Bloodbath "Grand Morbid Funeral" (2014)

Six years in waiting, "Grand Morbid Funeral" marks the blasphemous return of Swedish Death Metal supergroup "Bloodbath". The group formed in 1998 with various artists from such bands as "Opeth", "Diabolical Masquerade" & "Edge Of Sanity" with a rotating cast of vocalists, most noticeably Åkerfeldt of Opeth who's demonic guttural screams gave them a gripping edge. His departure from the group had left my hopes for this record a little soured and it turned out to be a defining point in my enjoyment of this record.

As a Death Metal band, Bloodbath brought the best out of the "oldskool" sound, fusing it with a violent and frenetic aggression through crisp production and inspired musicianship that set them aside from other Death Metal bands. On the surface they sound somewhat generic and typical, but their songs are abundant with violent, boldly executed ideas and riffage thats given a flair through Åkerfeldt's evil presence and the melodic leads that can infect this malevolent sound with a touch of color. On "Grand Morbid Funeral" the group delivery more of the same, fast, pummeling death with no shortage of ideas. The album as a whole felt very much like a safe continuation and progression from where "The Fathomless Mastery" left off, its tight, sharp and on point. A solid execution of exactly what I and other Bloodbath fans wanted to hear.

Despite being a solid record on the points mentioned, there were two disappointments. Firstly new vocalist Nick Holmes has big boots to fill, too big. His presences is not as dominating. Despite a commanding presence, his intensity was a step behind the rest of the band. The second disappointment was more so about my failing apatite for Metal music. Although this was what I wanted, its more of the same, and despite Bloodbath being a band I hold in high regard, it essentially didn't give me the same kick it used to. I enjoyed this record, It's production is another step forward for the group and their musicianship and focus on the Bloodbath ideal was spot on, but there's only so much of this chaos I can digest before I need something different.

Favorite Song: Beyond Creation

Rating: 4/10

Marilyn Manson "The Pale Emperor" (2015)

Its time for our first record of 2015! And I've been listening to it since 2014, when it leaked onto the Internet. Its still not released, but available for streaming, and I've held of from talking about it, but soon I will own this fine record that may just be Manson's finest hour. "The Pale Emperor" on first listen was a great listen that was rather unexpected considering the impression I gathered that Manson had "fallen off" since his classic trinity of records. Having thoroughly enjoyed them recently, this record didn't feel to far from where "Holywood" left off, but had an obvious progression and maturity to it. Gone are the bold and contentious statements that shock some and excite others. On this record Manson turns inwards for inspiration, and the pains and hardships of being him, it is reflective of the overall mood of the album with only "Deep Six" hitting that harder Rock/Metal vibe Manson does with a urgent sense of style on previous records.

It's a calmer record thats theatrical, intelligent, with a subtle grandiose to it. The band instrumentally focus less on hooks, and craft matured songs with no cheap thrills, yielding a rockier vibe that sees the Industrial element of their sound quiet influence of past. Manson is in his artistic vision as always, but his chemistry with the group is spot on, the track "Birds Of Hell Awaiting" for example, Manson's performance is free and audacious, it carries the dreary, mechanical instrumental along and together they climax the song with a boisterous flamboyancy. Its a high point in a charactered group of songs that are crafted through a subtle arrangement of instrumentation that is varied and lead by some fantastic guitar work that appreciates where and when to bring the energy, and where to decorate the instrumentals with calmer energies. The record's calmer nature was reinforced by the dismissal of a drum machine and the inclusion of Sharone, formally of Dillinger Escape Plan. In the moment they could provide the classic Manson fist pounding rhythm to get your noggin bobbin, as well as structuring the theatrical nature of these tracks.

Manson as always is a huge part of these record, his presence here was commanding as ever, and even when showing his weaknesses he stays in the music and turns his anguish into an exhilarating performance. Its a sign of maturity that his artistic vision can change and retain the best of his performance. As touched on a couple of times, this album is openly personal and introspective, more so than the observational and instigating nature to poke at establishments and ideals in controversial fashion. Even with a shift in focus Manson delivers those classic lines that stick in the mind, twirling thoughts of intrigue. "At least I know, wherever I go, I got the devil beneath my feet" and "Were killing strangers so we don't kill the ones that we love". I've listened to this record countless times, its stuck in my mind and I have enjoyed it through and through. I feel like its a record that has a lot to offer, and will continue to do so. Its theatrical presentation, mature delivery, and depth of theme are true strengths that challenge this as their best artistic output to date.

Favorite Tracks : Third Day Of A Seven Day Binge, The Mephistopheles Of Los Angeles, Slave Only Dreams To Be King, Birds Of Hell Awaiting

Rating: 7/10

Swans "Children Of God" (1987)

Swans are an American band from New York who were formed in 1982 by Michael Gira. Whenever I have heard this band mentioned, its always been in the highest of regards. Their early album covers gave me a Hardcore vibe, but after hearing them referred to as "Experimental Rock" I decided it was time to checkout this mysterious group that kept grabbing my attention. I picked out "Children Of God" for its intriguing album cover any vivid symbolism. I found myself entirely blown away on the first listen, I was overwhelmed but what I had just listened to, and struggled to make sense of it. "Experimental Rock" really threw me off the scent. There isn't an experiment at work here, but an absolute melodramatic theater of deity fear and wonder. What little "Rock" elements their are crop up in the occasional use of lightly distorted guitars, but the main concept here is the themes guided by Gira's deep, stagnant vocals that soar with a dark divinity. Theres a variety of accompaniments to the musical, but the most noticeable would be a Industrial style brought in though pounding drums and low, distorted guitars.

After a very powerful and moving first listen, I found myself struggling to make ends of what this record was all about. It feels obvious now, but it has taken me a long time to get my head around. "Children Of God" is a biblical, loathsome and tyrannical theatrical piece that turns an assumed concept that "God is love" and turns it on its head. God is hate, malice and spite, looking upon his creations with judgment and despise. "The sex in your soul will damn you to hell", repeated over and over, stuck deep in my mind. These are the words of a psychopathic being that creates us with instincts and desires it will judge and condemn us for with an eternal fury. Its a trip, through a bleak, despairing wash of inferiority and damnation. It feels like the songs take many forms and perspectives, of which I found "Blackmail" the most intriguing, with Jarobe on vocals, her soft, apparitional performance has a subtle illusion to it, queued by sorrowful pianos. The theme is of love, compassion and want, but the title and the subtleties give it a harrowing and malicious undertone I found to be a stroke of genius. Jarobe & Gira narrate this record exquisitely and guide us through unforgiving messianic scriptures that are truly enthralling.

Instrumentally these songs are very accommodating and theatrical, creating atmospheres to intensify Gira's preaches through pounding drums, droning guitars and eerie choirs. The album plays through on a ying yang approach, with each "heavy" track being followed by light, airy acoustic numbers, its surprisingly organic and seamless, the songs drift through intensities while maintaining the same God-fearing rapture. Production wise, it doesn't cross my mind until I write this now. The album sounds fantastic, capturing everything, leaving no room to second guess. Stunning album, a real journey, and one I initially felt was "too long". The harrowing experience isn't for every mood, and its length is testament to the quality of such a brilliant piece of music.

Favorite Tracks: New Mind, Sex God Sex, You're Not Real Girl, Blackmail, Children Of God

Rating: 8/10

KMFDM "Our Time Will Come" (2014)

German Industrial Rockers KMFDM have been going strong for over three decades. This, their 19th album, is another in a steady stream of records the band have been producing since 1984. In the 80s the group were producing Industrial music with tinges of Rock and Dance, but it was in the early 90s that they found their mainstream success through an evolution in their sound that would steer them in the Industrial Metal direction. Over the last 10 years KMFDM have matured and fine tuned their sound to a science. The group are immediately identifiable with their own breed of Industrial Metal that incorporates intrepid electronic elements reminiscent of EBM, Aggrotech and Dark Electro. Its a pulsating, energized sound. The icing on the cake is the eccentric militant feel brought across through pounding rhythms and rough German accents. Its a sound I enjoy, and I got a good dose of this record which to no surprise didn't stray far from the sound thats been strongly established in their recent history.

"Our Time Will Come" outlines a theme across these 10 songs that is clearly represented on the cover art, which follows the usual format for this band. Songs of taking power, revolution, workers unity and seeing past propaganda are expressed here in a variety of militant ways, even with some quirkier lines, "I will punch you in your head, until you say I respect you". A lot of the points raised are not news to me, but are expressed in a direct and forceful manor thats positive and inspiring. The theme works great alongside their pounding Industrial Metal sound, a good match.

From a technical perspective the production is quite masterful. An audible execution of bold, strong instruments and sounds working side by side effortlessly. Theres plenty of room for all sorts of quirky electronic sounds alongside aggressive leads, pounding industrial drums and jolty distorted guitars. The album as a whole has a fantastic balance between the electronic and metal elements that give each of the songs a flexibility to execute different ideas within their sound, without detracting from the continuity of the record. These tracks are well written, and decorated with electronic sounds that become momentary leads in the moments the guitars drop out. It worked well as a whole and was another welcome dose of the KMFDM sound.

Favorite Tracks: Salvation, Blood VS Money, Get The Tongue Wet

Rating: 5/10

Khold "Til Endes" (2014)

After six years of silence, Norwegian Black Metalers "Khold" return out of the chilling frosty blue with a new, but short record. Khold's brand of Black Metal is different from the traditional Norwegian sound, the group, who's first album "Masterpiss Of Pain" dropped in 2001, have a significant and noticeable influence from Groove Metal in their rhythmic approach, and tonally the guitars have a bombastic dropped chord sound of which you could draw comparisons to Nu Metal, which was in its peak at that time. This influence was most noticeable on 2004's "Morke Gravers Kammer", my favorite of theirs, which plays out slamming groovy riffs in a lush and textural cold, dark Black Metal format. Since this record Khold have not changed their formula much, nor had they pushed any creative boundaries, I was expecting more of the same, and after six years this group return with exactly that.

If your into Khold, like me, then "Til Endes" can be an entertaining record in the right mood, but without any progression to their sound it remains a tight niche they carved themselves into, and honestly its not exciting as it once was. "Til Endes" has a little bit of everything they have done previously, and it doesn't aim to put its focus on any of it in particular. Across these eight tracks the band execute an array of riffs and ideas that span across the spectrum of Black and Groove, and most of which sound like rehashes of old ideas and previous material. There is a slightly Thrashy tinge to some of the guitar work which is accompanied by a Thrash like solo on the track "Dommens Armé". Its not an unwelcome addition, but fails to add anything thats not been heard before.

The production of this record is a noticeable mark behind their previous records, playing them side by side you hear a significant lack of dimension captured across the instruments, giving it a narrow and quiet sound that doesn't exactly tame the music itself. After the ears adjust its a nice, crisp sound with their classic slamming, yet cold guitar tone. The drumming feels a little distant and tinny, the bass plods along behind the guitars and Gard's snarly, growling vocals are captured modestly. Overall this album lacks new ideas, rehashes old ones, and is drowning in mediocrity. For a sound I feel I've heard through and through, it offers me very little in the way of something new to digest.

Rating: 4/10

The Cure "Boys Don't Cry" (1980)

I've been aware of English Goth Rock group "The Cure" and their influential status for a long long time, but Id never given them a listen until recently. I can't count just how many times I've listened to this record, but essentially I have held of from talking about it in search of a deeper understanding of this record and it's importance. Nothing profound has really come to mind, I just found this record to be a simple pleasure, a light and relaxed listen that had a fluency and ease about it that made each song as enjoyable as the last. Maybe thats the beauty of it? In the age of cerebral, introverted extreme music we can loose touch with the pleasures of melodics and simplicity.

Boys Don't Cry is a warm, spacious Post-Punk record that has a tinge of moodiness to it that would later blossom into a Goth Rock aspect of their sound. On this one, the trio stroll through 12 short numbers that create an uplifting and mindful feeling through a minimalist and toned down sound that greatly appreciates the space between the instruments. The kit is soft, the bass kick is padded, the snare devoid of any snap or punch, and the symbols are quiet and low in the mix. The bass lines rock a steady groove, providing a backbone for these songs which Smith's guitars compliment at their own pace, the trio don't overpower there own ideas by trying to give all the instruments something to do at the same time, on certain tracks and moments the bass and drums rock together quietly with Smith's musings, and the absence of guitars works in their favor.

The guitars bring in the most colorful aspect of sound, cleanly strum chords are tinged with flange for a tone that has an exotic touch. Its a splash of color into an otherwise tamed sound. Smith's vocals are enjoyable, I like his strong accent and afflictions, they are the final component of what gives this record a pleasant and warm approachable sound. As I said earlier, I didn't find anything profound about this critically acclaimed record, but its a simple pleasure I can listen to over and over.

Favorite Tracks: Boys Don't Cry, Accuracy, Jumping Someone Else's Train, Killing An Arab, Three Imaginary Boys

Rating: 7/10

Linkin Park "Meteora" (2003)

I often wonder what it would be like to hear the music of my youth for "the first time" in the context of todays modern music with my vast apatite and knowledge of music (mainly Metal & Hip Hop). It dawned on me that Meteora was essentially that. Although I am familiar with Linkin Park, I have never actually listened to anything other than "Hybrid Theory" and "Reanimation" (smelly album). This would be a great opportunity to get a taste of listening to that music in the present day.

I was rather skeptical at first, a little unsure what to expect, but very quickly this album rapidly grew on me and I found myself feeling like it was the 00s again, listening to Hybrid Theory for the first time. At first Meteora came of as more of the same, but on repeated listens it became very apparent how fine tuned and well crafted this record is. On the surface not much has changed about their sound, its more of the same formula, Mike's mini raps, Chester's screams balanced with clean hooks and of course the characteristic electronic sounds accompanying the Nu Metal backbone. Under the surface there is more at work here, it feels like the group made a conscious decision to tone down the aggression slightly and focus on mastering their pop sensibilities and hooks. The melodic leads and choruses on this album are so infectious and satisfying, everything from the delivery of Chester's appeasing cleans, the crisp and soft guitars, electronic melodies just feel so in-sync and on the same wavelength. Its far from challenging and very much easy to enjoy, which is a strength they play to. Linkin Park is not trying to change your understanding of music or challenge your perspective, they are writing straight forward poppy music and they do it here to a perfection on particular tracks.

For all good thats been said, there are two things that came to mind, first of all the drumming, not at a single point in this album did the drums ever come to the forefront of my attention, is this a good or a bad thing? Is the rhythm department executing a subtle genius of accommodating beats, or are they just tame, generic and holding the tracks together? I really don't have an opinion but it was an interesting observation. Second of all the lyrics are once again the epitome of teenage angst, expressing simplistic and overly emotional fears and frustrations with a lack of any real introspection or depth to the subject matter. This is probably a strength though, easy to relate and simple to recite, its what you need in poppy music and perhaps the magnitude of this pop appeal is a reflection of how focused this record is on its catchy hooks and choruses. Overall, fantastic record, enjoyed it as much as "Hybrid Theory", very satisfying to hear more of that great sound they forged.

Favorite Tracks: Don't Stay, Hit The Floor, Easier To Run, Faint, Breaking The Hobbit, From The Inside, Nobody's Listening

Rating: 8/10

Zornik "One-Armed Bandit" (2004)

One-Armed Bandit is the sophomore album of Belgium rockers "Zornik", a record I have spent much time enjoying and wrapping my head around. Zornik would be described as a "Rock" band, but in this modern era of music I find that term to be vague and nonspecific, a generalization for the traditional guitar, bass, vocal and drums band format. Their sound on "One-Armed Bandit" is characterized by some Indie and Alternative influences as well as a strong 90s Pop Rock undercurrent. They also spruce up their pallet with some additional synthesizers and electronic elements, giving this record a diversity thats strengthened by the varied approaches in songwriting. I'm glad I gave this record a chance, usual I look to abrasive sounds and confrontation for appealing musical ideas, this record reminded me that good music can be found in the most approachable of styles too.

For me, this album was mostly defined by the mood and tone set by vocalist Koen Buyse's soft and gentle, emotionally driven presence that would very much guide and mold these songs as the accommodating instrumentals built powerful and moving settings around his narrative which swims through a current of heartbreak and sorrow that comes through in his performances. They are heartfelt and strong, giving a real sense of a troubled soul letting it out through the music, and despite this bluesy and moody feel, these songs feel bright and positive, mostly to the credit of the accommodating instrumentals. Buyse's voice has fantastic range and flight when hitting graceful high notes, he often opts to balance it with gently spoken numbers that elevate his higher range in to epic moments in the songs that make up this record.

Instrumentally, these songs are tame, gentle and humble, strolling through calm and collected instrumentals that grace through inspired melodics. There strength is in the moments between their quieter sound where the group can build up the volume and intensity with overdriven guitars and climatic progressions utilizing Buyse's impressive high range. It gives this record great flow, and theres no shortage of variety between the tracks, which can shift gears effortlessly between different intensities. Theres a great Pop sensibility about some of the vocal leads, and no shortage of energetic riffage that fuses into the tracks from time to time. Its a warm and compassionate listen that grows on me with every listen, looking forward to more from this band!

Favorite Tracks: Scared Of Yourself, Miracles, The Place, We Are Lost

Rating: 6/10

YOB "Clearing The Path To Ascend" (2014)

I was sent the song "Marrow" by a friend, I was thrilled by this lengthy, brooding, melodic and doom like epic that moves at a snails pace, dragging the listener through 19 minutes of heavy, sludging colorful bliss. I was excited, and got hold of this record immediately, but much to my disappointment the rest of the record, despite following similar principles, was a lot more doom and less melodic for what made Marrow shine. Although not strictly my cup of tea, this record was a decent listen that demonstrated some fantastic musicianship through unique suspense and progression. YOB are a Doom Metal group from Oregon USA, who are receiving a lot of praise for this album which has topped several Metal album of the year lists.

Whats most characteristic of their music is the slow drawn out riffage that utilizes the space between each bellowing strum, creating a monstrous stride that parades to its own cause. These riffs pound and bludgeon there way through sections that last several minutes and are spiced up by off kilt repeats and suspenseful returns. Between the guitar bludgeoning come quieter moments that are quite brittle and abrupt, with the growing mood often building to a moment that simply drops of into a lull. In the climatic moments the band stick to their riffs and accommodate the building atmosphere with additional guitar leads and demonic guttural vocals.

The record is crisp, indulgent, the textural guitar tones and foreshadowing drums mold a dynamic, expressive sound that compliments the musicianship. The clean guitars have a dreary melancholy about them, retaining a colorful melody yet expressing a cold and sorrowful tone that gives Marrow an emotional and moving climax. Its a great sound that works so well with the songs, yet for everything great about this record, for me personally the meandering nature of these songs can fail to hold my attention at times and despite being a terrific record, its one that doesn't quite hit the niche with me.

Favorite Track: Marrow

Rating: 6/10

G. Love & Special Sauce "Yeah, It's That Easy" (1997)

Every now and then I have the displeasure of writing about a record I didn't enjoy, although to be fair this an medicore listen, just one that didn't do much for me beyond some mild entertainment, and thats my loss. G. Love & Special Sauce is an Alternative Blues Rock group from America who are fronted by the charismatic G. Love who servers as the vocal narrator for some fun, uplifting funky Blues Rock. On paper, and on other tracks I've heard from different records, the group have the formula for funk and blues that gives them a little flair, which in this record I couldn't find.

G. Love's folky narration and jives about American culture were not my cup of tea. I found the light hearted whimsical stories and musing in these songs to be just a step beyond what engages me, and this made it hard to get into a record thats focal point is his laid back charismatic style. Accompanying him are some chilled out grooves that bring together Funk and Blues with a touch of Hip Hop in the rhythm department. These grooves rock and swoon through the tracks, utilizing an array of instruments including the harmonica and some light organs too. Behind G. Love are some great backing vocals which on a track like "You Shall See" that elevate the song, they pop up here and there, adding a lot to the songs, but is not enough to save the record.

The strongest element of this record is the instrumentals which are far from spectacular, despite being on the right track, there is a distinct lack of stand out moments or anything where the music grabs you. They muddle through mediocrity and the bass and kit grooves are often spoiled by a loose snare clanging over the bass's warm and moving texture, its disappointing as it feels like their is great potential here, but too many misfires. A nice listen but a lack of substance for repeated listens.

Favorite Tracks: Slipped Away, You Shall See

Rating: 3/10

Cloudkicker "The Discovery" (2008)

Bomb sirens cry out in desolation as an eerie suspense unfolds. An underlying noise creeps and crawls amounting into a rising, atmospheric guitar ring out, then suddenly busts out into a gorgeous, tight, rhythmic thrashing of djent tonal guitars oozing in reverb and crushing out a simplistic repetition. Straight away I got that feeling like I knew exactly what this record was about. Several listens later that initial appeal is still here and this record is everything I thought it would be. 44 minute of enigmatic instrumental djent with a vibrant splash of color and melody. Cloudkicker is the one man band project of Ben Sharp, mutli instrumentalist who releases all of his music for free through the bands official website.

"The Discovery" is a polarizing formula, a crushing rhythmic assault is carried out by the low end guitars and forceful drumming, while the leads and high range notation color and climax these songs with rich and absorbing melodics that wash together in a sea of immersible abrasion. Its a formula that is set down from the first moment and fails to stay far from it. Through the record each of the songs offer up some different approaches, riffage and ideas that make this very enjoyable if the sound is your cup of tea. Theres some melodic, lighter, more acoustic tracks in between the heavier songs that really help this album flow and transition between tracks.

Asides some great instrumentation and songwriting, this record has a great sound to it. It comes with an "amateur" overtone to it that I can only describe as being warm and loving. It feels like someone put a lot of heart and energy into the production which sounds great, but has some technical flaws, none of which are even a big deal, but that amateur vibe stays present, and I like it very much so. One of the most notable features is the use of a drum machine that sounds like "Drumkit From Hell", having worked with this before it is certainly a hard sound to disguise but even though its noticeable the drumming is well programmed and fluent with the songs. Overall this is a fantastic record that has a lot of personal charm and one that has me yearning to seek out more from this talented artist.

Favorite Tracks: Genesis Device, Dysphoria, The Discovery

Rating: 7/10

PRhyme "PRhyme" (2014)

PRhyme is a collaboration project between legendary producer DJ Premier & Rapper Royce Da 5"9 who is known for his early association with Eminem. This mini album consists of 9 tracks and the opening track "PRhyme" focuses on the idea that the pair are in their creative primes, It sets the tone for an album of solid raps and beats that would certainly indicate both are in a creative warm spot. The two have a decent chemistry that gives the project liquid cohesion and defined character.

Premier's production is as finely tuned and crafted as you'd expect from such a veteran, bringing forth that 90s feel through approach as these tracks are littered with scratches and vocal samples from fellow 90s stars like Nas, Method Man, KRS-One & Gang Starr. The beats themselves are generally urban and darker in mood, taking a subtle roll providing backing for Royce to shine. These beats, although solid, sit in a comfort zone that sees little experimentation, taking on only a few modern aesthetics and ideas. Its not a negative point, but if your looking for something new and progressive this isn't that.

Royce is consistent and vibrant on this record, bringing an enthusiastic and motivated flow to each song as he narrates some stories but mainly delivers a boasting array of raps with a musing touch. Consistency would be a key point for me, there was no point where Royce failed to hit the mark, yet none where he really goes beyond, his best lines where from referencing Notorious BIG, "Kick in the door, wavin the four four".

The record as a whole is short and enjoyable, solid and flavorful, but perhaps lacking a depth to keep me coming back. After a few listens I feel like I got all the record had to offer and there were only two tracks I wanted to come back for. The 90s vibe was welcome but didn't really add to the body work thats already out there, one of the better beats was "Microphone Preem", utilizing a loud harsh snare and giving it something a little more unusual which could of made this project a little more. Overall a great listen to digest, but a lack of anything special.

Favorite Songs: You Should Know, Microhpone Preem

Rating: 5/10

My Top 10 Music Discoverys In 2014

Its been a great year for music. I've seen a lot of live music and caught some amazing anniversary shows, like Emperor playing the whole of "In The Nightside Eclipse" ans Nas at Lovebox playing "Illmatic". Also got to see Sikth, Metallica, Eminem, Dog Eat Dog and Limp Bizkit a couple of times too. Theres countless more but seeing two of my all time favorite albums played in full was really something. I foolishly missed out on seeing Linkin Park play "Hybrid Theory" in full and Smashing Pumpkins with Marilyn Manson in London, but no need to dwell on the missed opportunities, next year I will aim to take them all! Beyond live music I've broadened my horizons and discovered more fantastic music, this list covers my top 10 new discoveries over the year, for my top 10 albums of 2014 click here.

(10) Kendrick Lamar

I was never expecting to find much in the way of modern Hip Hop, but this artist had what was great about the old and the new rolled into one. It gave me a better understanding and appreciation of the new era. ive since found myself enjoying a lot more Hip Hop from our current time.

 (9) Skee-Lo

Not the greatest of rappers, but Skee-Lo's style and sound is prime 90s, and I love 90s Hip Hop, after expansively exploring this era over the last few years there are not many leaves left to turn over, but Skee-Lo was a hidden gem that had some how alluded me, much like Kriss Kross possibly because of short lived commercial success at the time.

(8) Chelsea Wolfe

Simply a brilliant musician, Chelsea's dark and haunting psychedelic folk paints her a unique sound to my ears that is a welcome discovery, but one I have neglected to take beyond "Pain Is Beauty", must listen to more of her albums in 2015!

(7)  First Aid Kit

I've said a lot about these two already, my favorite album of 2014, and beyond that their other records are enjoyable too. A great discovery recommended by a reader here at the blog.

(6) Depeche Mode

Known about this band for as long as I can remember, but finally had some encouragement to give them a listen and found that I very much like what they are about. With such a large discography I'm sure I will be listening through their albums for some time to come.

 (5) Ministry

I've known about Ministry for a long long time, even listened to ΚΕΦΑΛΗΞΘ a couple of times but this year their music just clicked for me. I brought a 5 album bundle at bargain price and never looked back. Incredible energy and anger in their music, my favorite discovery from my dive into Industrial Music.

(4) The Art Of Noise

"The Seduction Of Claude Debussy" Is a blinding album, it fit a niche for something I had always wanted to hear, a joining of old and new, Classical and Opera colliding with Jungle and DnB. The record itself is no experiment, this is a masterful execution and expression that utilizes the qualities of each and brings them together in unison, beyond the album they have a few other songs I like and have been a rewarding discovery.

(3) Marilyn Manson

I've been familiar with Marilyn's music since my youth, all my friends liked him, but for some reason it has taken me 15 years to get it, but its well worth the wait. Manson has his own genius and he flaunts it through his angry, rebellious music that has plenty of food for thought. I've really connected to his music and I'm eagerly anticipating a new album from him in 2015.

 (2) Marvin Gaye

I was drawn to the TV after hearing extracts from "Kind Of Blue" to find a great albums of past show, after Miles Davis came Marvin's "What's Going On" album. It stuck a nerve with me immediately, and I found myself at the mercy of his soulful voice which appealed to me through the subject matter. He could talk about our deep rooted societal issues, but package them with a warm reflection and positive perspective that spoke to me deeply. I brought the record instantly and it has been spun countless times since.

(1) The Smashing Pumpkins

Undoubtedly my favorite discovery this year, and maybe of the last few. Their a band I've always known of, but really had no idea what their about. After watching a documentary about them, it clicked, and listening through their albums one by one I've realized Billy Corgan is a musical genius and one I connect with. His sound is brilliant and unique, bringing influences from across the spectrum of Rock, Metal, Grunge and Alternative, but blending it all together and painting songs in his own color. I've enjoyed there first 4 records tremendously and theres still more to come.

Linkin Park "Hybrid Theory" (2000)

Hybrid Theory was thee record of my generation. It's the biggest selling record of this millennium and was a phenomenal success at the time. It's been a long time, maybe even 10 years since I last gave this a listen. The other day I got an itch to listen to this record and I was curious to see what id think of it. 14 years ago was around the time I started listening to Extreme Metal and Hip Hop while still being spoon fed bands from MTV and VH1. I'm a much more mature listener now but I'm not one to disregard what I liked in my youth. I do see a lot of hate towards Nu Metal and other music thats insulted as being only relevant to the youth of that generation. I don't get whats wrong with that, but I understand that people can grow out of music but for me, I hold onto what I enjoy and it was no surprise that after so long this album still sounds great, but it also came with a nostalgia trip, vividly reminding me of my past and where I was at that time. The power of music!

Returning to this classic, I tried to keep in mind the popularity of this record, and from this perspective hear what the formula of their success was. This was released around the same time as "Chocolate Starfish" which is the fastest rock album to go platinum. It was in the peak of Nu Metal and the music industries stranglehold on record sales which has since been in rapid decline, it was prime time for a band like this with Bubblegum Pop groups like "Backstreet Boys" and "Britney Spears" being the alternative in MTV culture. Their sound would characteristically defined as Nu Metal, but the guitars are not excessively distorted, the screaming is infrequent and their aesthetic has its heavy moments but keeps a rock sensibility throughout. Simple and infectious melodics are brought to the forefront through electronics and guitar leads that are a key part of what makes this formula work. Not only are the group delivering bouncy and grooving riffage, they also balance it with memorable and catchy leads. Chester's clean vocals and Mike's raps are like icing on the cake of an already approachable sound, the two give every song a great hook and relate-able, easy to follow lyrics that the target audience can easily get into. Even after all these years these simplistic melodies and grooves still strike a nerve.

The album as a whole is fast and to the point, each track is 3 to 3:30 minutes in length, short, to the point and devoid of filler. Starting out with its aggressive tracks, the album calms down towards the end and gets into its more melodic side. Every track does something different and by the end I am satisfied but this short listen does leave one hungry for more. I believe the success of this album is down to the aesthetic being just right for the times, but that alone wouldn't be enough. Theres no denying the groups ability to write simple hooks, appealing melodies and memorable lyrics, the combination of which made this perfect for MTV and radio to push onto consumers, at a time when corporate power had a huge steak in a bands chances to "make it". With the changing landscape of music Linkin Park may just be one of the last bands we will ever see reach these heights of popularity and success. Still brilliant after 14 years.

Favorite Songs: Papercut, With You, By Myself, Place For My Head, Forgotten

Rating: 9/10

My Top 10 Albums Of 2014

The end of the year is upon us, and now its time to write about my 10 favorite albums of 2014. Most of them have been reviewed on the blog which has only been going a few months. Writing about music has given me tremendous focus when it comes to appreciating music. I am now much more organized with my listening habits, I only write about records after I feel an understanding and connection to that without the blog wouldn't have been the same in the past. I'm thankful for this blog and everyones support by reading the articles, Its improved my musical experience greatly and this article will cover my thoughts of each record in brief.

(10) Panopticon "Roads To The North" Link

Delightfully different approach to Black Metal, Kentucky folk influences, an appreciation of heritage and culture made this a colorful and palleted record that is enjoyable on every listen.

(9) Yagya "Sleepygirl" Link

 

Not an especially distinguished or grabbing record, this was just simply what I wanted from this artist, some chilled out super mellow dreamy electronics.

(8) Earth "Primitive And Deadly" Link

A masterful record that saw long running band Earth find their inspiration and direct it into a mature and well developed record that brought vocal elements into their usually instrumental sound. An unexpected and welcome suprise.

(7) Erang "We Are The Past" Link

Erang has pumped out a lot of music in a short amount of time and each record brings a variety of interesting and indulgent music, but unexpectedly this one really stepped up the game with some of his most inspired and captivating music yet. Makes me excited for the future of this project.

(6) Wolves In The Throne Room "Celestite"

Stripping out core elements of their sound and focusing on the abstract synthesizer sounds, the group made a remarkable record that goes on a vivid and mysterious journey through space and time with and eerie and cold undertone. Gripping soundscapes

 (5) Behemoth "The Satanist"

Stunningly dark, evil and well composed. What could of been another run of the mill album for their 10th effort turned out to be focused and ambitious record that despite sitting in a comfort zone, turned out to be monumentally engrossing and heavy.

(4) The Underachievers "Cellar Door - Terminus Ut Exordium" Link

A pleasant surprise to find a Hip Hop record in the modern era I could get into. Very much enjoyed the atmosphere of this record which borders some dark moods at time. Great beats and flows outside of my comfort zone made this an expansive record for my taste.

(3) Saor "Aura" Link

A brilliant record that appreciates Black Metals melodic side, bringing together the abrasive aesthetics with culturally inspired melodies and instrumentation. A pleasure for the ears.

(2) Messenger "Illusory Blues" Link

A Progressive Rock record that draws inspiration from many of the greats while creating its own identity. This record is mature for a debut and paves the way to a bright future for this creative band.

(1) First Aid Kit "Stay Gold" Link

Picking my favorite was as easy as it gets. Since I first heard this record Ive found myself more and more engrossed by these gorgeous songs that are charming and relate-able with down to earth, uplifting and reflectional lyrics that are driven home by the pairs beautiful voices, which put me in a good mood every time I hear them. Simply can't stop listening to this one.