Cradle Of Filth "Cryptoriana - The Seductiveness Of Decay" (2017)

The twelfth chapter of Cradle's legacy has been unleashed with another upturn in form that feels almost bizarre for Danni Filth's band who for the first time in their twenty six years release consecutive records with the same lineup of musicians. Hammer Of The Witches received a lavish amount of praise that I was equally impressed with, yet surprised to hear them turn it around after decades of patchy releases since their best output back in 1996. With Cryptoriana I again find myself taken back by how little there is to fault here, the real disappointment is in the familiarity of their sound, after fifteen years as a fan their isn't much of a surprise or freshness left.

Cradle don't venture much beyond their comfort zone, the guitars usher in the occasional thump of groove or tinges of Post-Metal in shredded tremolos but otherwise they stick to their guns. Eight tracks of solid songs around seven minutes play like back to back mini epics, well constructed songs with plenty of twists and turns, returning melodies and theatrics that end in satisfying conclusions. This lineups chemistry pulls together the best of their musical ideas, flushing out the mediocrity and settling for nothing less... for the most part, it has to be said the last two songs do drag a little in comparison.

They might be executing the same ideas heard plenty times over in their old records but the quality is undeniable, tight performances executed on a crisp production sounds gorgeous. It may be aesthetically pleasing but its true charm is in the inspiration. Genuine and passionate, the gleam of romanticized gothic melodies weave these songs together between there wanderings into the darkly shadows that manifest in metallic mania. Theatrical, vivid and bold each so is an adventure waiting to be known! Everyone gives a fantastic performance and the result is arguably their best in nearly two decades! I do however hope in the next release they could experiment a little! Cradle's defining sound has barely evolved a fraction over the years.

Favorite Tracks: Achingly Beautiful, Wester Vespertine, The Seductiveness Of Decay

Rating: 7/10

Marilyn Manson "Heaven Upside Down" (2017)

There's little bad to say about Marilyn Manson's tenth record. I could get critical and say it gets off to a moderate start but as the wheels get spinning, they don't slow down! Best known for his culture shock records Antichrist Superstar and Mechanical Animals, Manson has seen a steady decline in recent years that got turned around with The Pale Emperor, a change of pace, an introspective artistic piece that turned his observational musing inwards. I was sorely disappointed at first, "Heaven Upside Down" was not continuing in that direction but with each passing listen it grew on me substantially. He may be approaching his 50s but the fire for his breed of intelligent rebellion still burns bright in this fellow.

The most obvious comparison for this change of pace is the Antichrist Superstar era. The vibes, instrumental aesthetics and attitude is similar in many spots with a helping dose of anger and aggression. His poetry is witty, sharp as a blade with cutting lines like the opening "fuck or fight" on "Jesus Crisis". I could make lists but this is Manson, his reputation needs no examples, hes on his best game here with cracking lyrics that turn in on themselves as the words unfold. His ability to write and deliver hooks elevates the instrumentals as you'd expect them to do but always catches you off guard.

Instrumentally things start off aggressive with crunching guitars leading the songs. Dirty, Industrial thumping riffs on steady repeat. "Tattooed In Reverse" experiments with gritty, buzzing baselines and sharp, often shrill oscillating synths for a rattle house of dystopian blues. "Saturnalia" Is the turning point, the music becomes expansive with echoes of The Pale Emperor distance the aggression for spaces to breath in as the moods start to flow. Its as the album winds down from its aggressive start that I find myself captivated, Manson's chemistry with his band mates seems to electrify as his performance resonates with lyrics carrying the burden of dramatic emotions.

This albums flow is a strength played to. It starts with a bang to lure you in and steadily evolves into a much deeper record. The density of the instrumentals, aided by rich electronics, plays to the versatility Industrial music can provide as the songs collectively share a space with quite a variety of textures and flavor to throw your way. It can shred distortion guitars and find its way to bustling acoustics too without loosing the heretic energy. Everything comes together on this record, the group are on fire and give us the all killer no filler treatment. I will leave this post with a favorite lyric I can't get out my head. "And I tried to look inside you, but ended up, looking through you, now you try to tell me, your not a ghost!".

Favorite Tracks: Say10, Saturnalia, Jesus Crisis, Heaven Upsidedown, Threats Of Romance

Rating: 7/10

Chelsea Wolfe "Hiss Spun" (2017)

American singer songwriter Chelsea Wolfe has had my ear for a while now. Her stunning Pain Is Beauty has been a standout record in recent memory but like all great artists, she continues moving forward and evolving with each record, which doesn't always yield success. Her feature on the title track of Russian Circle's Memorial seemed like a perfect match, something I craved to hear more of and her last release Abyss gave us that collaboration. Oddly it didn't resonate with me and this newest release, Hiss Spun, sounds exactly like what I hoped that pairing could accomplish. This time Chelsea features Troy Van Leeuwen from Queens of the Stone Age who composes monstrous Post-Metal guitars to bring weight and atmosphere to Chelsea's haunting presence.

With calms before storms we tepidly breathe, recover and anxiously await the lurking dread that's always present. One song after another has us in its grasp of haunting sorrow, and unsettling unease before unleashing the ugly, disturbed, mammoth walls of sound that drown us in its thick, dense and meaty persuasion of sludgy, wailing guitar noise. They bleed at the seems, burgeoning with gritty texture, turning eerie atmospheres to nightmares in there wake. With a swarming intensity the layers of sound flesh out dizzying moods as floods of Post-Metal guitars descend upon the listener in sudden, violent eruptions, sometimes with a little build up.

Chelsea's soft and pain felt voice finds its setting here with familiarly dark and harrowing instrumentals of baron percussion, eerie reverberated acustic instruments and piano chords of dread. Its set to new extremes with truly massive guitar distortions as most the songs find a pace to proceed to an unleashing of dense Post-Metal guitars stacked with sludging rumblings of guitar noise that occasionally have a semblance of groove but mostly thunder away a monotone driving of momentum.

 The chemistry is sublime, when it roars Chelsea's voice transforms from the weak, vulnerable, tortured soul to a fierce, empowered beacon of bitter strength. It comes in measures and always with an ear for aesthetics, her voice often discernible in a ghostly wash of reverberation. The compositions all feel linear, expanding and growing in one direction, taking us on a journey through her pain and inner darkness. A couple of tracks don't feel to dissimilar to previous work, her vocal style showing some boundaries in places as they echo old songs.

Hiss Spun is a maelstrom of noise, numbing you with its bludgeoning rumble of sludge guitars that decimate in the eye of its storm. The shadowy calms between hold us captive as the inescapable approaches. A fine record with vision, stunning execution and little to flaw, possibly her best to date? Id say it comes down to taste, I personally love the electronic variety on Pain Is Beauty but adore the overwhelming experience these forty eight minutes of smothering whisk you into.

Favorite Tracks: Spun, 16 Psyche, Vex, Offering, Static Hum

Rating: 8/10

Old Corpse Road "Of Campfires And Evening Mists" (2016)

If ever Ive heard a band that captures the spirit of early Cradle Of Filth it is Old Corpse Road, who I discovered during Bloodstock festival back in 2014. Hailing from northern England, they invigorate that early extreme gothic sound once erroneously coined "British Black Metal" when Cradle were still wearing corpse paint and drawing links with the Norwegian scene. It is a rather formulaic similarity where shrill, piercing screams accompany guttural growls and burly spoken word over the extreme metallic music, aggressive, visual and drenched in symphonic keyboards. As the title suggests its a romanticized vision of British folklore and natural beauty expressed through the the typical tropes of such a sound, however the band execute it all with a touch of class a richer approach to the less Metal oriented moments.

With four ten minute plus epics the eight track record is quite a meal, clocking in at sixty four minutes it rarely lets up with a dull moment to pass. The songs are equally expansive and across the record a lot of variety is to be found, sometimes the guitars lead with groove and aggression, in other moments they let up for the synths to build atmosphere and furthermore drop out entirely for many symphonic or acoustic passageways enriching the musics scope. With all of the members pitching in on the vocal front a barrage of styles become possible as the ever progressing instrumentals are narrated by many voices. For all the variety on hand, these songs have structure and direction, they cohesively unfold, often from driving guitar riffs and gnarly blast beats into expansive atmospheres and soaring moments that certainly deliver.

All of the songs are dense and well fleshed out with a lot going on at once for your ears to pick through. The production is reasonable, the instruments have nice tones, the synths are stark and loud and at time it feels a little muddy with so much going on but it holds together well for the music to shine and shine it does. Each song has its own merit and one of my favorite aspects are the folklore and mythological themes that resonate superbly alongside the gothic vibes. Solid record that I can't falter, excellent for the right, specific mood, best enjoyed in the winds of cold English nights.

Favorite Track: Herne Of Windsor Forest

Rating: 7/10

Cradle Of Filth "The Principal Of Evil Made Flesh" (1994)

Going back to their debut, Extreme Metal band Cradle Of Filth's distinct style arrives in an embryonic and unrefined form. I am guilty of never giving this one much time back in my youth when I was a big fan and going to it now their isn't a lot that's unfamiliar. Many of the songs have been re-recorded, re-written and adapted for use in future releases, always to sound superior. Something to keep in mind is this isn't the band's planned debut and whatever was on 93's Goetia this is a big shift in sound from the "Total Fucking Darkness" demo of the same year, where the group first distanced themselves from their Death Metal roots.

A lot of the musics spirit finds itself slightly buried in the poor production quality and although the ears adapt it doesn't have the same immersion a rich production would bring. The guitars, drums and bass are all in the typical cradle style but it is Dani and the keyboards that are noticeably a step behind. There are moments throughout where the power of the keys and there sounds lack the oomph and direction to be fully involved. Often sounding like an underwhelming accessory it is remarkable to hear how much the choice of instrument tone can impact its roll in the song. On this record though the keys are stiff and rigid, the quality is low and it shows. At regular intervals a short two minute keyboard instrumental pops up, throwing off the momentum and energy of the main songs and on one track a one second loop of flowing water plays under glistening, sparkly noises that get repetitive so quickly. It has charm but exposes the lack of budget a record of this ambition needs.

Secondly Dani hasn't quite found his voice, the surreal shrill scream makes its debut in a raw and powerful form but the regular guttural and throaty screams are a touch raspy, thin and tame in comparison. Its the problem with retrospect, you know whats to come and at the time this was probably a very exciting record to get your hands on, a new and wild sound emerging from the aftermath of Norwegian Black Metal and one of the first to embrace the possibilities of at least prototype Symphonies in Metal music.

The track "A Dream Of Wolves In The Snow" gives a sense of a rushed writing process, a short two minute piece with an epic intro that seems to quickly fizzle out on itself. It is without the epic riff that sparks the madness which it would become when re-written as "Queen Of Winter, Throned". Its a heavily flawed debut which still manages to showcase their creativity and vision. The production.. lackluster, wobbly with volume inconsistencies and an awful, sloppy sounding double pedal capture. Flawed, far from perfect it still made for a fun listen. Not one to start with if you are new to this band.

Rating: 6/10

Cradle Of Filth "V Empire" (1996)

"V Empire", or "Dark Faerytales In Phallustein" was once to me a somewhat mysterious release from the English Extreme Metal band. A record with two names, sometimes listed as an EP and released instead of a "lost" record. Luckily now the Internet is a wealth of knowledge and the story is clear. Before their debut, which I am actually not familiar with, they recorded a full length known as "Goetia" in 93. Unfortunately the record label couldn't pay the studio bills and the recordings were wiped. Hastily signing with Cacophonous Records the group got a bad deal which led them to quickly write and record "V Empire" before jumping ship to Music for Nations. Recorded in 95 and released earlier in the year to their magnum opus "Dusk... And Her Embrace", it has only six tracks, but with a couple of lengthy tracks makes for an album experience.

Despite its rushed production Vempire, as its often referred to, has some of the bands finest moments, the opening three tracks a staple mark of any live show. Its a rawer experience with a lack of polish that translates into a wild energy that becomes refined and focused on its follow up. Its very much in the same moment, however Dani's unique and shrill howls are at their peak with a blinding intensity and haunting magnitude. Alongside them his deep, bellowing gothic spoken words, drenched in reverb fuel the fantasy worlds these songs take us too. In some of his most intense moments he sounds like Varg Vikerness and his animistic barks of agony. The rawer attitude of this record gives the extreme angle of their sound more freedom and the result is a faster, aggressive beast. The melodies and riffs create a vivid atmosphere and make for their most memorable material, especially the ten minute epic "Queen Of Winter, Throned", full of dramatic intensity, mood shifts and lightning screams its topped off with an almost cheesy moment of vampiric masturbation leading into the songs climax and conclusion.

Having revisited this one Ive really got a fuller sense of where it lies in Cradle's history and subsequently has become a fascination and curiosity. What could this have been under different circumstances? It feels like Cradle rushed their most inspired moment. In the flurry of a dash to escape a contract they managed to find a brilliant balance in production of rawness and power that would never be the same again. If this was strengthened by a few more decent tracks it could of easily been their ten out of ten. Fantastic record!

Favorite Songs: Ebony Dressed For Sunset, The Forest Whispers My Name, Queen Of Winter, Throned
Rating: 9/10

Cradle Of Filth "Dusk... And Her Embrace" (1996)

Cradle Of Filth, a band that polarizes opinions and attracts hate within the Metal community, are an English Gothic / Extreme Metal band led by front man Danni Filth who, over the years, has chopped and churned through many musicians and led the band into criticism for supposedly attempting to popularize the bands sound and image. Whatever your opinion is, there should be no denying that for a brief period in the 90s they put together some brilliant music that sounded unlike anything else. Dusk is the bands second, technically third due to a scrapped record, and undoubtedly their finest. One that any fan of Extreme Metal should check out.

Firstly Cradle are not to be confused with Black Metal, despite many similarities in evil themes, distortion guitars and shrill vocals, the musics core is drenched in romanticized gothic vampiric mysticism, dominating and guiding all aspects of their sound to create lavish fantasies of ancient blood soaked nostalgia. Their songs unfold through a series of repeated segments that move from one riff to the next with vision and variety, shifting between aggressive blast beats and slower doom tempos with all sorts of dark symphonic wonder in between. Evolving from start to end they mostly feel like journeys and stories.

One of the records defining qualities is the sense of lead and harmony that existence between the guitars and synths, feeding of one another and cultivating a shared vision. When they drop backwards with power chords the synths will step up with simple and inspired melodies. In turn the guitars do the same but with a style that reminds me fondly of Iron Maiden, fast commanding dual leads that have force, groove and a great sense of harmonized melody. With power chords and melodic leads the guitars can also turn to some metallic head banging grooves at times that work to great effect, amplifying the momentum of otherwise theme oriented music.

Cradle's trademark, Danni Filth's vocals, are at their finest here. His fierce, deadly, high pitched shrill screams turn many off, but for a fan his tone and delivery is spot on here and rightly so is used sparingly. More traditional screams and deep guttural spoken words reinforce the gothic theme and keep things ticking over until Danni will burst in with his surreal range. It reinforces the fantasy this record offers, sounding almost inhuman or beastly. Alongside him is Sarah Jezebel Deva's strong, evil, enchantress vocals playing on the romanticized themes. As well as having a stunning gothic voice she was one of the bands longest consistent members for fourteen years and has worked with a lot of other reputable Extreme Metal bands who often lean on the gothic tinge.

Dusk is spell bounding, vivid and dream like. Its atmospheres are haunting, chilling, ghostly and mysterious. Danni takes us on a ride through his twisted fantasies, the lyrics are poetical affairs with seductive temptresses of nocturnal persuasion. I can only sing this records praises. Further pondering on its strengths the albums production is very strong for 96. Its not pristine, the instruments are not perfectly crisp and without flaws but the balance between instruments is spot on and lets them find their chemistry for us to enjoy. Writing this I realize how fond of this record I am. Ive also heard their latest record is "return to form". Something I would love to hear this band do again.

Rating: 9/10

Killing Joke "Revelations" (1982)

It was back in March of this year that I first gave this record a spin. After listening to their debut "Killing Joke" I moved onto their third and found it very difficult to get into this one. A lack of fidelity in the production made it unsuitable for earphones on a windy walk. Months later on my sound system I was able to distinguish a lot more of what was going on but still felt an absence of something important. With much reluctance I have finished listening to what I hope is the worst Killing Joke record, its pretty appalling, gloomy and tinged with Gothic influences.

The band's charm is in the dissonant guitars, mechanical stop start rhythms and singer Jaz Coleman's distinguished voice. On previous records it all came together with atmosphere, drive and meaning to form memorable songs that introduced new ideas and musical approaches in the Post-Punk scene that's had a profound influence on many bands, mainly Metal & Industrial. Going from the snappy rhythm led hook of "Tension" and anthemic dystopian sing along "Follow The Leaders", the band hit an inspirational bankruptcy on "Revelations". Opening with the mediocre track "The Hum" marks the high point for a stale and drab record which quickly drifts into obscurity.

The spark is missing, and it can be felt sorely after the first two tracks as the discordant guitar fails to ignite any atmosphere. Idea after idea, riff after riff falls hard on itself as obvious injections of "unexpected" sounds creep into the tracks with bells and acoustic guitars in the breaks. The drums pound and grind away uninspired rhythms that lack a groove or any chemistry with the guitars. Jaz's wails away in his own style but like the drums just fails to gel with the guitars and we end up with a collection of misfiring songs that drone through a moody and uninspiring setting.

It feels like the band where going for a darker vibe and focusing on the drone of the discord. In doing so they were unable to create anything memorable on a miserable record that felt like leftovers from a demo. I'm trying to be fair, but Its a poor effort with little chemistry and a lack of direction. There is also the absence of any electronics which in retrospect feels like an even bigger part of their sound. Disappointing, but I'm still keen to get through their discography.

Rating: 2/10

The Gathering "Mandylion" (1995)

Casting my mind back across through all the years this record has been with me, time may have gotten the best of my memory. How I found this band is hazy but of the ten plus years Ive been listening to them this record has always been a real treasure. The Gathering are a Dutch band with a patchy history of style and direction that started with a Death / Doom Metal debut that would be short lived as the group progressed through different Metal sounds before switching to Progressive and Alternative Rock after this record. In their beginnings they had trouble securing the right front man before uniting with Anneke Van Giersbergen who's voice is a free spirit with a charming purity and spirited power.

Despite the line up changes and wandering direction, on their third record, Mandylion, The Gathering created a magical record complete in concept and bearing. Anneke is the star of the show, her voice glides freely over the music, dazzling and mesmerizing with every word she utters. She guides the emotional narrative of the songs through the lows and highs with an impeccable range that gets the feels running every time. So soft and pleasant yet powerful and moving, soaring at times. Even though shes the star, the instrumentals are on an elevated level too, captivating, inspired music which we have the pleasure of hearing them both firing on all cylinders with a unique vision and chemistry that creates a "place".

The instrumental compositions are deceptively simple, aiming for an easy to digest experience with an approach to riffing and symphonics that pieces together simple ideas, often repetitive in delivery but with quality in mind over fleshing the songs out with needless complexities. The gorgeous aesthetic of the mix and Anneke's voice chime together to create a spirited and organic sound with another world feel that strays far from its metallic roots. The guitars have a tight tonal distortion thats played for its texture as the riffs take a far from aggressive approach, focusing on simple drawn out chords and melodies. The dense symphonies intertwine and weave around one another, allowing the two to both guide the songs, either in turn or together and its a real treat when all three fire with Anneke's voice.

On the track "Mandylion" the electronic instruments strike up a rich atmosphere of tribalism cultures and natural spirit that evokes vivid images of a forgotten meaning of humanity and our ancestors. Its a powerful track, but this power is their throughout the record, working with the guitars and drums which sound big and commanding on this record, holding together the pacing like a sturdy strut. The snare has a sharp and dense tone that sounds great in the mix alongside some big and yet not overpowering symbols that crash away prominently. The bass guitar has a big and warm tone that gets plenty of exercise under the guitars, not always mirroring them and adding a rooted variety that doesn't have much impact, but sounds great when its noticed.

 Its a special record to me, one that gives me a ton of inspiration, especially Anneke's voice which always gives me goosebumps. Listening to it again reminds me of all the times I used to play my guitar along with it and the youtube videos of them playing live in the 90s with Anneke dancing on stage with a youthful innocent energy that would captivate the crowd. Its a real gem, a beautiful and unique blend of Symphonic Metal with a tinge of Gothic on the side that I've never heard anything quite alike. Can't praise this one enough, its as perfect as it gets.

Favorite Tracks: Strange Machines, Eleanor, Leaves, Mandylion

Rating: 10/10

Chelsea Wolfe "Abyss" (2015)

Discovering the music of American singer Chelsea Wolfe last year through her previous record "Pain Is Beauty" was a breath of fresh air. Another reminder that there seems to be an endless source of sound out their that can reach you in many different ways. Chelsea's cold, bleak and shadowy music plays off her sweet somber voice like a spirit calling out from dark and on "Abyss" she takes a big step thematically and musically into her darkest sound yet. Accompanied by several members of Russian Circles the album takes the big roaring Post-Metal sound the band play to new territory with monstrous guitar work plunging us into the abyss.

What I previously liked most about Chelsea's music was the juxtaposition between the brighter melodies and the dark, gloomy tones that played off one another. Abyss is stripped bare of anything uplifting and plunges deep into a wallowing despair of darkness as the Post-Metal apocalypse broods sludgy, gritty riffs of ambiguous noise under a rattling kit and Chelsea's lonely cries. Its a hefty, atmospheric sound, but one that wasn't quite as enthralling as its ambition. The riffage falls savage to its textural ambitions and doesn't make anything memorable with the notations.

This is much the tale of the first half of the record and with "After The Fall" the album picks up with a distinct shift in direction as the distortion guitars drop from the focal point. This second half has a lot more melody and driving moments that still focus on an unforgiving despair. "Crazy Love" utilizes a haunting string section that cascades and descends with a tone of horror and evil under Chelsea's soft vocal inflections. Across the album she reveals the dark and tormenting experiencing of the sleep paralysis she suffers from, which a part of this album deals with and contributes to its haunting theme as she shares with us the frozen wakeful state of shadowy figures and being trapped in oneself.

Abyss is an ambitious and focused effort that I cannot criticize, the production works together monstrous distortion and bleak sounds with a clarity that avoids feeling sterile and the music its captured has its direction but for the most part this particular strand of dark isn't as immersible for me as I would of liked. What I like most about her music is that chemistry where the darker sounds smother the brighter melodies within and the first half of the record was devoid of any of that. I'm hoping its just something I'm not in the mood for right now, as I can hear whats great about this one, but right now it hasn't clicked.

Favorite Tracks: After The Fall, Crazy Love, Simple Death

 Rating: 5/10

Christian Death "Only Theater Of Pain" (1982)

I came across this album during some casual browsing, praised as the first Gothic Rock album I figured its something I should give a listen. My understanding of Gothic music is limited, so the accuracy of that statement is beyond my knowledge, but this certainly struck me as an overtly Gothic and "out there" record considering the time. The stark album cover is certainly attention grabbing, and the ghoulish yellow font could be an early source of inspiration for many Extreme Metal bands who in the coming years would take a similar path with their logos. And with all that said, Christian Death are a four piece outfit from California, and this is there debut album.

With the sound of church bells opening this album, the group set their Gothic tone quickly as the drums bring in a beat for dreary, mournful guitars to build an eerie atmosphere of pain and suffering through some rather genius flange overdriven leads that gel with a strong, warm bass presence thats participation in the forefront fills a space left by the guitar leads that go of on noisy, emotive tangents in between the core riffs. The chemistry is strong between the two and provides moody Gothic instrumentals for Rozz Williams's vocals which are a point of interest. Flamboyant and dramatic, Rozz's delivery is driving with a slight touch of whine. Its a hard one to describe, but its a love / hate style and one that defines a lot about this album. The lyrical content is introspective, emotional and romanticized with some dark and occult overtones through vivid use of language. 

The aesthetic and theme of this album is spot on, but the execution is disappointing. When doing it right the songs are dramatic, dauntless and absorbing, but more often than not the songs wander off into uninspiring and self indulged tangents that fail to offer anything to get excited about. These weaker songs were frequent and made the listen somewhat of a drag, but for what it does right I will find myself revisiting this one to hear the better numbers.

Favorite Tracks: Cavity, Figurative Theater, Romeo's Distress, Deathwish

Rating: 5/10

The Smashing Pumpkins "Siamese Dream" (1993)

"Who wants, honey? As long as theres some money!" The Smashing Pumpkins sophomore album starts of with a bang! Cherub Rock is possibly their greatest song, it really encapsulates some of the groups best qualities. Siamese Dream starts where their debut "Gish" left off, this album saw the group break into the mainstream with the album penetrating several top 10s around the globe, it has since gone 4 times platinum in the USA, and deservingly so, this record is an experience. Building on Gish, the group fine tune their sound and deliver a gorgeous record rich with moving instrumentals, emotional lyrics and a resounding consistency that engages me as these 13 songs travel through many passages of their unique sound. 

The sound of this record is absorbing, the guitar tone is dense and inviting, with a warm buzz about it thats engaging and exciting as the pair bang out countless alluring riffs and fiery leads. The clean tones are somber, calm, with a lot of colour and personality about them. The drumming on this record is solid but isn't as adventurous as on the previous record, theres not many moments where they make a big impact on the song. The bass is steady, warm and colorful, giving their sound depth and consistency. The cohesion of the instruments is great, this is a sturdy sounding record that brings out the best of them. On the track "Disarm" the inclusion of strings works effortlessly to narrate another classic song 

The guitars and Corgan's voice give this album its character, the bass and drums guide them along their course, as broad, inventive riffs spark emotions that Corgan explores with his voice and words. Utilizing their unique guitar tone, this album cruises through many riffing styles and moments inter spliced with some grabbing emotional calmer moments where clean guitars gleam. Corgan's introspective presences is moving and deep, bringing his honesty and bearing all with an emotional performance delivered with some memorable creativity on occasions. This is a fine album, one with much mood and character and a depth of songs that come with just a hint of nostalgia. Classic!

Favorite Songs: All?

Rating: 9/10

Lycia "Cold" (1996)

Lycia are a Darkwave group from Arizona USA who formed in 88 and have released 13 albums since then. This is the one album I have treasured from there discography, at a glance it pulled me in, and after many listens I am still captivated by its bleak and, no surprise, cold sound. This record is dreary, spacious and artic in design, these may sound like negative observations to those who like there music upbeat and chirpy, but these are all positives, in "Cold", Lycia craft a chilling soundscape that explores the darker side of life and self.

Across nine tracks this slow and bleak record paces itself with a genius that keeps me gripped from start to end. Despite similarities from each song to another, they provide passive melodies, subtle sounds and shadowy riffs that stick in the mind. The chilling sound is shaped through guitars and keys soaked in a vast reverb that bleed into each other effortlessly. The drum kit follows the same aesthetic and its slow, decaying pace and lack of complexity fitting the mood entirely. There are both male and female vocals that provide an important human presence in the experience, they are gentle, distant and sorrowful in nature.

There are some beautiful and effortless progressions in the songs as they gradually build up to crashing bells, subtle eerie choirs and other sounds that really add purpose to these passive pieces. This is a soundtrack for the cold, obviously, but these songs really paint a picture in the mind of countrysides covered by snowy blankets that captivate and dazzle, yet are perilous to humans. The dark and bleak atmospheres this music produces is unique, yet familiar, I enjoy it every time I visit.

Favorite Tracks: Frozen, Bare, Colder, Snowdrop, Drifting

Rating: 8/10

The Smashing Pumpkins "Gish" (1991)

The 90s is probably my favorite era of music. The Alternative movement, the birth of Nu Metal and the peak of Hip Hop are three I'm very fond of. Its never ceases to amaze me how much wonderful music was created in this decade, and my latest discovery is The Smashing Pumpkins. I thought for now it would be fitting to talk about there first album, which I first heard this album some time ago. It has taken me some time to appreciate their genius, but now I find myself addicted to a sizeable portion of there rich discography.

Like many of the greats, the Pumpkins have a genius to there sound that muddies the lines we draw to define how bands are supposed to sound. Theres elements of Rock, Alternative, Grunge and Metal that has an almost Gothic tinge to it. In this blurrinesses of influences Pumpkins create a unique identity. I personally feel like a big part of this comes from the downplaying of the guitars, D'arcy's bass is often pounding over the top of fuzzy guitar riffs that could easily be high energy Metal if played in a louder, crisper setting. Its this approach that give the guitars a more melodic vibe and subtle energy that gives them their edge.

The drumming is thoughtful, subtlety moving from fast upbeat tempos with explosive snare rolls to quiet atmospheric pace setting where the songs dictate. The guitars are charismatic and explore many melodic and energetic moments throughout the record. The bass is warm, bold and loud, which I really enjoyed as bass presence can often be overlooked. Billy's voice may not be to everyones liking, but it grows with time at proves to be an emotional outlet that is an important part of what makes it work. Pumpkins are the complete package who over time grew as musicians. This record proves they had it from day one, theres no filler here and plenty of memorable moments to enjoy.

Favorite Songs: I Am One, Rhinoceros, Bury Me, Crush, Snail, Tristessa

Rating: 8/10

Chelsea Wolfe "Pain Is Beauty" (2013)

This "review" is premature, i often like to reach a point with a record where i feel the music well and understand it. Right now I'm excited and drunk on the nectar of a new sound, a new niche has been carved in my mind. I don't yet fully understand it, but I'm entranced by its beauty and want to share it with the world.

The music of Chelsea Wolfe was recommend to me by a friend and all i know of her at this point is her music. She's got a stunning, ghostly voice with much passion and sadness that drifts like morning fog trough instrumentals so curiously poised between contrasting instrumentation that paints its own eerie and haunting place in time. This record has as a listening experience has been fruitful with 12 deep, rich and varied songs that are a pleasure for keen ears.

Juxtaposition is the theme that hits me hard on these tracks. There is a unique balance in the song writing, where the uplifting, more positive instruments can be offset by a contrasting sound or use of re-verb / low-fi recording techniques to create an eerie and unsettling undercurrent found throughout the songs in this album. Chelsea's ethereal voice soaks these tracks with emotional deeps that give me goosebumps every time. The instrumentals here are unlike anything I've heard before, and her voice trumps it all.

Favorite Tracks: We Hit A Wall, The Warden, Sick, Kings

Rating: 8/10