Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Lords Of Acid "Lust" (1991)

 

Deep into an obscure spotify playlist, I Sit On Acid immediately caught my attention with its sexually provocative intro leading into a obnoxious romp of darkly astral synths and hypnotic driving rhythms. I'd read up on the Belgium group Lords Of Acid many moons ago. Back then, they never sparked my interest but with my current pursuit of new sounds, this aggressive Electro-Industrial adjacent take on House and Dance known as New Beat has been a fascinating experience, if not a crass one.

The crude sexual themes and controversy it probably stirred at the time are little more than a smirking gloss on the music to give it another feisty edge. The instrumentals already do the heavy lifting here. What I've discovered is powerful and dense. Hard hitting saw waves and buzzing synths sound far more intense and aggressive than anything I've heard for this era before. Bold obnoxious keys are crammed in layers, squeezed between the relentless punching percussion with its classic Dance hi-hats. This is classic club and rave music for drugs and much more no doubt.

These harsh aesthetics make for a mini cacophony of attitude with decadent melodies and mean bass lines being rotated into focus. Nestled in are samples and fantastic yet cliche early 90s singing from Jade 4U. If you've spent any time with this era you'll hear too many tones and samples to count. There is obviously some keyboards, sample packs and software of the time that were heavily used and done to great effect!

 At sixty minutes it can test ones own tolerance, the jagged nature of the music feels incessant if not your primary cup of tea. I'm mostly blown away by how dark and dirty this music is for the year of its release. Its another missing piece in the musical puzzle. Of the praises I preach, I mostly talk to a handful of songs like I Sit On Acid that nail the vibes. Other songs struggle to land on such enthralling soundscapes, the track Hey Ho! being an oddity as it fails to incorporate Disney's seven dwarfs thematically. Overall Lust has got mediocrity with a few sparkly gems poking out between.

As for its crude nature it mostly feels harmless and fun, tongue in cheek for fun yet the self evident theme on closing track "I Must Increase My Bust" is contentious when it comes to self image and the damaging effects of comparison with others. Apart from that one blemish, this record has been a grooving blast! Such a niche discovery.

Rating: 6/10

Dan Terminus "Last Call For All Passengers" (2020)

 

 Its been a few years since I last checked in with the French musician Dan Terminus. Back then the Synthwave scene was still emerging and this darker flavor caught my ear. With only a few songs making marks, much of those early records have faded from memory. This particular niche in Electronic music is one that I feel often doesn't go far enough with many of the artists clinging close to the pillars of aesthetics that define it. Much of that applies again on Last Call For All Passengers, however its opening cuts aim for something with more of a percussive drive that is present throughout but makes itself known fresh out of the gate.

Kicking off with Oubliette, big slabs of meaty synthetic buzzing slam into the fray as baselines following its opening arpeggio. A harsh slapping snare drum, hollow kicks and snappy cymbals pound away giving structure to the choppy shuffling of hard hitting virtual instruments that dance between with a subtle reminder of those old jolting Dubstep drops. There is a whiff of something in the air, track two's opening melody and sense of groove confirms beyond doubt, The Prodigy have had an obvious influencing hand, pushing the John Carpenter Synthwave sound into club territory.

Its two persuasions don't add up for me. The dazzle of glossed up melodies, spearheading a spirit of pedal to the metal night life, rubs right up against the harsh deployments of hard edged synths and an Industrial like, colorless approach to their timely union with the thumping drum arrangements. It often plays with that loud quiet dynamic, yet the two don't compliment one another. An atmosphere conjured with one hand, is often smashed by the shift in temperament to grooves that don't feel all to fresh in the face of whats come beforehand.

On the aesthetic front its production is hard and crowded, often cramming sound in for the loudness effect. The grittier sound of its drums could do with some polish too. Its a game of contrasts that doesn't pay off. Many of these songs are embellished with layers of synths, oozing in slick textures that conjure visions of cybernetic cities from a dystopian future. They work in tandem, moving in directions and illuminating the neon glow but often thwarted by this return to a club floor banger mentality. That unfortunately dispels any magic for me and leaves this one feeling like an arrangement looking better on paper than in execution.

Rating: 4/10

Hocico "Artificial Extinction" (2019)

Its more than fair to say the Mexican duo Hocico have a sound set in stone. Their Agrro-tech tone and temperament hasn't budged in a over decade. 2017's Spider Bites offered some b-sides and inconclusive experiments that made for an interesting listen as a fan. This new album however sticks rigidly to their hard hitting and darkly formula, churning out another eleven four to five minute tracks of thumping drums, aggressive synths and harsh screams. What's different this time around isn't much. A noticeable switch up to Drumstep style beats on a couple of tracks, however they are the most generic of samples, ones which I enjoy of course.

With the mildest of change ups, the record as a whole fails to produce much that sparkles. Its a very routine album where you can simply drop in if your in the Hocico mood. It delivers on that, another installment of driving dance floor kick drums, heavy hitting, the backbone of many songs, steadily thumping through just about every track. Around that drive, harsh and filling clicks, clacks and buzzes of percussion and Industrial noise create a thick barraging wall of unearthly sound. Layered looping arrangements of unnerving melodies dance of the variety of synth tones tuned for each track. The vocals are one dimensional, every word delivered through the same "whispering scream" that tends to blur into the music in a drone.

It occurs to me now that even its interlude tracks stick to the blueprint, being interchangeable with others from previous records. With each song deploying a repetitive arrangement pummeling dark EDM, it takes an emergent melody or break to elevate the mood and that seems to take place every other song or so. Only one song excelled, Damaged. Its shift in percussive style exciting and the stand out melody with its spacey bells is thrilling every listen. Otherwise its the same old thing from this duo. Next time I wont bother since they seem set in their ways, even if I like that sound.

Favorite Track: Damaged

Rating: 4/10

Yagya "Stormur" (2019)

Excitement and exception falls flat on its face as I rush to pick up a record without a pause to hear it first. Yagya has been a frequent "go to" for a particular mood, the steady pacing, ambient energy and dreamy atmospheres are blissful in the right setting, even calming. This time around the formula has changed, a pivot back towards roots in Dub, Techno and IDM music leaves us with a record more alike a Tangerine Dream album than Brian Eno. The opening couple of tracks have the distinctive soft and airy synths, cushioning the monotone beat and slowly melting into a dreamy atmosphere. It takes off where Sleepygirl left but not for long.

With each track the layer of warm and tranquil synths seem to slip out of focus as the underlying drive of Dub beats seem to become the main narrative. With an unhealthy amount of repetition the musics elongated moments seems to ploy around the microscopic details of the beat and its synths that latch closely. Inflection, tone and volume morphs and transmutes with the occasional kick removal offering up the only variety. Its at this point the songs drone on with that Tangerine Dream quality of winding meandering synths. Its dull, the record may possesses degrees of composure but its long strolls through winding beat manipulation suck out any magic it musters in brief moments. A real disappointment, not my cup of tea that is for sure.

Rating: 2/10

The Prodigy "No Tourists" (2018)

Many years on from their hay day, English Big Beat legends The Prodigy bring back their sound again for another round of 90s electronica mashed with booming drums beats on No Tourists, their seventh full length. The project was initially intended to be an EP but the quality of the music led them to a full length release that is noticeably shorter than The Day Is My Enemy. If it is curation or a short and sweet principle, this newest chapter definitely carries a more vibrant energy as it breezes by with a lively energy, charisma and focus on the big pounding drums that you'd expect of them.

The approach to sampling, electronics, melody and vocals all have a strong 90s feel, hailing back to their best era. Its not on par but their knack for jittery synths and the cramming together of intricate sounds to form a whole feels fluid and vibrant. Massive kicks and snares snap and pop throughout and the arsenal of accompanying sounds makes for a fury of body moving energy. Interestingly a collaboration with duo Ho99o9 stands out as an excellent moment where the two acts find a common ground to accommodate one another and produce the records most infectious song!

Beyond that one moment not much breaks expectations or deviates from form. Vocally the group focus more on the hooks and have their snippets on loops for the choruses. A lot of synth setups, tone, delivery and vocal samples hail back to their early days. If you know them well you will hear the links. This is The Prodigy delivering what fans want and if in the right mood it makes for a heck of a listen. Its far from original, a few spicy arrangements are in store but this is a full speed ahead, wild ride!

Favorite Tracks: No Tourists, Fight Fire With Fire, Champions Of London, Resonate
Rating: 7/10

Röyksopp "The Understanding" (2005)

Röyksopp are a Norwegian duo of producers in the realm of Electronic music I found through fellow Norwegians, the Black Metal group Enslaved. Their cover of "What Else Is There?" had my curiosity sparked but imagine my excitement when none other than Karin Dreijer aka Fever Ray is the lead vocal on the track. It instantaneously felt like a song close to my heart and one I known I'll enjoy for years to come. I am a little saddened that she was just a feature on that track alone. I thought I had unearthed another project of hers but alas I wanted to listen to the whole record anyways.

The Understanding feels very much of its era, a post-Daft Punk Discovery world of Electronic pop music echoing shades of Techno, House, Downtempo and Trip Hop. It finds its feet with an appropriation of gentle, unobtrusive, calming music to politely invite you into its smooth and simple world. Temperate drum patterns groove on steady, repetitive beats and the range of synthesizer sounds drift from obscure and quirky, electronic and robotic all the way to light soft airy synths that linger in the atmosphere. A few songs into the record it builds up some gusto as the music expands with lively energetic drums and jiving baselines that play off Disco vibes of times gone by.

Alpha Male sticks out us a lengthy track that lures you in with its soft cinematic opening, slowly building its pace an intensity into an explosion of Electronic Progressive Rock on a exploratory tangent ever so similar to the ideas executed by Contact on their records. Its a warm, inviting record with little to fault other than being somewhat too subtle at times. Its always interesting, never quite engrossing bar a handful of songs that step away from the slow start the record kicks off with.

Favorite Tracks: What Else Is There?, Alpha Male, Dead To The World

Rating: 6/10

Enter Shikari "Take To The Skies" (2007)

Its unbelievable to think ten years have flown by but that's life. "Take To The Skies" is the unleashing of our local band Enter Shikari onto the world. Ive seen this band go from the school down the road to headlining festivals and this album is a personal one, loaded full of fond memories and strong emotions. It was a big event, we got to see some of their pivotal shows around that era including their Download performance of the same year in the big blue tent which was absolutely rammed and loaded with mosh pits.

It's no masterpiece but a personal triumph for fans of Enter Shikari, a band you can truly adore if they push your buttons. "Take To The Skies" had no surprises, the culmination of their best songs from years of utterly relentless touring are polished and fined tuned alongside three or so new tracks. Its all glossed up with album quality production and a reworking of the electronics to flesh out all their songs with which raving synth lines that bleed into the interludes lined between a handful of tracks.

In retrospect the lack of subtly on this record is a charm the band would grow with time to gleam upon. The raw fusion of Hardcore throw downs and rampant rave electronics is undeniable in the wake of their youthful energy and inspired charisma. Its never gotten old, the fantastic chemistry to create energetic, uplifting and fun music with a real backbone of feeling and lead them into explosions of aggression with grooving beat downs and guitar chugging breakouts that would always get a crowd moving. Seeing the path they have taken, it becomes apparent how simplistic some of the compositions are but Shikari pull it off with a stroke of inspiration that you cant criticize given its authenticity.

The albums flow is flawed, It gets of to a wild start with fan favorites and two new tracks then the interludes break up the flow and the second half unwinds at a different pace, leading to the fantastic "Adieu" with would showcase the genius to expect of this band leading forward. It ends with the explosive "Ok, Time For Plan B" after its infectious build up, a great choice to end on before the closing tracks echos of the albums opener. It gives the record somewhat of a compilation vibe given the attachment of knowing most the music before its release and I'm not sure if the interludes were an attempt to create a bigger picture with the record as a whole but I never felt it succeeded in doing that, if it was the intent.

 Its the music that's wonderful and the years gone by make me realize how foundational they were as songwriters then. Singer Rou's screams and shouts are so fitting of the scene at that time and stylistically raw. The synths are accents of the tone, not woven in but aligning with the music and in many cases leading it. The beat downs are again atypical of the scene yet executed with an edge of creativity and always in the direction of the music, never rumbling out of nowhere and always feeling like an essential part of the music. Its truly fascinating and speaks volumes to the music these guys would write with their currently best record "The Mindsweep".

I adore this record and trying to be objective I wouldn't consider it a classic but on a personal level the nostalgia, adventure and fun of the time are deeply connected to the music and Shikari will always hold a special place for all the amazing memories. I think even back then we knew this band would be special forever to come. I little gutted now I missed the anniversary show this year but I will see them soon and forever be revisiting this wonderful record. On a final note I think its fitting to point out this record was an independent release on their own record label and their DIY ethic speaks volumes to the passion they have that you can hear running through this album.

Rating: 10/10

Hocico "Spider Bites" (2017)

Hocico are a Mexican Aggro-Tech duo who have been at it for almost twenty five years now. It was their fifth album "Memorias Atras" released in 2008 that caught my attention. Its one of those "go to" records when in the mood for dark and moody aggressive electronics. Its fully of catchy melodies and pummeling Industrial EDM grooves. Unfortunately it has served as the summit of their success as the band have somewhat stagnated on the same ideas and aesthetics that peaked with that album. Each release since has been more of the same, my interest in their music dulling significantly. "Spider Bites" might be the last time I check in with the group. Its an EP that weighs in at thirty one minutes, not too short of full length but its track arrangement shows two halves that don't make a whole.

Opening with "No One Gets Out Alive" we are thrusted into grip of the harsh and thudding tempo of a linear snare kick drive that incessantly thumps away as jagged synths and layers of flashing buzz saws conjure a menacing setting for distorted, twisted screams to drive home the theme in the songs name. Its an atypical rigid composition where all the instruments are instant on the attack and fall to silence swiftly as the pair so typically compose with a digital mindset of on or off with no room for subtlety. "I Abomination" is another dark banger that's far more appealing. It has depth and texture in the instrumental, dropping the fast choppy melodies for drawn out textural waves that conjure an atmosphere perfect for the main melody and hook to drop in with a classic Prodigy like vibe. "All Beauty Is Lost" is the third of these straightforward clubbing tracks however its toned down resulting in a lot of atmosphere for piano melodies and slower string like synths to create a more inviting enviroment. At nine minutes its no progressive epic, after playing through its motions the pianos are given center stage to go solo and lead back into the same loop, resulting in a needlessly long song but one that's endurable given its calmer tone and interesting piano compositions.

The other three songs represent the between moments that would break up the intensity of back to back club tracks on a full length. "Conjuro" is a noise driven Industrial atmospheric track in which the distorted, reverb soaked vocals take center stage. It sometimes sounds as if key instruments and drums have been removed from what might of been a fully fledged song. "The Secret Window" is the records best moment, an interlude for the groups softer synth sounds to orchestrate a sense of mystery and wonder within a short space as its lead alluring melody plays over and over, deep echoing kicks and whiffs of synths pass it by as the underlying buzz saw slowly intensifies and guides it through the abyss to find conclusion in a break beat. The last track starts out somewhat similar although it detours as a rumbling Industrial base line go up against a slow expansive drum groove while more mysterious melodies play out.

For me this record isn't cohesive, its a collection of ideas of which some are actually quite impressive individually, together they have little direction or consistency. There is no doubting that Hocico are a talented duo with a unique sound however a lack of theme or vision means each song feels isolated. Just as one pulls you in the next will break the spell and move elsewhere. Its bitter sweet, disappointing but there are at least a couple of tracks worth coming back to from time to time.

Favorite Tracks: I Abomination, The Secret Window

Rating: 4/10

Timothy Steven Clarke "Starsiege OST" (1999)

In a similar vein to Frank Klepacki's Command & Conquer soundtracks, Starsige is another video game soundtrack of weird and wonderful Industrial music colliding with Techno, Breakbeat, Cyber Punk, Metal and all with shades of Ambience steering the musical intensity. This is the sort of music you could grow to love after hearing it over and over in the background of your favorite childhood games. The difference is I never played Starsiege, It was recommended to me based on my adoration of the C&C soundtracks. I'd always yearned to hear more music in the Industrial Metal styling of Frank Klepacki and this is the closest Ive come yet. Unlike the back road to bands like Nine Inch Nails and Ministry, here is a record that comes after the likes of Tiberian Dawn & Red Alert that pulls influences from Frank's particular flair and contribution to the genre.

All I know of Timothy is his work on this soundtrack and its squeal. His distinction is in the detailed layering of sounds that stack up in these compositions, throwing all sorts of guitars, synthesizers, drum sequences and samples into overwhelming blocks of deep, textural sound that charge at you with big theatrical directions. That's just some of the tracks though, others dispel the lively energy, creeping into mysterious territory with eerie, unearthly synths brooding dense atmospheres over janky disjointed beats. Thick and blunt with its delivery, many of the synths and oddities are paraded upfront with no measure for subtlety. The resulting songs can often be very alike to some of Frank's own but Timothy gets the chemistry right, emulating a rather wild and fringe sound that will turn off many. The vocal presence, where it turns up, is surprisingly dark, offering alien warped voices and distorted shouts in the vein of Aggro-Tech.

The soundtrack is split onto two discs, the first is rather disapointing, with just six tracks it feels like the projects b-sides, with exception to "SS2" and its thudding, pounding break of the Amen Loop, bordering on Hardstyle. The album gets going on the second disc with the anthemic, blood pumping "You Got". From there on the pace and variety is just fine, constantly mixing up the approach, fluctuating the intensity and maintaining the same mysterious, alien, cybernetic atmosphere. Its a journey, a trip and has totally scratched the itch, one to go on the playlist with some of my other favorite video game soundtracks. Great discovery!

Favorite Tracks: You Got, Newtech, SS4, Purge, Watching, SS1,

Rating: 6/10

Death Grips "Steroids (Crouching Tiger Hidden Gabber Megamix)" (2017)

With an excitable change of direction, the experimental, edgy, noise fulled trio Death Grips drop a twenty two minute mixtape a year after their finely tuned full length "Bottomless Pit", also announcing a new album in the works. The mention of Gabber in the title is no joke, the group experiment with the hard thudding, repetitive grind of Hardstyle which has the majority of songs driven by a fast thumping bass and kick syncopation. Its far more interesting than what I remember of these harsh electronica styles, MC Ride's vocal presence and the layers of electronic noises surrounding him making for a more expanded experience than one might expect given whos making the music. The production is rawer, less polish and that only aids it. The constant bombardment of strange, wild synth noises remind me of the Bomb Squad, its as if select moments of a wild, free flowing noise jam where selected to be repeated as sections of the tracks. The result are dense, thick tracks which an endless shuffling of squashed in noises. There is so much going on it could almost be overwhelming but luckily the balance feels just right as a listener can get a feel for the song yet spend ages listening into all the nuances.

The percussion is very lively, to juxtapose the relentless thudding of the Gabber style tones of unorthodox rapid rolls and fills barge there way in. Occasionally the tireless jamming of Zach Hill can be heard between them, filling out another dimension with groove. The unhinged style extends to MC Ride too who drops a great set of dark and life infuriated lyrics with his typical artistic flavor. They make use of many effects, delivery styles and go for anything creative thats off the path. Its an engrossing record made from a varied collection of ideas that offer up a lot for the listener, its got depth, direction and substance. I'm left as curious to where they will go next, if its either a teaser of whats to come, or a one of, it stands on its own as a great but short experience.

Rating: 7/10

The Prodigy "The Night Is My Friend" (2015)

Last year British legends of Essex "The Prodigy" returned from the darkness for another record, something they do every six years or so since their most successful "Land Of The Fat" back in the 90s where they were much more active. I caught the promoting tour which was one heck of an atmosphere to take in, one big party with a crazy light show and Maxim Reality exploring the venue, singing while walking through the crowd. Hungry for a little more I picked up the counterpart EP that finishes the other half of the lyric from title track "The Day Is My Enemy".

It should be known EPs and singles can often be tidbit extras, scraps and left overs brought together to fit the norm. Unfortunately "The Night Is My Friend" falls right into that territory. The opening "Get Your Fight On" is a re-equalized track that wouldn't even get audiophiles excited. A shortened three minute edit of "Rhythm Bomb" is thrown in possibly for radio play. There is only one new song "AWOL" which is pretty banging, another big break-beat with a lot of texture, distortions and typical Prodigy noises. Its plays itself down and builds up that typical dance suspense with an increasing snare leading in the drop which is the hook heard at the opening. Its a short but sweet song.

Lastly there are two remixes, "Rebel Radio" gets chopped up, re arranged with a clanging, loud snare harping on through the track reminiscent of "St. Anger". Not appealing and Caspa's remix of "The Day Is My Enemy" isn't as bad but his shuffling Trap hi-hats and Dubstep wobbles don't really fit the sample material, Its mediocre at its best. With just one new song its quite the disappointment, not a release worthy of attachment to the main album in my opinion.

Favorite Track: AWOL (Strike One)

Rating: 2/10

Basement Jaxx "Remedy" (1999)

A recent revisit to this record takes me back to my youth. At the turn of the millennium London based House duo Basement Jaxx's debut burst onto the scene with heavy airplay rotation and music video promotion on MTV that ultimately landed this record in my lap. The nostalgia was strong but I found the retrospect hadn't changed my opinion much in the ten or more so years since I last gave it a spin. The singles are banging, classic Dance tunes that speak volumes but beyond them a rather varied inclusion of styles through sampling that doesn't always hit the same intensity.

 Behind almost every song a steady is baseline thudding away in unison with programmed drums shuffling through tight varied arrangements to lay down the Dance foundations to move and groove to. Sometimes a little drab and narrow they get rather bombastic on the livelier, upbeat numbers and around them the samples and instruments create a different atmosphere for each song, with flashes of Pop, Ragga, Big Beat, Downtempo, Dub, Synthpop, Techno, Hip Hop and Ambient in the last two tracks. The duo give the House sound an expansive flavor from track to track which can be a little hit and miss.

It really comes down to taste but for the most part I like a lot of tracks on this record. For me "Always Be There" stands out as a song more released with its slow build up creating a slow settling mood for its vocal feature to climax with rich, sunny strings and echoing reverbs shuffling back and forth. The opener "Rendez-Vu" is a timeless classic sampling Spanish guitars, delivering a hook with infectious strings and topping it with the opening vocal lead "dum dum dum" and "doo wop" siting no need for coherent sentences to sing along with a tune. Each song has its own chemistries and arrangements, most of them suffer from a little repetition once the song has shown all its tricks and I'm left feeling pretty much the same way as before. It has fantastic moments but is rather inconsistent in flow. The final tracks drift off as the wheels slow down and fizzle out.

Favorite Tracks: Rendez-Vu, Jump N' Shout, Always Be There

Rating: 7/10

The Future Sound Of London "Lifeforms" (1994)

Sent to me from a twitter follower I fired up this record on youtube and ever so swiftly did this one reveal its brilliance. As on the first listen and many follow ups I was captivated by such an organic and spiritual musical experience. "Lifeforms" is a gem, a strange oddity of experimentation that abstracts the norm and unites the beyond with the now as if on a psychedelic drug trip, reaching into the limits of the mind. Perhaps its not totally "out there", or anything to blow your mind but given the context of 1994 this record is well ahead of its time, mixing all sorts of sounds into a fluid unravel of imaginative beauty for your soul to explore.

This is one of those records to experience yourself. There are some steadier moments where chilled out, down tempo beats providing a familiar rhythmic setting to nod along to, however its charm lies in a continually evolving tapestry of unusual samples and wandering instruments that find a mesmerizing chemistry in unusual places. Even room for a lofty, dreamy sample of "Cannon In D Major" to drift into the subconscious. At 90 minutes it doesn't outstay its welcome, but continually finds new territory and sound to move through, it could of easily gone on for longer.

Almost every moment on this record is fantastic and there are two moments in particular I'm fond of. As one might guess there is black and harrowing track that delves into dark down tempo ambience with shadowy shimmering synths, cryptic distorted voices and rippling sirens in the distances. It evolves into a short lived steady beat that grooves with an evil menace. In contrast "Dead Skin Cells" brightens the mood with with unusual alien sounds juxtaposed against birds tweeting in the distance while a laid back beat drifts on by. Much of the record ebbs and flows at its own pace, through one oddity after another. A truly riveting experience, one I will continue to dive into as time goes by.

Favorite Songs: Dead Skin Cells, Domain, Spineless Jelly, Vertical Pig

Rating: 8/10

Enter Shikari "The Mindsweep Hospitalised" (2015)

Remix albums are rarely a favorable listening choice for me. Seeing one of my favorite records of 2015 remixed, "The Mindsweep", I didn't get particularly excited. Enter Shikari have always filled there discography with EPs, remix records and mini albums that rarely have more to offer than the full lengths. With strong electronic influences in their sound its no surprise they turn to a host of different electronic artists to dissect and rebuild their tunes. Drumstep, Dubstep, whatever you want to call it, a few distinctive elements of the Mindsweep songs are reassembled into new entities.

Most of the songs here consist of high fidelity, temperate drum kits hammering away between atypical dance grooves and more intricate arrangements. Decorative synths and un-intrusive melodies fill the void above the thick baselines and occasional dub drops. On there own the songs hold up well, but feel over-shadowed by the deliberate inclusion of samples, mainly vocal, from the main record. It feels like a forceful tie and the memorable lyrics and delivery style of Rou have the originals playing out in the mind. With each listen the better aspects of the record began to show but as a whole this felt like a collection of mediocre Drumstep stitched to the original record with little inspiration. I could of enjoyed this much more without the needless inclusion of sampling to tie it to a great record.

Rating: 4/10

The Prodigy "The Day Is My Enemy" (2015)

The Prodigy are a British trio of electronic musicians who need no introduction to residents of their native country. Here in the UK they are a household name, with big albums and singles like "Firestarter", "Breathe" and "Smack My Bitch Up" in the 90s they establishment a huge presences for themselves alongside the Brit Pop era of that time which saw a fair few musicians, bands and pop groups flourish with a wave of popularity. This album marks 25 years the three have stuck together and is only their sixth full length record, having slowed down their output since their most popular release "The Fat Of The Land". The group played a pivotal role in defining the Big Beat genre which mixes elements of Hip Hop and post-Detroit rave scene sounds like Jungle, Techno and Drum & Bass. The name clearly suits the genre which revolves around massive loops backed and reinforced by various styles of synthesizer leads and electronic sampling.

"The Day Is My Enemy" is a generous serving of vibrant, industrious, energetic songs that give their fans exactly what they want, more hard hitting breaks, hooks and jittery melodies to rave too. Beyond that their little thats expansive or experimental about this record, The Prodigy are writing sharp songs that meet the expectations of their niche. Through out the record there are hints and inklings of similarities to previous songs, which is to be expected. Overall it does an impressive job of keeping their sound fresh, with exception to "Destroy" which felt like an intentional throw back to the 90s, and one of the records best songs with its thumping bass kick, shuffling snares and pitch shifted hits creating one heck of a hook.

Production wise, their experience and knowledge shows. Theres very little to talk about beyond the stunning clarity and balancing of instruments in the mix, it makes for a lively record that gives you a feel for the live experience. The record very much suits a mood and apatite but with little to expand on what The Prodigy are known for it can feel all too familiar. With a lack of new ideas or moments that take you by surprise it leaves a desire for something new. Its strength is its rigidity and so is its weakness. The Prodigy stick to their guns and shoot to kill, but they could do with a new target. Great listen but very much scratches an itch thats been treated before.

Favorite Songs: Ibiza, Destory, Wild Frontier, Medicine, Wall Of Death

Rating: 6/10

Enter Shikari "The Mindsweep" (2015)

For me, Enter Shikari are no normal band. They were once thee band in our local scene, playing at our schools, pubs and clubs we saw this band grow from the back garden to headlining festivals. Back when they were the unsigned hype in the UK we all knew where this band were going, they had heart and charisma, a sound they could call their own and a determination to live out their dream. I have an immense amount of respect for these four friends who started the band while still in school back in 2003. Through relentless touring and commitment to their music they have built a large audience across the world from the ground up with a DIY ethic, creating their own record label to release their music on and touring constantly, playing many clubs and venues across the land. Eight years on from the release of their debut major release Shikari have matured as musicians and this, their fourth, is their most structured and diverse record to date.

The record start of with a familiar feel as Rou gives another rousing speech regarding the state capitalist society and the problems we face with the need for social awareness, the music steadily builds intensity before breaking out into rocking riffs emphasized by sporadic synths and climatic melodic vocal leads. A warm opener for a record that got a lot to offer, Shikari's diverse sound is know for pulling many elements together, Alternative, Rock, Post-Hardcore fused with Techno, Trance, Drum N Bass and even tinges of Dubstep. The group are not afraid utilizing electronic club sounds alongside their traditional instruments. More so than ever we hear a dynamic fusion where the glistening synths and noisy glitch sounds compliment the core of the songs, giving them a rich musical dimension that never falls short to deliver delight. Whether rocking a guitar heavy breakdown, a moving rock ballad or slamming drumstep break, they find cohesion between the diversity of styles and write effortless music which further incorporates raps alongside the scream and clean vocals, even a Symphonic element is present with some soft strings dropping into particular tracks.

The albums production is classy, with so many instruments at working its great to hear them meld effortlessly, aided greatly by the production from Dan Weller of Sikth. Beyond the flush sound, the music itself is positive, upbeat and full of good vibes as the album courses through tracks that focus of the best of their diversities. Each track feels characteristically different from its predecessor and all of them are pack with musical moments you look forward too, whether a melody, riff or hook every song is filled with something to enjoy and despite being such a varied record is flows effortlessly. Its the first time I had listened to them and not yearned for something like the old classics "Sorry Your Not A Winner" etc. Shikari have matured, but here it really came together, firring on all cylinders. There was only one downside to this record, the lyrical content. Not much resonated with me, or even grabbed my attention, but that is no fair critic as words and lyrics often go right through me. Its been great to see the band progress, but here I hear their flame grow strong, a terrific record that sets them on a path for great things.

Favorite Songs: Anesthetist, The Last Garrison, Myopia, The Bank Of England, There's A Price On Your Head

Rating: 9/10