Enter Shikari "Nothing Is True & Everything Is Possible" (2020)

Reeling back upon The Spark's softening shift in tone, Enter Shikari return with a spicy self historical mix up. Nothing Is True has rolled up a little bit of everything tried so far in their five records leading to this sixth installment. The four lads have been together since their teenage years, forging a unique identity that can be felt through the chemistry. I have a deep affinity for their music. Ive seen them go from local pubs, clubs and schools to headlining festivals. Its been simply magical and I will always have a soft spot for them, making it hard to not enjoy anything they do!

The albums sentiment comments on our technology driven age haunted by science denial, trolls, bots, fake news and social media hysteria. Its a finger on a pulse that has been pounding for a while, the perspectives often shaped through a dystopian lens seem second fiddle to the groups excellent song writing. The power of hooks and catchy lyrics are better felt through the passion Rou delivers them with than there content. That may just depend on how deep you've dove into these topics beforehand.

Its fifteen songs are cracking, a constant roll out of fun, energy and passion with a retroactive array of aesthetics, keenly from the synths that pull from the best of electronic oriented sounds experimented in the past. Its a framework around songwriting that periodically dips into trendy Alternative Pop stylings. Despite all being good songs, Crossing The Rubicon, The Pressure's On & Satellites reek off imitation with a direction clearly emulating others, rather than perusing that Shikari purism.

The rest of the record has that uniqueness intact with a fair spread of experimentation that occasionally gets a little wild. Elegy For Extinction breaks things up with a moment of pure symphonic wonder as a dense orchestral composition builds a fiery intensity to propel the music into its most bipolar moment with rave synths and dirty pounding dance floor percussion firing off under modulated vocals. Its a wild treat that shows the band still have a knack to pull together all aspects of influences.

If their is anything left to be desired, perhaps the group didn't do anything unexpected. As fantastic as their endlessly youthful and exuberant style is, this unifying sound of all attempted before misses an opertunity to surprise which is something each record has had to it before, a new territory to uncover. Despite that, its familiarity plays like a group of old friends returning to give you new stories you'll cherish. Nothing Is True is loaded with songs to subtly slip alongside the best of their setlists.

Favorite Tracks: The Great Unknown, The Dreamers Hotel, Apocaholics, T.I.N.A, Elegy For Extinction

Rating: 8/10

Grimes "Miss Anthropocene" (2020)

With a substantial five year gap, Canadian singer & songwriter Grimes follows up her alarmingly bright and uplifting Art Angels with a project similar in tone yet gleamed by compositions that adventure deeper into darker imaginations. With many breaks for her defined artsy Pop pleasers, the gaps between delve into avant-garde themes with esoteric dexterity. They arrive with an enjoyable regularity. Last time around just a fraction of the music explored these stretches of creativity. With much of the songs residing comparatively in the sweet spot of appealing fuzzy feelings of goodness.

The slow and sleepy awakening of its opening track lingers in Ethereal shadows, setting a sombre tone for darkness to come. Darkseld slides into the dystopian as Grimes rapidly spurts her alien words over the droning thud of a descending and rigidly monotonous baseline. Its hypnotic, the chemistry is ripe. Violence lingers in an ambiguity between moods as its Downtempo drum groove marches the dreamy track onward. 4AM takes the biscuit as its unassuming intro of meandering high pitched singing paves a diversion for a party synth and Drumstep beat to propel the music to another planet. Brilliant! as is much of the layering vocals and reverb abuse to come.

The tracks around these significant moments don't come with as much flair and cavalier but have held up well over my many listens through this record. Its doesn't pack the same punch and might disappoint some but I thing the less obvious tracks have depth. Grime's lyrics and compositional experimenting stand strong and paint slow begrudging atmospheres with a lot of beauty emanating. The slower tempos tend not to grab attention in the same way, yet as an album of subtleties, its full of them. A really great record with plenty to come back too. Its got me looking forward to more!

Favorite Tracks: Darkseld, Violence, 4AM, My Name Is Dark

Rating: 8/10

Grimes "Art Angels" (2015)

Wildly individual yet accommodatingly familiar, Canadian singer and composer Grimes has blown me away with this critically acclaimed record I'm just catching up to. It was her appearance on the Mindscape podcast that prompted me to finally get around a name I've been hearing over and over this past decade. Definitively self-taught and devilishly expressive, her music in this instance is a free formed tapestry of creativity, musical ideas colliding yet landing with grace. Everything eccentric, experimental and fun works its way into the cracks of commonality. Given its her forth album, it might have been a journey to arrive at this exceptional moment. Something I'll learn soon.

Opening with a couple mysterious machinations of obscurities, best exemplified on the jaunting Scream, Art Angels drops into swooning currents of uplifting Dream Pop, rolling out cheerful, chirpy and artistic pop songs one after the other. With a unique flavor, she unexpectedly rolls out experimental and otherwise unusual constructs, often percussive, that gel effortlessly. Occasionally Ethereal, often grooving, the music's sea of influences swell in the later half with these Club music temperaments of Dance and Rave propelling this mesmerizing and indulgent atmosphere.

Grimes brings in her sometimes childish, playful and innocent voice that transforms to a mature and spirited swoon, ascending to a heavenly dimension as she soars with a freedom in the crescendos. Cruising through the clouds and leaving all earthly weight behind, she births many an entrancing passage when reaching to the peaks of her singing. Its in these climatic moments you'll forget everything. Its liberating.

My journey into the record was interesting in retrospect. What just seemed like good and cheery music in the beginning steadily indulged with familiarity and blossomed into a wonderful experience that I can't get enough of. I'm so impressed by the individuality of Grimes, in her compositions and singing she can be so welcoming and warm in tone it almost masks the beautiful and intricate world of her music that you end up trapped inside of. All to easy to hear it as generic but with a closer ear you'll get locked inside her imaginative realm, never wanting to leave.

Favorite Tracks: Scream, Flesh Without Blood, Artangels, World Princess Part II, Venus Fly, Buttefly

Rating: 9/10

Poppy "I Disagree" (2020)

The only time I'd heard of American singer Poppy beforehand was in the middle of some good old "he said, she said" internet drama. The story goes that her image is modeled around her producer and collaborator's previous artist, causing creative identity controversy. Ditching the former musical partner, she's brought a new team to this record, taking an experimental stride to brush with the twisted aesthetics of Extreme Metal in a whirlwind of styles stretching from buttery Pop and lush Electronic, to the boom and bounce of Nu Metal with a little Industrial grit. I was turned onto this new release by friends but Ive got to be critical, its all a bit too contrived for my taste.

I Disagree's strenuous diversity and flashy eclecticism feels like a shallow facade as just about every pallet presented keenly remind me of other artists, styles and aesthetics heard before. This lack of originality is thrust forth by the stitched nature of its musical progressions. Sudden shifts, jolts and turns in momentum feel hollow as the music pivots from dreamy singing and sunny synths to dirty Djent guitars and hammering drums with little meaning. It leaves the song writing in an awkward place where its intent feels at the mercy of a failed attempt to be audacious and daring.

It's not all bad however. The various musical pallets play well, textures and aesthetics sound gorgeous from start to end, there just isn't any cohesion. Poppy sounds at her soft and effeminate best in the dreamy pop sections as pivots to extremities often suck away the mood in favor of nonsensical aggression. The lyrics too are a bit all over the place. J-Pop influences play out with a quirky manor that falls flat on me. "Bite your own teeth" and other lines fail to offer substance. I think Anything Like Me talks to the drama addressed above and with that some meaning and depth is found but its lacking elsewhere, another dimension that falls short.

For the most part each listen flys by. Its entertaining but with little digging in deep or getting stuck in the mind. It does however end on a fantastic high note as Sick Of The Sun actually sticks to one idea for the whole track, playing out a strange summery vibe that's slightly esoteric and ethereal. It almost feels like a two part epic as an acoustic plucked guitar akin to Metallica's Call Of The Cthulhu or Ozzy's Killer Of Giants brings us into a second phase. This then finds the album's best metallic riffs as giant meaty notes parade with mountainous stature, leading into dazzling guitar solos. Its fantastic song writing on an album that's sorely missing it for all the tracks leading to this ending. A great bow out but also the only two songs to take away from it all.

Favorite Tracks: Sick Of The Sun, Don't Go Outside

Rating: 5/10

Aurora "Infections Of A Different Kind (Step 1)" (2018)

The two steps of Infections Of A Different Kind starts with this eight track EP, to be followed up by a full length album, the second part. Conceptually it feels like another collection of songs with perhaps a lusher production and temperament than its preceding All My Demons Greeting Me As A Friend. Maybe the album will expand on these halves. On its own Step 1 is simply another gorgeous illumination of Aurora's dazzling voice. Its instrumental's feel a step more ambitious as subtlety is traded for bright and bold surges of complexity. Pianos, drums, layers of synth elevate from atmosphere brooding beginnings into ravishing swells of color and harmony. The tribal percussive undercurrent always drives the music forward and the whole thing plays like a temple of worship to her voice, soaring above all like a beam of light.

It starts with a bang, a couple of lively tracks driven punchy drumming, then through its trajectory grows increasingly soothing and calmer in nature. The songwriting is just wonderful, seemingly simple but beautifully arranged and quite often experimenting with Aurora's presence and form. For example, It Happened Quiet is a unique track in comparison as male voices are brought in for Gregorian alike chants. Most the other songs just find interesting ways to layer her voice, playing with reverbs and harmonization but through it all tugging at heart strings and creating ear worms with her infectious lyrical lines resonating from a gorgeous voicing. Its really moving in its best moments, loving everything about her music right now and eager for more!

Favorite Tracks: Forgotten Love, All Is Soft Inside, Churchyard

Rating: 8/10

Queen "Hot Space" (1982)

Quirky, camp and kooky, Hot Space flips the deck as legends Queen make a hard pivot away from their roots in Rock, embracing Pop, Funk, Disco and Electronic music with a stern boldness. The Andy Warhol aesthetic is a perfect fit and I can't help but feel this wouldn't of been well received at the time. Retrospectively I wonder what sort of influence it had on acts at the time. Michael Jackson often sighted Queen and Freddy as a big influence are on this record we hear Queen approach the crisp, sharp instruments at hand similar to how MJ would on records like Bad and Dangerous.

All the instruments, drum included, are snappy and swift. Its all about bold punchy tones, rigid mechanical timings and simple arrangements drawing on the stark aesthetic style. One can hear all elements clear and divisible, the music is boiled down to a simple form. Brian May's guitar licks then haphazardly cringe and collide with these clean and slick sounds, often crashing in, amidst an attempt to elevate the moment. Mercury tends to suffer the stylistic approach as his muted singing repeats dull phrases the themes hinge on however his high pitch singing on the caribbean laid back track Cool Cat is simply sublime. The track before it isn't half bad too, Las Palabras De Amor, however it feels like a rehashing of Teo Torriatte. Maybe its just the foreign language selling that angle.

The track Back Chat reminds me heavily of a Daft Punk song. Just had to say that. As the record draws on the group find their natural ecclesiastic breaking free as their diverse set of styles come back around, fusing with the new approach and offering up their typical set of alternatives. It leaves the album meandering its way towards the Under Pressure hit with David Bowie, a timeless collaboration. Its a diamond in the rough. Hot Space is terrible because its just not good enough. Queen overreach and produce something that doesn't sit right with them. It would be a tolerable album if they stuck to the plan but its when their prior sound leaks in that the music suffers.

Favorite Tracks: Cool Cat, Under Pressure

Rating: 3/10

BABYMETAL "Metal Galaxy" (2019)

My anticipation for this record was soured somewhat by lead single Pa Pa Ya. Its a tad obnoxious and overt but that's one of this acts charms, to dial its elements up! I still think its the weaker track but it has grown on me. The rest of this new record was a total hit from the get go. Da Da Dance blasts the listening experience into the stratosphere with its electrifying guitar taping illuminating the jolting synths and cutesy "Babymetal" chant. What a tone setter for a fun record that does what these musicians do best, bringing ferocious modern Metal together with sugar coated Pop in quirky memorable fusions. This time around a hint of worldly sounds creep onto a couple of songs, expanding the bands horizons, delivering another fine chapter in the journey.

Something about the way this record rolls out, a couple of its themes too, give a sense of arcade and adventure. Its almost as if each song has a linage with a video game. Each one I could envision a music video related to the arcade, perhaps the "don't give up, game over or continue" lyrics sunk in a little to deep. Every track arrives with a different spice, only Kagerou sounds like a leftover cut from Metal Resistance. Shine also echos of The One but mostly its new and bold territory for the band while retaining their distinctive musical identity and high octane production.

Japaneses exclusive tracks BBAB and BXMXC are wonderfully obnoxious in polar opposite ways. The first has its glossy Pop Metal charm and the latter an exercise in sheer rhythmic grooving on overdrive! Shanti and Oh Majini stand out with exotic cultural sounds, the latter dipping toes into Pirate Metal with bagpipes and rugged sailor chanting. Their is a noticeable growing presence of the backing musicians joining in vocally. "Kitsune Of Metal God" gets an entire track of demonic chants through its descending, eerie and tribal atmosphere on In The Name Of.

Its jam packed with variety and amazing hooks to get stuck in your mind. More voices may enter the fold but again its Suzuka Nakamoto who's voice soaks in the limelight, elevating every moment she is present. I particularly loved the songs where she gets to sing in a poppier context. It feels like this record has pushed its boundaries as the heavy side feels equally embellished. Maybe the drumming didn't ramp up the intensity with blast beats and the like but the Djent guitar tones are masterfully dense an tonal, bordering on guttural for comparison. Perhaps the meatiest Ive heard yet!

Much like their other two records, gems and numbers that don't stick as much make the sum of its parts. This time around the variety carries it and plays solidly with an arsenal of new songs. It has been a pleasure to indulge with and a reminder of why this band are so exciting. Anything is possible in Metal and these directions and avenues are so much more interesting that other bands grinding out the same old recycled styles. Babymetal's freshness is a real strength! It's hard to say if they have reached a peak but each record gives my that feeling they could reach higher peaks!

Rating: 8/10
Favorite Tracks: Da Da Dance, Brand New Day, BBAB, Distortion, BXMXC,

Ghost "Seven Inches Of Satanic Panic" (2019)

My ignorance in the absence of information has birthed an amazement of these seven minutes. Ghost are one of my favorite bands and between records they tend to divvy out EPs with cover tracks that give quite the insight into their influences. The title is either a topically suggestive or a co-incidental pun on the format or length. This stemmed from my astonishment of the lyrical crudeness on Kiss The Go-Goat. That song and Mary On A Cross both sounded like the blueprint to this bands sound. You see I had purchased the record in a surge of excitement. Its only now that Ive dug deeper in preparation for this post that I learn these are originals! What a derp, what an assumption, here I was thinking I was about to discover some hidden gems from the 60s singing what would of been utter filth for the time.

The two tracks sound even better now. Ghost have mastered the principles of Rock and Pop music from years gone by, reviving them in service of their playful satanic exterior. The result is a luscious and gorgeous wash of harmony and color that's deeply infectious and swooning. Melody is ripe and Tobias Forge relishes in the moment his hired guns have crafted so stunningly. Its so Ghost and still everything I want to hear. The thing is, if these are B-Sides, what on earth do they have in store for us next? These might be two of the best from their catalog to date! Maybe I am still a little dazzled from the excitement of new songs to internalize. Absolutely fantastic none the less, a stellar seven minutes you can spin over and over.

Rating: 4/10

Post Malone "Hollywood's Bleeding" (2019)

His previous efforts Stoney and Beerbongs & Bentleys showcased the young artists unique voice and songwriting ability but the best came in fractions. This time around Post and his crew have elevated their game. After a handful of thoroughly enjoyable listens I initially turned to the credits, expectant of new names in production and song writing. There is a couple, however its the same core of people turning up the quality in all the places that fell short the last time around. It's a noticeable ten or so minutes shorter and perhaps that played a part in its fluidity but the reality is the instrumentation here is of a higher fidelity and its got a warm fussy atmosphere to it.

As the songs stroll from one to the next there is often something bright and punchy at work. Either the bold basslines, snappy percussion or glossy guitars illuminate alongside Post's voice. This can be heard best on the Pop leaning songs because of course he has an eclectic taste which has subtle flourishes as the music sways across the spectrum. When delving into the Hip Hop avenue Post brings a plethora of guests to spice up the vocal variety as lyrically he is pegged into to his usual themes. Between that and Pop it is mostly the classic singer songwriter vibes and acoustic guitars that dazzle however he shows his roots in Rock on a fantastic collaboration.

Teaming up with Travis Scott, the voice of Ozzy Osbourne engrosses one again on Take What You Want. The Trap Pop song brings his iconic voice to a new generation and ends with a stunning crescendo reviving those classic Randy Rhodes leads. Possibly the best moment on the record however Post really comes to life with his infectious hooks and singing. We saw it in glimpses the last two records but here it feels like every other song has him deploying some sort of ear worm to get you singing along. These songs dig in the way good Pop songs do.

Where the album falls short though is again with Malone himself. The lyrics are much to be desired, especially when he works in his rap mode. They are mostly the over inflated feelings of relationship problems articulated through loose profanities, often circling the emotion with little reflection or introspection to make the words interesting. Its knee deep and thus tends to drift out of focus and that is where the glossy production and good instrumentation picks up the slack. This is a huge step forward for the young artists and Its been a blast seeing him get here. Hollywood's Bleeding will most likely pick up some awards this year!

Favorite Tracks: Enemies, Circles, Take What You Want, Staring At The Sun,

Rating: 7/10

Brockhampton "Ginger" (2019)

Hip Hop collective and self proclaimed boy band Brockhampton of Texas are unsurprisingly back at it again, given their prolific output so far. This fifth album in the span of just over two years has probably been the most endearing and unique to my tastes. The bombast, flair and rugged attitudes get toned down on a couple of tracks. In its place emotional narratives play out over instrumentals that draw upon classic sounds of eras gone by, classic R&B and cultural acoustic guitars that make for striking moods. Of course, when the drums are dialed up, quirky synth and sampling pitch in its not as obvious. A track like Dearly Departed is the pinnacle of these ear catching current. Its plays like a slowed down Delfonics classic, its strings haunting the lyrical out poor. The closing song, another stunning expression rapped decisively.

Reflecting on Iridescence, the group do tend to sway in between these ends. From the dark and raunchy Vivid to a swooning sing along San macros, Brockhampton operate on levels. Immediate to enjoy and tantalizing to dissect their music is refining to a continual giving of change, compared to the Saturation series. Creative percussion, an ear for unique sampling pallets and developing rap styles had me locked in. On the latter part, these emotional narratives and introspective lyrics give so much meaning to the music where once boisterous and wild rapping tended to fall a bit hollow, now the songs come to life. A feature from Slowthai was a pleasant surprise and overall the group have really locked me in this time around. I hope they continue to evolve as greatness surely awaits if they do so, another great set of numbers.

Favorite Tracks: No Halo, Boy Bye, Heaven Belongs To You, Dearly Departed, Big Boy, Victor Roberts

Rating: 7/10

Queen "The Game" (1980)

Arriving at the midway point of Queen's discography, the group step into the new decade with a cohesive shift in tone that reflects the passing times. Although still experimenting vocally and with special effects, the Progressive band we once knew is in embers as the Arena Rock tone strips these songs back to simple structures, tightly packed riffs and grooves of which a little Funk and Disco creeps into the rhythm section on Dragon Attack and Another One Bites The Dust. Its still a typically diverse record as Ive come to expect. Although the distortion guitars are absent on many a song, they have classic Queen rumbustious eruptions of oozing lead guitar on the tracks with lean Rock guitars tho. Crazy Little Thing Called Love switches up the tone for a warm and charming Rockabily number, still sounds fantastic all these years later.

A stinker turns up in Don't Try Suicide. Its a flaky tune attempting to address a serious topic with an utterly shallow and thoughtless tone. It sounds like a song coerced by some government prevention organization, with rules and regulation on what can be said. I'm sure there intentions were good but its an awful track. The album closes with a beautiful song, Save Me, that is one of their best Ive never heard before this voyage. Freddie's singing is sublime, the harmonies are gorgeous and typically enigmatic guitar leads from Brian May make it an overlooked Queen gem for my ears. All in all The Game is the latest offering of a band experimenting with many sounds, for some reason it all fits together better than previous attempts. And whats up with the album cover? Seems like not a lot of effort was put into its presentation.

Favorite Tracks: Play The Game, Another One Bites The Dust, Crazy Little Thing Called Love, Save Me

Rating: 6/10

Queen "Jazz" (1978)

Now embarking on their seventh full length, the eclectic music of Queen is starting to to sound more compartmentalized. No longer an organic tapestry that ebbs and flows from theatrical pantomime to hard guitar grooves and all in between, the group have split their styles and experiments into distinct songs that had me feeling like I had a bias to the ones I knew. The reality is Jazz has a mix of stinkers and classics among its thirteen tracks. Where time has dwindled out the mediocre, the classics have lived on which leads me to believe its no bias but an album of mixed fruits, some of which are rotten and many listens couldn't sweeten the taste for me.

The album kicks off with the stale and jarring Mustapha. It conjures Arabic dialect to foster a middle eastern atmosphere. Then its dense and swaying rock guitars rub up against the stark tone with contrasting vibes. Its production is drab in halves and the song rather dull. Bicycle Race and Fat Bottomed Girls are classics that need no introduction, the latter revives the arena rock anthem ideals of News Of The World's opening songs. If You Can't Beat Them seems contrived to reach the same anthemic chorus ideals but its execution is so underwhelming, it doesn't have any juice or pizzazz. Don't Stop Me Now is a beautiful eruption of piano led music, trusted forth by Freddie's unforgettable expressions. Similar ideas can be heard on the ballad Jealousy and In Only Seven Days but again, its a template now and they don't deliver.

Many Queen tropes are being recycled, even guitar tones too. Its a creatively stagnant point but their collective genius lands on occasions. Jazz does end on a creative high with More Of That Jazz, deploying slick metallic guitar licks that gel into atmospheric vocal layering. Its a delight, played on a loop with snippets of songs from earlier in the record, a cool way to bow the album out. If Ive sounded critical it may be that opening song setting the wrong tone for the following music. At this point I just think the band have bared their fruits and its obvious what they are attempting, so when it doesn't hit the mark it falls flat in comparison to the high standard they have created for themselves.

Favorite Tracks: Fat Bottomed Girls, Bicycle Race, Dead On Time, Don't Stop Me Now, More Of That Jazz

Rating: 6/10

Billie Eilish "When We All Fall Asleep, Where Do We Go?" (2019)

Here's a fact that makes me feel drowsy, Billie was born after 9/11... Let that sink in, what a reminder of how time gets past you... Her name has circulated past me plenty of times and after hearing she broke records for youngest performing artist at various festivals I had to check this one out. When We Fall Asleep is her debut album and the Teenager's hype presents itself swiftly but lasts after many spins. With a charmingly soft and subdued voice, this fusion of Pop and Electronic music stands apart with an Avant-garde edge in vocal experimentation that toys with distortion and more.

The norms are present, typically sensible and poppy melodies linger throughout. Warm and easy pianos drop in chords to chime with airy synth tones in easily digestible arrangements. Softly strummed guitars and easy percussion make for light listening too, its all good stuff. Each song has its temperament and the charm emerges mostly from these snappy crunchy beats, that bite into stereo spectrum, crisp and brittle. With sharp attacks and swift decays they carry quite the subtle persuasion, infusing a keener edge that sticks into her mostly approachable music.

Across the songs her voice shows quite the dynamism, often breaking from the breathy and softly sung words that malign most the instrumentals. Heavenly choral harmonization and quirky pitch shifting, many of the songs have a twist that ends up being a focal point of delight. Playing with echos, reverbs, stuttering delays and distortion its clear that a lot of experimentation takes place in her process. Whats wonderful is how it lands on the target. Never does a vocal quirk feel forced, its all very inspirational and fluid, emotional and riveting in authenticity.

Her songs seem to be able to take these abstractions and flesh them out into living entities that feel and express. This even extends the spectacle of including samples from the Micheal Scarn episode of TV show The Office. On one hand it seems unrelated to the lyrics but somehow fits in. There isn't a moment of this record I don't love. Its well fleshed out with exciting musical experimentation that flourishes, swaying between emotive surges and bursts of percussive force. On a couple of tracks her vocal style almost borders ASMR, a slight irritation but a possible influence on a young artist who undoubtedly knows of the phenomena. This has been a fantastic record and I can't wait to hear what she will do next!

Favorite Tracks: You Should See Me In A Crowd, When The Partys Over, I Love You, Goodbye
Rating: 8/10

Queen "A Day At The Races" (1976)

Proceeding from the sensational heights of Bohemian Rhapsody on counterpart record A Night At The Opera, British legends Queen return with a shaky response from critics at that time, forty three years ago. I find myself at odds with the criticism weighed upon the band. The former record came with peaks and valleys, songs that soared and delves into pantomime theatrics that dispelled the flow in places. A Day At The Races is a far more leveled and cohesive record where the bands eclecticism sticks like glue without a week spot. The problem is however that not a lot here is that remarkable in comparison. The Millionaire Waltz may be its only soaring moment as playful theater musical jollity collides with riveting Heavy Metal licks at weighty chords that culminate in a mid song eruption of electricity... Only Queen could do this.

Starting to develop a better understand of the band, one can hear creaking similarities and writing crutches in the music. Roger Taylor seems to have an uncanny knack of mustering a distinct persona with his song Drowse, perhaps the vocals give it away but then again this is a band of four song writers and given at least a song each it is no surprise these thumbprints arise. Writing these words I can see how these perspectives can be leveraged against the record but It plays so smoothly.

Rolling from one song to the next it ebbs and flows, Brian May's guitar electrifying when timeless Freddie is absent. These spurts of textural heavy guitar tone erupt, filling key parts of the music with true imagination throughout its run time. The intro has a particular glorious use of tape reversed guitar lead to create a suspenseful opening to the record. It is heard again as the record closes on Teo Torriatte, a song half sung in Japanese that peaks with moving group chorals as it reaches its end. A really firm record that flows far better than anything before it but perhaps suffering from to little of their peak magics yet the songwriting is fantastic at uniting style as you'd expect.

Favorite Tracks: Tie Your Mother Down, The Millionaire Waltz, Good Old-Fashioned Lover Boy, Drowse

Rating: 7/10

Queen "Sheer Heart Attack" (1974)

Its been another eye... or should I say ear opening record from a band already enamored with global legendary status. Diving into their records has shun a light upon the depths of their brilliance and highlighted what a diverse and eclectic group of musicians they really are. Its something rather uncommon at the peaks of popular music. Sheer Heart Attack is Queen's third full length, proceeded by their magnum opus A Night At The Opera. The two share a common identity, thirteen tracks, around forty minutes of music and songs adopting a similar molding cast within an equally theatrical run through of their opposing ends of style and genre.

Brighton Rock kicks the record off with a glorious Freddie Mercury reaching into the peaks of his range with a pinched voice, harmonizing with the organically unfolding set of riffs alongside him. Its captivating and as the song builds its persona and structure they turn and loosen up into a set of miniature guitar solo licks before taking over the music entirely with a tangent of riff rocking, guitar jamming and tight pick chugging grooves that sound practically Proto-Thrash in snippets. Its a Heavy Metal delight.

It pivots into the classic Killer Queen, the pianos gleam a fun jollity from their chords. Its in contrast to the buzzing energy before it and somehow it works... That's what Queen do! A few other tracks feels more so from a mold, Roger Taylor gets the third song again, Tenement Funster. Perhaps its his voice but the song is uncanny in comparison to the feel of I'm In Love With My Car. Its a lightning start, aligned with an unending source of groove and sweet licks from Brian May's brilliant input.

After this point the record finds its theatrical and pantomime breaks in flow through Freddies songs, Lilly Of The Valley, Lap Of The Gods and Bring Back That Leroy Brown. The best union of these contrasting sides is to be found on Stone Cold Crazy, a hard hitting Heavy Metal track with some seriously gripping guitar work that rubs right up against Mercuries performance antics, jiving of the fast clicking percussion. The transitions are sublime, bottled lightning unleashed as the guitars drop fiery harmonies, scattered with infectious attitude all over the place.

Unlike its proceeding record, Sheer Heart Attack doesn't quite have the dynamics. The bands eclecticism bounces of the walls but there are moments of magic left right and center where it comes together. Brian May's guitar work has been a revelation. Their is so much on this record you could link to the future of Metal music to come and in this form its utterly riveting. His use of effects with echos and reverberations is particularly satisfying. I prefer the songs here individually but as an album its a shade behind the flow of their best work.

Favorite Tracks: Brighton Rock, Killer Queen, Tenement Funster, Stone Cold Crazy, Misfire

Rating: 8/10

Pale Waves "My Mind Makes Noises" (2018)

My Mind Makes Noises is a frankly disappointing debut record from this youthful eighties revival band. Its a rather different experience from their promising four track, All The Things I Never Said. The excitement of a young new act and nostalgic vibes stirred quite hype but its weak points, mainly lyrics, never stood out as much as it does on the fifty minutes one has to endure here. Singer Baron-Gracie has the clean cut voice perfect for simple pop songs but the lyrical simplicity is almost painful. Her use of plain observational language, a lack of creative lyricism and heavy repetition cycles through the same bleak teenage relationship topics over and over again. Insecurities, envy, jealous, infatuation and raging youthful emotion froth to the boil on every song. Its just not my cup of tea unfortunately.

Behind her words glossy, squeaky clean instrumentals pump out eighties melodies in dead simple song structures for fourteen songs with little in the way of variety. Its a tolerable experience with gleaming melodies glistening over steady beats and sturdy foundational baselines. They come repackaged again and again with varying degrees of tone but ultimately the same formula. Its little distraction from the self indulgent, aggrandizing lyrics that elevate surface emotions over self reflection or introspection.

Its quite frankly immature and that is fine, Its clearly for a younger audience and I could totally see a young me digging it. The music is tolerable but the lyrics were like an ear worm. I don't think the EP's words were less formed in this direction and thus got away with one but at this point I am not terribly excited about where they go from here. I will probably pick up the next album if its singles show signs of development. Seems unlikely but would be nice to hear this sound go to new places.

Rating: 2/10

Queen "A Night At The Opera" (1975)

With the magic of the recent Bohemian Rhapsody movie lingering in mind, Ive been reminded again of how often the thought passes that as much as enjoy Queen's music, its really the hits I know and of course they have a lot of them. Curious about their deeper cuts and this record that played a big part in the movies progression, I decided to start here with what was the most expensive recording to date at the time of its release. Home to their best know song and You're My Best Friend, most of its contents were unknown to me and so I have had an absolute blast getting stuck in.

A Night At The Opera is an eclectic journey, a marvel of sorts, squeezing in a helping of styles and cultural echos that defy being packaged. One can hear inklings of Heavy Metal in the lean guitar licks, its unconventional song structures and experimental nature may label it Progressive Rock too but the songs are all their own beast. Like a wild roller coaster the music flows sweetly from its polar ends, Sweet Lady crafts its weighty guitar riffs for a first pumping Hard Rock tune that's close to being anthemic. After blazing the trail with a fiery guitar solo at the end of the song, we are of course swept in to the next number, Seaside Rendezvous, with bright pianos for a pantomime piece full of audio gags and sound effects. The music animates the an image of the stage and its actors.

Its emblematic of the musicians instinct to follow their gut as they breeze through a diverse set of sounds without a hitch. Its experimental side blossoms on The Prophets Song as the music gives way to a mid section of imaginative singing, the instruments fade out and Freddie and his band mates sing and swoon off layers of panned echos and reverberations. It starts off simple with repetitions of words but quickly builds up its gusto and erupts into a foray of vocal melody to delight upon. Making your way through the music one can pick out its anchoring songs as they rotate the theatrics and pantomime with infectious Hard Rock guitar grooves. It all comes to conclusion on the track that incorporates it all in one song, the mighty Bohemian Rhapsody.

Freddie's voice is fantastic throughout to no ones surprise but this record showcases his band mates too, Brian May has one heck of a talent both with his keen rhythm playing and the lightning guitar leads that occasionally erupt into the limelight, dazzling all. Drummer Roger Taylor puts together on a finely crafted song that seems almost ironically casual in its naming, I'm In Love With My Car. This is one heck of a deep record that you can binge over and over. All its flamboyance and diversity is true, giving back over and over again with each spin. Its really fired me up to get into more of their records. What a great band, how many years have a squandered the opertunity to get into one of the all time greats! This was a great decision.

Favorite Tracks: Death On Two Legs, I'm In Love With My Car, You're My Best Friend, The Prophet's Song, Bohemian Rhapsody

Rating: 8/10

Pale Waves "All The Things I Never Said" (2018)

This young band have emerged with much attention for their distinct revival of 80s New Wave, Synthpop and Goth Pop sounds. Echoes of The Cure, Tears For Fears and Dream Pop unite with no particular distinction of something original beyond modern and glossy production. Singer Heather Baron-Gracie has strong, warm singing voice with an approachable range. Her lyrics are some what vanilla with direct language to convey her thoughts and feelings. The simplicity lacks a spark but within the squeaky clean and polished sound it suffices over the dreamy instrumentals.

Big cruising bass lines lay down warm, bold foundations for simple drum patterns to craft snappy grooves behind the attention grabbing glossy guitars and reverb soaked synths that churn out nostalgic melodies. Its held together in a sweetly warm balance of fun and youthful innocence with tinge of sadness and sorrow lurking that never surpasses the bright, uplifting gleam of glossy sounds channeled over engulfing airy synths that fill the spaces between its popping, chirpy melodies.

The records four cuts circle the same waters, making an appetizing listen if you enjoy the first track. Its accolades are to be found in reviving the spirit of and old sound and giving it a modern touch but beyond that their is little remarkable. They execute a musical concept that still works with a bit of love and care. It will be interesting to see where they go from here as this EP is a solid introduction and hopefully a foundation to grow as a band and take this sublime sound to new places!

Rating: 5/10

Tyler The Creator "Music Inspired By Illumination & Dr. Seuss' The Grinch" (2018)

Lets cut to the chase, this musical project is fantastic! Coming off the back of last years critically acclaimed Scum Fuck Flower Boy, a similar instrumental pallet is put to use on this Christmas EP that lasts only ten minutes. Every second however is lean and slender, a genuine Xmas record that balances the festive theme with its classy persona wonderfully. Quite often it is just the suggestion alone that makes you notice the season. It seems Tyler was genuinely inspired to make music for the new Grinch movie, of which two additional songs appear on its soundtrack.

With bright shiny synthesizers, punchy warm baselines and stuttering goofy Hip Hop percussion, Tyler composes cheerful music without forcing the mood or overtly wording a holiday theme. Instead he lets his guest vocalists Ryan Beatty and Santigold set the tone with endearing Pop & R&B vibes before dropping in with gentle wholesome raps about returning home to a loved one and pouring hot chocolate with cinnamon on top. Santigold lays down the hooks and Ryan soars with ascending notes reminiscent of Micheal Jackson when hes adding in a backdrop layer of vocals.

The tone is sublime and on closer inspection festive pianos, wintry bells and cascading strings deploy some more expectant holiday melodies but all tuned in with one another. There is a smooth, joyous cohesion, the chemistry and quality of the compositions outpaces any of the drag that comes from seasonal cheers and lets this project occupy a classy, soothing spaces that's indulgent, relaxing and really wholesome. I'm truly impressed, would love for more. Ten minutes is not enough!

Rating: 7/10

VNV Nation "Noire" (2018)

Admittedly I had fallen behind with VNV Nation. Of Faith Power And Glory is the last record of theirs I own, that was almost over ten years ago! It is long overdue and I return to a lengthy album, over seventy minutes of new material that does not fly far from the nest, or even leave it. Every song sounds sweetly akin to a style perfected many years ago. It is only the a lone piano piece, Chopin cover, Nocturne No. Seven, that has any distinct resemblance to any theme portrayed by the name Noire.

The other twelve tracks are a keen collection of aptly tuned, finely crafted intelligent pop songs, structured through inspiration and channeled with aesthetic synth tones that pay eternal homage to Kraftwerk through layered arrangements of oscillated notation. That connection only struct me now as Ive only known of the German outfits legacy for a few years now. The track Guiding is a percussion less interlude piece that may in one moment show shades of a dusky Noire but can't help reach an uplifting stride through its warm and empowering string section that casts its light upon the music like rays of beaming light breaking through overcast clouds.

Its the one thing I can't put my finger on. As in the name, victory not vengeance, VNV Nation are continually uplifting, resolute and principled. This is the expectant working out of thought and lifes emotions through intelligent lyricism and sharp, crisp music. With a contagious dance thud and dose of inspired pop melody they stand with composed, broad shoulders, singing with sincerity as the atmosphere rises around them. None if it seems to verge towards anything resembling 40s Noire

Like many of their previous records VNV tend to dip toes into the various degrees of their formulae. Impresed leans into their meaner, Industrial side with a focus on the pounding beat. Collide rises itself from a longing sadness. Lights Go Out drives home a hook for the club life and Only Satellites reaches its arms to the sky in a eutrophic wander. Its all shades of a design they know all to well, soft airy and choral synths building atmosphere around dance-able EBM beats executed again with a familiar fondness but also made greater by absence. It does feel like little has changed.

Favorite Tracks: Armour, God Of All, Lights Go Out, Only Satalites

Rating: 7/10