Arcturus "Arcturian" (2015)

After a ten year silence since "Sideshow Symphonies", the chaotic carnival sideshow Arcturus emerge for the abyss to unleash another full length record upon a niche group of adoring fans. Arcturus has been a group I've held in the highest regard for their unique flavor and artistic evolution across the four records that proceeded this one. Forming under the moniker "Mortem" in 1987, it took the group almost a decade to find their sound and release their debut "Aspera Hiems Symfonia" in 96. It was a raw Black Metal power ride of haunting atmospheres and playful melodics that fused the symphonies with the raw power chord distortion, howling screams and thunderous drumming. Having established a unique identity, the group took a huge stride into unknown territory with the follow up "La Masquerade Infernale". Using electronics, sampling and taking a more theatric approach to their music they created a modern masterpiece unrivaled by anything alike. The two follow up records further experimented and refined their sound and set a high level of expectation before there split in 2006.

With the stakes so high I was both dreading and anticipating this record which took me a fair few listens to warm around to. What hit me on the first play through was how familiar and "right" the music felt, as if the the band had been frozen on ice, put on hold, and returned ready to fire as if not a moment had passed in their absence. It only took a minute for the opener to throw me into a classic Arcturus atmosphere, rattling drums blitzed in the background as discordant guitars ring out with descending synths, throwing us into a symphonic hook led by ICS Vortex's adventurous, and still so charming vocals. Everything about this record as it played through made sense, the opening half having a lot of familiarity with different approaches and styles executed on previous records, the quality good enough to call its own. There were one or two moments that felt a little like carbon copy, the track "Archer" feeling like an outtake from sideshow symphonies, and "Angst" from "Aspera Hiems Symfonia". Ultimately its the shock of getting exactly what you wanted that feels a little surreal and the ten years apart feels almost non existent. "Arcturian" has sheltered itself from the world and let the band continue exploring them selfs, the only noticeable influence being the drum-step beat sampled on "Demon".

With the music doing so much right it manages to mask a big problem this record has. The production. Lets be blunt, its pretty appalling. From the get go its apparent there are issues, instruments fight for volume, bleed into one another and a lot of clarity is lost as the instruments collide in a messy mix that is inconsistent on multiple levels. The drums firstly, they sound different from track to track and often drown themselves in a rattle of noise. The guitars sometimes feel like an incoherent fuzz under over powering symphonies. For all my complaints, I am left with puzzling thoughts. The production doesn't ruin the music, but does it hold it back? Maybe it even adds to it? This isn't a case of low-fi production where the aesthetic is an edge, but the inconsistencies on a track by track basis perhaps suggest intentional manipulation of instrumental clarity, which in a few moments does work. Arcturian was an initially puzzling record, but from the get go its undeniably decent, a fine work which any fan would adore. It will be interesting to gauge the communities reation, and although I hope to hear a remastered release one day, I am undeniably satisfied by "Arcturian".

Rating: 8/10

Snoop Doggy Dogg "Doggystyle" (1993)

Known around the world as an icon of Hip Hop culture, Snoop Dogg's story both starts and ends with his debut record "Doggystyle", a Hip Hop classic that broke sales records and helped solidify the west coast's popularity with mainstream audiences. The records success is truly justified by its artistic content as Snoop drilled his persona, slick flow and boisterous G-Funk style home after creating a memorable debut on Dre's "The Chronic". Since the release of this record back in 93 Snoop has never artistically come close to the heights soared with his debut, but has remained ever present with a continual string of mediocre records, guest features and putting himself in the limelight through movies, advertisements and appearances on a frequent basis. He has kept his brand and image going all these years, and its off the back of a classic timeless record that never gets old.

When Snoop first gained exposure through his collaborations with Dre he instantly established his name through a unique style he would be strongly identified for. A slick, steady flow oozing with style and attitude, Snoop's laid back raps were delivered with memorable multisyllabic rhymes, often for the izzle and izzites as Snoop manipulated words with a brand of his own. It wasn't just the flow that was easy going, the straight forward use of language and to the point phrasing had listeners of a broader audience understanding. Snoop also had the light toned "sing raps" in the arsenal alongside a dynamic flow in which he could shift the pace effortless mid verse. The exaggerated gangster persona further solidified his appeal with violent, raunchy lifestyle tales of another culture, glorifying the extremes depicted in his lyrics. On paper it sounds unexpected, but thats what makes it work, glorified gangster lifestyle stories told through charming, slick and softly delivered raps with a mass appeal for counter culture.

As classic as Snoops flow is, the instrumentals on this record are an undeniable staple mark of its success, produced by Dre, Doggystyle represents a finely crafted set of G-Funk numbers that push the style and groove into a universally appealing territory as these layered tracks ease the listener into there charm, a subtler approach from the bombastic, upfront numbers on "The Chronic". Working with tight drum loops, the charm emanates from three instruments, firstly the grooving bass, rocking and swooning under the drums with power and substance. Secondly the anthemic ghetto whistles, blazing swirling melodies and lingering in the mix provide an array of memorable hooks and infectious tunes. Thirdly the pianos, used like a glue to hold the various elements together they rarely take the forefront but reside between the instruments, breathing warm melodics into the grooving sound. Beyond these three theres some fantastic use of electronics and a constant detailed layering of subtitles that can be heard, filling the spaces perfectly.

Its a Hip Hop classic, and a terrific record in general, but on a personal level I've always found this record to have an unusual uplifting vibe even when in the darker, gangster tracks the ghetto whistles, tight bass grooves and Snoops chilled out persona is a warming one. Tracks like "Gin And Juice", "Whats My Name" and "Doggy Dogg World" are all round fun tracks with a party vibe that still feels relevant today. Snoop put his mark on the world with this record, and it will be celebrated for a long time.

Favorite Songs: G Funk Intro, Gin And Juice, Murder Was The Case, Who Am I, Doggy Dogg World, Pump Pump
Rating: 10/10

Billy Woods "Today, I Wrote Nothing" (2015)

As the title may indicate, "Today I wrote nothing" deals with apathetic themes that delve into introspection and musings around the milder moments in life. Billy Woods is a New York rapper on the Alternative, Underground spectrum of the Hip Hop radar. With little info on Billy this record served as my only source of information on a rapper who sounds pretty rooted and down to earth, reflected in the lyrics and persona that avoided the demeaning cliches that glamorize harsher realities.

The record lays in a peculiar balance of unremarkable enjoyment, feeling steady, structured and familiar, yet doing little to spark excitement. The two half's of the formula work well, but the beats take reign as Billy often fades in and out of focus, dropping decent lines here and there, but in the same tame flow that lacks a kick and a punch to perk up the listener. His moderate tone and comfortable style carries the record along giving light to the beats which shine character into the record. The album flows smoothly as shorter tracks shift quickly from beat to beat that have a subtle experimental edge that feels safe, yet on paper would seem a little unorthodox at times. The song "Rpms" standing out as a strong example of an enjoyable oddity, a powerful, moody, thematic sample accompanied by samples of motor violence and Billy's mediocre rap.

The chemistry of this record is unusual, almost is if something almost spectacular is happening on a muted scale. The beats show bright sparks, intelligent ideas against the grain, but are held back by their moodier, artsy nature. The short songs and continual transitioning save them from feeling stale, an interesting point to ponder on, but without Billy delivering anything hitting the record drifts by in a warm haze of mediocrity.

Favorite Songs: Lost Blocks, Flatlands, Woodhull, Carpetbagger, Bicycles, Rpms

Rating: 5/10

Suicide Silence "You Can't Stop Me" (2014)

Suicide Silence are a Californian Deathcore five-piece band who emerged from the early scene with one of the harsher sounds the genre would know. Snappy drums, deafening guitars and two distinct styles of brute force vocals, shrill snarly screams and bludgeoning dense gutturals. The band forged a unique sound which has led them to great success in establishing and growing a large fan base over the years. In 2012 tragedy struck the group when lead singer Mitch Lucker died in a motorcycle accident. Known for being covered in tattoos and being an all round nice guy he would be sorely missed, which is true of the music too, his style and tone an undeniable pivot in the groups sound and success. I was genuinely surprised to hear the band were continuing on. This first record without Mitch features Eddie Hermida stepping up to fill the big boots left behind.

The album continues where "The Black Crown" left off, showing a tamer side to their previously bludgeoning approaching to brutal, slamming music. This constructive riffing approach and choice of tempered, varied styles puts the record in an interesting balance where the brutal, slam moments steal the show. Melodic leads, guitar solos and various breaks do alter the flow where the bludgeoning would get nauseous, but this is what the band used to do so well, a continual onslaught of over the top brutality and although its still a prevalent mentality, the spark is lost in all but a few songs where things get heated but even then its nothing as intense and defining as songs like "Girl Of Glass" which reminds me of the lack of breakdown or breakout moments I had come accustom to.

The records production is a little crowded and overpowering, although effective in creating a brutal tone, the drums and guitars are over compressed, reducing the tone and color in crowded moments where the pounding rhythm takes lead as the instruments tones collide. With such big boots to fill vocalist Eddie does a relatively decent job with rasp screams and deep, open tonal gutturals, but ultimately the spark they once had is lost with Mitch and Eddies generic screams make a mediocre record of a band loosing their charm. Not all is bad, there's a couple of decent tracks and its an entertaining listen if your in the mood for mindless brutality, not to mention an enthralling feature from George Fisher.

Favorite Songs: Control, Warrior, Ending Is The Beginning.

Rating: 4/10

IGORRR "Nostril" (2010)

Igorrr scratched the itch I never knew I had, my recent discovery of "Hallelujah" leaving me with a desire for more, one which initially didn't quite work for me with this record. "Nostril" is a similar beast that reveals a lack of progression between the two records, with the sound and concept bearing similar traits and ideas in aesthetics, and execution. Initially I may have not been in the right mood, the pounding drums, fast chops and general noise fest proving a little nauseous when not in the zone for abrasive music. But alas Nostril grew on me, and would become my preferred record of the two.

As mentioned the two records sound cut from the same slate, as almost all ideas and execution heard on "Hallelujah" can be found here too, despite four years between them. It took me a while to understand this record, but Nostril has a richer variety and experimentation, both through the contrasting Baroque and Renascence era sampling and the noise base rhythm department with deeper dives into glitched out beats, odd timings, sample distortion and even the use of vinyl scratching and some strong break beat distinctions, the classic "Amen Loop" chopped to death on "Melting Nails". Vocally there is a larger pallet at work, most noticeably the last track "Moldy Eye" which features some dense, ear ripping guttural pig squeals.

Nostril feels familiar, but as the album kicks into gear it offers a greater variety and sampling range that even takes a grab at Jazz and Bluegrass. With more to offer from track to track its a much more enjoyable listen, most noticeably for its quieter moments as the dizzying glitch drums give much more leeway to the sampling taking the lead and letting atmospheres emerge from the odd chemistry. The Black Metal element is a little less prevalent too, overall just a stronger record.

Favorite Songs: Very Long Chicken, Melting Nails, Pavor Nocturnus, Dentist, Veins

Rating: 7/10

Erang "Kingdom Of Erang" (2015)

With a seemingly endless source of inspiration Erang brings us a ninth installment "The Kingdom Of Erang", moving on from the brilliant "We Are The Past" without looking back. As a whole, its a typically indulgent feast of fantasy and boundless imagination with a theme that encompasses a lot of what were familiar with, no surprises or anything out of the ordinary. It is maybe this factor that made it so difficult to asses my thoughts and feelings for this record, Its very familiar, easy to listen to and yet for the countless listens I am left a little unsure of what to say about it.

Over the nine records Erang has grown both as a musician and the fantasy expressed through the avatar. Reflecting on previous records you can hear the difference in production quality and aesthetic choices but most importantly the richness of theme and the expression that comes through at the core, the melodies. The "Tomb Era" had a eerie, creepy vibe of mysticism and forgotten wonder that came through esoteric melodies that expressed through its underlying abstraction. Evolving from primitive dungeon synth the music has matured with direct, fluent and expressive melodies best heard on "Night Of The Troll" as pan pipes, plucked strings and xylophones dance around one another in a spell. The strength of the melodies fuel the fires of imagination and paints vivid images. The aesthetic choices are attentive and subtleties of quieter rolls are further developed behind melodies that have real backing in rich and dense themes that absorb the listener.

In a nutshell, this record didn't feel like anything new, challenging or progressive, and therefore many of my thoughts and feelings remain the same about this music. One thing I'm certain of is the melodic genius displayed on "We Are The Past" is resonating through the kingdom. This latest record may reside in the comfort zone, but its expressions are enhanced by a positive evolution and the fantasy tales expressed in sound are as enjoyable as ever. Especially the opener with its tinge of Black Metal. Snarly vocals and narrow, hazy guitars under epic synth leads were a real treat!

Favorite Tracks: All The Beauty We've Lost, The Underwater Zeppelin Whale, Where The Grey Legion Fell, Night Of The Troll

Rating: 7/10

As Blood Runs Black "Ground Zero" (2014)

California Deathcore outfit "As Blood Runs Black" were once a promising force in the emerging scene, performing a distinctive sound that played to the genres most obvious traits as well as defining a unique character that would set them a little aside from other bands. It took them five years to follow up on their debut "Allegiance" in which time the Deathcore trend has well and truly died down. This third record was crowd funded and didn't have me especially excited considering many lineup changes and diminishing interest in the scene. Despite all that this album turned out to be reasonably enjoyable.

The group retain their distinctive sound, mostly thanks to the return of original drummer Hector who stamps his cold mechanical machine like drumming on the sound, and the guitars which retain the similar tone and riffing approach we are used to, although not quite the same level of bludgeoning tracks like "Hester Prynne" offered. Through the track listening there is a noticeable and welcome infusion of styles that break the mold, from melodic, clean sung choruses to acoustic interludes and progressive solos. Of course its all spliced between atypical palm mute chugging and rhythmic breakdowns which fail to break there own comfort zone.

The record was relatively short and to the point with none of the tracks meandering, but across the length their was little magic to measure. The better moments came from the melodic riffs and breakaways from their core sound, but all of it was between just that. The excessive breakdowns and attempted bludgeoning dulled all the better ideas. Certainly wasn't a bad listen if you like the Deathcore sound, but it failed to give me much reason to listen to it more.

Favorite Track: Chapters

Rating: 3/10

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