Warpaint "Heads Up" (2016)

 

Reflecting on the fractured minutia of details between Warpaint and Radiate Like this, this record between has been striking. With every project, this Los Angeles quartet of Post-Punk women reorient their sound slightly. Of course, most bands bring a flavor to each record. So whats peculiar? The vibrancy falters when just a few dials are turned. Heads Up is marginally rawer, a little grit and glumness in its moody garage aesthetic has tits allure evaporate on the solemn road in treads, both aesthetic and in spirit.

New Song, The Stall & So Good sit early in the lineup. Together, and with a gloss of colorful reverb, parts of these songs steer into luminous strides of warmth backed by groove and attitude. Despite this streak, the rest of the record is bleak and moody. The dreamy singing of Kokal often drifts into this pale. Bass lines become deep dreary murmurs, lacking a feisty punch. Guitars shimmer impressionable noises alongside fractions of riffs. It amounts to this self indulged soundscape of unassailable blues.

For this listener, the record just didn't click. Its shadowy tone wasn't resonate, passions were dulled and its chromatic aesthetic didn't sparkle. In the aforementioned songs, an upbeat stride, a touch of smiley warmth gave it momentary gusto. Otherwise these songs mostly reveled in their own identity, unable to amplify the expression. With unhurried pacing and reveling in its bleakness, this was a tire on most listens. Perhaps more enjoyable with less attentive focus when in the background. Quite disappointing.

Rating: 4/10

Post Malone "Twelve Carat Toothache" (2022)

 

Its all to easy to over-analyze, dissect and buy into ones own critical thought. As one of popular musics most illuminated figures, Post Malone's music arrives through a lens of impact and relevance. This initially soured my experience. With a lack of obvious growth, new dimension or creative streak to latch onto, it seemed Twelve Carat Toothache was a firm disappointment. Post's unique vocal manipulation, now fine tuned to a peak, the day-dreaming instrumental glow and trendy hi-hat shuffling Trap inspired beats routine to a fault. It all seemed like a safe bet at first glance.

I'm glad I stuck with it. Some records just take a few extra spins to get going, ya know? I've now found the soundtrack to my summer. Its lyrical struggles deal with the double edged sword of fame, the ills of alcohol and mental health battles with his musical creativity. Despite this, glossy overtones and breezy reverbs stream a wealth of warm, thick melodies, track after track. Whenever an attentive glance gives thought to his embattled words, a darker tone is felt. Only on a couple of instrumentals do they manifest through tension and soft dreariness in mood. Otherwise, a sunny record.

The poor response from journalists seems warranted. A flawed record, forged in a thickle moment for Post. Despite this, its presence holds. This string of songs has an ambience, it holds its slick smoothness gracefully, the brightest of hooks bursting out between plenty of interlude paced moments. He still has his knack, its just used sparingly. Not a jam packed set of songs but its pacing works in a casual way.

Nestled right at the end is an absolute banger. The Weeknd once again features and brings the 80s Synthwave inspired aesthetic along for the ride. He frequently provides great songs to other artists and must be killing it with this approach of on-boarding listeners to your sound through features. Anyways, final thoughts? Its a mixed record in terms of what lands. Its percussion-less songs often a weaker cut yet its glossy tone and warm dreamy mood lets it drift by with an ease I can get onboard with.

Rating: 6/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Suspended Memories "Earth Island" (1994)

 

Reuniting to follow up on the entrancing dusky spells of Forgotten Gods, the trio tread lukewarm waters, unable to spark the temporal magic that sung before. Failing to find fresh distinctions, their worldly disjointed percussive lines and ancient cultural chants rub up against airy atmospheric synths in a mediocre affair. With soft keyboard driven ambiences, its smooth, cloudy synthetic chemistry resides in a lofty yet unassuming place. Danger and mystique or awe and wonder rarely engulf quite like before.

Hinted strongly in naming and presentation, the album cover, Earth Island yearns for a cosmic perspective, yet even the brief chatters of astronaut communications nestled in doesn't sharpen this vision. Melting World offered immersion, a grade above the rest, but it also marked a shift. The initial human link between stars and stones shatters as a darkly brooding unease encroaches before the final two songs break pace again.

These ambient works often feel subjected to mood and fatigue more so than other genres. So i'd take my words lightly. One can hear the trio trying to move the Aztec inspired soundscape out of its shadowy realm, turning to an uplift, brighter in spirit, yet earthly and deep. The two ideal either don't gel, or lacks execution. Subsequently, the gravity that came before is illusive despite the mild meditative calm it conjures.

Rating: 5/10

Kirk Hammett "Portals" (2022)

 

If your as surprised as I am to hear of a Kirk Hammett solo record, then you're probably keenly aware that Metallica have had a strong no side projects policy. This attitude of total commitment played its part in the rift with then bassist Jason Newstead, leading to his departure. Times change and so do people. Unaware of any official policy chance, I think its fair to assume that in their age, attitudes have subsided. The result? The unleashing of a talent only previously heard through the Metallica lens. Kirk going solo is a delightful difference where Metal meets Classical for a cinematic experiences, four short portals into the realms of imagination.

As one might expect, you can hear the echo's of Metallica in its steely riffs and blazing guitar solos rocking Hammett's distinct style, the latter being quite a treat at times. Its not what stuns me about these songs tho. The instrumentation between metallic stints, strings, violin, horns etc. Its all orchestrated with vision, painting vivid dramatic scenes that emote, brood and evolve alongside Kirk's licks. How much of this classical composition is his own genius? A curiosity to wonder upon as it is quite adept.

 Much of this is said with Maiden And The Monster in mind. The whole composition is fantastically dynamic, gently building to climax with big chunky riffs, icy guitar solos, all built with chilling acoustics shimmering of The Call of Ktulu. The Jinn continues on trajectory but midway into the song, sketchy riffs on a brittle guitar tone disconnects from the subtleties of its cinema with an unfavorable Death Magnetic flavor.

High Plains Drifter reclaims glory, a Western piece echoing The Ecstasy Of Gold. Truly wonderful and immersive but then The Incantation leans on classic Sabbath vibes without success. Its an attempt at something broody and devilish that only Hammett's remarkable, epic solos can elevate. To be fair, its the main riff that leaves a sour taste. The rest of this exquisite instrumentation is again both remarkable and fascinating. Ironically Portals shows their is much more to Kirk than just a lead guitarist but its not rhythm that is his game. The unique blend with orchestration is class. His "big" metallic riffs play stiff and sadly muddy the waters, but its brief at least.

Rating: 6/10

Suspended Memories "Forgotten Gods" (1993)

Fancying another foray into the works of Steve Roach, a musician with too many records to count, I couldn't help but notice its popularity on Spotify alongside the pivotal works of Structures From Silence and Dreamtime Return. The latter leaves its legacy on Forgotten Gods with the consistent jabber of worldly, cultural and ancient percussive sounds. The construct, like before, is beautifully disjointed, deconstructed and abstract from the norms of groove and rhythm found in western music. Although in any moment its strikes and hits seem free and sporadic, its arch find a meditative pace, holding the atmosphere together with a steady, easy temperament.

Suspended Memories is the name for Roach's collaboration with fellow ambient artists Jorge Reyes of Mexico and Suso Saiz of Spain. A cultural tie to the Aztecs feels beyond relevant. With distant native chants and baking dusty echos, the musical pieces delve into the shamanic mystique the mysteries of lost civilizations can conjure. Both warm yet nightly, one can envision the blistering heat of desert sands, secrets laying in wait under weathered tombs. Equally, its drafty tone and dreamy presence has the cautious calm of night. Dangers lurk in the shadows yet the listener is always safe within the ambience. These contrasts co-exist, allowing one to hear their own adventure within the music. It may not be intentional but has been remarkable.

As the title Forgotten Gods hints, its theme evoke celestial wonders lost to the decay of time. As expected the record explores a variety of temperaments. Snake Song and Mutual Tribes appealed strongly to desert vibes I initially thought of as Egyptian but on further study, the inspiration was likely a historical middle American. Ritual Noise was the darkest track on offer, a lone song where a nefarious presence gets a little to close for comfort. Despite its devilishness, all the music is beautifully soothing and meditative. I've heard these sounds encroached on prior, yet the trio handle it so masterfully. This is absolutely another favorite for the ambient collection.

Rating: 8/10

Wu-Tang Clan "Iron Flag" (2001)

 

Picking up a fever, delving into the leaked Demo Tape & ODB's Return To The 36 Chambers, I thought id wrap up my cravings with Iron Flag. Released hot of the heels of The W, its commercial decline gave it a dire reputation at the time. Subsequently, I'd never given it a fair go and maybe I should of left it that way. The talent of these rappers is not in question, however the Wu mastermind RZA himself might be.

Iron Flag's instrumental tone is a frequent bore. The production of these beats hinge on short repetitive loops from front to back. With little in the way of variations and nothing to offer with song structures, the record is a grind. RZA turns to tighter constructs with clearer samples, often 70s Soul, crisp drums and synthetic instruments. Its a departure from the gritty, low fidelity musk that once defined them. Radioactive manages to capture that spirit but its a lone track among many.

A few others put their hands on beat creation but Mathematics and other guests simply fall inline with RZA's vision. Its one of hard hitting percussion with moody sampling housing brief, stabbing melodies on loop. With a tone that lacked any excitement, it was tough to get into the rhymes. Despite competent flows, the topicality felt like a group on auto pilot pumping out another record that lacked depth.

Rating: 4/10

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10