The Lox "Money, Power & Respect" (1998)

The LOX (Living Through eXperience) are an American trio from Yonkers, New York who signed to Bad Boy records in 1995. Impressed with their feature on the track "Last Day" from Biggie's "Life After Death" I decided to check their debut record out which came out the following year. It struck me as a record lost in the flood of records that made up the bling era, but one with substance and character that could stand on its own two feet and still sound great today.

Initially I was a little slow to get into this record. The production comes off as being caught between two eras. The vibes of these tracks fall in line with the styles of the late 90s where money and success was the image most rappers tried to portray, but the sampling, loops and instruments didn't have the clean cut sound and had the rawer early 90s fidelity about them. Across the 21 tracks their are a few great beats, but most of them sit a mark above average, making for a record that does little to offend, but often falls a touch short of being great. Some of the best moments come from the numbers that embrace RnB influences through calmer vibes and harmonious guest vocals that flesh out the choruses and hooks.

The trio of rappers are clearly talented, possibly the best Puff signed alongside Biggie. Each bring a distinctive tone and style but Jadakiss a mark above his counterparts Sheek Louch and Styles P. Puffy's appearance on the record was once again irritating as he makes affirmative remarks in the background of tracks, but its to be expected on Bad Boy. The album is probably a little lengthy at 70 minutes, but it personalty gets better as it progresses, moving away from success oriented, boisterous tracks in the beginning and developing uplifting vibes in the later half. It's an interesting debut that very much fits the mold of the time and comes across as a little disposable but theres some substance to be found here.

Favorite Tracks: Let's Start Rap Over, I Wanna Thank You, Can't Stop Won't Stop, All For The Love, So Right

Rating: 5/10

Outkast "The Love Below" (2003)

"The Love Below" is Outkast's, or Andree 3000's, second half of the duo's critically acclaimed 2003 double album. The first half  "Speakerboxx" saw Big Boi hold is own on a collection of solid tracks, but this record really pushes the mark as a conceptual record which truly challenged the Hip Hop sound with soaring highs and crashing lows. Andree brings us in with a classical score fit for backing in romantic golden era cinema before throwing us into a Jazz band groove with trumpets, pianos and guitars on "Love Hater". Its a change of gears that flows effortlessly as a gentle, serene acoustic guitar strums a dreamy tune with Andree bringing in the records conceptual nature, and the goddess of loves blessings upon him. Its a memorable group of tracks to bring the record in, but this is just where it gets started.

As the album comes into its own as the instrumentals find a sublime chemistry, stretching boundaries as subtle rhythmic presences let Funk, Rock and Soul fly free of any expectations. "Spread" and "Prototype" only held to Hip Hop through muted, subdued bass and kick grooves that let live instruments play out enigmatic songs like a normal band would. The album peaks with the cracking "Hey Ya!" & "Roses", both songs laying fetching memorable lyrics over the live band setup which reaches its peak at this point. So far we have been helped to a stunning level of genius as Andree stretches the versatility of this music effortlessly, with much help from is soft and ranged vocals which peak the songs with beautiful, catchy hooks in between his energetic raps.

Unfortunately thats where the magic ends. In an almost bizarre turn around the skit "Good Day, Good Sir" brings in a second half which casts the live band aside in favor of electronic synth leads and toned down percussions that lacks all the charm of the records first half. The romantic themes of the album feel further abstracted and become more convoluted in a now nauseating rumble of musings that lack a point. The record feels done at "My Favorite Things", a Rave and Drum and Bass remix of Coltrane's classic that dispels the magic from the original with rigid drum loops that rub up against it in an uncomfortable nature. Then the album just trails off with three uninteresting tracks.

I'm not sure what to make of this record. I want to know what Andree's thoughts were on the record as a whole, as from where I'm listening from the first half is genius and the second a real stinker. Theres no doubt though that the expansive ideas that have shaped Outkast's boundary pushing direction come from Andree and on "The Love Below" we hear his ideas at there best and worst. The live band brings limitless possibilities when couple with minimalist groove oriented percussion. The synthesizer work leaves much to be desired, however executed perfectly on Speakerboxxx's "Ghetto Musick". I'll return to this one time and time again, but just for the first ten tracks.

Favorite Tracks: Spread, Prototype, Hey Ya!, Rosses

Rating: 6/10

Outkast "Speakerboxxx" (2003)

Hip Hop duo Outkast have truely gained my love and respect, their music has moved me and they are undoubtedly this years best discovery however they are no hidden treasure, much more like a stash of gems out in the wide open. Outkast are critically acclaimed and I've been aware of them, heard a lot of them back in the early naughties and only got around to listening through there records many years later. Doing my research I learned this record to be one half of a double album, "The Love Below" the other half. Its the duo's, and one of Hip Hops biggest selling records and the back story is intriguing. With Andree 3000 following a new direction the two agreed too record solo records and package them together, as opposed to going separate their separate ways. Its been a while since I covered the last record "Stankonia" and the hesitation came from the high expectations critics set for this double record extravaganza.

Having absorbed both records I would certainly tip my hat to "Speakerboxxx" as my favorite, however I feel the concept of the two working apart is everything thats not working on both records. The album starts with "Ghetto Musick" a brilliantly eccentric fusion of Rave synthesizers, Funk and soul that feels complete with Andree featuring alongside Big Boi, complimenting his fast paced flow with zany chorus vocals and a choice sample of Patti Labelle coming together to make a solid track. Unfortunately Andree's absence is felt from this point on. Big Boi holds his own with a terrific set of songs that have quality instrumentals and raps, but each track feels like its missing a dynamic to make it spark.

To be fair, I'm too used to hearing the two bounce of one another. Theres a lot forward thinking tracks here that bring inventive Soul, Rock and Funk sounds to the Hip Hop formula creating engaging instrumentals ripe with variety and a freshness relevant to the time. Its a natural progression that Big Boi is following on his own and it works. "Unhappy", "War" and "Knowing" hold the Outkast vibe together, reminiscent of earlier sounds and overall the record flows well, with an amusing appearance from his young son on "Bamboo" which makes me chuckle each time. Its a strong record with a new take on production that showcases an array of inventive instrumentals, but it doesn't quite have the charm of the two working together, which we will hear again on Idlewild.

Favorite Songs: Ghetto Musick, Bust, Knowing, Flip Flop Rock, Last Call

Rating: 6/10

Jan Amit "Around And Above" (2013)

After enjoying Jan's most recent release "Flowertraces" I was compelled to seek out more of the Russians discography but given the steep record price, I refrained from splashing out and completing my collection, instead I picked up this record first and it turned out to be a very different from my expectations.

"Around And Above" comes from the same universe as "Flowertraces", but is very much on a different level. Its dreary, bleak and moves at a snails pace through tracks driven by atmosphere which lack the charm or depth to engage. That may be a little harsh, but the opening tracks and others in the listening drone through pleasant, chilled, dreamy soundscapes that lack a point or direction. Its an ambiance that drifts under the listener instead of through them. A couple of tracks offered a spark of energy and engagement but most of the record I found myself awaiting the next track. I don't want to be too critical, its supposed to be on a calmer, softer level, but it crosses a personal threshold.

Despite a lack of engagement, the records aesthetic is gorgeous. A calm lull of pristine sounds that gracefully drift through the tracks like clouds on a placid day. Theres moments where the record perks up with a beat accompanied by the glitched out electronic noises that where a big characteristic of "Flowertraces". The instrument pallets used on the two records are almost identical, however the ideas behind them are very much not. Its an inoffensive record that misses the mark and the charming, dazzling aesthetics can't save from the bland and dull nature of these songs.

Favorite Songs: L'âme, Lettur But Mikill, We Believe In Humans

Rating: 3/10

The Prodigy "The Day Is My Enemy" (2015)

The Prodigy are a British trio of electronic musicians who need no introduction to residents of their native country. Here in the UK they are a household name, with big albums and singles like "Firestarter", "Breathe" and "Smack My Bitch Up" in the 90s they establishment a huge presences for themselves alongside the Brit Pop era of that time which saw a fair few musicians, bands and pop groups flourish with a wave of popularity. This album marks 25 years the three have stuck together and is only their sixth full length record, having slowed down their output since their most popular release "The Fat Of The Land". The group played a pivotal role in defining the Big Beat genre which mixes elements of Hip Hop and post-Detroit rave scene sounds like Jungle, Techno and Drum & Bass. The name clearly suits the genre which revolves around massive loops backed and reinforced by various styles of synthesizer leads and electronic sampling.

"The Day Is My Enemy" is a generous serving of vibrant, industrious, energetic songs that give their fans exactly what they want, more hard hitting breaks, hooks and jittery melodies to rave too. Beyond that their little thats expansive or experimental about this record, The Prodigy are writing sharp songs that meet the expectations of their niche. Through out the record there are hints and inklings of similarities to previous songs, which is to be expected. Overall it does an impressive job of keeping their sound fresh, with exception to "Destroy" which felt like an intentional throw back to the 90s, and one of the records best songs with its thumping bass kick, shuffling snares and pitch shifted hits creating one heck of a hook.

Production wise, their experience and knowledge shows. Theres very little to talk about beyond the stunning clarity and balancing of instruments in the mix, it makes for a lively record that gives you a feel for the live experience. The record very much suits a mood and apatite but with little to expand on what The Prodigy are known for it can feel all too familiar. With a lack of new ideas or moments that take you by surprise it leaves a desire for something new. Its strength is its rigidity and so is its weakness. The Prodigy stick to their guns and shoot to kill, but they could do with a new target. Great listen but very much scratches an itch thats been treated before.

Favorite Songs: Ibiza, Destory, Wild Frontier, Medicine, Wall Of Death

Rating: 6/10

Arathgoth "Book Of The Night-Legends" (2014)

American musician, presumably a one man band, "Arathgoth" has undergone considerable exploration and change of its sound through the eight releases since the bands debut in late 2012. I discovered this project through Katabaz Records and have followed it closely waiting for a record that clicked with me. In its inception the sound was a gloomy, minimalist rendition of eerie ambience's, sound scape's and Dungeon Synth that was slowly evolving before varied experimentation on "Interplanetary Travel" that led the sound towards the familiar territory of Black Metal, which is what caught my attention on Legends. I was thrown back to the time when I was exploring that world and loving the places the music could take you, it gave me a taste of that wonder again.

With its opening tracks the record establishes a settled sound that defies feeling closely linked to a particular band or style within Black Metal. Encompassing a lot of influences, techniques and familiarities the songs make for easy, traditional listening with an air of quality to draw one into its subtleties which gave it edge. Buried keys and airy synthesizers blur the guitar distortions into deep, colorful persuasions which come to life in the breakout moments that utilize rock steady drumming. The tone is dark, foreboding, atmospheric and the themes of witchery, vampire-ism and dragons bring to life an evil dimension. The record quickly steers its direction away from the black with Dungeon Synth taking over the tracks. It splits the record in half and spoils the initial attractions progression and what felt like an interlude further devolves into ambient numbers which could certainly entertain had the context not been different.

The records production doesn't suffer from any of its rough edges, as is often the case with Black Metal the raw mix, occasional clashing of instruments and low fidelity just furthers the aesthetic and atmosphere. The drum machine is well constructed, disguising itself well but in faster moments the sampling becomes obvious, at times its mechanical nature it a nice touch, at others its all too commanding and dominant, but for the majority of the opening tracks it works. Its nice to hear a record that has a spark of a music Ive grown somewhat distant too in recent years, but the records change in direction was disappointing and although i can't be critical of the second half it dispelled what the album set out to do.

Favorite Tracks : Vampiric Doll, A Penance Of God, Desert Wings

Rating: 5/10 

Marilyn Manson "The Golden Age Of Grotesque" (2003)

It took me some time to get around to this record, having got into Manson's music last year I started with the classic "Trinity" of records and my research and reading into Manson's career indicated this was the record where he "fell off" and things started to change. I finally gave it a spin and instantly enjoyed it, having now thoroughly enjoyed this record I can certainly hear its weak points but am a little mystified as to why this album wasn't received well by critics. Its everything Manson is about, orchestrated like a finely tuned weapon of blasphemy aimed at the masses, covered in glossy a deceptively approachable listen.

The record kicks off with "This Is The New Shit", a song that gives you a belly full of what the albums tone and context will be. Making a mockery of trends and pop culture through defining itself as the "next thing", Manson executes a very direct approach that gets straight to the point, at times it works great and in others the lack of depth or obscurity in the lyrics does leave much to be desired. "This isn't music, and were not a band, were five middle fingers on a mother fucking hand" from "Vodevil", the records best lyric of this style, a very blunt and aggressive statement that hits hard, unfortunately these moments are just a handful.

Aesthetically the album is ripe and potent, an infectious noisy production with fantastic distortion on the guitars that feel overdriven to hell, yet have a crisp, sharp, razor blade tone that transforms some rocking riffs into full on head banging, moshing monster riffs. The guitars are not the sole focus though, theres plenty of space for them to drop out and give a range of electronic noises and drum machines to create paranoid, dark atmospheres along with bass lines that step up the tone and distortion and make themselves an important part of many of the albums tracks. The writing is catchy and heavy on the hooks which dominate the songs, so much so, many of the tracks lack a bit of variety and depth where they repeat with the same hooks.

The album flows really well, mixing up the more aggressive numbers between the peculiar, outlandish atmospheres and style this record broods in Manson's artsy moments. The song "Para-Noir" captures the records best qualities, creating a menacing atmosphere with Dita Von Tease's domineering taunts brooding and provoking a driven response from Manson as the record explodes with ever powerful guitar riffs. The album does fizzle out with a cover of "Tainted Love" I've never enjoyed, followed by a carnival of horrors track and another atmosphere driven song that doesn't excite much, the record could of ended on a high with "Vodevil" for me. Overall its a vibrant, blasphemous rock and roll record of unforgiving attitude that has some obviously flaws but Manson clearly did exactly what he set out to do with this one.

Favorite Songs: This Is The New Shit, Mobscene, (S)Aint, Slutgarden, Para-Noir, Vodevil
Rating: 7/10

The Reign Of Kindo "Play With Fire" (2013)

It's been a while since a band has immediately grabbed my attention, having me seeking out their records based on one song, but "The Reign Of Kindo" did exactly that. One of my first thoughts was pondering if there was once a time I would of turned my nose up at this. Where I've taught myself how to appreciate more varieties of music, Ive learned to hear what the artist is expressing, as opposed to what I want to hear. Kindo's aesthetic on an initial impression is poppy, classy and far from the feast of anger and aggression I'm used to. Through that aesthetic I hear a mighty and fierce musical force of expression projected with true intensity and energy that I may of once not heard.

But enough about my experience, Kindo are an American five piece band from New York who describe themselves as "Makers of music". Their rich and illustrious songs elevated by a range of studio musicians who accompany the five, giving them an arsenal of instruments and styles to pull from at any point. Kindo will be no oddity of sound, but their style truly distorts genre boundaries and expectations despite feeling so grounded and "regular". Drawing their main structural influences from Jazz Rock, Pop and Progressive Rock, the band dazzle with an array of subtle influences that creep into the various tracks, so much so you can hear inklings of Indie, Alternative, Soul, Swing, Big Band and even Latin in the layers of instrumentation that back the core group. Whats charming is how intelligent and natural the compositions are, and how much they put into a track yet leaving a big space for singer Joseph Secchiaroli's stunning, powerful voice to fill. Its a chemistry of musical perfection, delivered with a timeless pop sensibility.

The record is a solid one, variety, flow and consistency run from start to end (almost), yet the group set a very high bar with the ferocious opener "The Hero, The Saint, The Tyrant, & The Terrorist", delivering the albums best riffs, moments, build up and exquisite vocal hooks. The rest of the record doesn't quite reach the same intensity but their is plenty to enjoy and a few calmer numbers that personally I don't think catch the same spirit and charm as the upbeat songs. The production is fantastic, so much so I had at no point given a single thought to it, every instrument is audible, balanced and mixed to give and easy listening experience that carriers a lot of weight.

The final three tracks fizzle out a little for me, "Romancing A Stranger" making a meal of an obvious infatuation and "I Hate Music", really good instrumentally but lyrically it made be wince a little, I feel its pointless to make broad sweeping judgments on pop culture and whats played on the radio. The frank and blunt lyrical delivery just furthered the lack of connection to the point of view. Great record, the band have huge potential and I look forward to hearing their next release!

Favorite Songs: The Hero, The Saint, The Tyrant, & The Terrorist, Sing When No One's Around, Feeling In The Night, Sunshine

Rating: 7/10

The Diabetic Sandwich "MunchieZ" (2015)

This short three track record is a collaborative effort between four producers from across the globe, uniting under the moniker "The Diabetic Sandwich" to create Hip Hop instrumentals with a broad range of influences from Trap to Jazz Hop and a general Alternative vibe. The group is yet to define itself beyond its stark graphical output of cut n paste photoshop, neon colors and colossal hamburgers. The debut release a short one leaving much to be desired.

"Merlot" feels like the records only fully developed track at just under four minutes. Jazzy pianos, wordless vocal leads and subtle guitars collide with airy, alien synths, Trap hi hats and deep kicks in an unusual chemistry of oddity that displays a charm. The production is a little forceful, pushing the airy synths into the compound samples it feels a little clustered but the ears do adjust. The song moves through a structure fit for verse and chorus and could really be elevated by the presence of a rapper.

"Meatsticks" has a calmer, less ambitious tone. At two minutes it has an interlude vibe as a sturdy beat sample guides a gentle strings and a graceful piano to a quiet conclusion. The production is subtle, the samples work well together and apart from some obvious clarity difference, it all works.

"Cheese Whizzz" is the records most unusal number, throwing layers of lush sound subtleties into the beat with laser firing and explosion sound effects. The drum beat is a little dry and crispy, and there isn't much of a lead sample, just lush airy noises drifting around the beat that doesn't progress anywhere in particular. At 99 seconds it feels like an unfinished beat.

Rating: 2/10

Julie Cruise "Floating Into The Night" (1989)

A dear friend turned me on to this record, it felt immediately indulgent, familiar like a recollection of memories not my own. I'd never heard of Julee Cruise before, the American singer was hailed with fair regard at the time as being an influential voice, however time has left her attached to this record through the track "Falling", the theme song from "Twin Peaks". It was her first release of four, interestingly each of them released in separate decades, her career now spanning over 25 years.

"Floating Into The Night" is a distinct record of indulgent serene melancholy. Moving at the calmest of paces we drift, comatose and detached, through gentle ethereal lullabies, hypnotized by comforting balances of emotion that sooth and flirt with an eerie undertone, almost haunting in moments, but forever feeling safe. Its a unique sound achieved through the subtle droning and repetition of light, tender instruments and glistening strum guitar chords, brooding together in an atmosphere fit for solitude and introspection. Julee's voice guides a soft and sombre path through the carefully poised ambiance that often unites both a sense of gloom, and bliss in the same space. A unique chemistry.

Perfect for the right mood but hindered by its own genius, the record as a whole is so dreamy and soft its flaws stick out like a sore thumb. Track after track of ethereal ooze leaves the underwhelming tracks spinning in the mark of their predecessors. A few bold moves to break up the spell feel rigid, "I Remember" breaks the rhythm and hits us with darker instrumentation in an obviously nightmarish moment that maybe lacks some subtleties. A saxophone breaks the tone of one of the tracks best songs and "Into The Night" includes a sudden orchestral hit that feels completely unnecessary yet it does direct a sense of reality into the track.

Julee's voice is so subtle, soft and caressing yet powerful and alluring. Her voice further exemplifies the chemistry of the instruments, adding another strange and wonderful balance of eerie and familiarity into the sleepy atmospheres these songs create. Its a remarkable record, but far from perfect. In a moment its indulgent, as a whole it stretches itself with a couple of underwhelming tracks, but either way a very niche record I'm happy to of discovered.

Favorite Tracks: Falling, Rockin' Back Inside My Heart, Into The Night, I Float Alone, The Nightingale

Rating: 7/10

Izioq "Retro Life" (2015)

Emerging from the from the year 1982 this mysterious musician "Izioq", a name that looks confusing to pronounce, brings us a dose of nostalgic bliss with a retroactive worship of childhood memories inspired by the technical limitations of early computer game consoles. The cover alone gives you a strong sense of what to expect, and behind the hood we find a dazzling production that brings the best out of the buzz-saws, sine waves and digital synths of times gone by. It is not an unfamiliar concept, but on this project the focus is on the charm of the era.

On "Retro Life" the listener can take a step back in time as these songs allure like lullabies swooning you into a simpler, innocent existence, one very familiar for 90s kids with each of the track titles referencing the culture of that time. The titles are direct and so is this music which doesn't over extend itself, yet finds a balance to develop short layered compositions with jubilant, delightful melodies that transcend the simplicity they are reflecting. The compositions are adept with the techniques used in 90s VGM and even finds moments to integrate the ambient and "power up" effects into them. These songs are deep, heart felt and meaningful, all of which is apparent on the glimmering surface of every song which has a story to tell.

The compositions have a grace thats amplified by the gorgeous production, so carefully respecting the original sounds and delivering them in layers with soft reverbs that like them ooze and meld together for a rich and polished tone that can do no wrong. The chemistry is sublime and powerful, allowing the expression to shine through. For all I love and respect about this record it does not suck me in as much as id like. These sounds and the nostalgia it worships are not one I share, but I hear it clearly, on a personal level its a charming listen, but objectively id say a very special one.

Rating: 6/10

Metallica "Ride The Lightning" (1984)

Sooner or later I knew this time would come, a day to write about "Ride The Lightning", Metallica's second record, and one that changed my life forever. It feels almost blasphemous to write about a record my words could never do justice for but in a moment of inspiration it feels like now is a better time than never. As a young teen searching for something different to MTV's narrative I found a show listing great records on VH1. Two caught my attention, N.W.A.'s "Straight Outta Compton" and this one. "Fade To Black" swept over my hears as the dark acoustic, sombre guitars evolved into a racket of furious energy controlled by Hetfield's masterful rhythm guitar and youthful, slightly out of depth voice, the track evolving into a flood of serene, pensive color as each note of Hammet's enigmatic solos fall like drops of rain. I was blown away, and couldn't put this record down. I used to play it back to back with AC DC's "Back In Black", it was always my favorite of the two, and the excitement it gave me then I still feel today fifteen years later. It posses an interesting question about the bonds you make with the music your first exposed too, but that could not dismiss the stunningly imaginative and down to earth record this is.

Now legends, then a band with a fair amount of attention releasing their sophomore album, RTL came at a time when Speed Metal was seen as a passing fad and the glory days of Heavy Metal were over, but alas this record would set them on a path to bring Thrash Metal to huge audiences but for Metallica this is an ever so important part of their evolution, shedding the Speed Metal scenes aesthetic, attitude and traits of "Kill Em All" and taking their speed and technique to a dynamic, structured dark sound met with deep and meaningful lyricism that gave their Metal music a very grounded, relevant and emotional basis to relate to, as opposed to the heavily thematic and fantasy driven styles of past. This was the first album where Hammet was involved in the songwriting, his distinct leads giving their sound a whole new dimension as well as Hetfield defining his direction as a rhythm guitarist, stepping away from the Mustaine's style so dominant on the predecessor.

Where RTL gets faster, it also broods and molds as riffs find a relation to the bigger picture. Fast and thrashy tremolo picking finds its place with slower chord driven moments to create songs with a lot of direction and meaning. As the dark, fast pounding numbers thrash onwards they create a menacing soundtrack for Hetfields apprehensions with judicial systems, suicide and biblical slaughter. His voice forceful and vibrant, yet pushing himself in ways that leave a slightly sheepish undertone in the moments that stretch his ability, its a charming performance, haunting on "Fade To Black" and one that shows he can fill big shoes.

The record doesn't loose its focus for a moment before ending with the lengthy instrumental progressive climactic "The Call Of The Ktulu" showcasing the records aesthetic through cold, punishing guitars, Hammet's lightning leads and Burton's monstrous distortion bass rocking under riffs that lead to a mighty finale fit with lightning strikes and a riff that will always leave you yearning for more. As much could be said for every track on this record which makes its mark with such unique, undefinable qualities in the songwriting and structure that have helped the band build an audience of fans who simply can't stop screaming "Die!" to "Creeping Death", a song played at practically every concert.

Although RTL feels like the perfect record, there is one qualm I always have, Ulrich, certainly not a prolific drummer, his sloppy bass pedals and sometimes struggling performances have a certain charm to them, yet there is rarely a moment where his drumming stands aloud and grabs your attention. He is far from inadequate, and compliments Hetfield well, but often leaves me wondering if someone else could of done it better. Its not a criticism, just a curiosity, and with that said I do enjoy his choices, especially the bass and cymbal thump to the punch moments of the guitar. It will forever be a record I love, and one with a true air of magic and experience that can't be expressed with words. Its cathartic for me, an album that opened me to a new world of music, one that I couldn't do without. Metallica have been massively influential on fans and musicians around the globe, and for me "Ride The Lightning" is where their genius shines its brightest.

Rating: 10/10

Lord Lovidicus "Book Of Lore Volume I" (2015)

A new Lord Lovidicus record is always an excitement, but with most of the post-2012 releases I find myself at a loss to assess what it is this album does for me. Following the current path of progression "Book Of Lore Volume I" expands with more lush folklore inspired tales and melodies that reside in the imagination for a nostalgia that blurs the lines of history and mythology, creating cultural music of vivid immersion. The book of lore is no exception but it no longer has the surprise or wonder the project once had. These qualities were what drew me to LL in its Dungeon Synth days, and now the magic is a familiarity.

The record side steps from 2014s "Wandervogel Des Waldes", dropping some of the eerie, dungeon-esq qualities for a purer, clearer arrangements that captures the brighter sides of these fantasy worlds visited through the music. The percussive elements adapt culturally with a spirited tambourine guiding Bongo-esq hand drums and atmospheric gong hits which provide a strong back bone for carefully crafted strings and leads amassing to clear, direct and vivid soundscapes that stroll through their own moments in time. "Mines Of Nargothrond" came as a pleasant surprise, a re-imagining "Mines Of Moria" in this new pallet, but it lacked the charm of the original.

The album wanders through track after track of bright vibrance that feels animated and colorful, yet the familiarity separates it from the impact it once had. There are many moments for charming leads to take hold and indulge the listener but for me its a drop in an ocean of music I feel well versed in. Its hard for me to like the same thing over and over, I like music to be adventurous and challenging and this is anything but. I still enjoy this record, it does no harm, but its become all to familiar to make any lasting mark on me.

 Favorite Track: Telperion And Laurelin

Rating: 5/10

Limp Bizkit "Gold Cobra" (2011)

Lets rewind a few years back to "Gold Cobra", the return of band everyone loves to hate, Limp Bizkit. Ten years ago they dominated the airwaves at the turn of the millennium before enduring a patchy period of lineup changes and flopped records. Their reunion with original lineup and announcement of a new record came as a shock at the time. I enjoyed this record back then but never gave it too much time. Catching Bizkit live many times since their reunion has been a true treat for the inner-child in me that loved them in my youth and recently I found myself with a hankering to listen to this one as its hooks and catchy edge swirled around in my mind these few years later.

Having reabsorbed this record I find myself with a greater appreciation for it, but I have the same qualms as back in 2011. Lets start with the positives, on "Gold Cobra" Bizkit recapture the essence of their attitude and style thats been absence since "Chocolate Starfish", but this is no nostalgic recreation, its a forward thinking record that finds the five band mates progressing as the group they once were. John Otto is keen on his kit bringing that loud slamming rock energy with a strong Hip Hop groove. At times he's a little quite but theres plenty of moments where he comes to the fore front with a massive beat. Rivers is steady and subtle as ever, rocking powerful lines under the guitars, giving much backbone for Borland's charismatic guitar style which doesn't have quite the explosive edge it once did, but he finds plenty of ways to excite with an arsenal of strange guitar noises and new rhythmic approaches.

DJ Lethal is relatively absence on this record, making his appearances in between tracks with the occasional drum sample jamming with Borland's alien leads but not bringing a lot of impact to the rest of the music with the occasional scratching and samples ringing in the background, not the same charm it once had. Fred Durst is the biggest point of contention on this record. His voice and energy is right on the mark, but the lyrical content is certainly an oddity of its own. The flow and hooks have it, but the lyrics are as tame as ever. Fred was never hailed for his lyricism, and as an adult his profanity driven attitude and basic vocabulary doesn't have the charm on me it did in my youth, at the same time there's hooks that get stuck right inside your head despite a lack of depth or connection, most the time its in one ear and out the other.

The record as a whole feels like what you world expect from and old Bizkit, theres that variety including mellower tracks reminiscent of "My Way" and "Re-Arranged", as well as some heavier aggressive numbers. "Gold Cobra" gives a fan everything they want, but its biggest flaw lies with Fred who's lyrics feel stale in a vibrant racket of energy. Great and unexpected come back record. Now I'm looking forward too "Stampede Of The Disco Elephants".

Favorite Tracks: Bring It Back, Gold Cobra, Get A Life, Walking Away, Why Try, Killer In You

Rating: 6/10

Craig Mack "Project.. Funk Da World" (1994)

Having recently discovered Notorious BIG's "Life After Death" I decided to do a little research into Big Boy Records where I found Craig Mack and his 94 release "Project.. Funk Da World". It was the New Jersey based rapper's debut and Bad Boy's second release one week after Biggie's "Ready To Die". The cover and name drew me in, it had that early 90s look and feel but as they say, never judge a book by its cover. My first listen through had me pretty settled on my opinion of this record and nothing has changed since.

Project funk the world is all style, no substance. It opens with a mediocre grimy low-fi beat reminiscent of Jeru The Damaja's "Come Clean". Craig comes in with a subdued, yet boisterous energy and gruff, slurred accentuated delivery and a tone reminiscent of Redman, the vibe is set and I was hyped for what felt like the beginning of something great, but quickly the rain put out my fire and enthusiasm for this record crumbled as the tracks droned on through a stale and dull chemistry which doesn't hold up against the better records of the era.

Firstly Craig's raps don't evolve beyond a funky fresh flavor filled braggadocio of 90s lingo and buzz words that cycle over and over, reminding us hes got the style and all other MC's don't. To be fair there's a bunch of great lines in this record, but they are far and few between. Craig drop's these lines in the midst of sluggish verses that roll through the same boasting topics over and over again. His chopped up flow and accentuated delivery build some excitement, quickly dampened by lyrics which lack substance. There's about one sniff of an interesting topic somewhere in the track listing but its too little to save the record from the bluster. 

Second, the beats, to be fair the production isn't half bad but lacks the polish and spark to stand merit on their own, and with Craig not bringing much to the table these samples and loops feel pretty stale as they cycle under an underwhelming performance. Overall its very much half and half, but with a lack of lyrical substance from Craig it becomes a disappointing and forgettable record I have little to say about.

Rating: 3/10