Tame Impala "Currents" (2015)

Hailing from the other side of the globe, Tame Impala is the musical output of Australian musician Kevin Parker who writes, composes and records all the bands music before taking a crew of musicians to hit the road on tour with him. In the eighth year since its inception Kevin released the third full length which caught my attention some time ago with its intriguing record cover and critical acclaim to peak my interest. It took a few listens to click but has since become my addiction, full of good vibes, luminous music and easy going, laid back atmospheres of psychedelic wonder.

I'm rather inexperienced with Psychedelic Rock and Tame Impala to my ears dwarfs anything Ive heard before it in comparison, as if the genres climax in the 60s and 70s was just a precursor, a prototype for the magic within this record. It oozes, ebbs and flows within an organic tapestry of sounds from electronic and natural instruments formed in a modern production that makes fantastic use chorus pedals, phasers and pitch shifts in its psychedelic moments. The opening track "Let It Happen" drops in a couple of beat skips before breaking into a stunning moment where the beat loops like a CD skip repeating over and over before thematic synths roll in and take over the direction in a moment that felt fresh and unexpected. Its this use of electronics that makes the music glimmer like the summer sun, dense synthesizers weave in and out between the guitars and a solid drum machine with dance kicks, claps and snares hold a solid back bone that in the occasional moment resemble a dance floor beat. 

The music stays true to a warm, heart felt inspiration of summer sun, fresh air and care free good times that radiates when Parker puts his voice into the frame. He has a stunning high pitched and soft tone that breezes through the reverbs he layers his voice with. Its reminiscent of MJ and with his ability to write a solid hook makes for some truly mesmerizing moments where the songs are sparkling like a dream. Together they sound so lush and intricate with layers of sound often trumped by a bright and simple melody to keep it easy going, yet one can peers deeper into the layers of sounds that form into something so effortless to enjoy.

In between the main tracks some trippy interludes crop up and with "The Less I Know The Better" Kevin rocks an olskool Rock / Funk groove on the guitar. Sometimes the drums have a little Hip Hop groove and even a Trap hi hat crops up. This albums flexible and although it doesn't steer far from its core so many things pop up through the record that make it so interesting when examining closer. Its a record for the warm climate, summer music, for good times and with the magic Kevin delivers good times will be made. Its such an impressive record, especially considering he did everything here himself. Writing, recording and production. Hats off!

Favorite Songs: Let It Happen, The Less I Know The Better, Cause I'm A Man, Reality In Motion

Rating: 9/10

Messenger "Threnodies" (2016)

Back in 2014 I found myself sitting in a the pews of a quaint chapel in London, humbled by this band who were opening for Devin Townsend performing his "Casualties Of Cool" record. After the show I picked up the bands debut "Illusory Blues" which won me over swiftly, perhaps being the most impressive Progressive Rock record Ive heard in recent memory and with time that impression only strengthened. Messenger have echos of the greats while standing on their own two feet and subsequently had me hyped for this release which promised more of the same, another seven tracks spanning 46 minutes it continues where its predecessor left off.

Opening with "Calyx" the group set the precedent for a collection of songs that seem so uninhibited by structure and form with music that unfold at its own leisure, moving through the motions with no urgency, creating an indulgence that starts with a calm and tranquil motif that's got a surge of unrest beneath it. With a calm before the storm a lone electronic lead brings us into a shift in momentum that leads to a grand climatic guitar riff that's got glory in its soul. The following "Oracles Of War" thickens the atmosphere with a galloping intensity and the guitars and drums thunder forward with classic prog organs laying the density. The momentum slowly unwinds into a lush calm of serene acoustics soaking in a soft ambience and light pianos accenting the soft, dreamy vocals of singer Lowe who shines bright in every moment of this record and takes it to some sublime peaks with his grounded harmony. For all of its lush tranquility, every moment flirts with a darkness that's forever fleeting, never surfacing and in its immediacy can sound rather sorrowful and sombre. As the songs flow and progress the whole affair becomes rather entrancing in an effortless manor that makes enjoying a breeze but analyzing becomes allusive as no part of its charm lies on one riff, melody or hook but the overall journey these songs draw you into. This is best heard in its strongest melodies which can often drop in from the quieter region of the sound, rather than being immediate and upfront.

"Threnodies" is another self realized and inspired creation that is perhaps a little bolder and more adventurous than its former. Again its persuasive with its atmosphere and draws you in closer when your not looking, which is part of what makes writing about it so hard. Putting music into words is a challenge but you can never do that music justice, and in times like this you feel as if you cant ever come close. The production is sublime, the instruments are rocking and vivid. Lowe's vocals are enticing, reminding me slightly at times of Thom Yorke, and the drums where particularly more expansive this time around. I adore this record, cannot wait to catch them again on the road and I'm sure this one will not tire like that last has yet too.

Favorite Track: Calyx, Balearic Blue, Pareidolia, Crown Of Ashes
Rating: 8/10

The Beach Boys "Pet Sounds" (1966)

Listed on Rolling Stone's "500 greatest albums of all time" at number 2 I felt compelled to check out this Beach Boys record. I mean, who doesn't like the beach boys? Fun loving Surf Rock with those timeless vocal harmonies. Well "Pet Sounds" shows of very different side of this band, or more so Brian Wilson who composed and produced the entire record, so much so you could call it a solo record if it wasn't for his band-mates laying down the backing vocals. Being the first Beach Boys record Ive given a proper listen I found most of what I knew about them to be missing. The catchy hooks, surf themes and chart topping, single oriented songs where no where to be found. The only familiarity were their voices which were always the main attraction.

Pet sounds is a strange kinda of melancholy. Through it all a bright, warm soul that's got heart beats away, uplifting and littered with colorful instruments it has a deep sorrow that's felt through Brian's lyrics of heartbreak and loneliness. Its insular and sweet hearted, the sadness seeps through a swell of beauty in the world of music he isolates himself in. A musically somber moment arrives on "Don't Talk" as an outreach of support and comfort in Brian's lyrics reveal such deep sorrow in the music has gesture has exposed. The experience as a whole creates such a unique image of a man torn between pain and beauty, and pouring it all into the music.

The music itself is a dense and intricate pallet as a whole host of instruments and sounds embark on a journey to play out memorable, moving melodies that come in layers, overlapping and intertwining to make up the themes. Subtle instruments and quiet calming sounds fill in all the gaps, even in the slower moments theirs a continual tapestry of fine noises to notice. In the percussive department claps, tambourines, and coconut hoofs expand the drum kit as well as bicycle bells and horns cropping up in places, its quite a delight to hear such care put into it all. With flutes, organs, strings, guitars, pianos and a seemingly endless list of instruments, they all join into delightfully simple, easy to follow and cohesive songs.

Quite often the classic vocal harmonization's drift from the main focus of these songs, grand and captivating in their moments, Brain's voice and his music holds it own alone and some of the vocal lines feel like another instrument, its actually really soothing how they fit in with the instruments and become apart of the song in that way. Much could be said for the lyrics and themes but they are relatively direct and the sorrowful moments come across with sometimes blunt "This is the worst trip Ive ever been on" and sometime poetic words. Ive grown so very fond of this record and quite simply can't put it down. One day this will be a favorite of mine, I look forward to all the times I can enjoy it again.

Favorite Songs: You Still Believe In Me, Don't Talk, Pet Sounds, Caroline No

Rating: 9/10

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

Dead Kennedys "Frankenchrist" (1985)

The Dead Kennedys are a legendary American Hardcore Punk group from California who developed a large underground following in the 80s. They had a short lived life-span, forming in 78 and disbanding a year after this record having become disillusioned with their own music scene that no longer represented what they stood for. They were involved in a few controversies but time has served them well, their music and legacy often held in high regard. I was introduced to them around eight years ago and I knew one day It with click with me, and that's what happened! Listening to Black Flags "Damaged" got me in the mood for more Hardcore Punk and I picked out this record having recently learned about the HR Giger artwork controversy that took the band to court following Frankenchrist's release. I can't believe its taken me so long, but now I adore this band.

This record really sucked me in, Its got a lot of energy and quickly I found myself running and working out to it, making the most of the exuberant, youthful energy the music and lyrics filled me with. It didn't take long understand their sound, there are some very distinctive accents that flavor the Hardcore Punk sound. Slower tempos and guitars leads with a western flick vibe make there mark on the songs flirting with tinges of Surf Rock and Psychedelia in between its aggressive and angry Punk core. The creativity flows freely through a track listing of distinct songs with variety in plentiful amounts. Its either riffs, vocal hooks, guitar leads or Biafras politically and socially charged lyrics, each track has a distinct quality and from start to end the group roll out brilliant ideas one after another, even extending to interesting song structures.

The records production does a lot for it. The guitar leads have a raw and hazy tone that comes to life in a recording that fills the space with a big hall feel, creating a ton of atmosphere. The drums and vocals feel more contained and muted in comparison, but its a rocking chemistry and the bass is gorgeous, deep and tonal, rattling and pounding away, often leading the march and throughout the album its very audible, its texture contributing a thick backbone under the spacious guitars. Even some Mexican horns crop up in "MTV Get Of the Air" record, alongside the western guitars they fit right in. The following track "At My Job" drops the guitars for a big synthetic saw wave lead emphasizing the horror show circus vibe of the track. Again, it fits right in.

Whatever the Dead Kennedys set out to do its done with style and substance and the record is littered with inventive approaches, especially front man Jello Biafra who's charged and thought provoking lyrics come wrapped in a variety of deliveries that range from driving sing along hooks to moody theatric play acting. Everything about this record was a delight and I still can't get enough of it.

Favorite Tracks: This Could Be Anywhere, Chicken Farm, MTV Get Off The Air, At My Job, Stars And Stripes Of Corruption
Rating: 8/10

Ghost "Meliora" (2015)

Ghost have been one of the most impressive Metal bands I've heard in a long time and I'm not alone with this opinion. Critics and fans alike have been praising this band since there debut "Opus Eponymous" and the band has rapidly been growing their fan base and praise with striking stage theatrics and music to match. I discovered them not long before the release of their second "Infestissumam" and this new record "Meliora" has been my most anticipated record for some time.

Defining Ghost's sound with words may be relatively easy but you have to hear it for yourself to understand the level of execution these musicians are putting into their art. Side stepping from the atypical progression of Metal music Ghost pull influences from the earlier era's of Heavy Metal and satanic themes in music with a tasteful re-imagining of ideas portrayed by extreme bands of that era. There's hints of Doom Metal, Psychedelic and Hard Rock, even Progressive Rock at times and it all comes together with a focused vision of dark, satanic worship in the form of bright melodies and lush, inoffensive instrumentation. Further playing into the twisted vision the band remain anonymous as "Nameless Ghouls" and their singer "Papa Emeritus III" replacing the former with each record. The anonymity wasn't of much interest to me, however it is speculated that the Swedes are a "super-group" of sorts.

Meliora is a gorgeous sounding record that finds the group playing down some of the metallic, riff oriented elements of their sound in favor of melodies and instrumentation that will have you watering at the mouth. The production captures these instruments with color, clarity and a chemistry that lets the harmonies between instruments spread like butter. Behind the glorious aesthetics the familiar theme of satanic worship is dressed up and delivered through Papa Emeritus soft persuasive voice, often subtle and suggestive with his lyrics he delivers hooks and passionate sing along lyrics with an evil subversive undertone that gets stuck in the mind.

The instrumentation is the bands most diverse, ambitious and on point so far. Across the ten songs they hit a remarkable range of ideas, themes and variety that can be heard through a thicker range of sounds, from sparkling acoustic guitars to the luminous pianos, enchanted choral vocals and eerie organs, everything has its moment in the spotlight. The lead guitar rips dazzling solo's that let Progressive influences blaze the trail on "Mummy Dust" with an almost synthetic quality. The drumming marches along with the flow of the tracks and punches a lot of pedal kicks and cymbals together to mark the rhythmical hits in the notation. Even the bass guitar gets its moments to show off its snarling raw texture as it bounces and grooves with the lighter guitar distortions utilized.

The record flows from start to end without a dull moment, and although there may be some tracks a little more favorable, it will vary from person to person as every track has wonderful vision and execution. "He Is" was undoubtedly my favorite, an spirited worship song fitting for traditional christian song if it wasn't for the lyrics, on this track its Ghost at their absolute best and there's little this record could of done to be better, however I think we are still yet to see the best of this band who are quite simply killing it right now. Can't wait to see them live again, and already I'm excited for what the next record will bring, but far from done with this gem.

Favorite Track: He Is

Rating: 8/10

Earth "Primitive And Deadly" (2014)

Earth are an American Drone Metal band from Washington that formed in 1989 and are considered pioneers in the field of Drone Metal. Over the years there style and sound has changed, evolving into a more melodic and Rock sound than their Drone roots, although still keeping the Sludge / Drone relevant in their sound. 2007s Hibernaculum caught my attention with its slow, sludging groves performed in melodical tones that created contrasting atmospheres of relaxation and intensity, since then i have been enjoying this bands output, and this album has certainly grasped my attention.

Primitive And Deadly sounds lush and vivid, capturing the textural depths of guitars that drone there beautiful distortion in graceful sludgery. The clean melodic leads share the space effortlessly as the two wrap and meld around one another. The drumming ever present, quietly retaining the pace of these slow burners with grace. On 3 this records 5 tracks, Earth introduce a vocal presence with exquisite execution, Lanegan & Qazi bring artistic, poetic performances to the fold, so tastefully done. There is a real connection between the instrumentals and the vocalists that add great depth to this record.

Through these slow burning numbers Earth build enigmatic & psychedelic soundscapes that have an almost rock-like feel to them. Maybe if sped up some of these riffs would sound a bit more so, but there sluggish dragging of these riffs create spacious atmospheres for these chords and distortions to ring out to great effect. Through these spaces the songs progress and build thoughtful and unresting moods that give this album and immersible quality. I'm ever so impressed with this record, I've been lavishing in these tunes. Earth have mastered their sound, and this record is a fantastic step forward for them.

Favorite Tracks: There Is A Serpent Coming, From The Zodiacal Light

Rating: 6/10