Pantera "Vulgar Display Of Power" (1992)

Today is a sad day. The 8th of December marks the 10 years its been since the death of Dimebag Darell, one of Metals greatest guitarists, known for his sonic lead guitar solos and tight groove rhythms as well as being a all round nice guy and drinking machine. He played lead guitar in Pantera, the group that prevailed Metal through the 90s in the absence of Metallica and rise of Alternative and Grunge. His death was tragic, the events of that day in 2004 shook the Metal community hard, and this day, or more so his music, has since been celebrated by metalheads around the world. It seemed fitting today to write about "Vulgar Display Of Power", Pantera's "second" album and the peak of their commercial success and a massively influential album on the next generation of Metal.

Having reformed their sound with the previous album "Cowboys From Hell", Pantera define what their about on this record, ditching the high pitch vocal leads and focusing more on tight grooves, Pantera create a powerful, violent metalic sound with crushing rhythms to pound your fist and bang your head too. Anselmo backs the attitude of this strong, aggressive sound with his Hardcore like lyrics of self empowerment and mental strength, his voice is powerful and angry, he screams with a balance that makes him audible and understandable. He's a character, one some consider one of metals greatest of vocalists, but for me he brings an undeniable energy when coupled with the instrumental sound of Pantera, one thats not there in other projects of his.

Taking the forefront of attention in Pantera's music is Dimebag's guitar presence, boasting a dense, thick crushing guitar tone, he bangs out endless tight rhythmic grooves song after song. There performed to perfection, continually energetic and enthralling, getting stuck in your mind. Dimebag has a great understanding of both simplicity and complexity, understanding the relation between the two and how to execute them with attitude. For example "A New Level", a simple, effective chord progression that any beginner could learn to play, the song then shifts gear into a tight picking rhythm, upping the anti. "No Good" demonstrates Dimebags technical riffing, something more frequent of other records. The most important factor in Dimebags rhythm guitar is his musical relationship with his brother Vinnie. Often overlooked, Vinnie's machine like drumming is crucial in Dimebags grooves, providing narrative and often emphasizing the harder hitting moments in his riffage. Vinnie's beats are not like regular Metal drummers, and playing Dime's riffs to regular drum patterns will demonstrate this clearly. Drummers are often overlooked for their contribution, their flair can be limited by the objective of their position, as opposed to the wide range of sounds a guitarist can produce. When it comes to Dimebag's tight Rhythmic grooves the importance of Vinnie is often overlooked.

When it comes to Dime's lead guitar there is no competition. This man accelerates into his own universe when hes shreds, leaving everyone behind. His leads are colorful, imaginative and mind bending, always executed with impeccable precision, even when performing when heavily intoxicated. Across Pantera's discography, his solos are widely varied, imaginative and inspiring. There captivating and something you need to hear for yourself to understand. Vulgar Display Of Power is a full on record, its spruced up by two gentler melodic tracks "This Love" & "Hollow" that demonstrate the groups genuine musical talent. It's a break in pace but doesn't stir up what is a straight forward execution of pummeling aggression from start to end. Its a great sounding record, the guitars and drums are captured dynamically. The kit sound fantastic in the mix, every kick, snare and cymbal punching in with reverb, and without clashing with the guitar. The bass is a touch tame, just backing the guitar throughout. Classic record, one to get will get you pumped up and full of energy, great for running or lifting. RIP Dimebag. I Can't believe its been ten years... Thank you for the music.

Favorite Tracks: Walk, Fucking Hostile, This Love, No Good, Hollow

Rating: 9/10

Kanye West "Yeezus" (2013)

Kanye West is an American producer / rapper who came up in the 00s through production with Jay-Z. Gaining recognition and acclaim for his beats, he was able to release his first solo full length in 2003. From there his success has continually grown. Hes now arguably one of the biggest names in Hip Hop and popular music. What originally drew me to his music was the forward thinking production and soulful themes rooted in Hip Hops culture and past. Of all the post-90s styles and sounds, Kanye's felt the most like an evolution into the modern era. His first two album where as far as I got. I was apprehensive to listen to "Yeezus" without bringing myself up to speed, there is an apparent void between "Late Registration" and this one, the soulful uplifting sample driven numbers are gone. Here we find electric synthesized minimalism and harsh, noisy aesthetics, coupled with rough and rigid sampling that create a bold and uncompromising sound to which my overall impression was hit and miss.

Tracks like "Black Skinhead" and "Send It Up" do everything right. "Black Skinhead" offers up some simplistic grooving tom and clap percussion accompanied with distorted vocal samples building up to a sublime sub bass kick where Kanye does his 300 romans thing as overly loud drums, peaking both the momentum of the track and volume, as they distort through compression. "Send It Up" accompanies a minimalistic bass kick / thud with a obnoxious siren like sound that follows its own groove. On other tracks it doesn't quite work. Kanye's electronics aesthetics and interrupting cuts are anti indulgent for me, like the screams on "I Am A God" which break up the track, I'm not sure if I like them or not but they indicate a Death Grips influence that could speak to the entire approach to this album, and its the approach that should be applauded. Theres experimentation and ideas at work that really hit the mark, just not on every track. One of the most prominent experimentations was in the rhythm department, a lack of cymbals and excessive minimalism, often letting the synths guide the rhythm, through the bass or not at all. It was quite refreshing, and it worked.

Now lets talk about the "Raplic priest, getting head from nuns". I've never been convinced by Kanye's rapping, and "Yeezus" hasn't changed that. On his first two records there were some pretty appalling verses. The highlight of those albums and more so with "Yeezus" are the beats. I can't think of a single line thats stuck in my mind for anything other than its obnoxious or ridiculous nature, but thats just Kanye's "lyrical wordsmith" style. It's not all bad, his flow and tone, style of rapping is enjoyable, its just the lyrical substance I question, however I commend him for following his own style and establishing himself as a rapper. He doesn't sound like anyone else, but for me hes the producer that needs to stay behind the beats, not the mic. For the things "Yeezus" does right with its beats and instrumentals, its let down by the lack of anything to get into lyrically.

Favorite Tracks: On Sight, Black Skinhead, I'm In It, Send It Up

Rating: 5/10

Down To Erf "Down To Erf" (1998)

In the mood for some chilled out Hip Hop I pulled this gem out from my collection, its an 8 track EP from Canadian group "Down To Erf" consisting of rapper Mathematik and a DJ who's name I am unaware of. There is very little information about the group on the Internet and this would appear to be their only release, one which we could consider a lost classic, however time tells a story. This was once a record I couldn't put down, it was at a time when I was rapidly expanding my discovery of the East Coast, listening to records like "Illmatic" & "Lifestyles Of The Poor And Dangerous". It served as a laid back, jazzier rendition of the classic early 90s sound. After a few years It hasn't quite the spark I remember, some of its flaws are more apparent, but its still a personal favorite, mainly for the jazzy samples and grooving beats.

Rapper Mathematik has a soothing flow, a steady pace delivering technical lyrics delivered in a consistent, yet tame manor. His style is approachable and indulging, easy to follow, and his lyrical ideas are on point, but he falls short in a important places. The calm and steady delivery is continually mechanical, leaving little room for variety, a spontaneous change of flow or any energy, charisma etc. From start to end Math follows the same formula which can often have him falling into the background as his style becomes monotone. His lyrics are clever, and serve a strength he couldn't do without. "When I fight, the weapons are the rhymes I write", "Hip Hop bath, cleansing in the words of Math". There are plenty of clever lines scattered throughout this record. There a pleasure, but the lack of variety and ideas beyond his typical flow held him back from doing something truly great.

The record starts off with an estranged mix of samples coming together with a standard beat that quickly fades out to a sub bass kick that brings in a steady beat accompanied by dreamy bass noise and scattered, distant instrumentation that comes and goes. The tone is set well as Math drops in and lays down the vibe for the album. From track to track choice samples of jazzy pianos, bass and trumpets are arranged with strong drum beats that create a great set of instrumentals that could compliment any rapper. The instrumentals are great, but like Maths flow, they do lack variety. Most tracks follow the formula of dropping the main sample or snare to add variety to the beat, never truly breaking up the track and fusing something different into these songs, but that does not take away from the chemistry the samples and beats achieve. A great, slightly flawed record that is still enjoyable and a choice listen for any 90s Hip Hop fan.

Favorite Tracks: Rhyme Training, To Each His Own, State Of The Art

Rating: 6/10

Peter Gabriel "So" (1986)

Last night I had the pleasure of seeing Gabriel, now 64, perform this record in its entirety at what was an impressive show, especially considering his age. "So" is my personal favorite, and his most critically acclaimed work that was made hugely successful with the help of the innovative and legendary stop motion music video for the single "Sledgehammer". Gabriel was once the vocalist of Progressive Rock band "Genesis", when he parted ways with them in 1975 he had little trouble establishing his solo career through a string of self titled albums, proving his talent as a musician as well as vocalist. 

"So" is Gabriel's most accessible album, in between its gentler, soothing tracks, this record is ripe with finely tuned pop numbers that are layered with subtle instrumentation adding together to create strong hooks that get stuck in your head. The percussion has a worldly feel, strong influences from foreign cultures can be felt at times, it brings these tracks an edge that help define their unique vibe. Even with brilliant instrumentation Peter's voice is the main attraction, he has an authenticity and range to his style that takes hold of the moment and leads the narrative to dramatic peaks. His highs are grabbing, and his lower range has a slight gruffness that keeps these songs grounded with a humanistic touch. 

My favorite track "Big Time" has a pulsating, jiving baseline that rocks and rumbles its way through this number where Gabriel chimes through egotistical musings mocking his own success. His soaring vocals inspire awe as he delivers some brilliant lyrics "I'll be stretching my mouth, to let those big words come right out". Its an riveting track that comes between some gentle tracks, which are equally engaging. Its a varied track listing that shifts the gears often, and it works well, jumping from sombre ambiance to an energetic thriller in its own design. The production is typical of the era, sounding slightly flat in some areas but overall it captures well, impeding nothing. "So" is an album I was raised on, its punchy hooks and dramatic moods have been enjoyed for years, its a fantastic record, one that is still a benchmark in the artistic dimension of mainstream music.

Favorite Songs: Red Rain, Sledgehammer, That Voice Again, In Your Eyes, Big Time

Rating: 8/10

The Smashing Pumpkins "Mellon Collie And The Infinite Sadness" (1995)

Totaling two hours "Mellon Collie And The Infinite Sadness" represents a remarkable creative output for the group who's finest hour (or two) has been hailed as this album by critics. Its the bands third record and last with the original lineup. A future change in sound and style has left these three records being considered as the classic era of the band. Compared to the first two, it is also the most diverse and varied. Corgan brings new influences and ideas to his songwriting as well as more instruments, including strings, pianos and the occasional harpsichord. Despite this expansion to their sound, they very much maintain their identity in what is a stellar album brimmed with great numbers.

A great double album is a feat not pulled off by many artists, and whether this made one or not is up for debate, but their is no doubting this is a band in their creative peak. Whats impressive is not the length, but how many memorable, "favorite" or classic songs are packed into this record which starts off with some energetic and explosive rock out tracks, ie "Jellybelly", and gradually matures into a gentle giant of dreamy lullaby rockers that are truly soothing and calm. Corgan's lyrical and vocal presence is as honest and youthful as ever, with some awe inspiring moments like in "Tonight, Tonight", where his voice is pushed to its limit with a high note he doesn't quite reach, but the way its sung is so honest and heartfelt, its truly warming.

Theres such a rich variety and depth on display its quite hard to summarize it all up. The production is astounding, capturing the vibrant tones of the guitars, the warmth of the bass and power of the drumming in a mix that accommodates all of the extra instrumentation when its present. Its colorful, technically brilliant, so much so you may not stop to think twice about it. With everything good said, I did feel the second disc has a mark below the first, or at least when listening to the whole two hours at once. As the album calms down my attention to it dies a little as well. I found it more enjoyable to listen to the second disc separately. A really beautiful album, and now ill look forward to "Adore".

Favorite Songs: Tonight, Tonight, Jelly Belly, Here Is No Why, Bullet With Butterfly Wings, Cupid De Locke, Where Boys Fear To Tread, Bodies, 1979, Tales Of A Scorched Earth, By Starlight

Rating: 8/10

Marvin Gaye "Whats Going On" (1971)

"Marvin Gaye, used to sing to me, he had me feeling like black was the thing to be, and suddenly the ghetto didn't seem so tough, and though we had it rough, we always had enough"..... I should have taken note at an earlier age, and how it took me so long to find Marvin is beyond me, his sweet soulful voice is medicine for blues. I find myself a little anxious and hesitant to write about this piece of music so powerful and beautiful I could never do it justice, but then again my words will never justify the experience of "listening", feeling the music, and this is music you will feel deep in your soul, but first lets talk a little about Marvin. Born in April of 39, Marvin was a singer / songwriter who rose to prominence through Motown Records in the 60s. Dealing with inner struggles, romantic endeavors and cocaine addiction, Marvin was a troubled soul with a beautiful talent and a captivating, soothing voice that touched the souls of many. His addictions and troubles would get the better of him through his career that came to a sudden and tragic end in 84 when he was shot by his father in circumstances that suggest he was aware of the fatal consequences fighting with his father would bring onto him.

Marvin's music was often inspired internally, but this conceptual album was inspired by life in the ghettos and the war in Vietnam, where he found himself asking, "Whats Going On?". Initially hesitant to support Marvin in his social conscious direction, this would turn out to be a huge hit and go on to become Motown's best selling album. The themes expressed are from the viewpoint of a Vietnam war vet returning home to America to find the struggles at home are worsening. Asking questions about the hardships of life and human behavior, Marvin finds a stunning balance between the negative and positive, offering uplifting melodies and messages alongside questioning the dark nature of war and poverty. Marvin's voice and the music work together in stunning harmony as infections soulful singing compliments moody, grooving instrumentals that are gently dramatic, harmonious and layered with instruments and percussion that give it a depth the keen ear can hear the genius subtleties in the quieter instruments. Theres fantastic variety from the large instrument pallet, many elements come in and out of focus in an organic and effortless manor, creating rich, colorful instrumentals that drive deep into the heart. The presence of the bass guitar is a consistent element through out that provides a solid emotional backbone for this record, offering up grooves and exploration playing that is constantly dancing on the fretboard. The inclusion of bongo drums in the percussive department is another fantastic element adding to the instrumental variety.

The record as a whole is a stunning musical experience, the songs move from one to the next in a continuous fashion that has some pretty obvious, rigid transitions in tempo and key that somehow sound great despite their obvious nature. The recording is heavenly, not even considering the era this album sounds cultured, colorful and bright. Their is a cluster of instruments detailing these tracks that are mixed and balanced sublimely, nothing is overpowering and everything is audible, capturing the character of all the instruments. Over it all Marvin's voice is glorious, mixed with many backing tracks, double takes and subtle choirs that breath so much energy and soul into the listener as Marvin's infectious vocal leads overlap, chime and dance with one another. Its a deep, powerful and beautiful listening experience, both for its glorious sound and socially conscious message that can make you feel good when tackling the harder subjects of our collective existence. Marvin shows the beauty in pain and gives strength to those who ask the questions.

Favorite Song: Inner City Blues (Make Me Wanna Holler)
Rating: 10/10

Christian Death "Only Theater Of Pain" (1982)

I came across this album during some casual browsing, praised as the first Gothic Rock album I figured its something I should give a listen. My understanding of Gothic music is limited, so the accuracy of that statement is beyond my knowledge, but this certainly struck me as an overtly Gothic and "out there" record considering the time. The stark album cover is certainly attention grabbing, and the ghoulish yellow font could be an early source of inspiration for many Extreme Metal bands who in the coming years would take a similar path with their logos. And with all that said, Christian Death are a four piece outfit from California, and this is there debut album.

With the sound of church bells opening this album, the group set their Gothic tone quickly as the drums bring in a beat for dreary, mournful guitars to build an eerie atmosphere of pain and suffering through some rather genius flange overdriven leads that gel with a strong, warm bass presence thats participation in the forefront fills a space left by the guitar leads that go of on noisy, emotive tangents in between the core riffs. The chemistry is strong between the two and provides moody Gothic instrumentals for Rozz Williams's vocals which are a point of interest. Flamboyant and dramatic, Rozz's delivery is driving with a slight touch of whine. Its a hard one to describe, but its a love / hate style and one that defines a lot about this album. The lyrical content is introspective, emotional and romanticized with some dark and occult overtones through vivid use of language. 

The aesthetic and theme of this album is spot on, but the execution is disappointing. When doing it right the songs are dramatic, dauntless and absorbing, but more often than not the songs wander off into uninspiring and self indulged tangents that fail to offer anything to get excited about. These weaker songs were frequent and made the listen somewhat of a drag, but for what it does right I will find myself revisiting this one to hear the better numbers.

Favorite Tracks: Cavity, Figurative Theater, Romeo's Distress, Deathwish

Rating: 5/10

T.S.O.L. "Dance With Me" (1981)

The True Sounds Of Liberty (T.S.O.L.) are an American Hardcore Punk band who release this, their debut album, in 81 not long after releasing a self titled E.P. This record saw the bands shift their sound in a new direction, something they would continue to do as they progressed through their career, which is still going today despite disbanding and reforming in the 90s. A stranger at a Public Enemy show recommended this record to me seemingly at "random" and I doubt I would of found my way to it otherwise. Since then its been a short record that I turn to from time to time.

Aesthetically, T.S.O.L. have a fairly average Punk sound, unapologetic vocals, simplistic and overdriven chord led guitars, energetic drumming and a bass guitar thats bold presence and involvement in the music is refreshing and a rewarding part of their sound. Rough around the edges, the production is fairly impressive considering the times and value of an "underground" act. What makes T.S.O.L. stand out is their creative musicianship and theme. Through these 11 short songs the group keep a varied approach that gives each track its own identity and flexibility to be inventive and inspired creatively, again the bass guitar often being heavily involved in some of the more progressive and unexpected moments.

It wasn't until recently exploring Gothic Rock (Christan Death, The Cure, Fields Of Nephilim) that I thought of this record and realized its strong Gothic overtone. Although the lyrical content is more socially, emotionally aware, their is a definite tinge of Gothic culture in there, maybe most noticeable on "Silent Scream". It gave this record a unique theme and identity I noticeably enjoyed. This "review" wouldn't be complete without a mention of the track "Code Blue" a comical tongue in cheek number about necrophilia that is packaged with their most catchy and rockable instrumental, definitely one of the highlights of this short record, which at 25 minutes often leaves me a little disappointed with its length, however these songs are short, to the point and devoid of filler. A quality album with a fantastic vibe.

Favorite Songs: Code Blue, The Triangle, I'm Tired of Life, Love Story, Silent Scream, Funeral March, Dance With Me

Rating: 7/10

Lord Lovidicus "Wandervogel Des Waldes" (2014)

I always look forward to new material from Crow, the man behind Lord Lovidicus, but this time I found myself slightly disappointed at first. It has taken sometime for this one to grow on me and it leaves me pondering if this says something about the music, me or possibly the mood I was in when first listening, but either way I have grown fond of it now after several listens through.

"Wandervogel Des Waldes" brings back some earlier elements of minimalism and simplicity in the LL sound and packages it with a pallet of sound and percussion similar to post "When The Mountain Falls" records. These lengthier tracks brood and venture through mystic ancient themes with a attentive appreciation for atmosphere and melody as these slower paced and moody tracks progress gently through imaginative passages often minimal, with a melodic lead over an atmospheric choir synths, guided by a gentle tambourine. There are some more layered moments here and there, but generally these songs follow a simpler narrative in absorbing ambiance. The lush instrumentation soaked in reverb give this record a glowing sound that does a lot for it, creating a strong atmosphere to get lost in as these melodies sing their stories.

Despite my eventual enjoyment, I am left asking many questions of this record and LL. Sometimes more of the same doesn't quite work, and I feel this record has great moments and songs, but they don't stand apart from the last few efforts of which the songs and names don't stick in my mind like earlier records such as "Trolldom" or "The Stars Reflect An Ancient Magic". Maybe it's the similar pallet? Or perhaps the notation isn't as bold or adventurous as before. Whatever the difference is I would definitely be excited for a change and new direction, rather than another album of this theme which I think has been expansively explored. With all that said I imagine for a newer listener this album would be very rewarding.

Favorite Tracks: A Hall Of Trees, The Mead Hearth

Rating: 5/10

Erang "We Are The Past" (2014)

We are the past, the eighth full length from Fantasy / Dungeon Synth artist Erang, an album title that boldly marks the intent and direction of this album, of which this became vividly apparent as the themes and melodies of this record unraveled themselves in captivating glory. Erang's inspiration shines bright as ever. Spiritual, cultured folk tales sing their songs, capturing the essences of our heritage in a lush and immersible record.

The album starts of with "Im Ajinar Nost Alije", a tribal drum pounds, ghoulish chants and lightning strikes guide us through the mist as our journey begins. Accompanying, possibly oriental?, instruments lay down the folk foundations for this record that take on many forms as the album progresses through varied instrumentation and aesthetics. From here the record develops through some beautiful and stunning moments where harmonious melodies weep over gentle, atmospheric backings that tell the tale of cultures lost by time and dust. The mood is varied, with some lifting songs come some moodier, darker vibes as Erang explores both the bright and darker sides of the ancient world. 

The production of this record feels almost flawless with no noticeable technical discrepancies. The instruments and sounds on display are lush, crisp and enigmatic. The mix is spacious and roomy which the instruments fill with their eloquent color. My only disappointment with this album was the track "Wine And Beer" which felt very out of place, obviously its a folkish pub song, but it heavily contrasted and broke up the mood of this listen which has been stunning and immersible, Erang's best work to date.

Favorite Songs: I Dreamt Of An Emerald Forest, The Loneliest Fighter, The First Snow, Lament For My Horse, Forever Gone But Never Lost

Rating: 8/10

Pharmakon "Abandon" (2013)

Hailing from New York, USA, Pharmakon is the moniker of Power Noise musician Margaret Chardiet. "Abandon" is her debut full length that confronts the listener musically and visually with its repulsive album art that is powerfully suggestive without any use of explicit imagery. It sets the tone for a depraved and dark record that will unsettle the listener. Unlike much music of this nature Margaret's compositions are in fact composed as opposed to improvisational pieces so often found in Power Noise and Depraved music. It is testament to this record where each track sets an immersible tone by design and explores the darker reaches of the mind with purpose and intent.

The instrumentals of this record are carefully woven soundscapes that brood and drone through lengthy periods. Detailed power synthesizers create an array of textured sounds that are stitched together with a minimalistic edge, forging a cold and unforgiving noise dragged along by slow, bludgeoning thuds and hits resembling a beat to guide a psychotic narrative. On their own the instrumentals are not as intense or abrasive as the overall mood of these songs, individually the instruments are not ear piecing or especially dark, more alien and industrial, but brought together they become nightmarish and dizzying experiences.

Margaret's biggest asset is her voice. The instrumentals set the tone, but it is her phenomenal scream and range of sound that drags you down to hell. Using some slight reverb and at times some additional distortion, these vocals cover a range of dark emotions, at times sounding like a tortured soul held against will, or a malevolent spirit that would inflict such torturous cruelty. On the track "Ache" you hear the two almost at communication with one another. On "Pitted" she executes some tribal, ritualistic clean leads that chant and dance through the fog. The overall execution and production of this record is solid, the crafted nature of the instrumentals and powerful vocals create a confrontational and immersible listening experience that leaves a lasting impression.

Favorite Tracks: Pitted, Crawling On Bruised Knees

Rating: 6/10