Zeal And Ardor "Grief" (2024)

 

Now a seasoned act, Zeal And Ardor's third full length has soured in lack of reverence. I'd previously been enamored with their dreary, foreboding yet somehow colored fusion of Black Metal, Chain Gang chants and Electronics. This re-imagining of the genres anti religion inspirations birthed excitement. Unique atmospheres and musical oddities emerged from this exploration, both in concept and execution. Powerful themes and striking compositions, twisting both aesthetics and melodic expectations, yet somehow packaged for consumption. This promising act delivered some amazing experiences in years but on this outing, those ideas run short.

Grief retreads familiar themes, lacking cunning for the shock and awe that surprised beforehand. Leaning on dreary atmospheres, the album routinely tries to foray into theatrical lullabies, toned down interludes with subtle instrumentation, striding for something grandiose, emotional and impacting. The vision gets broken up by the bands various shades, leaning into particulars rather than fusing them together.

Mediocrity and tone rotation seems to dispel each songs magic. Plenty of interesting aesthetics and compositions individually emerge but rarely do they converge. Clawing Out is one excellent track that does this. Dissonant guitar noise and creepy whispered chats lure us into the eerie as hastening guitar riffs jostle for impact. Increasing tensions loop over, building on prior ideas before striking us with gratifying siren synths and a thudding distorted bass drum. Its a rhythmic oddity that just works.

Une Ville Vide was another unique cut, a cozy yet mysterious keyboard piece more akin to a Dungeon Synth record. Other than those two songs, not much resonated with me. I do however appreciate the craft. This experience strikes me as being more about my own personal mood than the record itself. I expected a lot more but left sadly quite disappointed. I'm interested to look up the broader reception this received.

Rating: 5/10

Little Simz "No Thank You" (2022)

 

Album number five, No Thank You, is a moment for pause, a frank examination of where Little Simz currently finds herself. The brisk London accent, a 90s cadence occasionally instrumentally aligning in tone and temperament, this was a keen fit for my tastes. Its strength however, is Simz' lyrical journey. Often rhymed simple and plain, among other topics she mostly grapples with the record industry, attacking the subject from many angles, never running out of steam in the thorough process.

Wording tales of industry woes, systemic issues and ill intended individuals, an unsurprising yet deeply engaging narrative of her struggles emerges. As the theme resurfaces, each iteration serves a new purpose. Personal distress, advice for fellow musicians, how its impacted family relations. Even turning the question on herself, Simz' questions her own motives and wants as a performer allured by the industry.

Toning down the instrumental theatrics heard boldly on Sometimes I Might Be Introvert, grandiose string sections, warm ruptures of infectious Gospel, shades of Funk and Jazz. They come subtly woven into an apt chemistry for rhyme and beat to house the subject at hand. Gorilla stands out as a fun throwback to the early nineties groove of The Low End Theory. She pivots to breezy rhymes and playful swagger in cheeky yet firm style. Its a lighter, fun track among a lot of serious, expressive topics.

 With every spin I've been locked in and invested. Peaking with the pained Broken, its ending somewhat fumbles. Sideways' instrumental a tad too minimal and obnoxious, followed by an odd dreamy synth stint Who Even Cares. Seems like a couple of cuts that didn't fit were squeezed in. Also interesting, the album didn't chart well. It went under my radar for a while too, hence why I'm late to this one. Given the subject matter explored here, it seems Simz moved label for more creative freedom. This effort definitely reflects a change in attitude. Doing it for oneself, with nothing to prove.

 Rating: 8/10

Backxwash "His Happiness Shall Come First Even Though We Are Suffering" (2022)

Traversing deeper into painful themes that have defined Backxwash's raw, hopeless expressions, this newest installment of darkness suffers familiarity. Scarcely making ground on I Lie Here Buried With My Rings And My Dresses, an unhinged rattle of caustic demonic beats accompany now accustomed flows. They run formulaic as the Canadian rapper settles on her flat tone and biting cadence for another round lyrically battling her demons. Its plays as a war siren of distress, simmering in a difficult intersection of ignorance and bigotry. Select samples of pastors preaching illuminate these struggles aptly, focusing the records somewhat conceptual scope to a degree.

 His Happiness Shall Come First Even Though We Are Suffering sums itself up well. A tale of religiosity preaching division and judgement. Although not a sole focus, it fits a discomforting darkness felt through its rough instrumental abrasion, a continual unease suited to the evils parading as morals highlighted. When on point, a potent chemistry. Yet a lack of subtle bombast, groove or sensible musical appeals bounds it tightly to a thorny bed of pain. Weaving layers of disorienting noise, soft distortions and broody bass, gospel samples and estranged companions stir a wild atmosphere. These instruments peak curiosity but lack command of simple pleasures to sway one.

Almost brilliant yet a spark is missing, or just all too familiar. An issue becoming stark in Backxwash's cadences, especially later in the record, Juju a prime example. The hard rhyme inflection and pacing of words becomes repetitive and stale, adding to a sense of stagnating style. The albums ambient feeling one retreading horrors expressed before with an interchangeable nature. One distinction apparent this outing were a select few songs hiding uplifting or beautiful instruments within its mix, burying them a dense darkness, occasionally surfacing them for false relief.

Rating: 7/10

Depeche Mode "Songs Of Faith And Devotion" (1993)

 

Moving on from the soaring heights of Violator, the English quartet Depeche Mode make a daring bold stride into a resonant religiosity that birthed their Personal Jesus hit. Further embracing the human gulls of guitar texture, they lean on darker acoustic vibrations, Gahan's subtle vibratos inhabiting numerous cold reverbs, wandering towards despaired lows the albums dominating theme seemingly rescues him from.

Songs Of Faith And Devotion is definitely of their vein. Shimmers of Gospel, Hymns and spiritual voiceings line its persuasions. Only with Condemnation do they take a solem plunge of baptism into its sways. A beautiful moment among other ideas that converge with mixes of ideals. One can observe an orchestrated component. Gallant and chivalrous string sections ascend the clouds, disconnected from its counterparts.

Swooned by the times, so too does one hear inflections of an emerging Trip Hop scene. Dense, snappy, popular percussive loops crowd the rhythm section of many a song. Get Right With Me goes hard on its Gospel choral chants, clashing hard with its clunky drum sampling. Rush too flurries a similar fate, its Electro-Industrial synths injecting a jolting energy against dark, steely guitars, Gahan on another frequency.

This records ambitions land it in a variety of places. The better written songs seemingly closer to a formula that served them well before. Its soft religiosity a crooning charm better served the harder they leaned into it. As a whole experience, it holds over with a meaty persuasion but blemishes show on numerous repetitions. Seems the group were pulled in multiple directions, by emerging scenes of the time, yet sticking with their guns and faithful inspiration may have worked out best.

Rating: 6/10

Zeal And Ardor "Zeal And Ardor" (2022)

 

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

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

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

Rating: 8/10

Kanye West "Donda" (2021)

 

Currently on a downswing of poorly received records, one of musics biggest names suffers the discomfort of bloat with a tenth record that could have been gold. Twenty seven new songs make for over one hundred minutes of music. Its a daunting bulk of tracks that's slow to get going and concludes with four alternate versions. Some of this may have been out of Kanye's hands, the release of the record a typical mess of delays that also make for a lot of free press. Its hard to know where the truth lies as he has stated since that the project wasn't released as he planned, creating yet another news cycle talking on the album again. I'm being somewhat cynical here.

To mirror its length, Donda feels like a whirl of converging stories taking place in the artists life. The passing of his mother and divorce with his wife being two recurring themes among many other stories, including his plea to grant clemency to Larry Hover. Its more of the endearing vulnerability first heard on Ye. His heart felt lyrics and words, where they occur, reflect internal and external realities and on occasional drifts between disillusion and heartbreak, given my perception of how the media interprets and presents his personal life. At his best Kanye is raw, expressive, impassioned and authentic but the lack of focus means its found mostly in the mid to latter half.

The opening string of eight tracks, from Donda Chant to Ok Ok, lack pace and urgency. Most these beats are subdued with sparse percussion hinged on a couple of lively bass stabs. Slow tempos and moody atmospheres in themselves make up a concept and style but the record will pivot. These songs also feel outweighed by guests who take up much of the airwaves. Jay-Z pops up on Jail to usher in an underwhelming echo of their Watch The Throne collaboration. Cushioned by extended instrumental sections and drawn out loops, its sluggish pace drags on.

Then with Junya things pivot. Its an ugly track, with Playboy Carti and Kanye making a variety of strange noises over the uncomfortable, gritty basslines. There is a friction with the church organ behind it, however that signifies the arrival of his Gospel influences from Jesus Is Born. Sampling Lauren Hill's classic Do Wop That Thing, suddenly the gears shift on Believe What I Say. From here Kanye sings on track after track, bringing in more harmonious and tender musical themes housed by his sparse yet timely percussive grooves and lifted by light choral alike synths. Kid Cudi fits in perfectly with a lovely presence on the drumless track Moon. Its a string of songs ending with Come To Life that I'd consider to be what Donda should of been.

This chunk of the music represent the best of Kanye, with the aforementioned vulnerabilities coming to light and him taking up more of the focus on a record that seems to have multiple collaborative hands on every track. Things hit a peak on Jesus Lord, a perfectly composed instrumental loop that pulls on the heart strings as Kanye bleeds his feelings for Donda. Its the albums gem, a wonderful moment preceded by songs that reside in its shadow with Come To Life concluding the theme with a beautiful piano performance to exit on. It feels like a final note but then No Child Left Behind brings another wave of closure with a heavenly arrangement of choral synths and organ tones to bow out again before the bloat returns with the additional part two collection of tracks, to which hearing The Lox again was a highlight.

Having now dissected my thoughts and feelings on this one, it feels like two projects mashed together. An evolved take on Jesus Is King in the middle, surrounded by another theme that brings out Kanye the rapper who frequently drop the rhymes that make me chuckle. Chanting "I know god breathed on this" a keen example of when his sharp remarks don't land, not quite as genius as he thinks he is. "I got this holy water that's my beverages", "They playing soccer in my backyard I think I see Messi", there are a few of these lines sprinkled in that feel unnatural and contrived. There are plenty of counters to these examples, moments where he gets the rhymes and hooks just right but I prefer him vulnerable, straight and not trying to be to clever with the rhymes. Ultimately, Donda is a bloated record, one I'll condense to my own selection of songs to enjoy from here on out.

Rating: 6/10

Zeal And Ardor "Wake Of A Nation" (2020)

Wake Of A Nation, our state of current affairs are deeply rooted in this mini-albums reflection of the past and present, the ongoing social upheaval sparked by the death of George Floyd earlier this year. Zeal And Ardor has been a beacon of excitement in recent years, a fantastical fusion of Black Metal and historical Chain-Gang music. Conceived as an imagined union of slave struggles and satanic rebellion, its inception was magic but notably tacky in the best of ways. With a leap forward in musical maturity on Stranger Fruit, the promises began to blossom but now through the lens of a concise expression, this seventeen minute plunge commands attention as its wades between ferocious exorcisms of righteous anger and bluesy emotional vulnerabilities.

Baked into its expression are the infamous lines and words echoed into the minds of many from the horrific event transpiring in the hands of cops. Both through his lyrics and with audio samples from the event, these five songs remind us of the horror, ask the questions and repeatedly unravel into sprawls of fury and rage. One of its hardest hitting verses, "I know how you're going to die, whispers weary mother to child, we've seen this all before you were born", comes through these bluesy piano led passages of downtrodden melody, a new counterpart to the extremities that looks beyond the scope of its Chain-Gang origin. Although this remains on Trust No One, a song with a menacing wail of high pitched guitar over stomping riffs, the expansion in songwriting is an endearing one.

Its social-political message around Black Lives Matter is hard felt. Looking beyond that scope, the motive has clearly spearheaded the exception music. With snarling discernible screams leading the eruptions of dark extremities, its gravity of brevity can be felt in texture alone and when the music propels into darkness the shrill assault of blasting drums and drive of nihilistic guitars is bursting with atmosphere drenched in emotional turmoil. Each of its songs bring a spice and equally, the "clean" side comes with enticing flavors that have endured my back to back spins of this stunning record.

Of all the listens, not once did the production value cross my mind. With no obviously over polished elements or fidelity lacking focuses, it has served its purpose stealthily, a very good sign. It could simply be that the contents of music and subject matter are so strong it carries the record alone. At seventeen minutes its a streak of excellence that an album may have stretched thin, a good choice to keep it all hyper focused. Wake Of A Nation is without a weak moment, steeped in urgent inspiration that's manifested in the context of an artist still refining their sound. With new angles and elements playing in wonderfully their future looks bright. Lastly, I have to comment on the police batons forming the upside down cross, a perfect image to represent this artists moment in time.

Rating: 8/10

Algiers "There Is No Year" (2020)

The southern American outfit Algiers have been on my radar since their remarkable The Underside Of Power. This retro intensive sound has the hauntings of Soul and Gospel playing out in a Post-Punk aesthetic that has been remarkable in the past. This third chapter is inherently bleak and downtrodden, a clear stylistic aim into an oppressive darkness. Its rather burdensome with little relief in its run time. Gloomy depressive atmospheres play out with a sense of unyielding dread looming.

In its intelligent self realization, this record fails to give a little leeway on groove and melody for any uplift or reprise in pursuit of its vision. Instead it plays like a grey rainy day without an end in sight. Its damp and miserable, the fog never clears and the injustice mounts. Its mechanical pattering percussion, atmospheric upheavals of guitar noise and the pained soulful singing of Franklin Fisher keep the harrowing mood sharply focused on its descent, the feeling they forge forever grieving.

The tracks roll out with various themes and temperaments. The degrees of desperation tweaked and any composition or aesthetic of interest feels chained too its sunken, defeated feeling. Its a beautiful vision into a shade of darkness but without that uplift my appreciation could only go so far. It took a while for me to make sense of my lack of enjoyment. A lot of the dark music I like channels these things with energy and a counteracting force but There Is No Year is too consistently bleak for me.

Rating: 5/10

Sunday Service Choir "Jesus Is Born" (2019)

Released on Christmas day, news of this record was quite the surprise! Having enjoyed Kanye's Jesus Is King record and his collaboration with Sunday Service Choir, I was hoping to hear more of these voices and my prayers were answered! In the context of a dialed down Hip Hop record mixing in elements of Gospel they were exciting and enthralling in their peaks. As a solo project spanning a whopping eighty three minutes across nineteen tracks, it fails to spark the same invigoration.

One of Kanye's marks as a producer is his work with voices, voicing and tonal manipulation. Unfortunately that magic doesn't come to fruition within the confines of Gospel music. The voices stick to purity of the choir which are beautiful and a pleasure to enjoy in their own right but with little extra spice in the mix this quickly becomes monotonous in the reality of this not being quite my cup of tea. I love the soulful singing, uplifting energy and jollity of the affair but it does become tiresome.

As an agnostic the lyrics quickly become repetitive and disengaging. Words of praise and salvation are spun over again,shuffling the same ideas in different variations of words, which fail to appeal to someone not seeking a religious experience. With little to enjoy there, the opening songs are a struggle as subtle organs, pianos and claps give all the attention to the voices which hit their most strident, powerful and in peaks even harshest tones. The union of voices is a force pushed to some extremes even a bit much for this supposed metal head and lover of extreme music.

Once past that ambitious opening, the album drifts into an enjoyable mood as things pivot. The voices feel looser, drums and other instrumentation join in as the session starts to feel more like a jam. Hints of R&B, Soul, even Funk with a little touch of groove liven up the mood and keep the pacing interesting. It isn't however a saving grace for me, the record was fun to dive into into and as much as I appreciate the stunning singing it falls short of substance to engage me as a musical record. Perhaps to someone more versed and enthusiastic about this music it may of been something.

Rating: 4/10

Kanye West "Jesus Is King" (2019)

Always one to have a spectacle made of his life, Kanye has transcended from the madness of his own statements and pressures of the media questioning his mental health to this point in time. Reverence of God, solace in Christianity, he has indoctrinated himself for a salvation that's manifested into his music. This transition, theme and worship splits the record in two. The lyrical and conceptual side is an incoherent reactionary ramble, seemingly an emotional response to the mounting pressures of the bright limelight aimed on him at all times. Many of the themes and words seem lacking in depth and the bluntness of him appraising God for the reasoning behind his extraordinarily expensive merchandise has him scraping the barrel of substance, even is his cadence and singing is warming, digging into his words often has little to offer beyond atypical themes and words of worship, however the influence of church music to his instrumentals is strongly enjoyable.

On the other hand of production, we have Kanye creating amazing songs again. They come together like fractured pieces, a collage of musical ideas that resonate remarkably on the individual level. As an album in tends to jump all over the place but loaded with what he does best, I can't complain. Kanye has always had a knack for vocalization in the harmony of his music. Now with elements of Gospel and Psychedelic production armed, he produces swells of swooning voices. Manipulation and synthetic tonal instruments runs us through a gauntlet of indulgent music of praise with a Hip Hop flavor. That in itself often drops out as sparse use of beats becomes noticeable in the last few songs of the record. The vocals alone carry the music from start to end. Hands On in particular has a backbone of trippy vocal inflections.

At twenty seven minutes in continues the trend of short and sweet. This time its fractured nature, the issues and delays leading up to its release, gives the impression of an unfinished project. Even in this form his genius shines through these gorgeous organic compositions of inspired singing. Kanye to getting in on the act, letting his voice break on God Is was an endearing touch but again the hallow feeling of his fleeting to religion for consolation leaves the power of his performance purely in his own court. Its not something I can relate too yet the musical experience is wonderful. A very polarizing album, I'm glad I gave it plenty of time because it tends to give more the deeper you get into it. After many spins I still want more!

Rating: 7/10

Algiers "Algiers" (2015)

Algiers self titled debut record is a similar beast of burden to its surpassing successor The Underside Of Power. Release two years prior, this record plays with the rawer edge and grit you might expect closer to a formation. Its influences, attributes and roots stand more so exposed and open as the union of sounds frequents dark corridors of shadowy, dread soaked atmospheres. Its bleak resentment drags us down to hell as moments of relief and uplift are far and few between here.

The rattle and snap of Blood's percussion echos the chain gang clank its vocals personify. Subtle gospel, soulful choirs hang heads in the shame of abuse and suffering. Its a song that captures the downtrodden mood and tone of the record. Overpowering, dense guitars wail in a wall of sharp distortion and feedback, playing into the conjuring of a hellish, fearful atmosphere. Singer Fisher cries 400 years a slave, 400 years of torture, driving in the nails that seethe.

The track highlights the records darker tone. It and many of the songs lyrics leap from the page, others addressing police brutality and many horrors linked to the era of slavery it draws its inspiration from. Its electronics are also chained to this path, chirpy, punchy sounds of sequenced snappy beats and stabs reminiscent of 80s Hip Hop find themselves sucked into this abandon. Almost all the sounds from this eclectic tapestry of influences find themselves sinking into terror.

Its a brood, punishing listen fit for overcast skies and the cold of rainy days. At its inception Algiers dive deep into the disgust and dismay of slavery, from a very personal and unforgiving angle that Fisher time and time again ties together with his words. I'm not sure how hearing the records in this record effected my enjoyment but the darker direction and rawer tone smothered some of the magic I expected to hear like on its predecessor. Very impressive record but something restrains my enjoyment.

Favorite Tracks: Blood, Iron. Unity. Pretext.

Rating: 7/10

Algiers "The Underside Of Power" (2017)

I first heard of this record in relation to Zeal And Ardor, referencing the singing which harbors bold accents of chain gang vocals and origin blues vocals. That lured me close and Ive since been sucked into this fantastically dark and rooted musical experience. Hailing from the southern city of Atlanta, Algiers are primarily a Post-Punk band fronted by singer Franklin Fisher, who's voice is a constant pleasure, strong and powerful he acts like the guiding light that unifies the mood and meaning of the instrumentals and gospel singers parading behind him. This is their sophomore album released last year to much critical acclaim and I have to share in their praise of these forty four minute of engrossing musical art.

Firmly at the core of the sound is a Post-Punk vibe emboldened by the dense, punchy baselines that patrol the musics underbelly, making itself known, laying a foundation for the atmospheres forged above. Its tight with the percussion, a refreshingly modern aesthetic that's executed without flash and flare. The tricky shuffles of fast high hats and grooving sub kicks of Trap music is to be heard but the approach is a million miles away from formulaic Hip Hop beats. With a wealth of kit samples, programmed sequences avoid repetition and meld seemingly like a drummer following the musics intensity and complimenting it as such. At times its organic and can appropriately take on a more mechanical Industrial form when its called for in darker times.

Out front, loading the music with texture, dynamism and charisma is an arsenal of instruments. Guitars, pianos, keyboards playing a myriad of synth tones, the saxophone, stringed instruments and even a glockenspiel makes an appearance as the four multi-instrumentalists utilize their talents in the dense web of sound they create together. It can be a lot to unpackage and after many, many plays through the soundscapes still feel like a maze of detail to stair into. Under its emergent melodies play drones, distortions and memorizing rattles of reverberated sounds that somehow don't descend into chaos and broaden the scope of sound.

The record flows with a sense of progression, in its opening phases Fisher commands the music with his empowered, deep, emotive voice, flexing his words with expressive affections that resonate with Blues and Soul vibes. The music is inherently dark in a personal manor, burden and destitute surround his voice, the source of strength and uplift that lurks beyond the pale. There is an almost biblical quality to the epic that is his presence and on the title track we have a moment of gleam and uplift, overcoming the horror as choral gospel chants illuminate his performance rising up above all else. As the record progresses the instrumentals seemingly grow and overtake his importance as the drums get more mechanical and two tracks nearing end have him in absence.

The Underside Of Power is a riveting experience devoid of a weak spot. Its engrossing chemistry of powerful song writing and an energetic textural experience lasts its run time without a hitch. Everything feels meaningful and full of purpose. Without a gimmick or flash in the pan this really feel like an album to stand the test of time. Its place in the musical landscape is unique, its not pushing boundaries in any direction but showing where overlaps are to made, a combination of influences and sounds that becomes more than all its apparent parts. Truly wonderful.

Favorite Tracks: The Underside Of Power, Death March, Hymn For An Average Man

Rating: 9/10

Zeal And Ardor "Stranger Fruit" (2018)

They say things come in threes, so here's to hoping we get another cracking album coming are way soon as just over a week ago we had Ghost's Prequlle and now Stranger Fruit, both of which will be contenders for album of the year. Returning two years after a sensational amount of hype around the Devil Is Fine mini record, Manuel Gangneux recruits a full band of musicians fit for amazing live performances and only drummer Marco Von Allmen appears on the record, performing the drum sections written by the talented Gangneux, who once described his visionary project as the African slaves rising up against their masters, inspired by the devil Satan.

With that in mind the project progresses forward on a stunning stride, opening up a wealth of influence and experimentation to his sound while retaining the Chain Gang backbone and core theme. Gangneux shows his influences with streaks of traditional Black Metal between the hellish onslaught of noisy, textural Post-Black Metal that's truly comfortable experimenting with some Nu Metal and Groove Metal sensibilities at times, even extending into orgasmic riffage, chugging low grooves and fostering offbeat time signatures in an unusual setting. Its riveting, the guitar work is often invited to come to the forefront and steal the show however it is not the lone ingredient in conjuring the infernal beast to rise up against masters.

The vocals and lyrics do fine work setting the tone, building up the atmosphere of hell and dread situated to a unique fictional history. They build up themes and stories with croaks of crooked wisdom in Gospel vocal sections that Gangneux performs along with a range of styles varying from spoken word, reciting poems from Alister Crowley, to venomous screams of hurtling anger and ferocity. As his guitar work scales the walls of creativity and variety, so does the entire vocal package, his word both written and sung with emotion and a burning passion that bringing to life the grimace of forced labor in the unforgiving southern sun leading to devilish places.

Between the fuller tracks, a handful of instrumental interludes aid the records flow as these already dynamic, progressive tracks are given some breathing room. The familiar sounding precarious lullaby vibes return and the music rids itself of the trap beats heard on the Sacrilegium song. In general the synths take a far more accompanying approach with only the piano playing an upfront, cultural role alongside vocals the but it all cohesively fits into a vision where the aesthetic guitar extremities and imposition of theme bring about the climatic moments. It feels as if every song leads to them and are without weak points to discuss. Stranger Fruit is a beautiful record of esoteric darkness ripe in experimentation that works. The execution of outside the box ideas and another avenue of evil make this one of the most exciting projects in Black Metal today.

Favorite Songs: Gravedigger's Chant, Servants, Waste, We Can't Be Fooled, Stranger Fruit

Rating: 9/10

Nina Simone "Pastel Blues" (1965)

It's been years since I first got my hands on this record. As with some of the great, appraised music from past generations it can take some time to get into. Walking home from a Kendrick Lamar gig in an ecstatic mood another song from Pastel Blues came on and I was captivated, engulfed. In an instant it all clicked and since then Ive binged on this fantastic record from Nina Simone. She has a fascinating voice, ranging from softly effeminate to a shade manly with a powerful, navel tone that's drenched in a strange sadness. A strong vibrato resonates when she holds a note, somehow able to squeeze the sound to a point almost inhuman, but not too far gone. Its wonderful and not saturated as she awaits the inspired moments to let it flow.

With jazzy pianos, folksy acoustic guitars and soft percussion the instrumentals play a resounding roll in tipping the mood as the temperate backings swing back and forth, track to track, between bluesy, worrisome sorrows and self-empowered songs of resolution and poetic wisdom. Even in these uplifting numbers something in Nina's voice feels as if it would easily slip into a sadder setting. Even when the words don't quite match there is somehow a lingering sorrow as if she sings to escape something haunting her. Given how little I know beyond the music of this record, her life, or who she is it may simply be the way I hear things but I can't shake the sadness.

The record has all the roots of black music showing themselves, Jazz and Blues dominate the spectrum but shades of Soul, Gospel and R&B creek into the fold and most noticeably the opening tracks "Be My Husband" has the dominating clank of a chain gang song, the singing between often tailing of with soulful vocal afflictions. Its a rather short run of songs bolstered by the ten minute Sinnerman which stands out for its, in comparison, ambitious song structure which grows and broods in a healthy amount of repetition. The best moments for me are the sadder songs, that's when her voice illuminates and becomes truly special.

Favorite Tracks: Be My Husband, End Of The Line, Tell Me More And Then Some, Strange Fruit

Rating: 8/10

Childish Gambino "Awaken, My Love!" (2016)

Upon its release I was immediately drawn to the memorizing, neon yet tribal album cover, It sucked me in, I wanted know more. After hearing just a single track on Youtube I was buzzing with excitement and then some how... its two years later. Only now have I finally gotten around to this record and I have clearly missed out on music that will keep giving for years to come. The multi talented Donald Glover aka Childish Gambino, who got the persona name from an online Wu-Tang name generator, ditches his rapping and follows his gut for a truly inspired wild ride.

"Awaken, My Love!" Is a bold and vivid, psychedelic journey through shades of 70s sounds re-imagined with a bright, colorful intensity that's lively and engrossing. Its a luscious tapestry of sounds, never static, always animated, going through the motions as a wide pallet of instruments get involved between songs. The infectious grooves of Funk, sensibilities of Jazz, soothing vibrations of Soul, the jive of Disco and singing voices of R&B all echo through a trippy, humanistic soundscape. The union of electronic and natural instruments is effortless and a keen ear can hear such a wonderful array of sounds working in tandem, it all sounds gorgeous.

As a record its a fun experience but its not without its flaws. Despite every song having its own flair, a lot of the tracks slip into feeling more like jams than songs built on direction. As a result much of the record feels interchangeable, sometimes grounded and other times loosely themed. Where Donald moves from rapping to singing his presence isn't that powerful and his full singing voice is not far off the mark but it feels like he compensates with artistic inflections and stylized, softer vocals on most tracks. As a result he is rarely the focal point of the music and all to often his backup singers outshine him. When he comes to the front, his quieter approach lulls as the music often outpaces him.

This is a small picking in a big package, this album is loaded with goodness but sometimes these details let you understand whats holding it back from becoming greater. There's a lack of hooks or punchy moments and little of the singing gets stuck in the mind. The music plays like an ooze of flowing awsum that's just to fall where it may. Its needed a bigger helping of direction and focus but despite that its still really wonderful. Shame its the last from Childish Gambino who has retired the project.

Favorite Tracks: Me And Your Mama, Riot, Redbone, Terrified, Baby Boy

Rating: 8/10

Common "Black America Again" (2016)

Socially conscious rapper Common is back with another charged record thats very much relevant given the social climate and resurgence of black struggles in American society. With the title alone the topic is made clear and through the fifty six minutes he barely takes a step of the path. It's certainly the time for music to reflect the atmosphere but that doesn't necessarily define a good record. "Black America Again" fails on many fronts, mostly its religious inspirations and Common's unchanging approach. As a 90s fan of 90s flows, Common is one who's barely changed a lick, an old rapper with an old flow and unchanged rhyme style. He was never a particular favorite, he has gems in his discography but what mainly appealed to me was the positive, intelligent commentary of his persona in the raps.

There is a ton of subject matter I agree with on the record but the music is spoiled where biblical themes and words of praise come into play. With all the problems addressed he frequently turns to prayer and god as a solution to them. I appreciate the warm intention but for a person who see societal issues as systemic, the call for praise of Jesus over engagement or practical solutions infuriates me. Another difference of opinion grinds me on "The Day Women Took Over", a song calling for an oversimplified ideal that Women's disposition to empathy and caring would make them better leaders. Considering there are many women in positions of power around the world it would again suggest that our societal issues are systemic, related to power, wealth and its corruptible qualities. What Common has is simply utopian, poetic statement that lack any depth or substance beyond a nice but ludicrous idea.

Behind my indifference to Commons lyrics a rather sweet and soothing record exists in the instrumentals. Toning down the bombastic nature of the beats, soulful influences and roots of black music are given room to shine with occasional string sections bringing subtle crescendos too. John Legend's singing on "Rain" tunes out the drums for a stunning piano and singer song that only resembles a Hip Hop track thanks to Commons verses rapped without a beat. His raps are steady and mostly solid but its a style unchanging. On "Pyramids" a bit of technicality comes to fruition but otherwise hes mostly stagnating on a un-progressing approach that disappoints without the lyrics to match. There are good moments in the record and I have tried to love this record but large sections of the raps just didn't work for me.

Favorite Track: Black America Again, Pyramids, Rain
Rating: 5/10

Chance The Rapper "Coloring Book" (2016)

I still can't get get my head around the difference between a mixtape and an album. Of the ones Ive listened to, a mixtape feels like an album. This one is true of that at fifty seven minutes in length with a theme and sense of continuity at start and end. With all the critical acclaim "Coloring Book" has received it seemed like a good time to check out a fresh face from the new generation of Hip Hop music. Chance is from Chicago and yet to release a debut record with this being his third mixtape, it has broken into sales charts and topped album of the year lists from various critics. Of the months Ive been listening to it I haven't shared much of the same feelings, however it does have some remarkable production moments sprinkled in.

Since "To Pimp A Butterfly" many artists have been retroflexing on the roots of black music and so we enter a sort of Hip Hop Renaissance as many mainstream artists seem jump on this wave of revival. Already having a keen ear for Soul, R&B, Gospel and Jazz, a lot of the sounds and vibes explored aren't particularly fresh to me, its a mixed bag of fruits. To new listeners its probably quite marvelous. Chance employs a production where the beats are toned down, subdued, as pianos, strings and gospel vocals step to the forefront around his raps. In the mid section of the record it steadily gives way to more traditional tracks and that's when the music starts to loose me, not to be pulled back at the end by some great church music.

Chance's flow is laid back, easy going and casual, to the point where his soft croaky voice sounds like he may just be talking if it weren't for the steady timing and occasional rhymes. Not much of it hit home beyond the story telling, biblical "praise him" tracks don't do it for me. The album also has its helping of "to be dated" trendy vocal styles and word slurring that I'm doubting will hold up over time. Songs like "Finish Line Drown" are fantastic but essentially like gospel church songs of praise, played with a full live band and spiced up with a bit of flashy production. It and a lot of the record remind me of Kanye's debut records, there is a lot of use of vocals with a helping hand from the Chicago Children's Choir it plugs into those gospel roots. "Coloring Book" has its moments but it mostly comes from borrowing rather than innovating.

Favorite Tracks: No Problem, Summer Friends, Finish Line Down.

Rating: 5/10

Zeal And Ardor "Devil Is Fine" (2016)

Here's a record that pays tribute to the times, the internet age, a treat to spoil yourself and indulge in something rather unimaginable two decades ago. Much like IGORRR's genre blender from hell fusing Breakbeat, Baroque and Black Metal, Zeal And Ardor throw us at the mercy of genre mixing that comes up all aces. Its core theme is rooted in a dark satanic tone fronted through the blues, or more accurately the vocal origins which originated from slave songs. You'll hear emotion bluesy, gospel singing that collides with ferocious Black Metal and zealous electronic melodies. There's even a short Trap banger in the mix, chop and screwing the vocals, throwing in light organs between the spacious grooving beats and fluttery sampling.

 Starting with the title track, call-respond singing chimes out, the clank of slave chains rattle to keep tempo and peaking the microphone it creates a stunning authenticity, although I'm fairly certain this is original, not lifted or sampled. Some grizzly distant guitars drift in and out, rumbling beneath with a groan. "In Ashes" has the menacing guitar grinding a string as eerie, morbid calls are sung. Then the pedals come crashing in and swing the song into full tilt. Whats fantastic here is how the drums take a temperate and structured raising and lowering of intensity rather than blasting out typical Metal drumming patterns.

"Children's Summon" gives light to a xylophone lead that features individually on "Sacriegium II & III" with a playful lullaby, full of carefree wonder, not far from the sort of melody you might expect to hear on an Izioq or C418 record. The song itself sets its tone after a brief blasting of instruments and screams, satanic chants reign out and before long it all amounts to a rampant onslaught of menacing Black Metal peaked by a chirpy xylophone. "Blood In The River" brings back the main theme and expands on its evil undertone with more Black Metal and rash screams.

No moment here feels without purpose or intent, although its a short listen at twenty four minutes it serves itself just fine and leaves me yearning for more with every listen. These songs have been on repeat, they are short and sweet but infectious. Charming, dreamy melodies, furious Black Metal and bluesy slave songs, a strange and enigmatic combination that does everything so right despite sounding like a calamity on paper. Completely in awe of this record, wanting, waiting for more.

Favorite Tracks:

Rating: 8/10

Dusty Springfield "Dusty In Memphis" (1969)

Another from the upper rankings of NME's 500 greatest albums of all time list is "Dusty In Memphis" which has graced my ears practically everyday since I first gave it a spin. English singer Springfield has been labeled as Blue-Eyed Soul, a needlessly racial term in my opinion. From what I can gather her career never quite panned out the way one would hope, with critical and commercial success alluding her. However this gem has aged well and despite making little impact at the time has been regarded as her best work and one of the greatest records of all time. Twenty or so listens later I'm inclined to agree, this is a beautiful record, a real peach.

 There's an emanating warmth and love that comes from Dusty's vocie, soft and elegant she graces us with her kind soul, her words honest, vulnerable and a timeless tribute to the human experience. Even though she has a soft, breathy voice she can muster up so much strength and power when the dramatic moments come. Its spell bounding how lost you can be in her voice as she goes between the highs and lows, as if they are all one eternal movement. Her tone, range and delivery is just sublime.

The accompanying instrumentals play a pivotal role in making this record so remarkable. From what I've read Dusty was a perfectionist and drove her musicians mad trying to perfect every sound. The songs find her wave length and bring a temperate setting to life for her voice to shine, but it is the strings that illuminate. A couple of tracks feel a step behind where they are not utilized and when the strings shine they do so like a second voice, swooning with Dusty and complimenting her emotional narrative. There are many moments that steadily grow, then she and the strings light up and it hits like a heartbreak. The instrumentals are gorgeous, detailed with soft sounds that whisper and chime gently from quite corners. Paying attention one can hear a depth that adds up to a simple direction.

Like any good record there is variety in mood which includes fantastic Gospel group vocals on "Don't Forget About Me Now", an upbeat and empowering track and "Son Of A Preacher Man" the albums most recognizable song, which I have to mention was sampled by Cypress Hill on "Hits From The Bong". There's a lot of love and heartbreak in the theme of these songs and they no issues establishing themselves, feeling unique and individual alongside one another.

A beautiful, timeless voice, sublime instrumentation and my only complaint would be a lack of vision beyond the single format. Each of these tracks play with the three minute mark and many of them simply fade out. Its something I'm rarely keen on but in this instance it always left more yearning for more as the moments leading up to the climax are repeated leading to the fade out. Maybe that's its genius, each song leaves you watering at the mouth for that moment in the middle. At thirty four minutes its short and sweet, I'll often just listen to it twice in a row. So very humbled by this record, its truly a work of beauty and I adore it unlike any other record.

Favorite Tracks: I Don't Want To Hear It Anymore, Don't Forget About Me Now, In The Land Of Make Believe, No Easy Way Down, I Can't Make It Alone

Rating: 10/10

Outkast "Stankonia" (2000)

Stankonia, the groups forth release named after the record studio they purchased to record this album in. Given the critically acclaimed success of their previous effort "Aquemini" the duo take of from where they left, moving forward with another fine record that shows no shortage of inspiration as the two forge classic tracks with an ear for expanding their musical ideas, just like they did on Aquemini. The biggest distinction between the two records is Stankonia's pace which features faster tempos with especially chaotic snare and base rhythms best showcased on "Snappin' & Trappin", that features "Killer Mike" & "B.O.B". Other distinctions include a noticeable increase in featured rappers who appear on many tracks. The track listing also has all the skits separated from the songs, something they didn't do on previous records.

The record starts of with a bang, "Gasoline Dreams" opens up with an obnoxious "Ah right" on repeat before dropping in with a phenomenal hook, "Don't everybody like the smell of gasoline, well burn mother fucker burn American dreams", the energy and tempo is high and the raps come in airy sung delivery over rocking guitars and lyrics which say so much about our society in so little words. Starting of with aggression, things quickly switch to smooth styles with "So Fresh, So Clean" and the album journeys on into a stylistic future funk oddball of styles and themes that come with terrific hooks track after track.

The production is split between Earthtone III and Organized Noise, the latter of which handled the earlier records and their style can be heard on their three numbers, but the album flows and again incorporates new sounds and ideas including gospel vocals, frenetic drum patterns and an evolving clean vocal approach from Andre 3000, best heard on the hit single "Ms. Jackson" a poppy, simplistic tune that revolves around a memorable hook and moody tone delivered through the organs, pianos and funky baseline. Like Aquemini, Staktonia's strengths come from the unorthodox and experimental, but here the character and style is stronger and unique, a step further out from the traditional Hip Hop sound without loosing anything. Stunning record with no shortage of substance that doesn't tire.

Favorite Songs: Gasoline Dreams, So Fresh So Clean, Ms Jackson, I'll Call Before I Come, B.O.B, We Luv Deez Hoez, Humble Mumble, Toilet Tisha

Rating: 8/10