Willow "Petal Rock Black" (2025)

Ill confess, on first impression, Petal Rock Black felt like a series of Avant-Guard Jazz experiments. This dubious outset was reinforced by its short tracks, averaging two minutes each. The recycling of lyrics from Empathogen and even Prince's I Would Die For You also aided this skepticism. Predictably, with each recuring spin, its treasures unearthed themselves as each brief constructs own magic steadily charmed.

All of Petal Rock Black's songs are devoid of traditional song structure. Each stint serves its own purpose, a swaggered union of layered vocal indulgence, steely Jazz piano and raw roomy percussion, all rocking to its own groove. Lacking progressions and pop sensibilities, they at first feel like aimless moments from improvised jam sessions but with familiarity, one grows to love the moments Willow revels within.

Her lyrics and poetic tangents between songs heighten an awareness of conceptuality that probably adds depth but flys this inept listeners ears. In its absence, the flavor and texture of her ever playful vocal swoons play a treat. Creative, adventurous, she expresses through range. From strength and power to whispers and laughs, Willow can pivot into a soar at any moment. The variety gushes forth rapid and effortlessly.

On the instrumental front, I would have mistakenly commented on a cast of classy seasoned professional behind her. Thanks to the artist credits, I've learned this musical montage is mostly her own multi-instrumentalist creation, briefly blessed by a couple of big heavy hitter names, George Clinton and Kamasi Washington.

That first impression is a misnomer but also a hint as to what may condemn the record to some negative reception. It lacks a glue to piece it all together. Despite loving it front to back, Petal Rock Black feels like its missing something. That Avant-Guard embrace turns these unusual songs into isolated islands of musical wonder in need of a throughline. You can't fault any of its numbers, these are all beautiful expressions!

Rating: 7/10

Willow "Empathogen" (2024)

 

Daughter of famed rapper slash actor Will Smith, the last I heard of Willow were remarks on her adolescent entry into pop music on Will's autobiography. It wasn't an appealing reason to check in, and according to critical pundits, It seems I've been spared this misfortunes of a youthful musician maturing from shaky foundations. Empathogen serves as my introduction to an artist who's not only found her voice, but expresses it with freedom, led by emotion and passion, venturing into curious spaces.

Elements of Progressive Rock, R&B, Soul and Jazz Rock emerge on a fruitful journey. Leaning into its oddities, dwelling on unconventional melodies, the record gracefully swings between jam session chemistries and structured Pop convention. Creative percussion has much of the record feeling playful and expressive. Willow layers her voice in riveting self duets, chiming in, spinning simple hooks into exciting swells.

It all feels so genuine and expressive. Songs naturally pivot into different vibes. Often upbeat in tone with differing rhythmic drives, her lyrically reflective presence anchors every song. Swaying into curious oddities like the catchy humming of No Words and a moody, esoteric Ancient Girl, the contemporary compositions get consistently exposed to an ear for infectious melodies and keen aesthetics to reshape its own mold.

Empathogen feels effortlessly accessible yet drifts slightly to the Avant-Garde from a Pop perspective. Lyrics play relatable through their abstraction, each empowered word and cry of feeling wrapped up in a breezy momentum. Best of all, Willow fits snugly with these stellar backing musicians who craft a compelling listen from start to end. I've been unable to put this one down for a while, each spin is still riveting.

Rating: 8/10

Sithu Aye "Kindness" (2024)

 

After a few years absence, our dexterous dazzling guitarist Sithu Aye returns on a charmed spirit. Armed with the cultured croon of slick melodic licks and lively rhythmic grooves, a matured venture into Jazz Rock unravels through Zero Sum Groove and Obsidian. Intensities unravel and acoustic aesthetics intervene, as subtle strings and mellow pianos guide his expressions into classy swells of thoughtful instrumentation.

Akin to the highly disciplined curation of fellow shredder Plini, Kindess delivers five fine stellar cuts with a compositional complexity that has each contributing sound seeming meaningful. The drums are livelier, full of shuffles and creative fills. Metallic tones transition into acoustics with soft atmospheres to let the creativity flow like a gushing river. Its effortless, as are frequent springs into guitar solos yearning to sing.

The thrashes of Metal are still present on its other three cuts. Sounding rigid in comparison, slabs of meaty low end noise bust out stiff chops. Occasionally the two gel but it leaves blemishes of an old style rearing its head among fresh ideals. Familiar Anime theme song inspired melodies linger too. Shining bold and bright with their catchy tunefulness, a welcome reminder of the Senpai series is captured. All in all, Kindess is a bright spark for a seasoned musician aspiring to new heights!

Rating: 6/10

Janelle Monáe "The Electric Lady" (2013)

 

 Unabashed, bold and brazen, this sophomore follow up confidently struts its thematic concept directly into the spotlight. Where The Archandroid maneuvered its robotic humanoid inspirations with intrigue, The Electric Lady hits these beats on the nose with no subtleties. Key protagonist and android messiah, Cindi Mayweather is thrust against fear and ignorance. Crudely deployed with overt interludes between songs, a radio show host reigns in calls of colorful bigoted callers, reputing their hateful views revealed. An obvious metaphor for various phobias that grip people in current times.

Contrasting this illumination of social ills, most these songs are positive, uplifting, striding with themes of empowerment and strength. Its title track plays like an homage to the powerhouse anthems of Soul and Disco crossovers from the 70s and 80s. Unsurprisingly, this era is where much the records stylistic draw comes. On this track however, its self assured execution and expressions of female empowerment fall flat against a perfected checklist of tropes, notes and beats to hit in emulating this style.

Originality and inspiration is in question. The albums second phase hits an thematic echo with Ghetto Woman. I prefer this one, however its instrumental is clearly lifted from Stevie Wonder's blueprint of vibrant expressions. Although only palpable on occasion, much of the record drifts by without that keen infectious spark of its predecessor. Its historic sentimentality left exposed in the shadow, an awkward underwhelming stretch of luscious, warm, soft to touch music that rarely peaks.

One track hit a groove. Dance Apocalyptic swiftly picks up pace, deploying a chirpy percussive jive to wiggle with. Instrumentally soft all over, a youthful love of live emanates through its lively assemble of carefully performance instruments. Even turntable scratches can be heard in the mix. Janelle's jovial chorus and cheeky hooks are a delight, "shellang-alang-alang". One to get stuck in the ear, among a lengthy stretch of songs lacking the depth and charm seemingly lost from that last triumph.

Rating: 6/10

Hiatus Kaiyote "Mood Valiant" (2021)

 

Six years out from Choose Your Weapon, the Australian outfit Hiatus Kaiyote return with twelve classy cuts of modern, creative Jazz Rock to move, sooth and groove the soul! In my mind their tone, composure and aesthetics have barely budged yet something seems seductively easy and relaxing on Mood Valiant. With an emphasis on soulful vibes and vivacious singing from Nai Palm, the music often swoons and croons into eruptions of energy guided by lively percussion rhythmic power. As such the music comes with moments, gentle rivers of warm persuasion suddenly surging with its meaning as a bend in the stream swerves, relinquishing itself to the current. Not all of the record fits this stride, towards its conclusion a couple of songs linger in moody places, drifting through dreary moods, flailing a brush of color on route.

The chemistry is wonderful as one might expect from this group. Its Nai's words that frequently arises as a poetic peak to the crafty instrumentals. With lyrics being a weak point for me, her repeated hooks dig their claws in chiming of the music with thought provoking sentiments and questions to give context to the musical direction. My favorite moments often came with the mustering surges mentioned before. Another niche observation that came with my preferences were keen druming grooves finding a sweet snare kick groove to bring some passages near to a Jazz Hop equivalent. Ultimately Mood Valiant is a very stylish record, modernizing some older values with courage and passion and forging a warm environment to slip into in the process.

Rating: 7/10

Ihsahn "Pharos" (2020)

 

Ihsahn, a musician I marvel at for his works with the mighty Emperor! He is back with another five track EP counterpart to Telemark - released earlier this year. It had me prepared for anything and no surprise, Pharos is an equally eclectic experience, swaying with the dark and light before delivering a pair of intriguing covers that have Ihsahn exploring a vulnerable range in his voice I'd not heard before.

Kicking off with Losing Altitude, Specter At The Feast and the title track, all original material, the music brews a moody overcast atmosphere with both hints of hazy melodic color and an uneasy tension brewing just beyond the horizon. Navigated with a pop sensibility, musters of electricity in the rises between the falls, erupt with an engulfing energy that gracefully retains this curious middle ground. Indulgences in jazzy, lounge instruments with soft strings and moonlit piano keys exchange between soars of electric guitar lead, riveting distortion chords and thunderous tom drums. The music breathes life from this shadowy yet safe and expressive place.

With its covers the music shifts gears given the difference in musical style. Its a stage for Ihsahn to show more of himself through the higher pitched voicing. It works well with the dreary Portishead cover, however the following track pushes things a little with its cheesy 80s synth pop vibes. Overall the song is decent but the vocals get pushed into a strange place in a couple of the songs passes. Another interesting EP! The new material was by far the most captivating aspect.

Rating: 5/10

Stevie Wonder "Innervisions" (1973)

A name known the world over in music, but one I had never come acquainted with until now. Stevie was a veteran at this point, a Jazz musician from an era where records where pumped out yearly. Innervisions, his sixteenth, is often frequented by critics as a landmark album, making top lists and the like. Its a highly enjoyable record, loaded with melody and thoughtful compositions. Brilliant songwriting has appealing pop sensibilities between a depth of expansive instrumentation. Initially I was drawn to a subtle streak of Progressive Rock, Visions almost acting as an echo of King Crimson. The overlapping influences of Soul, Funk, Jazz and Rock at play created a point of comparison with some Jazz Fusion records I have enjoyed.

Another thread of influence unraveled. Stevie's voice had a remarkable resemblance to Micheal Jackson, the high pitch woos and cries an obvious characteristic of influence on the king of pop, as well as some of his higher ranged singing carrying a similar persona. His presence is subtlety remarkable. Perhaps it is the competition from the artful instrumentation that competes for attention. Golden Lady a fantastic example of powerful singing that isn't over pronounced or dialed up beyond necessity. His music is warm, inviting and the songs often grow in stature as one is drawn in.

As familiarity settled the themes of social struggle and black life in American became all too apparent. Living For The City tells tales of hard life and daily struggles. The seven minute march opens up with a scenic passage, voice actors and city sounds depict an encounter with corrupt cops. It had me pondering. What was the origin of such an concept incorporated into music? I first heard it on Straight Outta Compton and its become a common feature in Hip Hop musics. Maybe it has its roots here?

Stevie has it all on this record. His instrumentation is a vibrant tapestry of instruments in tandem, reveling in melody, chord arrangements arrive with pleasing simplicity yet offer a wealth of creativity as the Funk energy personifies the synths and instruments with a bold liveliness. It has me appreciating it more with each listen but I may be far from done with Innervisions. Some songs towards the back end don't appeal quite as much when approaching the ballad spectrum but there is a wealth of great music here I can't deny and its been a fantastic introduction to the legendary musician.

Favorite Tracks: Living For The City, Golden Lady, Higher Ground

Rating: 8/10

Ihsahn "Telemark" (2020)

Norwegian musician Ihsahn is the genius behind one of my all time favorite bands, Emperor. Ive been meaning to follow his solo work more closely and so I lapped up this new release, which turned out to be just three original songs alongside two covers. Not bad considering it was dirt cheap even for digital music standards! It clings closer to a traditional Black Metal atmosphere with thrusts of aggression, blasting drums and snarling screams to forge its darkly mood. Although a return to roots and departure from his more progressive approach, the music finds itself intermingled among subtle saxophones, trumpets and synths that give the Nordic flair a little textural flavor.

Its a chemistry not to remarkable but competent. The opening track brings forth marching chug riffs aligned with the strikes of horns elevating the tensions on a metallic crusade. Nord pivots to a slower pace. Shimmering hazy guitars birth a scenic vision of a cold Ethereal move nature elevated to a beautiful peak when its clean backing vocals bring in the soothing harmony. The title track hinges on a rather folk vibe. Its tricky, swiftly meandering melody has the groove and jive of something native and cultural. The tune drifts into a darkness that gets chopped and churned as the music searches for a crescendo it doesn't quite reach.

Its covers split the mood. Rock And Roll Is Dead jives out its funk with a Jazz band, the screams and distortion guitars playing second fiddle to the dominant instruments. Its almost gaudy but somehow seems to work. Wrathchild does something a little similar in moments, taking the classic Iron Maiden song and throwing in some saxophone led spice into the mix. Its good but its metallic aspect doesn't give much the original can't. Its been a fun listen, a well executed set of songs with an interesting inclusion of instruments not traditional to metal but not something to rave about.

Favorite Track: Nord

Rating: 5/10

Little Simz "Grey Area" (2019)

Every year I aim to find fresh artists, new releases and so far just a measly thirteen records. Despite me failing to get in a discovery groove, it has yielded some fantastic albums. The Goat, Woodland Rites, Empath & Kill The Sun, all contenders for top lists. Now to throw in another contender in the mix, Grey Area blew me away with just the first listen alone. My ritualistic listening has since convinced me Little Simz is a talent to behold and this is my first encounter. Its her third full length and she certainly sounds experienced on the mic. With a light, firm and steady flow, soft, flat toned voicing and sparkling lyrical creativity, I am reminded of one the greats, Rakim, in a roundabout way. Simz style stands on its own, a plain faced, spoken word calmness with an urban London charm ready to slip into slick rhyming grooves and swift flows as your lured in by her calmness. Its gorgeous and has some of the best rhymes Ive heard in sometime! "I'm a boss in a fudging dress!"

Her technical proficiency wont take long to perk your ears but whats equally earnest and engrossing is the topicality and self reflection. With her words she locks you in to situations, trains of thoughts and introspection with a vivid intensity that manifests in witty, expressive and cultural claps of rhyme that rock and rattle when she gets into a flow. She comes across as a genuine character with sincerity and authenticity in abundance. Some of these songs open a door into her life as an artist, struggling and working hard to succeed while dealing with life's stresses. Its not on an every track basis but just about each song has a pull. A little braggadocio and chest pumping comes into play on the albums slickest song Venom. Its on the flip side and her boisterous style is marvelous, flows swell with sharp, smart and damn right mean lyricism, its venomous. Ok that pun was just plain awful! XD

You'd be no fool to see how talented she is but behind the words, these instrumentals pulled together are fresh, fun, classy and right on point for setting the tone. It kicks of from Offense with an Indie feeling executed with a Jazz Rock flair. The beats are stripped back, the instruments have a live feel, high fidelity and its not until the third song that a more traditional Jazz Hop vibe. Its peaked with beautiful singing from Cleo Sol. The production is utterly sweet, Grey Area is a short, compact and tight record that churns through its ten tracks with a variety of defined vibes that all sound purposeful. The chemistry is fire, I still jet through its thirty five minutes feeling flabbergasted. This is a example case of quality over quantity. There isn't a moment wasted on this superb record, I'm still engrossed within it but had to write!

Favorite Tracks: Boss, Selfish, Venom, Therapy

Rating: 9/10

Janis Joplin "I Got Dem Ol' Kozmic Blues Again Mama!" (1969)

Kozmic Blues is a long overdue listen, Pearl was such a fantastic treasure of the Woodstock generation and a wonderful introduction to the raw charisma of Janis's voice. I had to hear more and turning to this, her debut as a solo artist, one can hear a timely shift in tone and slightly different musical energy at work with slimmer influences of Blues, Psychedelia and a touch of Jazz Rock in its breathy instruments. It could be a comment on the posthumous nature of Pearl but being new to her music they both stand tall as great records. This one however has peaks that go unmatched in its other songs. What captivates me about it are the jam sections. Lively instrumentals of busying instruments bustling away find a couple of extended interludes to come forth in continuously memorizing walls of sound fronted by big trumpets and the like.

And then Janis arrives, her voice impactful returning from absence, seemingly catching one of guard. The eight tracks come in different intensities and measures of style and so does Janis's singing, yet even in her softest breath does she ever seem to be one word away from unleashing her compassion as her voice strains and strays into what may of probably been seen as yelling or screaming back then. With one of its calmer instrumentals boasting big and bold trumpets in its key melody in the build up to her arrival, Janis soars over soft, moody organs with an unforgettable performance to give you goosebumps. Her voice cruises high and low through her range, led by pure feeling on my favorite track Maybe. Its a timeless song.

Its easy to focus on her voice. Behind her the music resonates wonderfully. As mentioned before they often come forth in her absence as their is such great cohesion between the performers. The lead guitar comes to fruition on One Good Man with a tropical, psychedelic solo that's blisteringly electric. The best of this does find itself in the first half as the album broods with dialed down tracks that make her voice more intimate as a result. Work Me Lord creeps up on you from its smokey beginnings with a big theme that gets a little stiff in finding a conclusion and lets Janis lead out the record alone. Overall its a wonderful album but perhaps my familiarity to her curbed the surprise of the stunning singing in store, and there is a lot of it!

Favorite Tracks: Maybe, One Good Man, Work Me Lord

Rating: 8/10

Plini "Sunhead" (2018)

After the exuberant Handmade Cities released two years back, one of my favorite albums that year, Plini has captured my interest as one to watch, an astonishingly talented guitarist with a defined sound capable of mustering lasting wonder and inspiration in the wake of a constant melodic onslaught. Sunhead is the newest release, a four track mini album curating the best of his output in a short but sweet experience that lightly expands the aesthetic pallet with a couple of exotic instruments and obvious moments of inspired Jazz.

The xylophone, saxophone and expanded synths tones arrive on the back of a Jazz Fusion kick that makes itself known in the opening phase of Klind, the free form tangents of Flaneur and lead solos on title track Sunhead. They provide a welcome expansion but certainly not a necessary flavor to Plini's sound which shows no signs of exhaustion in its current form. The Jazz melds seamlessly into the flow of dazzling music that is ever evolving in its Progressive form.

The four tracks make a dense web of music, easy to enjoy on the surface and deep in its construct. Llayers of instruments weave gorgeous details both textural and tuneful into the ever unfolding songs that Plini sings over with the accent of his endless lead guitar playing. Despite it being defined and distinguished, there seems to be no lack of places to explore on the fret board. With him and the other instruments constantly unleashing such dexterity and joy not a second passes without awe.

The production is gorgeous, a warm, authentic and timeless tone graces the crisp, clear, modernized recording with character and meaning. The percussion is especially enjoyable on this project, Chris Allison manages to find a stunning flow of groove and fluidity in his decoration of the beat with exotic fills that run through almost every moment, loading the record with another layer of musicality to dive into.

In the records most ambitious moments two things emerge, the mastery of the Djent groove which moves seamlessly into the natural crescendos and peaks as a part of a bigger picture, rather than some forceful event of singular momentum. Its other big moments are in the gleaming melodies which rise into lead melodies and hit big notes with a touch of 80s cheese, something I can't quite put my finger on but is certainly their with fondness. Its a truly exceptional twenty minutes of excellence.

Rating: 9/10

Horsebeach "Beauty & Sadness" (2017)

Here's another contender for my album of the year that's been stuck on repeat these past couple of months. "Beauty & Sadness" is the gift that keeps on giving, a wondrously expressive record tinged in a nostalgia that flirts with many styles and influences while graciously holding its own. This is my first experience with the Manchester four piece outfit who have released two full lengths prior to this third. Its a sterling introduction, ten concrete tracks weighing in at thirty six minutes, precisely what I look for in a record.

Describing their sound beyond its inspiration is a tricky business, Indie Rock might be your point of reference but shades of Post-Punk, echos of Psychedelic Rock melodies and the slight Ethereal charm of soothing reverberations put it firmly in its own grasp. Then there's the synths turning up on a handful of tracks, adding another dimension to their sound without any obviously intrusion to the chemistry, it sweetly brews into the chemistry without an eyebrow raised. On "How Far Must We Go" they bring a Smooth Jazz flavor, playing like a slick saxophone over a grooving baseline jam.

To walk you through the sounds and variety that I adore about this record, it kicks off with its most ambiguous track, morphing, swirling and burying a repeated sampled voice into a thick haze of synth that brings about, dare I say it, warm, fuzzy Vaporwave vibes. From there we step into a bright setting with a gorgeous melodic lead guitar with an infectious lead melody between acoustic chord strumming. We are first introduced to the records voice, a singer who knows his range, a sincere expression that can sway between a firm tone for adventure and a more vulnerable, softer side best heard on "My Heart Longs For You, Pizza" which has a golden oldies vibe I adore, it highlights the nostalgic use of reverberation that his voice often sinks into.

The albums production is a charm of its own, the music has a wonderfully aged feel about it. There's more texture and depth to be heard in the instruments, all smothered in a warm inviting reverberation that runs deep. You might think it just stands out as a breath of fresh air compared to all the squeaky clean, compressed, volume war music of modern production but the reality its chemistry is a charmer. Warm tones, indulgent room acoustics and thick, deep baselines illuminate the magic atmosphere this one conjures.

"Breeze" introduces an instrumental break in the midsection, a drum machine guides us on a Trip Hop alike beat as a echoing guitar jams a solo over a warm murmuring baseline and hazy strum chords. Its followed up with "Theme For Sadness", an entirely synthesized composition, a slightly spooky, teetering on mystery journey that to those familiar, is vaguely reminiscent of Dungeon Synth, in an unintentional way. The title track, possibly my favorite, lures us back in with a pounding baseline and memorable synth melody, very reminiscent of a famous Joy Division song, once you hear it you can't go back!

If you've read my ramblings this far then its no surprise I'm a big fan of this record but as Ive tried to convey my experience is charmed by a unique nostalgic vibe that has me hearing all sorts of styles, similarities and influences that never feel direct, or even close. It lured me in and once there the catchy nature of the melodies had me hooked. Horsebeach make their voice and own it! Can't wait to get my claws into those two records that came before this one.

Raitng: 9/10

Hiatus Kaiyote "Choose Your Weapon" (2015)

Now here's a record I never knew I needed! Four piece Australian Jazz Rock outfit Hiatus Kaiyote's second album came as a personal recommendation from the Ren-diggidy-dawg a while back and Its been on repeat ever since! The 80s aesthetic of the cover art says little to the flavor of the music but maybe volumes to the vibrant individualistic style and character the band posses. Fusing aspects of Funk, Jazz, Soul and Progressive Rock, the group take on their inspirations with an articulate voice and inspired artistic freedom.

The result? A classy musical indulgence soaked in the haze of competing instruments that bring every moment to life with their collaboration. Where direction is often led through syncopation and repetition, Hiatus take the other path and fill your cup with the spice of variety as each instrument helps color the canvas of every passing moment. The depths can be felt as each song is layered in instrumentation of which any could be the lead instrument. It brings the core songs to life as never a dull moment presents itself, we are always in the presence of animated instrumentation fighting for our attention and rarely letting one another take center stage.

The percussion brings a mix of flavors to fight for your interest. While holding the driving backbone of tempo down, a liveliness is felt in the range of sounds emerging, an expansive kit loaded with intricacies fleshes out the core rhythm with a constant energy for subtle polyrhythms, grooves, shuffles and vibrant fills. Alongside the drums guitars and synths play a similar roll of never settling for a simple and linear path, each instrument always has something to contribute, either an accent or added dimension to the songs density and trajectory. Especially the synths which make passionate use of the endless manipulation that knobs and dials can do to expand horizons and evolve the sound from a singular textured experience.

The record never stays in one place, its wild and free flowing nature has the carpet pulled from your feet right as your feeling settled. The grooves shuffle, the melodies swoon, the atmosphere sways and lights up the night with its charm but the fire starting spark of magic comes from singer Nai Palm. Her breathy voice has the range to stride with power, then whisper in the next utterance. If there is a lead here, it is her artsy voice that always rises to the top with its flair and quirk to remain fully motioned, never settling on a steady note and often adding inflections in time with the punch line of the drum beat. Its an instrument of its own, as animated and vibrant as any of the others. Some of her best moments come from the ditching of words as she devolves into the melody, free of conventional constraints, it reminds me of a child dancing, free of judgement from anyone, especially herself.

For all its merit, not everything attempted here will be to everyone's taste. Its strength is variety, which comes in a large engulfing dose. There is never a stale moment but the constant shifting and shuffling from one idea to the next doesn't always strike the charm the majority of it does and can move on you as your settling in. No bad words to be said, just that the genius chemistry these musicians have is really milked into every corner of the record. At just under seventy minutes its got so much to offer, a real cracker that's got to be the best thing Ive heard so far this year.

Favorite Tracks: Shaolin Monk Motherfunk, Breathing Underwater, By Fire, The Lung

Rating: 9/10

Plini "Handmade Cities" (2016)

For some fans its been a long wait but luckily for me Australian guitarist Plini's debut full length drops just after Ive finished catching up on his three previous EPs. Timing couldn't of been better but since it dropped Ive spent much more time than usual with this record, for it has the potential to be one held dear. Even after a month I still find various melodies, grooves and moments in the record hitting me on different levels and I'm far from finished with it. What Ive heard is Plini really taking advantage of the record format with seven solid and cohesive tracks that play together like a singular experience.

Its an easy ride of gorgeous instrumentals emanating positivity, exploring creativity and toying with inspiration in a setting for lasting melodies and sublime grooves. Labeled as Progressive Metal and "Djent", this record further removes itself from the origin sound of its inception. As if in a loop, it sounds most like Progressive Rock but not in a traditional sense, more a technical similarity. Plini's sense for bright, colorful melodies in a temperate setting are dazzling and come through delicious instruments delicately captured for ripe and powerful sounds to arise from gentle playing. In its heaviest moments the crunchy low guitar djents of "Pastures" feel more like a cushion for tantalizing grooves to persuade so graciously. With a gleaming electric guitar solo cruising in from above and soothing acoustics ringing out it feels like a flood of inspiration came crashing out of nowhere, powerful.

This song is brilliant and its an example of something this record does, take its time. Its four minutes before the song engages with its sublime guitar solo and after the climax the chunky djents and acoustics gently unwind with expansive drums that feel so gracious in their awaiting of the lead guitar to see the song off. The record picks up its intensity as it goes along and the closing track "Cascades" maybe the most metallic in terms of its vibrant energy and it starts with these rhythmically supreme odd time signatures to lap up with the lead guitars 4/4 so brilliantly. It feels like a true inspiration of genius and in a brief mid track climactic moment a more cliched riff emerges with an exuberant performance that will have you yearning for more.

In "Handmade Cities" nothing is rushed, every moment feels leisurely and fluid, instruments can drop in and out of the mix noticeably in a strangely satisfying way. After trying to nail what was so clever about it I though back to the Prog Rock epics that could span up to twenty minutes. There's a lack of repetition at play, Plini keeps things moving and evolving at a dynamic pace that never gives up and so we get that epic and brilliant feel from short songs as everything its condensed down to its point. His continual presence with the lead guitar really masks the sections that could effectively loop to aid this marvelous sense of moving forward without urgency.

The records production also has a lot to say for what makes it so great. The instruments sound crisp, slick and smooth but as if they are alive, right in the room with you. At times there are a lot of layers of instruments, never clashing of feeling restricted together. Even in the moments where double pedals kick in or the songs break into metallic styling does anything feel overbearing. The synths that subtly creep in also have a powerful effect as their tones meld into the other instruments. In conclusion all aspects of these record are on the same wavelength. Inspired, gleaming with color and sounding spectacular. This is all the brilliance Plini showed in his previous records arriving at a new level.

Favorite Tracks: Handmade Cities, Every Piece Matters, Pastures, Cascade

Rating: 9/10

Plini "Sweet Nothings" (2013)

Arriving at the second of three we find "Sweet Nothings" a four track, seventeen minute release that would be my favorite, however the choice is made difficult by "The End Of Everything" and its fan favorite, the eight minute epic "Paper Moon". "Sweet Nothing" feels like the bands most fluid flowing and settled sounding release. Each track has a flavor, a stylistic focus. The second track "Tarred & Feathered" introduces a Latin, Spanish guitar, played fast with metal techniques similar to Animals As Leaders and there "The Joy Of Motion" release. "Away" does a similar "metal on acoustic" with fast melodic picking rhythms and hammer ons. There's a fantastic break down riff in it that replaces the atypical metallic crushing guitars with heavy bass groove and accented melodics through low acoustic notes. Its only the last track that plugs in the distortion tone for some chord driven Metal.

 The opening tracks indulges us with subtle serine strings queuing the acoustics that pluck chords note by note in short repetitions and with a swift shift the tone changes and tranquil pianos take over, between them brief solos tease whats coming as the atmosphere of a warm moonlit night sets in. At the end we are treated to a guest guitar solo from Gru who produced one of my favorite Progressive Metal records "Cosmogenesis". Its nice to know he is still playing, would love to hear a new record from the talented guitarist.

Plini's sound is versatile but always lush, feeling dense with a wash of color and charm that can go in many directions. Its in the subtlety and ambience that the magic is brewed, the stirring of moods for his dynamic and inspired guitar shredding to take the stage. Although it takes much of the focus its the underlying strings, pianos and other instruments that set the perfect tone. The drumming also sounded a lot more settled and alive in this recording, again using a drum machine they rarely sounded like one, if at all. I will continue enjoying these records, perhaps listening to them back to back as an album, awaiting his first full length which I am very excited for now!

Favorite Track: Opening
Rating: 5/10

Plini "Other Things" (2013)

Before the release of his debut full length I thought id head back and listen to the other two mini-records of the Australian one man band Plini. "Other Things" was the first of three and its first two songs bares little if any resemblance at all to the Metal label attached to this band. This the essences of cool, mellow and excitable Jazz Rock, adventurous instrumentation that has roomy pianos, jiving base and luscious guitar leads taking turns to step up and indulge us at their fancy.

With the records longest track "Selenium Forest" we are introduced to the metallic element and in its opening moments a gorgeous guitar solo plays to the previous mood before a distortion guitar creeps its way in and the mood and tone change greatly. Playing power chords and tremolo picking its quite different from the Djent sound you might associate them with. In this temperate and heavy moment it breaks down for fraction where the lead guitar can let the light in a little with more lush melodies.

The song progresses by looping back through this motion and steadily evolving the instrumentation around it with even steel drums. It sticks to this loop feeling in search of something, which never comes and although it may be a fan favorite, for me it pales in comparison to "Other Things", a lush track of classy melodic pleasures. The records production is fair, the drums noticeably programed when giving it your ear however comes of fairly organic with snare fills and shuffles playing like a breeze. Good listen, I find it interesting how this artists is associated with the Djent Progressive Metal scene, it leans even further into the Jazz and Jazz Fusion influences than Metal.

Favorite Track: Other Things

Rating: 4/10

Plini "The End Of Everything" (2015)

My introduction to Australian Guitarist Plini was via Sithu Aye who featured Plini on the "Invent The Universe" record. The pair have also released a four track split record, which I have yet to listen to. Although a one man band, Plini is a touring act too and so far has released a string of singles and three short EPs of which "The End Of Everything" is the latest. The band are currently touring as well as recording their full length debut, which after enjoying this I am looking forward too.

Much like Sithu, Plini is part of this post-Djent Progressive Metal scene and of a much more melodic persuasion and Jazz orientation. Every rush of energy and djenty grooves give way to lush soundscapes of instrumental subtleties, gracious lead guitars and dreamy synths. It can heat up somewhat with double pedal drums, chunky, metallic riffs but even in its heavier moments the sense of brightness and color that courses through never fades. The result is a very organic record that will shift gears without notice, one moment illuminated by the fire and the next acoustic guitars are playing lullabies over soft synths accompanied by lively Jazz percussion that dances around the kit softly. As an instrumental band Plini's dynamic guitar leads are the voice, forever an alluring force of adventure. No moment here drifts from the path and as a three track its only flaw is its length, clocking in at seventeen minutes it leaves much to be desired! I can't help but feel their debut could be something special.

Rating: 5/10

Sithu Aye "Set Course For Andromeda" (2016)

The title "Set Course For Andromeda" may play down an epic expedition with simplistic words but its the records cover art that dispels the expectations. Its simplistic font, cartoon graphic and squiggly trail spaceship don't quite match the melodic wonder awaiting inside. Sithu Aye is the one man band from Burma with an ever growing reputation within the Progressive Metal scene of the Djent variety. Four years since his last full length "Invent The Universe" its a record of two halves, the first a collection of lengthy collaborations often peaking the eight minute mark. The second a single piece of music split into six parts known as "The Andromedan". Clocking in at seventy five minutes its a lengthy listen but one that's hard to fault, there's never a dull moment and perhaps the opposite is the case, it rarely takes its foot off the gas.

Weighing the scales with deep tonal polymorphic Djent grooves and firm, vibrant, colorful acoustic guitars the rhythmic force and melodic grace are narrated by the effervescent presence of lead guitars pulling the strings of direction. This instrumental record has a voice and its the lead guitar which talks in emotional volumes with solos and intermittent leads which occasionally culminate into a trio of riffs working together. Its lavish, sublime and charming, a constant engagement and indulgence to follow. Around it there's never a moment taken for granted by the accompanying instruments, much of this marvels chemistry is found in the records first act and would indicate that a real spark of chemistry has occurred between Sithu and his guests.

Mostly this record has inspired melodies playing off of crunchy Djents, ever twisting and turning through song structures that wont stay settled. It makes for a handful of breakaway moments, using the occasional Post-Metal riff or the introduction of strings and pianos to lead the way. In some moments the Djents will drop off entirely for soft airy synths and strings to fill the void with a calmer presence. With "Spiral" Sithu and Luke Martin get Jazz, a bright, playful break of swift, racing leads on the guitar and pianos dance with one another effortlessly as we watch on, mesmerized by such a gracious, amiable wash of sweet and inviting melody.

The second half, the six part song, is on a similar wavelength but a couple of tracks have some drawn out moments of ambience and overall the intensity is lowered a little. Holding a theme together a couple of melodies return, elevated, in the later stages and the density of the compositions isn't quite as layered or lavish but maybe its the length adding a little weight to the mood. The production is solid, drum machine is tight and the instruments work so well for one another. For me, the first half is a nine and the second a seven. Well a truly impressed with this record which I will return to often!

Rating: 8/10

King Crimson "In The Court Of The Crimson King" (1969)

I was pleasantly surprised by how swiftly I found my way into this record. Hailed as a classic of an era gone by I was a little hesitant this might be out of my reach. Ive always had a soft spot for Progressive Rock and this record is often considered the birth of the genre, turning away from the Blues roots in Rock and inspiring Classical influences into the scope of their songwriting. What I found though was a luscious warm record that felt like the precursor to much of the lullaby like themes found in early Genesis records. King Crimson are the credited creates of Prog Rock and have been going at it for 45 years with plenty of lineup changes a many intervals of hiatuses.

"In the Court..." is their debut release, a varied record with a lot to offer. "21st Century Schizoid Man" the slightly mad, energetic free jazz swings coupled with a traditional Metal attitude that starts the record of with a bang of announcing trumpets and a wild improvisational mid section of madness. "I Talk To The Wind" takes a u-turn in tone and pace, setting us on a soothing lullaby of innocent, gentle melodies climaxed by a gorgeous flute solo at the end. "Epitaph" brings a somber tone in as we sail to an epic swan song that's illuminated by a dreamy string section and dramatic, haunted synths. 

"Moonchild" mostly consists of a lengthy ambient jam of quiet mustering on the drum kit and sporadic improves on the lightly played guitars and keys. The jam doesn't lead anywhere much and conjurers up images of the band roasted on drugs, lying around tapping on their instruments. The record ends with the title track which is a rather similar sounding song to "Epitah" and delivors some lush vocals harmonies over the ever enigmatic synth and string section.

The records over 45 years old and sounds fantastic today. The drums have a narrow dimension, but the other instruments sound big, bright and free. I especially liked the keys string sound which had a slightly harsh tone yet came across so smoothly with a lot of energy, it reminded me of Genesis's "Watcher Of The Skies". Another band this reminded me off was Messenger, their album "Illusory Blues" one of my favorite from 2014. Definitely heard a lot of the influence that inspired that sound here. Solid record, can hear why its held in such high regard.

Favorite Songs: I Talk To The Wind, Epitaph

Rating: 9/10

The Reign Of Kindo "Play With Fire" (2013)

It's been a while since a band has immediately grabbed my attention, having me seeking out their records based on one song, but "The Reign Of Kindo" did exactly that. One of my first thoughts was pondering if there was once a time I would of turned my nose up at this. Where I've taught myself how to appreciate more varieties of music, Ive learned to hear what the artist is expressing, as opposed to what I want to hear. Kindo's aesthetic on an initial impression is poppy, classy and far from the feast of anger and aggression I'm used to. Through that aesthetic I hear a mighty and fierce musical force of expression projected with true intensity and energy that I may of once not heard.

But enough about my experience, Kindo are an American five piece band from New York who describe themselves as "Makers of music". Their rich and illustrious songs elevated by a range of studio musicians who accompany the five, giving them an arsenal of instruments and styles to pull from at any point. Kindo will be no oddity of sound, but their style truly distorts genre boundaries and expectations despite feeling so grounded and "regular". Drawing their main structural influences from Jazz Rock, Pop and Progressive Rock, the band dazzle with an array of subtle influences that creep into the various tracks, so much so you can hear inklings of Indie, Alternative, Soul, Swing, Big Band and even Latin in the layers of instrumentation that back the core group. Whats charming is how intelligent and natural the compositions are, and how much they put into a track yet leaving a big space for singer Joseph Secchiaroli's stunning, powerful voice to fill. Its a chemistry of musical perfection, delivered with a timeless pop sensibility.

The record is a solid one, variety, flow and consistency run from start to end (almost), yet the group set a very high bar with the ferocious opener "The Hero, The Saint, The Tyrant, & The Terrorist", delivering the albums best riffs, moments, build up and exquisite vocal hooks. The rest of the record doesn't quite reach the same intensity but their is plenty to enjoy and a few calmer numbers that personally I don't think catch the same spirit and charm as the upbeat songs. The production is fantastic, so much so I had at no point given a single thought to it, every instrument is audible, balanced and mixed to give and easy listening experience that carriers a lot of weight.

The final three tracks fizzle out a little for me, "Romancing A Stranger" making a meal of an obvious infatuation and "I Hate Music", really good instrumentally but lyrically it made be wince a little, I feel its pointless to make broad sweeping judgments on pop culture and whats played on the radio. The frank and blunt lyrical delivery just furthered the lack of connection to the point of view. Great record, the band have huge potential and I look forward to hearing their next release!

Favorite Songs: The Hero, The Saint, The Tyrant, & The Terrorist, Sing When No One's Around, Feeling In The Night, Sunshine

Rating: 7/10