Chaosbay "2222" (2022)

 

Built on top of the 2 Billion EP, 2222 expands horizons without a renewed distinction. A few recycled riffs and lyrical themes present deja-vu moments, drilling the theme down ones throat. Otherwise, its a fair effort maintaining its demeanor. Still playing out the Periphery formula, its glossy, crisp production and juxtaposition between jolted aggression and gleaming melodic gets to play out opposites on occasion. A couple bright poppy tracks get a lone run, as do the regular stomps of polyrythmic Djent brutality. The later emphasized by some ridiculous bass noise rumbling in tight spots.

A handful of guest voices spice things up along the way but with the bands dynamic so firmly established, I found myself simply content on many a spin, lacking that craving to climb back in. Boxes resembled a viral infection upon contact. 2222 has not had that impact. Flowing song structures and the sparkling dynamics of electronic manipulation didn't lick like before. Its odd, an attentive rundown reveals nothing but quality and craft, with plenty of stunning singing yet somehow the gravitas was lacking. Its more likely to be a reflection of my mood, more so than the record itself.

Rating: 6/10

Revocation "Netherheaven" (2022)

 

 Four years on from The Outer Ones, Davidson returns with another matured refinement of fleshy metallic complexities, toying darkly atmosphere against angular aggression. The opening Diabolical Majesty embeds a soft warmth in tone and groove, grim melody flickers through flushes of entangled guitar menace as a beastly portrait is painted. Putting its greatest effort first leaves a bitter taste as the following songs suffer its shadow. Delving deeper into a tapestry of dexterous guitar work, attempts to pry apart Metal convention and piece it back together fall flat.

This terrorizing meld of Death, Prog and Thrash flounders as its supposed arcane architecture hits the treadmill of repetitious unpredictability. Twists and turns run amuck, losing sight of what makes a song stick. The endless labyrinth of riff work dispels its own madness. The brutal glumness of grinds dispels its sporadic flourishes of magic in the form of Davidson's incredible solos and occasional acoustics.

Netherheaven arrives on the heels of my despairing disappointment at Metal's continued stagnation. Despite once being my darlings for Metal's future, the years have rolled by with the band burrowing deeper into the road they've carved for themselves and I've frankly become bored with a lack of freshness. The endless wind of sinister riffs, throaty howls "technical" percussion becomes a dispassionate blur, completely unable to peak my interest on this outing. At least its opener had a spark!

Rating: 4/10

Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022)

 

Author of the Command & Conquer music, a keen nostalgic staple from my childhood to present day, Frank Klepacki brought renewed excitement to his classic soundtracks during the games 25th anniversary remastering. Best of all, he united with tribute band The Tiberian Sons, breathing new life into old songs. Hearing them go it alone on The Only Winning Moon was an unexpected pleasure! Have linked up again, these four original songs feel several steps removed from the origins of their collaboration.

Lay To Waste is a mismatch of fun, energetic ideas. Swaying from the meaty Industrial grit of C&Cs assailant glory to gleaming surges of joyous metallic melody, its glossy symphonies and chunky guitars fit aesthetically like a glove. A bold complimenting force, split in direction. The misnomer lies in mood. Mischievous aggressive riffs underwrite uplifting emotive theatrics most prone to fantasy driven VGM.

 Personally, I loved both aspects, yet together a sense of ambivalence prevailed. One can hear Frank's militant ideas blazing along but frequently they meander in tone from war and destruction to might and magic fantasies as strings and tunes take reins from the rhythmic brutality presented beforehand. Its a strange dichotomy that has eased with familiarity and repetitions yet still dominates the directorial feeling. The opening Gun Metal makes a half baked attempt at incorporating explosive sounds to the mix, then its main theme gets handed off through a string of these instrumental pivots.

Its been one of the stranger encounters on this musical journey. I'm left unable to pick a favorite track as every song sways between contrasts. Its the swaying that makes me seasick. Taking the analytic hat off for a moment, its a fun set of songs pounding with energy and vibrant noise. Plenty of twists and turns along the way! A tight curation of ideas not outstaying its welcome. It will be a matter of time to see how often I return to these tracks as I do love to with their previous material.

Rating: 5/10

Kyros "Celexa Dreams" (2020)

 

Kyros have delivered fresh magic, a new "song of obsession". The epic ResetRewind gave me pause to go deep with this band. Their bold, unabashed exterior and enthusiastic tone would of been easily glossed over. So with their third album effort, the spins of Celexa Dreams have been numerous. The result? A keen, warm sound carving space where I knew not it could go. With the explorative spirit of Progressive Rock, the punchy, hard hitting instrumentation inches into with metallic territory. The vibes arrive with unshakable echos of performative 80s Synthpop and a subtle sense of VGM influences, perhaps from the likes of a Nobuo Uematsu and his Black Mages.

Built with both lengthy ten minute plus epics and short songs too, the record oozes its instrumentation like a river gushing. As a constant flood of musicality throws big punches, dazzling melodies and harmony, we are never far from the fold. With slapping baselines and big gated reverb percussion every idea is rhythmically powered along by a theatrical momentum. The ever-present synths both sing melodies and gently chime into a glorious wall of sound. The treatment is bright, a constant punchlines permeating as its aesthetics sparkle with a powerful persuasion.

Its clear, crisp, precise and full of character. Unsurprisingly the song structures can reach far beyond convention and on that adventure many exciting arrangements and dynamics are summited. Best of all Shelby Warne frequents these peaks with fantastic vocals. Soaring high, some of the albums best leads are in tandem with dramatic surges of catchy human wordings. The whole affair is a delight, reaching beyond its own moods, Celexa Dreams often steers one into its realm. With every familiar listen I've been sucked in regardless of where I was at before!

Rating: 8/10

Chaosbay "2 Billion" (2022)

 

With surprise struck off, the stakes were high. As a result, 2 Billion had a harder time leaving its mark. As one of my favorite discoveries this year, Chaosbay swept me up with conviction through their prior Boxes EP. This following four-track fits the mold set earlier in the year, possibly all material for a future album. Rock-steady on the same path, another round of blows is exchanged as high octane Djent Metal explores the dynamics of bow wrapped, polished brutality and bright melodic gleams, present in both glossy synths and through the energized emotive vocals of Jan Listing. Once again, I'm immensely impressed with the song writing and breezy flow of these songs. They swing from hard chugging grooves to soaring tuneful lines with class. Sadly, its all still mostly in the shadow of Periphery who came before them. That lack of originality may explain why they are yet catch a viral wind within the Metal scene.

If there is any distinction to be drawn, the mechanical nature of tight metallic chops and slick production imbues many of the slamming chugs and tightly gated riffs a real sense of "computerization". The bass pedal stomps with precision, in unison with "on off" guitar grooves. Being rigidly syncopated, they sound almost glitched like a record skip. Its satisfying tho, a treat that moves sweetly with the momentum. Furthering this industrious precision, the rhythm section sits up front in the mix, dominating. The magic, in my opinion, mostly stems from the electronic tones layering in an airy ambience and the acoustic guitars that weave in the luscious melodies. Hard to fault, as it works so apparently. I do wonder if more emphasis on this calmer, more uplifting side would serve them well. Either way, they have both aspects locked down.

Rating: 6/10

Kyros "Four Of Fear" (2020)

 

Home to a new "song of obsession" of mine, this four track EP has night not been quite as enigmatic as ResetRewind, a six minute epic that immediately caught my attention when cycling through Spotify's automated playlists. Kyros are a Progressive Rock/Metal/Synth outfit from London who's sound is a bit "all over the place" and wild, if not unified by its Progressive inspired framework delving mostly in synth tones.

ResetRewind itself is a flawed track, seemingly hinged on its one main music hook, a stellar synth melody dancing in its own gallop. Shelby Warne ascended the mood with a post-apocalyptic uplift, lyrics soaring on natures reclaiming of animal lives, as everyone dies. The song is an odd ball, wedging in a couple Skrillex era Dubstep breakdowns that just about work. It has a few other exercises between its chorus, a sinister vampyric melody in its closing frame is a niche touch. Nothing quite links directly with the main theme and despite its stitched together nature, the song rocks.

The other three songs don't find the same stride. Kyros's temperament is highly involved and dramatic. All ideas and melodies get played up, over performed and aesthetically over emphasized. Quite often this is fun as its backed by terrific, well written melodies. Ace's Middle not so much, its quirky personality shuffles and jitters all over the place with big theatrics that has no foundation. When slowing down for a broody atmosphere epic with Stop Motion. The concept holds back the over animated nature they usually express. Its class is one to revel in as guitar solos make waves.

 My overall impression is one of a band oozing in talent that;s lacking focus and direction. Their sound is a little overdone in multiple dimensions. The music always has a lot going on. What makes it tick is often the simple chemistry between its lead melodies and vocals. I could hear a record producer like Rick Ruben stepping in and stripping out the all the progressive fuss around the core of their songs. That's where the best of this short record is to be heard in my humble opinion.

Rating: 5/10

Meshuggah "Immutable" (2022)

 

The Swedish extremity is back! This ninth installment Immutable has been out for over a month now. In that time Ive spun it plenty, trying to let this record settle in a little deeper before sharing my thoughts. Why you ask? Because this band have in all likelihood had the biggest influence on the shape of modern Metal. Pioneering the use of virtual drum rigs, reshaping guitar tones with amp modeling, the popularization of seven and eight string guitars, most of all, the so called poly-rhythms. Meshuggah have carved an undeniable legacy among musicians and fans in the know. That reputation perhaps soured my expectancy of more fresh ground to be conquered that The Violent Sleep of Reason, released six years back, sadly did not offer.

As a lengthy one hour bludgeoning of deafening groove, incessant percussive pounding and hypnotic rhythmic sways, Immutable surfaces now as a more encompassing record that reflects back over the bands trajectory. Little is new is offered. The tweaking of tone and subtle realignment of their now formulated brutal aesthetic goes to battle with new mathematical ideas. Chopped and twisted riffs hide their numeric patterns in a vortex of overlapping measures, techniques and chugs that tend to loose that simplistic primal charm in a pursuit of new complexities.

Wedged between the new ideas, or lack of, the record shines when the group fall back onto previously explored tones and ideas. Reaching as far back as Nothing, the last two decades of ideas reemerge with riffs, grooves and textures that could easily slip back into those eras. Its not the soul focus but seemingly a regular intervals the dulled bludgeoning gives way to familiarity. This manifests best with lead guitarist Fredrik Thordendal's fantastical, zaney, mesmerizing alien melodies. On a couple of occasions the vibes reach back even further into the 90s stretch of their back catalog.

 Stripped of its bloat and stretches of monotony, this could of been quite the satisfying experience yet sadly a lot of the runtime feels stale. Many grindy section pound away lengthily with the best arriving from the overlapping with those alien lead guitars. Ironically the lengthiest They Move Below instrumental is one of the best tracks. Its scaling nature meanders and adventures through tricksy grooves and timings that go far beyond the droning low end groove. The albums shortest, Black Cathedral, plays like a guitar tone demo that got left in by mistake. The closer Past Tense is a nice throw back to previous acoustic works but not terribly interesting.

Haven given it a fair time to sink in, its clear these musicians can still churn out what they do so well. Keeping it fun and exciting but as expected seeking to expand on this with complexity just doesn't work. The best riffs and moments seemingly always come from the easier to digest time signatures and primal groove that made records like obZen pound so hard. I am definitely glad I gave this one adequate time but my conclusion is id much prefer a trimmed down version.

Rating: 6/10

Animals As Leaders "Parrhesia" (2022)

 

Following up on the three tracks of Gordian Naught, Parrhesia's six other songs follow in a typical vein for this band. Complexing instrumentals of rhythmic uncertainty resolving and instrumental aesthetic exploration yielding both unwieldy chunks of reactionary groove and beautifully scenic melodics. My exposure to the original three has perhaps tainted my experience, in the best way possible. To thees ears, the six new cuts have more gratifying shades of color when they blossom and more often too. This makes the churning of the cold polyrythmic density more bearable. The hard drives through the aggressive terrain of tightly jolting deep end guitar noise often leads to lavish explosions of emotion. The guitar tones and texture open up, brightening the mood and self illuminating in tandem with its melodies and chords.

 

A little infusion of synth key arpeggios along the way is a niche touch. Its blooms and respites between are often the most appealing aspect, as the band foray into Post Rock and Metal territory with textural landscapes breaking out of regular riffing structures. The immense talent of these musicians makes it a marvel to unfold in its best passages. The trio can be heard firing on all cylinders, giving all their instrumentation a density that needs unpacking. Drum patterns woven yet groovy and charming, Even some "lighter", acoustic led refrains have a dexterous depth.

The problem for me is the low end guitar work. Initially a draw, something I'm fond of, Animals As Leaders get a little to into themselves on this outing. With the extremes of technicality, polymeasures and oddities as they present them, the pursuit often feels soulless. Thoughts And Prayers a keen example of the choppy chugging getting lost within itself and going on a meaningless tangent. The band is all about swaying between its two temperaments, finding interesting middle ground along the way. For me, the self serving aggression has sadly lost its attraction.

Rating: 6/10

Andromida "Timeless" (2020)

 

Despite many spins, its been difficult to feel out the character of this record. Similar characteristics with the plundering Djent riffs typical of Progressive Metal has its chops of binary chugging grooves falling into a lull as its rhythmic grind becomes dull. The frequent bouncing of notes between the guitars silences is a trick I'm not always enthusiastic about. The distortion tone encroaches on the Doom soundtrack styling fully explored on Hellscape, yet here it mostly feels like a knee jerk reaction, as if its melodic colors always need to exchange with some grizzly surge of aggression.

It would be all to easy to describe Timeless as a bridge between it and Voyager. Although apt, where I think Timeless finds a voice is in its union of soft synths, lush pianos and a lead guitar that sings and wails like an expressive voice would. With this being an instrumental project, the constant intensity lacks a submissive quality putting a big focus on those eruptions of dirty Djent jolting guitars. It often overpowers the slew of melody its blazing lead guitar offers. Behind it the lush, soothing wall of electronic instruments curates a warm and airy timbre that is frequently overwhelmed.

It is the moments of calm and respite that Timeless suddenly feels with purpose and expression. There isn't a lot of it about but when those meaty guitars reel back and one can take in the delicate soundscape behind it, the music feels much more meaningful. Best of all, there are a few passageways where a rapturous guitar solo wages in, tandem with the bright pianos. It feels mesmerizing. Sadly, the record as a whole goes in all guns blazing. This really overloads the senses as its over the top guitars strip out the nuance of the accompanying instruments.

Rating: 5/10

Haunted Shores "Void" (2022)

 

Out of the dark, a welcome suprise! Misha Mansoor of Periphery and Mark Halcomb have returned, seven years on from their Viscera EP. Void is a technical feat, a high octane bombardment of tight, jolting music set to electrify. As an instrumental, Djent adjacent Progressive Metal project, its guitars and drums play in tandem, tightly woven with both being intensely involved in the musical direction. The pair chew through maddening chops of chugging brutality and feisty rhythmic abuse, only to erupt into emotive surges. The intensity subsides for enigmatic guitar leads to usher in hazy Post-Metal leads and expand the atmosphere from its heavy chains.

This relief aids the records successes, for otherwise it would be a masturbatory exercise in instrumental proficiency as much of the music gets lost in machinations of extreme dexterous performance. Laying out animated, finger bending riffs and inhuman drumming in many sections across the album, it can sound like a self indulged Technical Death Metal record. Fortunately some songs are also propped up by what I can only describe as VGM melody, something about its tunefulness feels distinctly fit for that world where a lead instrument talks with voice as its tune.

The chemistry is apt but balance skews into lonely into the extremity a little to often. Broken up with a couple of lofty atmospheric interludes it plays well into its conclusion Nocturnal Hours. Bringing in the dizzying saxophone playing of Jorgen Munkeby, it infuses a little jazzy madness, a blend of instruments that sounds exceeding good. It may have been nice to of heard more of this! The studio production and sharp aesthetic is pure class, bringing the percussion right to the focal point, Misha makes a feast of whats on offer. All in all Void is wondrous in scale and ambition but perhaps all too obvious in its path to the scenic riff oriented Metal the pair deliver together.

Rating: 7/10

The Algorithm "Compiler Optimization Techniques" (2018)

 

Here is an interesting project that initially seems akin to the Djent Progressive Metal scene. Its another one man band operation journeyed by French composer and producer Rémi Gallego. The Algorithm, however, seems fundamentally driven by what initially appears to be aesthetic novelty. The chugging low end Djent guitars are sparse, dropping out for lengths at end. Metal oriented musical ideas play second fiddle to its EDM and Electronic happenings. The chemistry converges on a digital computerized landscape. Sharp precision percussion and whirls of spirally, spriting scaling arpeggio melodies serve a cold mechanical slew of soulless exuberance.

The songs play with binary grooves, fast measures of instrumentation traversing temperaments and tempos seemingly of its own whim with only brief moments of expression and voice. The Algorithm is impressive with its distinct style. Modern glitch sounds flesh out interludes as drives of Djent stomps interchange with whirling synthesizes playing out with a spirit similar to its psychedelic 70s origins. A couple spurious flashes of dance floor groove and other conventions arise along the lengthy journeys but the music mostly plugs away like an automation, a digital intelligence.

This cold, mechanical lifelessness is a double edged sword. Its many arrangements, which each song burns through, come in varying degrees of charm. The lack of physical voice and emotional through line give it little to anchor on. Its perfected VST performances are most often without humanity. Sometimes a wondrous adventure into something alien. At other times its a meaningless grind. A couple of great moment emerged. The end to Sentinel Node gets off an expression with a nightly Synthwave lead to conclude and Fragmentation drops its rapid instruments for a slow tempo brooding of cosmic darkness very akin to Oscillotron, a very welcome familiarity.

Rating: 5/10

The Tiberian Sons "The Only WInning Move" (2022)

  

Approaching this EP with mostly ignorance turned out to be advantageous. Unfamiliar with the four video game soundtrack songs covered here, I found myself blown away by a musicality so fitting with the best that VGM has to offer. Boldly luminous with a Progressive Metal shape similar to Nobuo Uematsu's The Black Mages and oddly reminiscent of Strapping Young Lad. Its ferociously groovy chugging assaults from the low end distortion guitar are a godsend! These covers just simply slay hard!

Where are my manors? I know of The Tiberian Sons through Frank Klepacki and their involvement in the Command & Conqueror soundtrack remasters. They did a great job of breathing some fresh air into classic songs of my youth that quite frankly didn't need it, welcome none the less tho. These covers show of their competency as a group to deliver a riveting and modern Metal aesthetic for brilliantly composed songs.

My ignorance shields me from the depth of how they transformed the original material but for the time being I'd like to keep it that way. Jived up with jazzy live band sounds, everything is fleshed out with a dazzle as synths, organs, trumpets and strings chime in to forge an animated metallic orchestra. Its a treat, still striding with blazing guitar solos and big guitar riffs, these songs scale the peaks with a colorful majesty and might, cramming in so much instrumentation, all crooning in the same direction.

This is at least true for the first three songs. The final Dank Memelords Power Metal Remix has that sweet chemistry thrown off balance. Its particularly piercing and domination drums, the focus on distortion guitars, it overpowers the symphony and electronics also present. The clean vocals are rather piercing too, not to my taste. Its a decent track but lacks the nuance that came before, leaning to hard into the Power Metal cliches. Those first three are Stella songs however! Well worth your time.

Rating: 7/10

Tool "Opiate²" (2022)

Tool had brilliance from the outset. Initially I was slow to understand this band. The title track from their debut EP, Opiate, did not rock my quite as it does now. To commemorate the thirty years since its release Tool have re-recorded the classic track. Ditching its extended psychedelic jam session crying for Satan that followed the actual song, the group split it in half while fleshing out a beautiful interlude through the middle. An instrumental passageway through its middle. Deep, mesmerizing and alluring, the soothing transient experience serves this recreation wonderfully, lengthening it to a glorious, immersive ten minute experience.

This modern aesthetic is stunning in retroactive comparison. The original recording sounds dated and clunky. The bass is overpowering and meaty, which hides a lot of the textural charm Tool conjure. This release illuminates their artistic vision, rejuvenating what they had as a band from the outset. Even switching back and forth between the two, this newer recording oozes the songs soul with ease. Although its made me appreciate the original more, its obvious they didn't have the production aesthetics to really express their music early on. Sadly this is a one of, I think its unlikely this single will lead to anything else for now.

Rating: 3/10

Andromida "Hellscape" (2021)

 Naturally my enjoyable experience with Voyager had me curious for more. Clicking play on Hellscape, I immediately knew what would be next on the playlist. Kicking of with Havoc, the album blasts off with a banger of bouncy low end djent riffs and siren synths painting the hellscape its title suggests. The album art too hints at whats in store, as this particular approach to Metal with a heavy dose of dystopian Industrial synths is in tribute to composer Mick Gordan and his atmosphere defining Doom Eternal soundtrack, which aesthetically caved itself a niche in the Metal universe.

Sadly, others replicating this fusion of textural guitar barrages and hellish saw synths on overdrive tends to be hit and miss. Opening with its best track by some distance, Havoc embodies the best of this aesthetic. For the album experience Hellscape feels constrained by the narrowing options sticking to such a temperament imposes. Unable to escape the drive of eight string might and gravity warping synths, its flushes of string symphony always tied down to the monstrous weight of its dark demonic roots.

Subtle club drum grooves and nightly Synthwave vibes emerge on the journey. scenic guitar melodies expand horizons but the climax always falls back to the chug riffs and evil slam of the synths. As the album draws on, I'm reminded of Skrillex and the Dubstep drop fad, as the machinations of these two seem to get progressively more random and obnoxious in search of new grounds it never quite lands upon.

Only briefly on a couple of occasions does the intensity let up for some atmosphere. The respite serves it well but as the demonic onslaught marches on, it becomes clear this is a tribute to the game. It feels like a compliment to the Doom experience, the unrelenting tensions and onset of dread as demonic hordes descend feels intentional. Hellscape is a love letter to the style from a very competent musician and producer. Unfortunately for me, the style doesn't quite amount to more than the sum of its parts.

Rating: 6/10

Animals As Leaders "Gordian Naught" (2022)

 

Now approaching six years since The Madness Of Many, this technical trio led by the trailblazing Tosin Abasi and his phenomenal guitar skills, have another album set for release next month. I'm unaware as to if these tracks will grace the record but I must comment that a preference is to be found in this trio of songs in a shorter context. Without a vocalist, looping structures and repetitions often feel drawn out despite the magnetism the band have. At eleven minutes, Gordian Naught is a bite sized delight of the latest cuts from the Animals As Leaders camp.

Sadly, despite much enjoyment, the needle has not moved far in terms of style. The group are still exploring the veracity of timely executions dissecting chugging rhythm and dense aesthetic. Often abstract guitar and bass noises become a facade for extreme polyrhythms and dissonant grooves. The percussion is a particular persistence of ambidexterity. A technical feet of ability, weaving in detailed beats flush with delicate intricacies around the battering picking sequences.

Its best moments are at the intersection with convention. Luminous colors arise from its electronic synths or melodic lead guitars, breaking up the impressive but monotonous drives of its intricate rhythms. These moments are gorgeous, open and expansive. Pivoting from the dark and mechanical into streams of uplift and light. Its jazzy, emotional and soothing yet doesn't come along often enough.

Title track Gordian Naught is the chugging powerhouse concluding with a mighty discordant breakdown. The Problem Of Other minds opens up the colors with synths and leads. Monomyth then elaborates further, its curious background bells giving its grooves feeling. As it drives harder into the mechanical feet, its pivot out feels more gratifying. In that moment it is the most satisfying, better of these new songs.

Rating: 3/10

Andromida "Voyager" (2018)

By name and title alone one can figure out theme and inspiration, its album cover a further confirmation of cosmic awe and wonder. Hitting play for its fifty minute voyage, one is lured in through a subtle layer of atmospheric synths as glossy pianos and a punchy drum machine ramp up the energy for rhythmic djent guitars to slam in with slabs of momentum. Swiftly do the hall marks of a one man, Progressive Metal project emerge. The lack of any vocal presence, the perfectly sequenced drum patterns and excessively proficient guitar skills. Initially a little shy out the gate, New Worlds fully immerses us in its guitar acrobatics and metallic aggression. Swirls of rapid fret-board tapping and polyrhythmic low note chugs kick into full gear.

Not a record to maintain intensity consistently, the songs navigate an arsenal of rhythmic assault riffs diving into the deep end of djent's obnoxious nature. It does so through many lulls and shifts that pivot from drives of ambitious Metal chops to the soft glowing ambience of its backdrop. Often compromised of serine strings, subtle synths, glitchy electronic noises and an ever present luscious piano melody, it straddles the two opposites with a middle ground led by big guitar chord strumming that unites its elements. It can fluctuate in a moments notices, jumping from the calm persuasive into flurries of powerful guitar led activity with all in between.

Its the lack of a vocal presence making this unironically feel a little less human, more observational, which its fitting to its space theme. The cosmos is a place that often seems still and majestic, yet its reality is a violet concoction of elemental forces. Initially this disparity in consistency felt empty, yet grew to be the records charm as the guitar became its voice and the shifts in density more welcoming with each listen. The whole experience now play like a soundtrack, I can focus on some other task as the magic churns away mighty conjuring in the background with its swells.

Andromida's brilliance is earned through repetition as its cold mechanical inclination, led by the drum machine, steadily gives way to craftily forged songs that hold one in its vision. I'm reminded of the genius Gru, with his timely djent riffs and swirls of luminous melody derived from tapping sequences. Its approach to atmosphere through the current trend of electronic stylings similar to that of Shade Empire. Although similarities with both, the constant twinkle of piano notes and airy symphonic backdrop gives it a real character of its own fir for the universe.

Rating: 7/10

Chaosbay "Asylum" (2020)

 

One of this years most exciting releases, Boxes, was my introduction to the German Progressive Metal outfit. Starting at a peak of evolution and working your way back can often taint the musical discovery. With Asylum, all I could initially hear was the distance from their now Periphery inspired, high octane foray of cutting edge melodic Metal. With a less punchy production, a lack of angular grooves and feisty aggression, I overlooked the emotional outpouring this record is. Sure, it has moments of might with chops of metallic onslaught and shouty screams but where Asylum shines is in scenic melody where the music transforms from powerful riff lead barrages to heart felt singing and moving lead guitar licks, which it has in a plentiful supply!

The heavy djent riffs, Metalcore breakdowns and jolting polyrhythmic grooves quickly subsided from focus as the lyrics started to raise up its streams of warmth and color. Passionate words of social-political consciousness took sway with stems of plain spoken ideals and morals expressed bluntly from a compassionate space. With each passing listen my attention shifted from the arsenal of competent bouncy riffs to the Pop Metal singing and acoustic led passageways that carve a path through the carnage. It all brings me back around to the albums cover. A calm of lush seas, present among the chaos of a fiery storm. The name too feels like a commentary on the feeling of being institutionalized by their perceived state of current society.

As a whole the dynamism isn't quite there. The frequent sways plunging into punchy metallic aggressiveness a little to typical for the times but in the melodic component it finds plenty of catchy endearing tunes, often amped up by timely guitar solos and warm singing. All in all its a really interesting record, one I feel like if I were forced to listen on a regular basis I'd probably end up loving as my enjoyment has only grown from the initial luke-warm reaction. Chaosbay clearly have something to offer the current trend in Metal and it seems as if they are on the cusp of a fantastic next step. There next full length effort will be one to keep an eye out for!

Rating: 7/10

Chaosbay "Boxes" (2022)

 

Taking a page from the Periphery book, this German Progressive Metal outfit have forged a fine fusion of sweet Pop sensibilities and chunky Djent guitars. It oozes at the seams with color as its fine aesthetic powers through a range of pummeling guitar grooves through to gorgeous washes of bright melody. The two ebb and flow breezily, elasticated between extremes that offer no contrast. The mid track Lonely People champions this sublime chemistry. Its a four minute attention grabber swaying in with their heaviest sledge hammer of a riff, cruising onto the catchiest of choruses with the "I am afraid, What have I done? I've got this feeling the machines have won" line.

Singer Jan Listing has a wonderful voice. Delivering meaty screams and ascending with a sharp clean voice that soars, he moves with the musics gravity. His presence often bridges the melody, fostering a link from the menacing brutality of Djent slabs that pluck in and out of focus to form mammoth grooves. Between it all the music is embellished by both technical prowess and inspiration as guitar solos and other creative compositions give the five songs a constant stream of excitement.

The albums production is clear and pristine, It feels dense as the two guitars play compliment to one another. The one focusing on power chords and low end guitar notes, the other adding the melody with glossy acoustic guitars and gleaming melodies. Its quite amazing how massive this four piece sound together. Drummer Patrick Bernath also puts out a wonderful show of dexterity and creativity. A continuous source of exuberance for these five tracks. I'm frankly blown away, this has been a fine introduction to a band touching on a decade together. More listening is required after this fine initiation.

Rating: 7/10

Humanoid "Remembering Universe" (2008)

Reaching out from years gone by, my music archive now has many callings, records that carve their own niche and frequent the mind of this explorer. How I found Remembering Universe is a mystery to me now but I fondly remember the fascination with its cold and sombre astral temperament. As a Metal adjacent project, this acoustic guitar performance and its reverb soaked atmospheres glide from grace into tangles of abrasive complexity not far from metallic onslaught. With flourishes of cosmic sound design wedged in between its blooms of warm color feel chained to the shivering tone of its steel acoustic strings. Despite the name, it feels all so impersonal and inhuman, like an alien observation of wonders found through the universe.

The music is an indulgence of stringed instrumentation. With the textured bends and moody slides of a fretless base guitar accompanying this twelve string acoustic and "synth guitar", the Canadian musician operating under the name Humanoid pulls a warm range of texture and style from a small collection of instruments. Its style and atmospheric execution always felt so distinct to me yet with analytic ears I now hear similarities to the dexterous fretwork of Animals As Leaders & Gru. However this predates both of those, suggesting deeper origins in the Progressive Metal scene.

That is, however, just a footnote on this meandering journey of exotic, Jazzy instrumentation exploring ambiguous melody and distant moods through sways between simplicity and complexity. Its musical arrangements wander aimlessly, perusing its own passing by. Its most structured songs arrive in the four part Passages. It brings onboard distortion guitars for texture and an artsy, expressive drumming performance, devoid of simple beats to rock with, they groan and moan with surges of energy and moments of quite that lull between.

All in all, Remembering Universe is a very distinct project that's hard to put a finger on. Similar to some yet oddly alien, cosmic and cold. Although I have never been too overwhelmed by its company, the inhuman beauty and flushes of atmospheric winds have always called back to me. Its spell is calming and clambers into the background when one is preoccupied. The flow is sporadic, unstructured and its best moments are sprinkled throughout, however they have always warmed me.

Rating: 8/10

Chevelle "The North Corridor" (2016)

 Impressed by this years Niratias, I thought I'd step back five years to give the Illinois Rock outfit another try. The North Corridor is their eighth and lacking the context of their evolution, it really comes of like a plagiarist execution of Tool in their prime. Aggressive grooves, atmospheric incursions and psychedelic echos of Lateralus and 10,000 Days dominate just about every song here. Enjoyable, if its your cup of tea.

With every spin it passes me by, a competent set of songs yet lacking a sparkle, mainly as every break out moment lingers in the shadow that other band. Getting past this lack of originality, the influences are interesting. Obviously the Progressive and Alternative Metal flavors run strong but the record is rife with harsh syncopated grooves. Bludgeons of chromatic palm mute chugging, backed by its dense, warbling baselines fire inline with pounding drum strikes frequent many a song with these simplistic slabs of primordial dance. Often it serves as a jump of point for the rest of the music to evolve, delving into bursts of psychedelic, reverb soaked lead guitars to wail into the distance alongside other progressive tangents.

Pete Loeffler's presence upfront is massive, a tug of war between emotive spoken inflections and throat wrenching screams that strain and shout with quite an impressive intensity. He punctuates the music well, often orchestrating the musical shifts with his conduction. It is of course a performance treading in the foot steps of Maynard Keenan. Practically every idea executed feels complimentary to the Tool back catalog, on one track where he deviates, Punchline, singing like Trent Reznor.

In all its similarities, Chevelle execute with classic, making engaging music with much to offer. Riotous yet contained landscapes of aggression and frustration. My issue with The North Corridor is its dull production. Everything feels distinctly grayscale. The guitar tone seems brittle and rough, the bass warble is massive but lacking charm, it feels a little brute force. The drums are decent but on some tracks seems a little out of balance in the mix. Ultimately, all its elements are present but just seem to teeter on the demo quality edge with its rough aesthetic and dull tone.

Rating: 6/10