Cardiacs "Sing To God" (1996)

These English rockers second to last record, Sing To God, is a wild ride of a double album! The mistress of its own madness, this eclectically eccentric display of intensified ideals pummels the listener with its dense wall of sound. An unending sprawl of musical mania unfolds as the four piece sound arm themselves to the teeth with attitude and energy to sound like a orchestra on an adrenaline rush. Every note, melody and sung lyric is reinforced by this cacophony of instruments turned to eleven and itching to blast their sound in unison.

These compositions will have one lost in a madhouse as songs leap, lunge and erupt with every shift in structure. Opportunities to jump ship on tempo, pace, time signature and mood are taken, throwing one of the scent frequently. Through this apparent absurdity some very English and Classic Rock musicianship can be heard, echos of Progressive Rock and especially Queen disguise themselves as all the instruments line up like a band of red faced lunatics trying to out play each other, blowing themselves out in the processs.

Its a wonderful experience for those who seek it. A wall of sound that undoubtedly had an influence on Devin Townsend. It was one of the first things I picked up on and subsequent research revealed this is one of his favorite records! The production lends itself kindly to instruments who's aesthetics are charged, frothing and ready to synchronize with anything that steps near. Its a continual treat, whenever a melody is played or sung, before it can finish making itself known an arsenal of competing sounds rush in to make that dizzying wall of sound come to life with a touch of hysteria.

At ninety minutes it tests its listeners endurance, the psychedelic lunacy ceases to let up for a rest and its length may be unnecessary in getting a point across. At times its nutty tone slips into aesthetics where simpler themes emerge but that is just a response to the expectant complexity displayed, its only disappointment is a reliance on fade outs which usual land on a new section of music that's cursed to shadows. Many of my favorite moments are on the first half, by the time the second comes around its worn me down, which I love. Its filled to the brim with creativity and a nutty sense of radical fun that's a race to the finish line only the band will ever win. A very notable record worthy of any acclaim.

Rating: 8/10

Death Grips "Year Of The Snitch" (2018)

One of my most anticipated records this year has now arrived and with it comes that familiar Death Grips experience again. Initially alien, esoteric and bizarre, the music plays like a morbid curiosity, an avant-garde experiment into the estranged and then after some time it suddenly clicks into place, you feel as if you have known these songs forever. After the banging, fan pleasing Bottomless Pit the Sacramento trio return to their more adventurous side with an another unusual musical construct that echos some of their Exmilitary roots former glory.

Year Of The Snitch is primarily an aesthetic experience with its rich and vivid tapestries of synths, samples and unusual sounds that approach from all manor of odd angles as you would expect. The performance drumming of Zach Hill livens up the musics texture as the songs interchange between some tightly sequenced kits and his frenetic drumming, making itself know with fast shuffling grooves and fills in and among the chaos of sound one has to unpackage. Mostly the programmed drums hold down tempos and help along the experience with synthetic, quirky kits as opposed to pumping out grooves and energy like the previous record.

MC Ride is fantastic across this project, his lyrics are typically cryptic, quotable and require some thought as per usual but on this release specifically there is a strong mix of freedom, creativity and energy. All of his vocals feel free from any burden, Ride has and endless stream of ideas for delivery and flow that holds nothing back. The use of reverb, voice modulation, sampling, pitch manipulation and scratching enriches the already individual experience as a tapestry of voices emerge in bursts throughout the record around his main vocal line.

The trio demonstrate their growing chemistry as all the ideas on this record come together so cohesively, Rides vocal performance seems to melt into the detailed, layered instrumentals. As per usual wide range of sounds come together in a mania of variety and oddities and once again they find their own dimension, this may be in part to the striking return of rock guitars that throw back to the debut Exmilitary mixtape. There is also a noticeable sampling and snippets of vocals and sounds from their older songs thrown in the mix, giving it a stronger link.

All in all, Year Of The Snitch masters the side of Death Grips I have not been keen on so far. Ive loved the band when they strike with a touch of groove and those banging percussive beats but projects like Jenny Death that steer away from this backbone have yet to dazzle. In this instance I think the group found a balance that really works and loaded it with a depth of texture that really takes up your attention when focusing on the details in sound. The atmosphere they create and what all that madness adds up to is a wonderfully odd and unusual, a cluster of emotions drifting through the cosmic void.

Favorite Tracks: Death Grips Is Online, Black Paint, The Fear, Disapointed

Rating: 8/10

Janis Joplin "Pearl" (1971)

It was quite a few years ago that I first heard of Janis and her legendary performance at Woodstock 69. I got my hands on Pearl with a whole bunch of other records from a top 500 list and have had it on my phone since, waiting for shuffle to catch me off guard and precisely that happened the other day with Half Moon, a feel good, upbeat, jiving song on the first side of the record. Reading up on Pearl I am saddened to learn it was released posthumously a few months after her death in 1970 where she suffered a heroin overdose. Interestingly the album was recorded in the failed four channel quadraphonic format which would eventually become surround sound. It also held the top album slot for nine weeks and sold over four million copies.

Whats impressive about Pearl is its energy and dynamism, from both Janis's charisma and the wonderfully involved, vibrant instrumentation behind her. The record rocks and sways between heartfelt emotions and feel good, rocking vibes. A powerful fusion of Funk, Soul, R&B and Blues Rock jives on with a colorful intensity as the accompanying Fult Tilt Boogie Band illuminate these songs with fleshed out and inspired music making a rich setting for Janis however they too take the lime light with bursts of powerful organs and guitar licks between the ever present liveliness of the deceased Richard Bell's pianos. Its dense in its involvement, yet audibly crisp and inviting, each instrument having its space in the mix to shine as they jive in tandem.

All of the band give a riveting performance, you can simply just zone in on one instrument and be moved but the biggest mover is Janis out in front of them who has such a fascinating and emotional voice. With such sincere passion and expression in her singing, the half hit notes and croaky, scratchy strain she frequently visits become engulfed in the moment, sounding natural, charming and despite technically being "flawed" its transformed by her charisma. She even goes has far to push her voice in to a surging shriek on occasion, which is too just an unleashing of urgent expression. Its truly riveting and endearing, her young death truly a tragedy.

Its practically a flawless record, thirty four minutes of emotional engagement with exception to one track which I can't help but feel modern corporatism has spoiled as I'm sure Ive heard it in a commercial of the same name, Mercedes Benz. Its a short, lower fidelity accapella where Janis sounds a little rusty on her own, singing sarcastic prayers for consumerist products. Its really quite a nice piece but feels tainted by its snug fit with advertising culture where everything becomes a commodity, even the song, which only makes sense retrospectively.

My time with this record has taught me what I'm learning over and over again, that a musicians personal expression can transcend any preconceived musical preference if given a chance. The sixties is a fascinating chapter in the history of humanity and certainly the beginning of the cultural freedom we experience today. I'd never been keen on the music but I'm glad that's changing. Janis's voice feels free of its time but the instrumentals are firmly rooted in the era and Its great to hear familiar 60s aesthetics expressing something I can relate with, however writing that makes me realized its perhaps the ever changing self that is now coming around to this wonderful era of music and cultural significance.

Rating: Cry Baby, My Baby, Half Moon, Get It While You Can

Rating: 9.5/10

Mastodon "Cold Dark Place" (2017)

Hot of the back of the desert sun soaked "Emperor Of Sand", American Sludge Metal rockers Mastodon bring us four songs I hoped were b-sides from their album released earlier this year. I say that because It has grown on me greatly over the months, Mastodon have the experience and talent to write music with depth that lasts. The same could be said of these four songs however, as the title suggests, they have moved on from the warm summery sound into a "Cold Dark Place", with exception to "Toe To Toes", that song would fit snugly into Emperor Of Sand.

Climate, temperature and luminosity are highly suggestive ideas in music. The record certainly kicks off with a chilling tone, its quaint aesthetics let bustling acoustics resonate of a flute line as the song jumps straight into its moment with earthly singing, the two voices chiming with a catchy quirkiness given the sombreness setting. Its a spooky, ethereal place we drift through with an odd moment of Funk as a upbeat jive manages to penetrate this melancholic place as the song unleashes its guitar solos. The groove is rather reminiscent of CKY given the style of singing and flexing riff beneath.

"Blue Walsh" and "Cold Dark Place" are in the same realm of eerie, dark melancholy without any heavy or blunt metallic riffage. Everything is a tapestry of thoughtful riffs layers to resonate and on the first mentioned song, a rather soothing, relaxing atmosphere is conjured with strong plentiful reverberation on the vocals the drifts over the instrumentals like a graceful ghost lost in memory.

Unfortunately, this is Mastodon and so the spell of our three darker tracks are often interspersed with technically dazzling riffs that scale the fret board with pace but in doing so break the spell of this shadowy, chilling setting. The same could be said of the solos too, when the distortion picks up and the more human Rock elements come to the front, it pushes the sombre setting out of mind. I really have enjoyed this record but its kind of bitter sweet as they don't fully embrace the mysterious atmosphere they create on three of the four songs.

Favorite Tracks: North Side Star, Blue Walsh, Toe To Toes

Rating: 5/10

Public Service Broadcasting "Every Valley" (2017)

Its been a couple of years in the works but the London based trio Public Service Broadcasting are back with another unique work of interest revolved entirely around the decline of the coal mining industry of Southern Wales. The outfit bring together gleaming atmospheric Post-Rock and soft guitar grooves with subtle electronics for their own brand of calming music that straddles the lines between the forefront and background of your attention. Its a sweet spot to operate where their unique sampling of the archives of British Pathe archives creates an artistic, nostalgic and retrospective narrative for the music to revolve around. This topic couldn't of been more fitting for them.

Instrumentally the record may in some ways seem unremarkable. There is a lack of upfront immediacy or urgency in the compositions, with exception to the alarming, danger ridden "All Out" that plays like a climax of violence. Its mostly laid back, chilled out and generally a soothing experience for the listener as soft melodies and licks resonate of one another. Its in their choice of sampling and guest vocalists that the record comes to life. Under the spell of gentle, peaceful music the stage is set for deep thought as the vocal snippets of miners, union workers and community members tell the tales of their perceived wrong doing, sparking the mind into reflection. Although its focused around the mining strikes of the 80s and the industries demise in general, there is much to be taken away from the wisdom and truths that emerge, perhaps with some intentional parallels to our modern times.

A significant change in approach is the inclusion of guest singers who I suspect may have ties to the history of the coal miners, given native Welsh singing on one track. There traditional singing changes the format somewhat and the women's soft effeminate voices are far more suited for the environment and mood of the record than the males singers. Its a strange quirk but the two men just didn't seem in place with the music. The album itself starts strong with powerful themes and musical ideas however "All Out" is a turning point it never recovers from. After that fiery affair the record fizzles out as its unwinding of intensity looses its ability to captivate. The first half is fantastic however, the second seems to stretch what was initially a bright and welcoming chemistry.

Favorite Tracks: The Pit, Progress, All Out

Rating: 6/10

Enter Shikari "The Spark" (2017)

I felt an immense disappointment after the first play through of "The Spark", for it was as if the spark itself had gone from Enter Shikari, a band who Ive followed from my local schools to headlining festivals over the past decade. On reflection "The Mindsweep" is an immense record from a band who can sweep you up with their passion and persona without having to write subjectively brilliant music. That record was the moment where their identity found a new level, a musical brilliance that could possibly see it as their magnum opus, it was also my favorite record of 2015.

With repeated listens I found my way into the record and have my finger on the pulse of my initial reaction. The bar had been raised, expectation were high but Shikari make an artistic shift in direction that rubbed me the wrong way. The links to Metal and Hardcore have been severed, distortion guitars, breakdowns and explosions of energy are no more and these were often my favorite moments in their songs. The rest of what we know remains intact but we also hear a fervent shift to a more vulnerable emotive form of Rock that reminds me distinctly of Radiohead. This is especially so on a handful of songs where Rou opens up his voice for an honest softness to resonate over light instrumentation.

You can hear this new direction best on "Airfield" which leads straight into the contrasting "Rabble Rouser", a song that depicts the old Shikari perfectly. I wouldn't be surprised if it was a song left over from their previous direction. Its an electronic party club track with some light, overdriven chopping guitar licks in the build to a where you'd expect to find an explosive break down of sorts. Instead the track never finds climax despite being a solid track. I can't help but feel there is a conscious decision at work to not go down that avenue, even if the direction can still be felt in the music they write.

Change is always welcome, can't expect an artist to spin the same tricks forever but with a step to the side we also take a step back. "The Spark" is a fine record with a plentiful offering of emotionally warm music. Shikari tone down the aggression and flesh out the themes and lyrics of their songs with rich, colorful instrumentation, interweaving many electronic tones with light guitars in an uplifting spirit. "Undercover Agents" may brush up along side the currently popular "woah-oah-oah" chants but where they get excessively catchy and accessible it still seems very authentic and genuine. Given the current state of affairs, Rou's lyrics tackle the events of recent years that have shook many people with poetic turns of phrase that make for captivating hooks and choruses.

As a collection of songs its a fine affair but the flow of the record is somewhat choppy as the tone, mood and intensity fluctuates between and within the tracks. It really does feel like a transitional record for the band however this doesn't hinders the brilliance of these musicians from charming us with another swell of great musical ideas again. It has a fantastic production, a lot more creativity in the percussive department and with less reliance on the guitars they can still muster the sing along spirit that will have you bopping along at the live show! I hope they will grow well into this turn of pace.

Favorite Songs: The Sights, Live Outside, Take My Country Back, The Revolt Of The Atoms

Rating: 7/10

The I.L.Y.S "Bodyguard" (2017)

The I.L.Y.S are back with their third full length release! Two thirds of the legendary Death Grips, this Sacramento duo brings some of the bizarre oddities to a experimental Noise Rock setting. Bodyguard is seemingly more of the same but with more accustomed ears, Psychedelic Rock and other branches in the Rock umbrella become more apparent in a release that's toned down its Industrial and Punk leanings. There's a lot of conventional riffs, tricks, progressions and styles at work here yet its packaged with subtle electronics and interesting production choices that yield a slightly unconventional aesthetic as unusual sounds enter the fold. It has a rather tame tone in comparison to what they did with Ive Always Been Good At True Love.

Unfortunately my reaction to this record is muted. Mediocrity reigns supreme even though there is a lot of interesting and charming chemistry here. The bests moments or "hooks" seem to have a golden gloss to them, always feeling reminiscent of music from eras gone by. These moments of intrigue and curiosity are quite possibly dispelled by the vocals as my interest in the music never solidifies into a emotional response. The lyrical aspect of the record drifts in one ear and out the other, one string of words stuck, "like sperm on a hi-hat" purely for being rather bizarre.

The singing style doesn't resonate, it lacks power and oomph, the acoustic fidelity questionable as the words tend to level out with the other instruments, sucking the life out their contribution. In general its a disappointment that's not apparent. A seemingly reasonable experience that's entirely forgettable once the next record comes on. There are echos of good ideas here but the execution just isn't up to it.

Rating: 3/10

Horsebeach "Beauty & Sadness" (2017)

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

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

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

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

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

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

Raitng: 9/10

Hiatus Kaiyote "Choose Your Weapon" (2015)

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

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

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

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

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

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

Rating: 9/10

Puppy "Vol II" (2016)

If a dose of 90s Alternative revival is your cup of tea then English rockers Puppy and there "Vol II" EP may just be for you, however to label them as a revival band would be a disservice. Puppy's style, sound, aesthetic and tone is uncannily alike to many acts of that era but theirs is a fresh and faithful artistic expression that nestles neatly between many names while still feeling like its own master. It kicks off with the most out of turn track "Entombed". Its slow and steady textural two note groove has echos of Groove Metal but its soft, welcoming distortion tone and singing style makes it very comparable to one of Metals brightest bands, Ghost.

The rest of the record embarks on a less metallic voyage, taking an emotional narrative that in many moments resonates like The Smashing Pumpkins. These are steady, easy going songs with simplicity in mind, a tight arrangement of riffs that flex between expansive chords and simple rock steady grooves. Acoustics intersect and with a lighter distortion the band effortlessly transition between subtle intensities, making for great craft as the songs flow soothingly. Its the singer who pulls much of the tone together, with a weaker, soft and gentle voice he comes with a meekness that exudes honesty in the emotions conveyed, making the instrumentals feeling complete.

Ending with a number devoid of percussion, a sombre acoustic guitar is intersected by soft harmonizing distortion guitar leads. It occurs to me that the short record, twenty minutes, starts in one place, ending in another. Kicking off with groovy metallic energy and transforming to quite a calm and soothing affair. Its all terrific, not much to flaw other than its short run time. The production is solid and everything feels cohesive on this five track release. This band has a promising future it would seem.

Favorite Songs: Entombed, Warm

Rating: 6/10

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Echo And The Bunnymen "Ocean Rain" (1984)

The stirs of emotion flatten as an orchestral expansion does little to spice up what feels like a blander collection of songs in comparison the lively dazzle of "Heaven Up Here" and the crowded sensations of "Porcupine". Their next release "Ocean Rain", is English Post-Punk band Echo And The Bunnymen's fourth album recorded in Paris with the inclusion of an orchestra who are sometimes pushed out of the limelight, under utilized and when brought to the forefront sound like a commodity of the moment, with exception to the opening two tracks that make sombre use of the string sections.

Ive read its their best, so I found myself hyped and excited but now rather underwhelmed and disappointed with a record that does not seem to click for me. The energy of the guitars rattle disappears into the backdrop as the various elements in the composition seem to merge in the records foggy production. With focus and attention one can pick apart the instruments and hear a variety of fruitful melodies emerging from the orchestra. Without such dedication it becomes an unspectacular blur that drifts through the motions and finds many of the songs succumbing to the sound of themselves.

A lack of distinction holds some of these songs back but between its better moments a fair few choruses and ideas lack the fire they had in their music before. "Thorn Of Crowns" descends into an unfiltered stitching of ideas as singer McCulloch stutters and groans his way around a disenchanting guitar tone. This moment and a couple of others soured a record that just didn't seem to find consistency. The inclusion of an orchestra seemed to work fantastically in some moments, lining the tracks with complimenting melodies. In others like "The Yo Yo Man" the guitars and bass drop out for the strings to take over but they punch in with a striking difference of tone. Too often the instruments get muddied the range of sound, a bland and uncharacteristic production lets this record down where it already comes across like a hit and miss of ideas where songs failed to make a lasting impression.

Favorite Tracks: Crystal Days, The Killing Moon

Rating: 5/10

Fugazi "Repeater + 3 Songs" (1990)

One, two, three, four, Ribena! No, not the fruit drink, repeater is the word! A misheard lyric I just corrected myself on as I looked up the track listing preparing to write. "Repeater + 3 Songs" is the bundling of Fugazi's critically acclaimed debut record and a 3 track EP released months earlier in 1989. I've been meaning to get around to Ian MacKaye's music for sometime and was delighted to find something quite attuned to the Post-Punk and Hardcore sounds Ive been listening to recently. "Repeater" is fantastic for reasons I can't put my finger on. Its easy on the ears, full of life and energy with a raw authenticity that tackles the harder subject matter.

Formerly just the brainchild of guitarist, singer, MacKaye, "Repeater" is the turning point where the group decided to write music together. Its apparent they have a golden chemistry in this moment as an organic and free sound emerges that loosens the conventional song structures to allow all sorts of magic to happen between the guitars and drums with plenty of rhythm breaking and noisy atmospheric guitars to break up the repetitive riffs with expansive sounds often playing with feedback and reverbs. Much of whats hard about Hardcore remains in the moments of aggressive guitar playing as hints of Post-Punk, Rock and Grunge play into their sound but mostly its one of those records that's carved its own niche.

The records best tracks feature vibrant bass lines with a warm, bold, golden tone that the guitars play expansive riffs over, bursting Post-Rock like atmospheres into pockets of the songs. The drums join in too between conventional beats and syncopate with the instruments. MacKaye and Picciotto take turns on vocals and both of them bring a passion with light screams and emotional singing to further illuminate the energy exuding from the instrumentals. The whole chemistry is a fine thing and there is something rather momentary about this record that has been captured in a gorgeous recording that has stood the test of time, sounding fantastic to this day. Between its best songs a couple don't reach the same mark but that's simply a compliment to how excellent some of these tracks are. A deep, artful rock record with a slightly aggressive overtone addressing heavy subjects.

Favorite Tracks: Turnover, Repeater, Blueprint, Sieve-Fisted Find, Shut The Door

Rating: 8/10

David Bowie "ChangesOneBowie" (1976)

On my musical journey Bowie had always been a destination Id planned on visiting but given his recent and unfortunate demise it prompted to pick up some of his records, something about the cover and name of this one made me feel like this is where I wanted to start. The months rolled by and with every passing listen familiarity crept in but no true understanding of his acclaimed genius became apparent. Its not often I listen to Glam and Folk Rock, it made me release the nuances of music your accustom to makes it much easier to digest and understand. In recent weeks though many of these songs have really got into my head and I find myself singing along, which is a great sign. One thing that became swiftly apparent was a lack of concept, direction or theme, the inclusion of a live performance a little odd but the records flow stylistically shifts from an arty tone to Glam Rock with slight Country tinges on some songs. It hit me like a slap in the face when I looked it up online, its a greatest hits or compilation released in the midst of his acclaimed peak, the seventies.

So now I'm familiar with this selection of his songs but I more often prefer the album experience to understand the music and I don't have to many musings on this record either. With it not being what I'm used to its hard to find the words to express. One song that really stuck a chord with me was "Changes" with its lyric "Time may change me but I can't change time"... Deep and profound it gave me much to ponder over but then I thought "Ive heard this before!" and it hit me. Fred Durst of Limp Bizkit lifts the line on a track adding a "So fuck it" to the end of Bowie's introspective statement. My teenage self never found any meaning in Fred's butchering of the sentiment, or maybe I was to young to understand it.

To comment on a few other tracks, "Space Oddity" has quite the emotional progression as fictional astronaut "Major Tom" makes his way to the moon, slow, brooding and fragile strings build a subtle tension that blossoms into a moment of wonder with a shift of pace and inclusion of a flute lead, Bowie singing about sitting in a tin can. The guitar then brings a momentary groove to the track before enigmatic strings snap us back to the setting. Its scenic and quite the narrative song with a lot of charm. "Suffragette City" packs a punch with overdriven guitar riffs making quite the racket and jiving piano chords being played with force. Its fast, upbeat and climaxed by a tonal guitar solo in the middle of the track. I really enjoyed this and will continue to listen to more of Bowie's record. Next time it wont be a compilation.

Rating: 8/10

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

Kvelertak "Nattesferd" (2016)

Prior to this record I had never heard of this Norwegian six piece band Kvelertak. It would seem that they have had a significant success selling records in their homeland and have been praised by critics for a unique blend of Rock n Roll and Black Metal. On "Nattesferd", the groups third, much of the black sounds like a hangover heard in singer Hejlvik's rough, tonal screams and guitar distortions that are a touch more visceral and thick than whats warranted for the Rock N Roll core of their sound. They are not the first too fuse the two sounds together but maybe the first where the artistic intention comes from a much brighter and expressive place than the scornful fire and hate filled noise of Black Metal.

The sounds of a generation gone by echo through this record 70s Rock and Hard Rock leanings reminiscent of Thin Lizzy, see "1985", and other acts of that era make up a large portion of the sounds between the occasional blast beat and shredded guitar riff. Its fluid, organic, full of twists and turns led by solid guitar riffs often accompanied by bright acoustics that accent the rhythm guitars direction. These songs have a fantastic sense of direction and expansion as they evolve through many riffs and progressions that become pretty captivating when in the mood to enjoy whats on show.

With this they certainly carve a unique identity for themselves on a gorgeous sounding production that breaths a ton of life into the guitar tones and strikes a sweet balance with the drums. Everything sounds peachy except for two things which I always found dispelling. I'm not a fan of the vocals, they feel out of place, a little raw and flat and for the most part become tiresome when in the music. As well as that some of the guitar tones get a little weighty and aggressive which feels unnecessary. With that said there are plenty of blacker moments in this record that flow very well between its counterpart. There is artistic creative and vision in abundance but the way it comes together just isn't quite for my taste all of the time. Despite my annoyances I still think its a fantastic record.

Favorite Tracks: Nattesferd, Heksabrann

Rating: 7/10

Echo And The Bunnymen "Heaven Up Here" (1981)

Checking out records on NME's great 500 albums list "Heaven Up Here" caught my attention for its Post-Punk label, an era that's been capturing my attention recently. The group formed in Liverpool during the late 70s and have had a string of successful, well received records of which this is their sophomore, considered their best work by many. Not a band place to start and immediately Ian McCulloch's vocal style caught my attention, reminding me of The Smiths and The Doors, maybe a little Joy Division too.

He would serve as the focal point of the magic this record exudes. Delivered with a immediate power and swift force his voice graciously glides with the gulf of its vibrato opening up a vulnerable state. And boy does it gulf, the wobble is real and swollen with emotion. Its no opera or theater piece, Ian sings with a soothing tone but as the songs build there are moments where he lets it go and every heart felt note chokes me up, the oscillation in tandem with its meaning. A remarkable singing style nearing perfection, if such a thing exists.

Behind him carefully orchestrated atmospheres play off his direction, building and descending at his command using simple constructs of repetitive sections with plenty of variety and change to illuminate entire songs. The drums punch and crash their way through with a rigid sense of groove, sharp and fast in rhythm with plenty of roomy toms in the spacier moments. Alongside them the bass plays a welcome upfront roll, often taking the roll of "the riff" to lead the way forward with warm and structured lines that rock back and forth. The guitars shimmer and waver in the air with light chord strumming and wide reverbs to build a spacious atmospheres on top of the rhythmic core.

As a whole the eleven tracks add up to quite the experience, rich with ideas and never finding itself in a dull moment however the climatic nature of "A Promise" with its warm melodic tone and heart wrenching performance finds the rest of the songs chasing behind this mark. Its the sort of record that lets the time breeze by with its effortless ask of the listener. Ian's voice certainly steals the show but it may not be the same with a different set of instrumentals, the group have quite the chemistry and artistic unity with their music.

Favorite Tracks: With A Hip, A Promise, All I Want

Rating: 8/10

Hot Dad "Wrestle" (2016)

Comedy and music don't always mix for me but when it works it can be pretty spectacular, which is what this record is in terms of putting a smile on your face and having a good time. Hot Dad is a one man band from America who's music focuses around a quirky and crude sense of humor. What he does so well on this release is parody with sparkly, colorful harmonized music that's lighthearted, simple yet executed with a sense of excellence that lets the underlying joke prevail, as opposed the mocking a genre with poor instrumentals, something Ive heard done to often.

So these songs are about wrestlers but they could simply be parodies of entrance songs with each track singing praises to the wrestler in question. All the tracks are about 90 seconds or less which is fantastic, the joke doesn't get stale and we swiftly move from one to the next. Each of the tracks have a distinctly 80's pop vibe about them but in an odd way, one that lacks the sense of cheese that came from the era's excessive use of electronic instruments that didn't have quite the polish they needed. Thanks to much care in composition and quality these melodies and hooks feel rather charming and the cheese simply reinforces the jokes which get increasingly crude and explicit as the record draws on.

The record starts with its best and perhaps the joke tires as the record draws on but it genuinely feels like the first twelve or so are considerably better than the rest. Hot Dad's light, fresh and poppy voice are a constant source of joy, dropping in higher ranged notes with typically pop vocal hooks and catches that again go for quality to reinforce the joke. There's a fair few songs that feel very familiar, "The Rock" reminds me of Thin Lizzy. It could be that these songs are also covers however radio pop music has never my strong point. Its a terrific record that's worth a listen if you want a chuckle, after a fair few listens the joke still holds on but the weaker tracks show themselves.

Rating: 6/10

Bring Me The Horizon "That's The Spirit" (2015)

So here we have the fifth and latest full length from English band "Bring Me The Horizon" hailing from Sheffield. The five piece Rock / Metal outfit have been together for over ten years now with a couple of line up changes on the second guitar, the four friends have stuck together from their formation when they were still in school. The band are now completely unrecognizable from their Deathcore roots. Since there inception they have managed to keep themselves in the lime light while shifting their sound from Deathcore, to edgy Metalcore, to some form of Eletronic-core, and now Pop Rock. The transition has been a big one, yet somehow through the shifts in sound they've kept an old audience happy while attracting more and more fans.

This latest sound is a shinny, bright and over polished, squeaky clean affair, fusing dense tonal guitars with gleaming electronics in a wall of sensual oozy delight. Compressed drums kick, punch and pound through the rich and airy sounds of layered synths racing with the guitar leads that range from Nu Metal to Alternate Rock and arrive with a Post-Metal sense of space. Vocalist Oli Sykes is impressive, showing a range of melody in well delivered cleans alongside his screams which were once quite gnarly and rough in the Deathcore days. The aesthetic is quite the achievement, and the music behind it is a mixed bag of fruits. There's a strong slice of cheap pop that coarses through this record in the form of hooks, lyrics and leads and the balance is a matter of taste and tolerance.

The record starts of strong with a bouncy grooving throw back to Nu Metal riffs that take charge on tracks like "Happy", its lyrics a sarcastic pun towards pop music which in the later stages becomes the focus. On "True Friends" the lyrics start with the teenage angst "twists" and cringing play on words "True friends stab you in the front". A lot of the lyrics on this record felt a little lack luster and hollow, not a lot of food for thought, but simple sentiments wrapped up in catchy word play. Its a double edged sword that works when the music does. "Follow you" delivering a delightful vocal hook that the lyrics do justice, but at other times it didn't quite come off as well.

"That's The Spirit" is a record that's challenged me. On first listen I could barely stand it, but a lot of the "pop" elements and catchy hook writing does deserve a lot of merit because its fantastically composed for a gorgeous aesthetic. Not a lot of whats on offer feels special or original and the second half drags a fair bit for me as the guitars get lighter and lighter with a bigger focus on the softer side of their sound. It leaves me with mixed feelings but there's songs here to be enjoyed and where they have progressed they've certainly lost what made them unique but the direction there heading in is a positive and potentially exciting one.

Favorite Songs: Happy Song, Throne, Follow You

Rating: 7/10

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