Behemoth "Xiądz" (2015)

Following the successful and critically acclaimed "The Satanist", Polish legends Behemoth give us another appetizer of leftovers, the title track "Nieboga Czarny Xiądz" from "The Satanist", a rerecording of a very early song "Moonspell Rites" from the same recording session and "Towards The Dying Sun We March"  from 2009s "Evangelion". Behemoth are well respected within the metal community, once an atypical Black Metal band they evolved from the shrill, dingy, low-fi, occult sound into a beastly, aggressive musical force, incorporating elements of Death Metal and creating the term "Blackened Death Metal", referring to the fusion between the two styles. In recent years there leanings have turned a little towards their routes from a thematic sense and this short EP is no shift from that path.

The second track "Moonspell Rites" makes for a fascinating listen when compared against its 1994 original. The thin, narrow grisly guitars and a clanging snare don't detach the music from its charm. Even with a lush, modern recording it couldn't offer the song much more than its original, with an ugly, harsh aesthetic. On the newer recording the solo is a little buried, as opposed to the originals gleaming tone bursting out over hazy walls of distortion guitar. Still the modern version is enjoyable, but there is a lesson to be learned.

The opening track "Nieboga Czarny Xiądz" is by far the records best track, its quality makes me question why it was left out of the track listing, but that perhaps is testament to the bands craft. The song opens with a temperate and steady atmosphere that aimlessly wanders through itself before, a few minutes in, seemingly imploding into a lavish smothering of melodic dissonance that oozes over with enigmatic guitar chords and a subtle eerie organ adding a spice to the moment. Although the track doesn't progress much further with this break, it was a beautiful moment on the record that had me playing it over and over.

 "Towards The Dying Sun We March" didn't have quite the same charm, a contained track slowly brooding and evolving through timing oriented riffs and ideas that climaxed with a slow drawn out bludgeoning riff and rung out chords that didn't amount to much. A fair song but paled by the other tracks. Decent but short, never a lot to talk about for a three track but at least a song to return to with  "Nieboga Czarny Xiądz".

Favorite Song: Nieboga Czarny Xiądz 

Rating: 4/10

Enslaved "In Times" (2015)

Norwegian Black Metalers "Enslaved" have been around since the formation days of the rebellious anti-christian music scene. Forming in 91, they dropped their debut "Frost" a few years later in 94, at the peak of controversy and attention the scene would receive given the murders and church arson events the media focused on. Despite being their from the beginning Enslaved never rouse to the peak status of their counterparts, but have remained active through the years. Their debut "Frost" often hailed as a classic, a cold icy record that to my ears doesn't quite have a lasting presence like "De Mysteriis Dom Sathanas" has over me. Given that the band evolved over time, experimenting with melodic elements, warmer guitar tones and varied approaches to riffs I was fairly excited for this record which has not disappointed.

In Times is a modern approach, out with the cold frosty distortions and in with warm, soft tonal guitars that play to both the heavier, darker side lead by aggressive drums and snarly screams and the lush melodic sound lead by soft, humbling clean vocals and elevated symphonic sounds that often reside in the backdrop, melding with the guitars for a rounded, appeasing tone. One thing thats very distinct of the songs of this record is how they transition between the two, at times like a light switch, at others with interludes and progressions, but for the most part the songs revolve around the two vocal forms taking charge and leading the songs through bright and dark passages.

The variation across the six tracks creates an engaging atmosphere of wonder, always anticipating the next "moment" as each song unleashes epics of soaring riffage, symphonic bliss and tuneful leads, "Nauthir Bleeding" offering a diverse progression from acoustic guitars and humbling, softly sung melodies that lead into the album darkest, soaring moment before blazing into wild, free flowing guitar solos more reminiscent of Thrash and Heavy Metal than Black. The record sounds gorgeous, lush modern production with the drums a little quieter than usual, giving them a muted roll in the songs. The strings and symphonics mixed to perfection, being able to meld with the guitar and break away to direct the music at times, the bass is also warm, upbeat and present in the forefront as it compliments the guitar with plodding rhythms and a base octave a step up from the lows so commonly explored. "In Times" flows like a river, from one to the next and without filler its fifty minutes of modern Progressive Black that doesn't falter.

Favorite Songs: Building With Fire, Nauthir Bleeding

Rating: 6/10

Jan Amit "Flowertraces" (2015)

Jan Amit is the name of this one man band musician from Moscow, Russia who composes dreamy, relaxing ethereal electronics with a contrasting rhythm department of layered, glitchy frenetic subtleties that decorate downtempo, slow beats with a rigidity, digital stiffness. In this contrast the magic is born, Jan's charm comes from magic these two distinctions have when working in unison. "Flowertraces" is the third of three records, the first of which i have been exposed to, and I'm certain ill be picking up the other two.

The power in the music comes from the ethereal strings, haunting pianos and moody compositions that build atmosphere with progression and gentle tunes that whisper in the wind as the songs drift by with grace. No punchy melodies or hooks are required, Jan steadily builds an atmosphere and sucks you into moments where he can deliver so much with a few notes on the piano above intensifying strings that emote directly. The big airy choirs and reverb soaking forging atmospheres big and grand, yet humbling with an eerie undercurrent amplified by haunting keys and bells that play like forgotten lullabies in the mist.

With all this gorgeous atmosphere their is an infusion of a different idea that works to give the music a unique feel, both in texture and emotion. The beats are slow kick clap grooves with a layering of quite noises that range from glitches to beeps and compression distortions that weave and flutter around around the beat, rattling and building into momentous moments of noise. The contrast gives me a distinct vibe, that of two eras colliding, the natural world intersected by malfunctioning time travel technology as we peak into an unknown age of wonders through this paradoxical hicup.

This particular chemistry was what jumped out at me most. On a couple of tracks the moods are more upbeat than introspective, and despite being well rounded tracks they didn't quite achieve the same impact as the ethereal tracks. Production wise its solid, well produced and balanced considering the cluttered nature of the beats in there climactic moments. At forty two minutes it often breezes by, a fantastic listen.

Favorite Songs: Ages, Grace, Heartfires, Ghostly Blossom

Rating: 5/10

Outkast "Stankonia" (2000)

Stankonia, the groups forth release named after the record studio they purchased to record this album in. Given the critically acclaimed success of their previous effort "Aquemini" the duo take of from where they left, moving forward with another fine record that shows no shortage of inspiration as the two forge classic tracks with an ear for expanding their musical ideas, just like they did on Aquemini. The biggest distinction between the two records is Stankonia's pace which features faster tempos with especially chaotic snare and base rhythms best showcased on "Snappin' & Trappin", that features "Killer Mike" & "B.O.B". Other distinctions include a noticeable increase in featured rappers who appear on many tracks. The track listing also has all the skits separated from the songs, something they didn't do on previous records.

The record starts of with a bang, "Gasoline Dreams" opens up with an obnoxious "Ah right" on repeat before dropping in with a phenomenal hook, "Don't everybody like the smell of gasoline, well burn mother fucker burn American dreams", the energy and tempo is high and the raps come in airy sung delivery over rocking guitars and lyrics which say so much about our society in so little words. Starting of with aggression, things quickly switch to smooth styles with "So Fresh, So Clean" and the album journeys on into a stylistic future funk oddball of styles and themes that come with terrific hooks track after track.

The production is split between Earthtone III and Organized Noise, the latter of which handled the earlier records and their style can be heard on their three numbers, but the album flows and again incorporates new sounds and ideas including gospel vocals, frenetic drum patterns and an evolving clean vocal approach from Andre 3000, best heard on the hit single "Ms. Jackson" a poppy, simplistic tune that revolves around a memorable hook and moody tone delivered through the organs, pianos and funky baseline. Like Aquemini, Staktonia's strengths come from the unorthodox and experimental, but here the character and style is stronger and unique, a step further out from the traditional Hip Hop sound without loosing anything. Stunning record with no shortage of substance that doesn't tire.

Favorite Songs: Gasoline Dreams, So Fresh So Clean, Ms Jackson, I'll Call Before I Come, B.O.B, We Luv Deez Hoez, Humble Mumble, Toilet Tisha

Rating: 8/10

Dir En Grey "Arche" (2014)

Japanese Metal band "Dir En Grey" are celebrating fifteen years since their release of their debut record "Gauze" in 1999. "Arche" is Greek for origin but doesn't appear to signify any connection to the anniversary. The bands sound has changed and evolved over the eight albums and on this their ninth effort we hear a band come strong with a very defined and mastered sound they call their own, but how to describe Dir En Grey in relation to other forms of Metal is where things get interesting. Despite punchy, rattling drums, big distortion guitars and screaming, growling vocals they bare resemble any other Metal bands, mostly creditable to vocalists Kyo's impressive range and epic performances that a lot of the music focuses around. With hints of Post-Metal, Industrial, Hardcore, Metalcore, Nu metal and Alternative the band draw from many influences to create a refreshing sound they can call their own.

"Arche" is a lengthy seventy minute record of sixteen tracks that do not tire. The band deliver a continual barrage of big songs that sway between crafted aggression, atmospheric dissonance and captivating breakouts through Kyo's enigmatic presence. Having seen the band live several time I have always been astonished by how big and dominating his performances were live, and on this record I felt they captured a sense of that in some of the best moments the record offers. Kyo's screams go devilishly low and guttural, offering deep textures, see "Phenomenon", as well as providing a range of oddities, traditional screams and soaring high pitched leads that blur the lines between distinguishing gender. The language barrier ads another level of mystery to his persona, which really stole the show.

The instrumentals behind Kyo are finely crafted tunes that don't rely on any over emphasis or momentum to get their point across. Riff after riff play through with many ideas that on their own may lack a spark, but how they come together with the clanging bass and broad, hammering drums a vision is born. Coupled with eerie plucked strings and the occasional electronics, the music forges an identity that transcends its Metal aggression, each song often resembling the emotional content. There are some traditional leanings in the mix like "The Inferno" but for the most part Dir En Grey deliver the unexpected, unusual in an accessible style. A solid record that after countless listens I find myself still feeling its depth and character.

Favorite Tracks: Phenomenon, Rinkaku, Sustain The Untruth

Rating: 6/10

Raunchy "Vices.Virtues.Visions" (2014)

Danish group "Raunchy" snuck this one, their sixth full length, right under my radar last year. Raunchy are a six-piece group whos sound would lump them under the "Future Fusion Metal" name coined by Mnemic, describing the sound in the European scene. Combining many of the energetic elements of Industrial, Metalcore, Djent, Death and even Progressive Metal, their sound would be atypical if not for the Electronics present in the form of backing symphonics and Trance like leads that add a engrossing layer of electronic melodics. Their 2006 release "Death Pop Romance" impressed me immensely and earned them a reputation as a band I should always take the time to check out what they are upto.

The best of Raunchy comes from their clean melodic vocal lead hooks and infectious, poppy trance like melodies that ring out an uplifting mood along side aggressive, modern Djent metal riffage that pounds and grinds chugging rhythms with aggressive drumming. Its the moments that give way to the electronics that Raunchy find their niche, and they create these vibrant sing along moments song after song, but its the moments between where things don't move so smooth. The Metal side of their sound is relatively generic and the guitars lack a spark to create something with an energy or idea thats fresh to an experienced metal listener. It flicks like a switch as the songs build up with varying riffs and structures that lead to the implosive moment where the electronics drop in and time and time again this is where the magic happens.

"Vices.Virtues.Visions" is a decent effort, one that taps into the best of their unique sound, but drifts into mediocrity when the Metal takes lead. Clocking in at over an hour with a couple of lengthy numbers the moments between can drag, however the hooks and melodies are right on point. Another strength this record developed were some pounding festival like beats, you can envision the crowd clapping and fist pumping along to the bass kick that rings out as the music calms before the storm. Sound wise its representative of modern production, very audible and clear, the drums having a punchy and crisp tone about them. The electronics sounding superb alongside the crunchy guitars. Raunchy do a lot right here, but tiring of typical Metal guitars made a lot of this record dull for me. 

Favorite Tracks: Truth Taker, Digital Dreamer, Anasthesia Throne, I, Avarice

Rating: 5/10

Anthemon "Dystopia" (2004)

Today we write about a personal classic, an album thats been with me for many years and has also been a little bit of a mystery as to how I actually found my way to this one, but over the years it's served as a record I can revisit time and time again. Anthemon were a French band from Paris who fused Symphonic Doom Metal with a operatic vocals, with a distinct sensibility for tuneful, moving melodies and lush, glacial atmospherics that gave them an identity unique to anyone who has been lucky enough to stumble across this now defunct group. After recording three records in three short years the band split up during the writing process of a fourth for reasons never expressed.

"Dystopia" is a concept, sound, an identity created through an aesthetic the entire album sticks too. A niche touch in creating a record that feels like it can only be best enjoyed listening all the way through, more so than nit picking songs. Although a couple of tracks stand out, this is eight tracks of steadily paced, lush doom, playing out crafted melodies and theatric, moody operatics in absorbing strength. The sound oozes a sensuous wall of symphony as brooding, dense, low distortion guitars ring out against uprising, bold, audacious symphonic strings that create a warm, absorbing air of wonder for captivating melodies, and melodramatic performances as the operatic leads soar high and exchange with beastly growls and screams from the harsh vocals, as sturdy drums and solid baselines steady the ship.

The melodics are infectious, tuneful leads that burst out from both the guitars and symphony in between brooding moments that move with the anticipation of the next tune. The craft is astounding, each riff, lead and vocal progresses with ease to the next state with a true architecture that far exceeds the atypical Metal approach to song structure and writing. Anthemon forge their music like a matured wine thats been brewed to the fullest of flavor. Guitars play out giving rhythms that lend themselves to the structure and progression while breaking out into glorious leads with the strings and synth. The mood of the record is a strange one, overall bright and uplifting, with an undercurrent of sadness, mostly heard in the operatics, that flirts with darker feelings as the lyrics brood and ponder on pain and the psyche of the mind.

From a technical perspective this is a grand sound that may feel a touch clustered at times, but does a tremendous job allowing the bright, gleaming leads to play out in unison alongside moody guitar distortions as the symphonies shine through with a bright hazy wall of bliss. The drums play an important roll, sounding crisp, punchy and big, yet playing a moderated roll, providing these songs with a sturdy backbone thats theatric, without stealing the show. The chemistry in the mix may really be in the music, but the lush sensuous aesthetic of this record does nothing but reinforce magical compositions that master their own conception. Truly a work of art that could be easily overlooked, but years of listening has shown me the wonder never dies with this one.

Favorite Songs: Above Us, Tuned To Dead Channel, Sereve Eves

Rating: 9/10

Killer Mike "R.A.P. Music" (2012)

Southern rapper Killer Mike's sixth record "Rap Music" couldn't be more to the point. A title fitting for a record thats direct with solid raps and no-nonsense beats. Mike's twelve years of experience since his debut with Outkast, shines bright as he dominates each track with imaginative, commanding flows keeping the listener engaged with his lyrics, which get political in the later half of the record. Over the twelve tracks theres not a moment of filler on an album that seems to get progressively better with each track. Its quite an unusual way for a record to play through, but this one genuinely gets stronger and stronger until the title track sees the record out as Mike muses on all the influences that makes up his music.

One of the first things I picked up on was the production. The beats have that characteristic similar to "Run The Jewels", I was not surprised to find E-LP handled production of every track on this record. Its no surprise the two have continued to work together as we hear a very successful formula at work for the first time. E-LPs production captures a raw Hip Hop appeal for tight beats and grooving baselines, but his unusual pallet of buzz-saw instruments and distorted, pitch shifted samples create a style approachable but able to retain its own distinction. E-LP brings a lot of flavor to his beats with subtle tweaks and big shifts in the beats to break the sometimes stale nature of looped instrumentals.

Killer Mike is on fire this record, his flow is fast, impassioned and aggressive. The tone, delivery and pronunciation, crisp and clear. With so much to express theres no respite from his thoughts, rapped with creative word play and a fair amount of variety, from politically charged tracks to humorous story telling on "Jojos Chillin". I especially enjoyed the use of low pitch shifted rapping on "Ghetto Gospel" & "Butane", something I've desired to hear more of since Tupac's "Strictly 4 My Niggaz", E-LP and Mike using this sound effect to create some ghostly raps. Terrific record, solid through out but really comes into its prime with the track "Regan" depicting the horrid consequences of Ronald Regan's presidency. The Outkast references and "break" samples were also a nice touch considering my recent exploration of their music, very excited for the future of E-LP and Mike with RTJ3 and RAP Music 2 on the way.

Favorite Tracks: Southern Fried, Regan, Don't Die, Ghetto Gospel, Willie Burke Sherwood, R.A.P. Music

Rating: 8/10

Sithu Aye "Pulse" (2014)

Sithu Aye, the one man band from Burma, is a Djent guitarist who I've recently discovered through their second full length "Invent The Universe", a bright and uplifting album of racing melodic leads and crunchy Djent riffage. "Pulse" is the latest in a string of EPs released in the years since that sounds and feels like it could of been on the same record. One of my hopes for this artist was to hear them progress away from the comfort zone of a sound thats being well played out, and to carve their own niche. That being said Sithu Aye does do a fantastic job creating energetic, positive Djent Metal, but for all its enjoyment there was only a single moment here that grabbed me as the rest often faded out of focus, in a pleasant way, enjoyable but failing to command my attention.

The record starts with two guest musicians, Pilini on the first and Aaron Marshall on the second "Messenger" which pricked my ears up from the mid section as the pair blazed into colorful solos that surfed the wave over some grooving chugging rhythm guitar. Beyond the singular moment I felt a lack of distinction when it came to making these songs into something special. The tight Djent riffs, bright blazing guitar leads, reverb soaked acoustics and occasion electronic glitches sound gorgeous in each moment but as the songs stretch on they circle around the same ideas established in "Invent The Universe" and fail to break their own mold and provide anything unexpected or challenging. Since this style is my cup of tea I can't have any complaints when it comes to a good listening experience, but the lack of refreshment will have me choosing other records.

Favorite Songs: Messenger, Pulse Part II

Rating: 5/10

Faces Of Eve "The Story So Far" (2015)

"The Story So Far" is an enjoyable debut EP from UK based "Faces of Eve" who appear to be a duo, however a lack of information is available on this group. The record opens up with lush, glorious reverb soaked acoustic guitar tune that glistens melodically in its ambiance. We are first introduced to the vocals, which will remain a polarizing aesthetic throughout the record. Light, soft and soulful they cruise effortlessly through the upper voice ranges with an immaculate delivery. A chunky Djent guitar creeps in from the background and leads the song to its conclusive moment as a bold, colossal grove drops in with the drums. It quickly impressions a feeling between Metalcore, Djent and Groove that would be solidified with the rest of the record.

"Feed" and the rest of the tracks on the EP follow this style with a relative sense of comfort and familiarity, with songs that play out commonplace Metal riffs with a fair amount of flexibility to throw some interesting ideas in on occasion. The vocals serve as the edge to define their sound, rising above the contrasting, crunchy heavies and layering a soft melodic soul above the grooves. At first its a harsh contrast, but with each listen it grows and grows, and in some moments sounds exceptional as the vocal range soars high on "Crime Of Passion" with the guitars ringing out some moody chords underneath. Theres a lot more chemistry in these moments, but overall its an enjoyable and unusual approach to Metal vocals that comes as a breath of fresh air.

Production wise the record sounds strong, it can get a little clustered in the low end with the Djents and slamming base which has a really chunky tone that sounds fantastic in the rare moments the guitars drop out. Drum machines are so commonplace with Djent ill assume they are used here, and they sound good throughout, all though their are some very harsh, mechanical rolls and fills on "Temporal Rotunda" which are a dead giveaway. Very enjoyable EP that shows great promise for a band who I think are yet to find the best of their chemistry.

Favorite Songs: For My Fallen Heros, One Man Show, Dwellers

Rating: 5/10

Death Grips "Jenny Death" (2015)

"Jenny Death" is the second half of double album "The Powers That B" and may just be the last thing Death Grips ever release, but maybe not if you have followed the bands unpredictable behavior over the years. From no-shows to break up announcements via a note scribbled on a napkin, they have made a reputation for themselves, one that will never overshadow the music which speaks in deafening volumes, given the hard hitting and abrasive sound the trio create. Death Grips hail from Sacramento, California. Consisting of MC Ride on vocals, Zach Hill frenetically pounding his drum kit and Andy Morin handling the electronics and production. Their 2012 release "The Money Store" is one I have been meaning to write up on for some time, its served as one of the most impacting and ear opening records I'd ever heard. It deserves its own article but ill be blunt, Death Grips are the most exciting band I can think of these days.

My excitement for Jenny Death was somewhat muted, I found myself disappointed with the first half "Niggas On The Moon" which was a bare and stripped down record I had little connection with. Jenny is quite the opposite, a dense cluster of thick tracks rich with textural noise, felt through additional guest musicians performing guitars and synthesizers and typically unusual approaches to delivering melodies and grooves as Death Grips so often do. For the most part Jenny is reminiscent of the debut "Ex-Military" sound, with Ride's performances having a similar intensity and merciless frenetic quality as his shouts are interwoven with glitched out vocal samples, cuts and effects. The return of featured guitars also strengthens this similar feeling. "Pss Pss" and "The Powers That B" have a "No Love Deep Web" vibe with more electronic eccentrics oriented sound and deep bass. Beside the familiarities, some new and expansive ideas emerge with "Inanimate Sensation" build a song out of an ugly accelerating automobile impersonation, finding a hook in the most un-melodic of pitch shifts. "Why A Bitch Gotta Lie" delivers a massive party riff wrapped in growing layers of distortion and jittery paranoid electronics and Ride's howling screams phasing in and out of the background before busting in with ridiculous robotized effects that amount to an assault of wild exciting noise with Zach smashing on his symbols with unrestrained force.

These songs have textural sounds, dizzying noise abuse, dense electronics and sampling that arrive in a twisted package as track after track questions your rhythmic and melodic sensibilities, creating hooks from off kilt timings and smothering the songs with compressed layers of sound that aren't afraid of colliding and peaking, using distortion to effect, alongside Zachs monstrous drumming that often amplifies the intensity in many of these songs. In front of the instrumentation Ride's performances and lyrics tie in concepts and attitude that without would leave a gaping hole. The track "On Gp" bringing one of his best, and darkest moments. Individually, each song brings forth a lot of character and identity, a concept of its own, something I would identify with almost everything on their first three records. Its a refreshing return to form that sounds lively and exciting, showing the group still have relevant musical ideas and an energy to deliver them authentically.

Favorite Tracks: Inanimate Sensation, Why A Bitch Gotta Lie, Centuries Of Damn, On Gp

Rating: 5/10

Kendrick Lamar "To Pimp A Butterfly" (2015)

To Pimp A Butterfly has undoubtedly been the most interesting record I've heard in a long time. I've pondered on its meaning and message, loved its courageous instrumentation and felt frustrated with its pacing, despite the beautiful artistic construct. Its being raved about universally, hailed as potentially being the album of the decade, and an instant classic. I've given myself much time to consume and digest the record, and for all I love about it I'm not quite on the same level with it. I've been anticipating this one since discovering Kendrick's 2012 classic "Good Kid, M.A.A.D City", a stunning Hip Hop record, and in the three years since hes been hard at work on his third record, a undeniably strong one that has certainly not disappointed.

Kendricks expressions and vision is unrestrained on an unconventional and free flowing approach to the album experience, breaking down the conventional Hip Hop format and uniting a concept through a recited poem that features on many tracks, unfolding as with each recitation. The lucid nature of the record takes a step back from itself and reinvents the instrumentation with a closer connection to Funk, Soul, Jazz and even Disco, music thats had an undeniable influence on Hip Hop sound and culture. These songs let the power of the grooves, melodies and Kendrick's expression flow and evolve from track to track thats filled with interludes, poetry and transitions between the tracks that focus on the expression thats not all about raps. Spoken word and poetry reciting, Kendrick gets emotionally raw with his voice on "U" and other numbers that have classy instruments keeping the dramatic tone moving.

The expression is a point I've touched on a few times, and obviously its a racially, emotional charged concept that reflects these times where the racial inequality and police brutality is boiling in Ferguson Missouri. Its the specifics that are illusive, the indirect, poetic language thats powerful, and yet unclear. Kendrick reflects on many historic and cultural figures in black history in vague references that are tied to emotional stress and guilt, delivered with impacting force for thought. The most mysterious of which, "Loving you is complicated" where he ponders on a figure of reach who money made complacent and misused his power and influence. The song "Mortal Man" concludes the poem recital for the last time, leading into a conversation with Tupac who I believe Kendrick is drawing parallels with at a time where racial tensions are hot and he is a racially aware voice in Hip Hop similar to Tupac. Lines like the "Thought money wouldn't change you, made you more complacent" makes me think of Tupac's rise and fall from being the voice of the "young black male" to parading the bling bling image on MTV with gold chains, hot tubs and models. There are many racialy charged lines to ponder the meaning, "My heart is as black as an aryan", and most of "The blacker the berry". Although the specifics may feel blurry, its undoubted that Kendrick is fueled with anger and passion for his people.

When the end of "Mortal Man" rolls around, Kendrick recites a second poem, describing his world. A beautiful metaphor using the caterpillar and the butterfly to express the relation between artists like himself who escape the ghettos to be exploited for it. "To Pimp A Butterfly" comes together in this moment but still leaves a lot to think on as Tupac speaks no more, leaving Kendrick without an answer to his question, that this record might simply be.

The instrumentation and production is sublime, as mentioned before it has a lucid quality and focus on organic chemistry, breaking the sampling and drum machines with a live band feel that let songs grow, shrink, twist and turn with a freedom that looped instrumentation can't achieve without immense construction. A wide array of styles and instruments move in and out of focus and my favorite element, the drumming, is slightly subdued, laying down solid but subtler grooves that are gentle and powerful, bringing a lot of energy without any boombastic presence, its a classy touch and ones that at no time uses any cheap thrills or catchy hooks, this is all substance and style.

Theres a lot to love here, a dense album musically and conceptually which grows fonder with each listen, but my one gripe are the interludes, despite being expressive and theatric and an essential part of the record, they come at a pace that continually breaks up the songs and stagnates the flow somewhat. Theres more I could talk about, but by now id be nit picking specifics, where the album as a whole speaks volumes. I can see exactly why its being hailed a classic, but on a personal level it may take me a bit more time to feel it that way.

Favorite Songs: Institutionalized, These Walls, Alright, How Much A Dollar Cost, The Blacker The Berry, Mortal Man

Rating: 9/10

Say Lou Lou "Lucid Dreaming" (2015)

Australian duo Say Lou Lou caught my attention with a dreamy pop number "Everything We Touch" in the summer last year and have had me keeping an ear out for a full length to drop, as well as returning to the song often which is about as dream pop as it gets with a light dance rhythm, moderate progression and catchy lyrics, but the hook was strong and the airy, lush instrumentation fused with their voices, the aesthetic had me hooked. These two twin sisters have music in the family, their farther being Steven Kilbey of Australian rockers "The Church", and this, their debut comes after a string of singles dating back to 2012. Its taken a while for this one to come together.

Like the majority of pop records I've listened to, Lucid Dreaming blows its load with the first three tracks, putting the albums catchiest numbers right at the beginning, and leaving the album experience to drift into the darkness with thirty minutes of lack luster music. The opening two tracks have it down with rich, absorbing strings and synths that build fantastic atmosphere for the duos gentle voices to glide through and create a dazzlingly lush and dreamy energy, brought home with lyrics to inspire some imagination "all that glitter, all that foreign gold". "Games For Girls" switches lanes with a chirpy dance number that brings tight rhythmic groove and a playful theme, while retaining a little of their dreamy synths in places. Its simplistic and enjoyable, but after this point the album quickly turns stale.

"Julian" slows the pace down with a temperate mood, but its the lyrics on this track and many past it that fail to inspire, with direct and unimaginative use of language the spell is broken and the albums slowing of pace amplifies a lack of energy and spark the opening numbers had. One line in particular stuck out "Take another sip from you coffee cup, I'm looking at your lips as you're drinking up", it just didn't do anything for me, and despite some moderate vocal inflections and hooks it just didn't pick back up the energy or pace until the final track "Skylights".

There's not much to complain about aesthetically, the album has a great pallet of absorbing airy synths that border ethereal at times. They compliment the duo vocals and the rest of the instrumentation is accommodating, but nothing here that will surprise or astound, its relatively tame and accessible. The album was a big disappointment considering the contrast in quality between four good tracks and the rest. They definitely have a spark, but for the most of this record its muted.

Favorite Tracks: Everything We Touch, Glitter, Games For Girls, Skylights

Rating: 3/10

Outkast "Aquemini" (1998)

Southern Hip Hop duo Outkast are a pair of musicians I'm growing an immense amount of admiration and respect for. I've been impressed with their intelligent approach to Hip Hop, showing strength and maturity with cerebral introspections and social commentaries, combined with charactered production that distinctively sets them aside from other acts. On this record "Aquemini", their third, the duo seem completely in sync with one another. Whether its lyrically, instrumentally, or conceptually, the two deliver a riveting and eloquent experience for the listener on a record thats filled to the brim with fine instrumentals, enticing rapping and an array of cultural interludes that tie the songs together. Good raps and beats is always the formula, but here the two transcend the genre with expressions and themes that create an air of expectational quality reflected in the album covers blaxploitation rendition of the two.

Aquemini is a rich, fluid listen thats stimulating from start to finish. Despite this, its surprising diverse in production, with different themes accompanying the stylish, charactered beats Outkast have put their mark on. "Slump", "West Savannah" & "Spottieottiedopaliscious" feel like throw backs to "Southernplayalisticadillacmuzik", a fair few numbers have the spacious and darker, paranoid instrumentation of "ATLiens" and with songs like "Rosa Parks", "Synthesizer" and "Chonkyfire" the duo break the mold with supreme instrumentals that make use of live instruments like the harmonica, giving them a vibrant edge over the traditional sampling technique. The array of guest musicians contribute purposeful sounds that expand their pallet with guitars, pianos and marching band horns, creating a rich and lasting experience when combined with the sharp and crisp drum machines.

Beyond the illuminating instrumentals the duo deliver solid raps and killer hooks on a thought felt record where every word feels relevant. The themes expand on ATLiens socially conscious commentaries with the heart felt "Da Art Of Storytellin", themes of technological paranoia on "Synthesizer" and the pairs duality on the title track. Most exciting is the delivery which isn't afraid to expand with sung hooks and gospel vocals, in general breaking the monotony with catchy ideas of which all seem to work without fail. It can be felt in the vast array of guest musicians who add a layer and depth to many songs with vocal hooks working in the background behind the raps and the audacity to enhance the flow with layered lines and powerful, yet subtle reverb effects, empowering their rapping voices. I have nothing but praise for this album. Never a dull moment or skipped track, I thoroughly enjoy it in its seventy four minute entirety and can't praise it enough. Although relatively new to me, I can't help but feel I'll call it a classic with time.

Favorite Songs: Rosa Parks, Synthesizer, Slump, Mamacita, Spottieottiedopaliscious, Liberation, Chonkyfire
Rating: 9/10

Dødheimsgard "A Umbra Omega" (2015)

I was flooded by a wave of excitement when the news of this record's release made its way to me. Its been 16 years since the band dropped "666 International" and with the disappointment of 2007's "Supervillain Outcast" I should of been cautious, but alas the title and album cover sparked my imagination with hopes of a glorious return to form. On arrival this one went straight to the top of my playlist, but quickly I groaned as it became clear this wasn't going to be my cup of tea.

The aesthetic of the record isn't exactly Black Metal, churning blast beats and droning distorted guitars aside, its a muted, muddy and warm production that dampens the aggression and paves the way for its more flamboyant qualities. On paper it sounds like something id love, long passages of unraveling music that transitions from aggression and evolves through dark, eerie compositions, giving way for a variety of lighter instrumental ideas and intensities that across the five lengthy tracks explore many moods. The instrumentals alone are well performed, indulgent numbers that lack a spark or flair to truly define them. But crashing into the fragile like a knife through butter is Aldrahn wailing theatrics, his tone and delivery dispel the atmospherics and cut the tension. His loose, emotional performances scrape and pull on the chords of pain as his screams, shouts and crys punish the listener with their intensity. I appreciate the performance art in tracks like "Architect Of Darkness", where Aldrahns despairing screams paint the pain vividly, but their was something deathly off between the two as his vocals continually dispelled any magic the song was building.

And the music has magic, there is clearly something at work in these instrumentals when they break from the metallic and into the acoustic, ethereal reverb lead passages, there are a range of musical styles contributing to the unnerving and eerie atmospheres, including the use of additional instruments like ghostly pianos and haunting flutes. It could all amount to something beautiful, but often fell flat, undoubtedly helped along by  Aldrahn and Victonik's theatrics. I will continual to listen in the hope of familiarity overcoming the soreness, but initially its been a lacking listen, at least "brightened" in one sense of the word, by its richer acoustic moments.

Rating: 4/10