwarzes Herz, Walk Alone, No Dream Without A Sacrifice

Rating: 5/10

Bohren & Der Club Of Gore "Sunset Mission" (2000)

 If ever there has a case of instant appeal, then Bohren and his "Club Of Gore" are a prime example of a sound Ive been waiting to hear, as soon as it graced my ears it all made sense. Known as Doom Jazz or Noir Jazz, a far more suitable name in my opinion, the sophisticated atmosphere of Jazz is taken to the dark side with a seductive persuasion that lures you in with its passive presence, soothing, gentle yet drenched in night time blues. The band are a four piece group from Germany who have been active since the early 90s and "Sunset Mission" is their third full length.

The setting for the groups music is quite simple, soft choral synths lightly grace the backdrop as deep baselines plod and blunder in the distance, the slow ride cymbal sets a crawling pace as it softly strikes and shimmers the tempo into existence. Variations of these set the atmospheres on each track for the saxophone, organ and rhodes keys to lead us through a tangent with their dark and brooding leads. It warms to the eerie and mystical but is rooted in an urban environment. Danger is always near, as if you walk the smokey alleyways of a crime smothered city where the sun never shines, a murder detective, who in a search for justice is burdened by the weight of the horrors they see. Its the soundtrack to a romanticized crime novel of dirty streets, shady criminals and alcohol addiction.

The record stretches on for 73 minutes and is more about atmosphere and tone than making an impact with any particular moment. On "Pain-Less Street Angels" there is a fiery level of emotion from the sax but asides from one standout moment much of this records charm resides in its ability to hold the mood without any visible intensity. There's a fair few peaks and distortions felt in the mix, nothing much to bother but its far from a remarkable production. It does enough to let the music do what it does so well.

Rating: 7/10

C418 "148" (2015)

C418 returned late in 2015 with a lengthy, two hour epic record titled "148", the rearrangement of numbers slightly confusing. Initially cited as a "departure" from his traditional sound I found myself at a loss to what this departure was, with a big dose of new sounds and ideas there is certainly a freshness in the air but this record is about as C418 as It gets. Its starts at a strolling pace with a trilogy of down tempo sleepy numbers breezing in with the sentiment of "I don't need you to agree with me" on the opener. It concludes with a gradual climax as airy, dreamy synths grow around his vocals gently musing the lines along "life's illusion" before returning us to a familiar setting on the next song. C418 distinctive melody style and pallet comes into its own here as it does throughout, often shifting between his more traditional sounds and some of the new ideas this album plays with, which often revolves around the beat.

Its not long before the records longest and most delightful track "185" kicks in and sets us on an electronic dream world journey through a continually grooving baseline led dance groove that plays out like a drone. Unusual quirky synths slowly grow and transform alongside the other instruments while the groove hammers on and on in a trance like state. The following "Jimitention" plays around with sleepy lullaby melodies in the beginning before finding its way to a harder groove following the principles of its predecessor, transmuting and morphing around the core.

"Tsuki No Koibumi 2" brings in one of the albums brightest moments with some beautiful, unusual and softly sung vocal lines from Laura Shigihar and her charming foreign language. After "Friend" the record drifts into a string of House tracks that play out in the typical C418 manor, full of slow and sweeping transitions between steady thudding kicks leading the beat and unraveling synths that stealthily change. They are deep and atmospheric, lengthy, spectacular and having an entrancing quality that's calm and relaxed. The track listing gets broken up a little with some different songs, "Divide by four add seven" bringing some bright bells to the forefront to play a soothing melody directly and the remix of "Beta" an energetic transformation of the classic minecraft song.

Its long, lengthy and full of tracks that take their time and surprisingly it holds up across the two hours. Its the kind of album you can dive in and out of and although their is no overall theme or uniting concept it has a lot of continuity and flow. His traditional style is met with some stronger House and Drum n Bass influences but overall its still the same style and charm we are used to from C418, or Daniel. Looking forward to whatever is next.

Favorite Tracks: 185, Jimitention, Tsuki No Koibumi 2, Aria Economy, Divide By Four Add Seven

Rating: 7/10

Farmer Boys "Countrified" (1996)

Farmer Boys are a German Metal band from Stuttgart who are still technically together despite years of silence and no studio record since their forth in 2004. With little chart success or renounced acclaim it was quite fortunate to stumble across this small band that play a breed of Metal perfectly suited to my taste. Had I found this in my youth I'm sure I would of lapped it up. I can hear that energy, but these days it doesn't have quite the same effect one me. There's also an interesting "Depeche Mode" cover in there, with Anneke of "The Gathering". Which is how I found my way to this group.

Their sound was immediately identifiable. Big crunchy distortion guitars, angrily shouted vocals and subtle symphonic elements to break up the metal assault. Initially I heard tinges of Industrial with a "Die Krupps" feel to their style, especially in the dense, chunky guitar tone. That might be a regional thing but as I got to know these songs all the influences became apparent. Forces of Groove, Thrash and Nu Metal converge through the riffage with a Doom and Gothic tinge amplified through the acoustic moments and subtle strings that sit quietly under the guitars while choir aah's covertly grow and creep into the songs.

The album drives through a straight forward arrangement of songs that work through the motions, playing out aggressive riffs, broken up by mood shifts led by Matthias Sayer's gloomy, sorrowful clean vocals. As the album gets deeper some very obvious sounds surface with "Pantera" blunt force style riffs and grooves emulating "Machine Heads" classic pinch harmonic groove. For 96 its a great sounding record and the group sound relatively original in the Doom Metal moments of their songs but they do sound a little drawn between styles. Either way they define themselves and despite a very decipherable style, the album flows effortlessly and the songs are really enjoyable. As I said in the beginning, ten years ago me would of lapped this up.

 Favorite Songs: Farm Sweet Farm, When A Chicken Cries For Love, In A Distance To God, Call Me A Hog, Countrified

Rating: 5/10

Die Krupps "V - Metal Machine Music" (2015)

Die Krupps are a German Industrial Metal group known to some for their tribute record of five Metallica songs released in 92, and to others for their unique blend of EBM and Industrial Metal. In the 80s the group was making Electronic music Ive never given much of a listen. In the 90s they started incorporating distortion guitars and changing the mood of their sound to form a new identity which can be heard on the record "I", of which this is the fifth chapter. Despite a large sixteen year gap in their discography following the groups split and reunion, this record very much retains the identity from 97s "Paradise Now" and made for a familiar listening experience.

Metal Machine Music is a meaty grinder of a record that pounds and churns through aggressive tracks brim with attitude and aggression. Fronted with sharp, potent distortion guitars and front man Engler's shouty German accent the record conjures up a vision of post apocalyptic industrial mayhem much like the Mad Max world, exemplified by the track "Woad Rage Warriror". Serving as the backbone, deep chunky synths pound out buzz-saws and sine wave leads in front of a rather lost and muzzled baseline. They do a lot for the record as the guitar often cut out and let the electronics take lead with a grit and attitude that unifies the sound and gives it much needed flexibility that keeps the songs interesting given their rigid aesthetic that doesn't change up much through the listen. Its a great sounding record with audible instruments however the drum get a little lost and buried at times, overpowered by the guitars and synths which are so hard hitting and rhythmic oriented its almost like they are all pounding out the rhythm together. Its not a complaint but something I think actually worked really well.

Lyrically the "eyes open" anger comes across with apocalyptic end game lyrics citing capitalism's flaws with anti corporate messages, propaganda and double think musings that suit the theme well but do little to raise an eyebrow, however the song "Fly Martyrs Fly" caught my attention with risky lyrics singing from the perspective of the pilot of 4U9525 that crashed into the french alps in march. The song includes samples from TV reports and what its point is exactly I'm not sure but it makes for a good song with a catchy hook. "V" is a solid record and it was nice to get a dose of the Die Krupps sound again.

Favorite Songs: Fly Martyrs Fly, Road Rage Warrior, Branded

Rating: 5/10

Kraftwerk "Computer World" (1981)

My fascination with Kraftwerk was reignited after catching a BBC documentary about the group. It covered the bands history and impact on electronic and pop music in extensive detail. Of course I had to seek out a new record to listen to after enjoying "The Man-Machine" and "Trans-Europe Express". "Computer World" or "Computerwelt" as its German recording is called, is the groups eighth album, one that could be considered their last as the pioneers of electronic music given the lukewarm reception of future releases.

The title of the album alone captures the essence of theme and concept this album puts across so boldly, in a typically quirky and eccentric Kraftwerk manor. With the songs "Computer Love" and "Home Computer" predicting a future where computers become an integrated part of our lives, both personal and societal. Kraftwerk, in retrospect, saw a coming change in society and packaged it into an artistic observation and expression. Through their minimalist lyrics, they express a world of connectivity to digital media that leaves us isolated from one another. Its poetic, and true, depending on your interpretation or perspective. The quirky, digital electro sound and theme may not reflect the feel of a future now present, but how their vision sounds "retro" is charming and full of a timeless character.

The aesthetic itself is much softer and rounded than previous records, the buzz saws and sine wave synthesizers are significantly easier on the ears from where technology has improved. The warmer, richer instruments fill more space and disguise the minimalism at work with their lush and gentle tones that play out glorious melodies, one of which from "Computer Love" is their most wondrous, a timeless melody so graceful and innocent, you'll simply never forget it. A chromatically soft pallet doesn't hold the group back from finding a darker tone. "Home Computer" splices in with a dizzying melody picturesque of the deep sea and "Numbers" creates a lifeless computed atmosphere with its vocoded words and shuffling percussion as the computerized vocals count up and down. Its a fantastically progressive and forward thinking album that sees the group execute a visionary theme while further expanding the possibilities for electronic music.

Favorite Songs: Pocket Calculator, Computer World 2, Computer Love

Rating: 8/10

Kraftwerk "Trans-Europe Express" (1977)

Having enjoyed the works of prolific electronic group Kraftwerk through their album "The Man-Machine", I sought out another record to digest. Recommendations by readers and critically acclaimed across the web, it seemed "Trans-Europe Express" would be one id have to listen to sooner or later. Recorded in 1976, and released a year later, this record marked a significant shift in sound towards a purer electronic output that would mark this and the proceeding records as classics in the modernization of electronic music. Having developed an understanding of what this group are about, I found this album to immediately reveal its brilliance, a vast difference in approach and likability. I was instantly sucked into a carefully orchestrated design of minimalism and color through the opening track "Europe Endless" with its vibrant melodies, formal groove and charming vocoded vocals. Complimented by light choirs and cultural praising of European collaberation, Kraftwerk quickly set a gorgeous tone of which the repetitious content simply does not tire, and becomes indulging and fruitful. As 10 minutes pass the album moves into tis second gear, and reveals a different focus for the theme of the record.

With "Hall Of Mirrors", the warm vibe established is diminished as the record transitions into a dark and egotistical reflection of self image. A distant, tampering beat, moogy bass and swirling melodies create an intense atmosphere for the vocals to tell a shattering tale of fame and self image, the harrowing space of a failed ego. The theme is continued through an equally moody yet sharper and punchier track "Showroom Dummies" that includes some interesting sampling of destructive noises. The song is another impressive showcase of minimalism, yet fills rather "full" from its energetic rhythm. From here the record moves into what was simply a "jaw dropping" moment for me. A shuffling, mechanical rhythm slowly phased to sound reminiscent of a train leads up to a glorious moment in Hip Hop. Sampling has always excited me, and I was so humbled to hear the origins of "Planet Rock", a classic and important song in the Origins of Hip Hop. The eerie melody is followed up by a stunning arrangement of chords that I find myself in awe of, the song is further progressed into "Metal On Metal" which drops the melodies and brings in some big and booming drum hits to descend the song into a meaner tangent of itself guided by some theatrical chord climaxes that lead back into the main theme. Its followed up by two more tracks that shift the feel back to the initial positives this one started out with, yet holds a strong reminiscent or revisited feel about it, mostly likely through a lack of percussion and dreamy synths.

The listening experience as a whole is vastly superior to much modern music out there, and begs me to ponder on the "retro" or "outdated" ideas that can often be associated with music and art. Aesthetically, or musically, this seems far removed from irrelevance of time, and stands on its own two feet. Kraftwerks mastering of minimalism, mechanical rhythms, peachy melodies and eccentric presentations mold the form of a record pure of substance. Even after much time listening to this one, I find myself unable to put it down. Despite haven given my thoughts on this record, I can't help but feel it will only love it more as time goes by.

Rating: 10/10

KMFDM "Our Time Will Come" (2014)

German Industrial Rockers KMFDM have been going strong for over three decades. This, their 19th album, is another in a steady stream of records the band have been producing since 1984. In the 80s the group were producing Industrial music with tinges of Rock and Dance, but it was in the early 90s that they found their mainstream success through an evolution in their sound that would steer them in the Industrial Metal direction. Over the last 10 years KMFDM have matured and fine tuned their sound to a science. The group are immediately identifiable with their own breed of Industrial Metal that incorporates intrepid electronic elements reminiscent of EBM, Aggrotech and Dark Electro. Its a pulsating, energized sound. The icing on the cake is the eccentric militant feel brought across through pounding rhythms and rough German accents. Its a sound I enjoy, and I got a good dose of this record which to no surprise didn't stray far from the sound thats been strongly established in their recent history.

"Our Time Will Come" outlines a theme across these 10 songs that is clearly represented on the cover art, which follows the usual format for this band. Songs of taking power, revolution, workers unity and seeing past propaganda are expressed here in a variety of militant ways, even with some quirkier lines, "I will punch you in your head, until you say I respect you". A lot of the points raised are not news to me, but are expressed in a direct and forceful manor thats positive and inspiring. The theme works great alongside their pounding Industrial Metal sound, a good match.

From a technical perspective the production is quite masterful. An audible execution of bold, strong instruments and sounds working side by side effortlessly. Theres plenty of room for all sorts of quirky electronic sounds alongside aggressive leads, pounding industrial drums and jolty distorted guitars. The album as a whole has a fantastic balance between the electronic and metal elements that give each of the songs a flexibility to execute different ideas within their sound, without detracting from the continuity of the record. These tracks are well written, and decorated with electronic sounds that become momentary leads in the moments the guitars drop out. It worked well as a whole and was another welcome dose of the KMFDM sound.

Favorite Tracks: Salvation, Blood VS Money, Get The Tongue Wet

Rating: 5/10

Kraftwerk "The Man-Machine" (1978)

The world of Electronic music is one I'm fond of, but not well educated on its history and evolution. From my understanding it is Kraftwerk who are often hailed as the godfathers of all modern Electronic music. I've frequently heard about them in the highest of regards from enthusiasts who point to them as pioneers in the field who's influence is enormous and lasting. After enjoying the song "Robots" and its quirky music video on Youtube I have failed to listen to this record for too long.

It was impossible to listen to this record with out thinking about its context, era and what it would have meant for the music of the future, but this didn't effect my enjoyment of this record, what I found were 6 repetitive and minimalist songs that had a gentle, yet unusual soul about them. Kraftwerk's sound is powerful considering the lack of depth on hand. Songs mostly consisted of three to five layers of synthesizers, an electronic kit and vocoded vocals. The beauty of there music was in the expression, through limited options the four created catchy and memorable tunes with an unusual air about them, probably reflecting the new frontier they were sailing with Electronic music. It was this ingenuity to bring melodic sensibility and catchy notation to the electronic sound that I suspect is what has earned them their reputation. Previously I had heard synthesizers being used as evolving tangents of progressing sound on such a record as "Dark Side Of The Moon" or some Tangerine Dream of the same era.

As a whole the record sounds pristine, so much care was put into the mix and the texture of these synthesizers, at a time when production was not as advanced. With a fantastic sound the group craft absorbing songs that, despite the minimalism, feel rich with atmosphere and character. As the album progress the vocal content develops a little, but always sticking to a simplicity that expresses a non-human characteristic as vocoded vocals repeat words in an alien use of language. As the album sucked me in I felt the repetitive synth leads becoming more memorizing and absorbing, with a fantastic moment on "Neon Lights" as sweeping, glistening synths captivate and dance there way through half the duration of this track. Impressive album, even more so considering the era of time. That being said nothing here feels dated, Kraftwerk didn't just experiment or push boundaries, they created honest music as they did it.

Favorite Tracks: Metropolis, Neon Lights, The Man Machine

Rating: 9/10

Aeons Confer "Symphonies Of Saturnus" (2013)

In the blink of an eye 10 years passed by wondering if we would ever hear from this band again. 2003's wondrous "Soul Of The Universe" left a lasting impression. With 17 minutes of bliss and 10 years of absence I was both excited and dreading listening to their first full length. Time changes bands, but a decade without a whisper made me wonder if we would have anything left of the original sound. I'm happy to say they still have it, the astral "vibe" is there, but their sound has evolved, they have not been frozen on ice.

The symphonic component of Aeons's sound is the most reminiscent, still providing its subtle influences, acting as the backbone that adds distinguishable character to the rest of the sound. Theres no piano interludes or many leading moments, but they are not absent here. The sound is more oriented around the guitars providing classic thrashy, aggressive riffs that, in unison with the rhythm section, thump and pound crushing groove after groove. The songs are well developed, pretty typical for this era of Metal, but the quality of musicianship and presence of astral symphonics does set them above the bar.

On the vocal front Aeons's is a very different band, with obvious line up changes their new vocalists fit the mold well. Providing many guttural and screaming ranges, theres a much needed variety on display which also comes with some delightful clean leads, comparable to ICS Vortex, that steal the show on "Probe", a song that sounds like it could of been on there 2003 release. Overall its a well written and produced album, but its biggest flaw is its length. Clocking in at nearly 80 minutes the duller moments become more noticeable as the listen draws on. Its great that Aeons are back! I hope to catch them on the road soon.

Favorite Songs: ESP, Probe, Renaissance, 

Rating: 6/10

C418 "Minecraft Volume Beta" (2013)

When this album dropped it somehow went under my radar, as both a C418 and Minecraft fan, it bemuses me somewhat that I missed it, but i finally made the time, and time is certainly what it is. Clocking in at 140 minutes this may be one of the longest album I've listened to, and for all thats good here, its the length that bugs me. I like albums, I like the listening experience, but it is hard in our busy lives to dedicate that time without interruption. Perhaps this isn't an album as such though, I do believe these are the songs that play throughout the game, however my music setting is muted so I wouldn't know any better!

So whats on display in this album? A lot, theres 30 tracks of lush soundtracks for your imagination to drift into. From quiet moody ambiance to quirky melodic leads and dramatic symphonies, there is a vast range of emotion, style and beauty in this record. C418 has a vast range of instruments and they are all crafted with a character that paints his sound on even the most routine of devices. Every composition here is lovely, in its own way.

For all thats good to be said i felt there was a lack of direction or momentum that took these tracks anywhere. Individually they shine, but as a collective the album drifts through many quiet spaces that drown out the more memorable moments. This makes sense, its a soundtrack for a game where the songs will creep in and out at random, and for that its fantastic, but as an album it's not quite what I'm looking for.

Favorite Tracks: Aria Math, Dead Voxel, Alpha, Ballad Of The Cats, The End

Rating: 6/10

Aeons Confer "The Soul Of The Universe" (2003)

This may just be one of the best records you've never heard in the world of symphonic black metal. Aeons Confer are a German band who's brief activity in the early 2000's yielded 2 EPs, this one being the first. Clocking in at just 17 minutes across 6 tracks this record delivers 3 blistering, thrashy and aggressive tracks that execute a sublime balance between the progressive metal elements and the symphony that moves from the background to the forefront effortlessly. Along side these are 3 symphonic interludes that really thicken listening experience and enrich the astral theme this band deliver.

This EP is a tight execution of some very well written songs that have stuck with me as a favorite for over 10 years. When i discovered this record Aeons Confer were a localized band with a website i some how managed to stumble across. Since then they have been a lost gem, unable to obtain there second EP release in late 03 they have been a band i often check back in with and search the web in hop of finding there second release.

It seems very fitting that on this day that i write my thoughts on a record, that has given me 10 years of listening pleasure, that a search reveals they have got it back together and released a new album and the Mirror Heart EP on bandcamp. I am very much looking forward to hearing them both :-)

Favorite Songs: All

Rating: 8/10