Dr. Dre "Compton" (2015)

 

Its been a long time since we last had a Dre album and over those sixteen years there's been the constant tease of Detox lingering in the mind and "Compton" AKA "Compton: A Soundtrack By Dr. Dre" arrives as a pleasant surprise that's not to be confused with Detox which has officially been scrapped and may never see the light of day considering Dre has stated this will be his final album. Inspired by the upcoming N.W.A. biopic, Dre had been reminded of his youth and jumped into the studio to record this record in a relatively short window of time. My initial impression was positive, its sounds like he never left the studio. This is of course true as Dre has been busy over the years nurturing the talents of others.

The gap in time will give fans an obvious point of contention surrounding the "modern production" but as familiarity sets in a lot of Dre's song production come past the aesthetics with many of the tracks not feeling not to dissimilar to Hip Hop from the late 90s and early 00s. Its the array of guests who give the record a modern flavor with new vocal styles from Kendricks unique tone, to the sing rap antics of King Mez and a severing of auto-tune that even Dre gets in on during his raps. There's also a fair few drawn out sub kicks, trap hi hats and shuffling snare rolls but behind the shiny aesthetics the group at work on this record put together a collection of solid tracks.

Obviously the overall theme is about the city and the inspiration the artists have for it. In between Dre throws in a couple of numbers about the pressures on him in his business adventures and a solo track "Talking To My Diary". When using auto tune he is somewhat unrecognizable, but otherwise sounding solid, not to dissimilar to "2001", his tone aged slightly but still showing the finesse to deliver tight raps, however lyrically their aren't as many hard hitting lines and verses, but its still decent. His array of guests sparkle and light up the record, surprisingly so Snoop Doggy Dogg pulling out some of his best lines in years, sounding mean and angry with some real attitude in his delivery. Xzibit and Ice Cube where two names on the bill I was excited for but didn't feel either of them had the impact their raps once did. Eminem also delivers a fast hitting rap delivered with that relentless monotone force that can be a little unbearable at times. Kendrick and King Mez really lit the songs up with their frequent presence inflicting melodic hooks which gave a lot of flavor to the record.

According to the details Dre didn't directly produce every track on the record. To what extent this impacts the music may not be known, but the variety from track to track keeps this record fresh and vibrant. "Animals" by DJ Premier has his classic vibe and fits well in the record despite throwing it back to that early 90s feel. There's a couple of rigid transitions like a sudden mood and tempo shift on "Loose Cannons" and "Darkside Gone" executing a similar idea with a lot more style thanks to a sample of Easy-E. There's no skit tracks but some great audio scenes created around "Deep Water" which really add a layer of graphic to the song. There's a lot of quality on display, a large selection of tracks to digest and right now I can't get enough of this record which sounds fantastic now and I hope the excitement this one offers wont fade with time. His last two certainly haven't.

Favorite Songs: Talk About It, Genocide, Deep Water, One Shot One Kill, Satisfaction, Animals, Medicine Man, Talking To My Diary
Rating: 7/10

Dr. Dre "2001" (1999)

Wising up to the dangers of working with Suge Knight, Dr. Dre left Death Row Records to set up his own label, Aftermath. It took seven years for Dre's anticipated second release to come to light and the timing couldn't of been better. With Eminem's mainstream debut dropping earlier in the year its success put Dre's name in the limelight for "finding" Eminem and gave the record a massive momentum with blinding singles like "Still D.R.E." & "Forgot About Dre", an unforgettable collaboration with Eminem that the two spitting some of their slickest verses with Dre explaining where he'd been while blasting his doubters who thought he couldn't make a "comeback". When Eminem steps up to the mic he gives one of his most vivid raps that continual grew with intensity as he violently describes the two causing havoc and dropping the "Hoping out with two broken legs, trying to walk it off" line. The timing of the record couldn't of been much better and it delivered some of Hip Hops most successful music, but beyond the shiny surface of the singles, this album has a touch of quality on its own level, inspired by a drive to prove wrong to his doubters Dre gave us his best record.

Staying ahead of the game, Dre and co-producer Mel-Man took the clean, instrument oriented direction of the bling era to a new plateau, mixing the slickest, cleanest and tightly polished sound of the time with timeless hooks and flawless songwriting that gave every song a hook and catchy instruments that would stick in the mind for years. Track after track Dre carefully orchestrates a genius balance of instruments that play of each others space, dropping in subtleties behind the leads and narrating themes through short distinctive melodies and grooving beats. Looking into the source materials you can see a large portion of this record comes from the production team alone, and where there source material is used it sometimes barely resembles the original with the tunes and melodies being reinvented on lush, charismatic instruments.

The overall mood and tone of the record is sleek, dark, smooth and grooving. Proving himself time and time again, the main theme follows Dre through the recent years as he reminds wheres hes been and stating that hes still got it through dynamite tracks and raps. As a lyricist he finds his best form here, taking a stronger presence than on "The Chronic" while showering us in classic lines and solid verses that hold up so well over time. Once again there's an array of guests supporting Dre including Snoop Doggy Dogg who appears on two of the albums best tracks, but doesn't have quite the same charm as he did last time, Eminem, Xzibit, Kurupt and Nate Dogg all bringing their best to the record.

Despite having similar blueprints to other Hip Hop records of the era, 2001 is loaded with a substance and style that's executed to perfection. Its a stronger and congruent record that knows itself s better than The Chronic did. There is even an instrumentals version available that sounds great when you're in the mood for just the beats and they hold up on their own. The record wraps up with "The Message", a moving number produced by Lord Finesse, the only one not by Dre and Mel-Man and has the classic Finesse bell ringing quietly in the background. Its a humbling tribute song to end the record on and takes it over the hour mark without a moment of filler. A genius record that solidified Dre's status in Hip Hop forever.

Favorite Tracks: The Watcher, Still D.R.E., Xxplosive, Whats The Difference, Light Speed, Forgot About Dre, Lets Get High, Muder Ink, Ed-Ucation, Ackrite, Bang Bang

Rating: 9/10

Dr. Dre "The Chronic" (1992)

 Departing from Ruthless Records in 92 for similar reasons to former band mate Ice Cube, Dr. Dre set out to establish his name as an individual and teamed up with notorious thug Suge Knight to form Death Row Records. Using muscle and intimidation Suge got Dre released from Ruthless, which would only be one of many "incidents", the two formed their new label and Dre got to work making what can only be described as an absolute classic record that drove Westcoast Hip Hop into the mainstream, launched the career of Snoop Doggy Dogg and marked the beginning of his ever important role in Hip Hop. The memory of N.W.A. was gone in a blink of an eye as Dre took things to the next level.

As a producer Dre is about so much more than just the instrumentals, he molds and crafts the talents of his friends he brings onto his record, guiding their potential to flourish. On every track Dre has several other rappers to support him and even on "Lyrical Gangbang", "Stranded On Death Row" and "The Roach" he gives them all the limelight without dropping a single line. It gives The Chronic a robust and versatile arsenal, keeping things fresh and varied as beat after beat explore different themes with an array of voices to decorate the track. Its a smart move for Dre who's a competent rapper but not the best and in retrospect we here more of his lyrical talents on "2001", however there's some fantastic murderous verses in the cut and Dre's flow is steady, audible with an angry force flowing through the words, coming across with real intention.

With the instrumentals Dre both created and mastered the definitive G-Funk sound with an attentive ear for the melodies and hooks that brought tracks like "Nuthin' But A G Thang" to a new level, reinventing the source samples into stylish laid back gangster tracks with strong spacious instruments and hard hitting drum grooves, the ghetto whistle delivering a remarkable melodic hook and making its presence known on the chronic after its inception on the second N.W.A. record. The bass guitar is bold, rounded and brings a lot of that Funk groove to the fold and with these elements the chemistry is ripe for a record of bombastic, thumping gangster tracks with an infectious dose of melody in places. Its Dre's attention to detail that glosses the beats to perfection with subtle and intricate details hidden between the main instruments, giving them depth without becoming overwhelming.

The Chronic has style and substance, its an attitude and a lot of it can be felt in the source material, but the charm is with Dre and how he reshapes them into a distinctive style that him and Snoop define with their hooks, violent lyrical themes and tight rhyming that has a fair few classic lines scattered throughout. "The Day The Niggaz Took Over" plays out a social commentary over the LA race riots that broke out in response to the Rodney King incident, the song bringing a ferocious energy to a dark shady instrumental. Its moment like these where Dre gets so much right however I do feel the record suffers from burnout towards the end with a few tamer tracks lowering the intensity of the first half. Dre also cuts the beats hard, flipping the momentum into a new track, not a transition I particularly like, but it hardly makes a difference. The Chronic is a classic, but not my favorite Dre record and I always loved the album cover on this one, it remind's me of the kinda of record cover that would be remembered for just that and lost in a bargain bin. Luckily, or not, there's a bomb under the hood and a classic record that wont be forgotten anytime soon.

Favorite Songs: Fuck Wit Dre Day, The Day The Niggaz Took Over, Nuthin But A G Thang, A Nigga Witta Gun, Rat-Tat-Tat-Tat, Lyrical Gangbang

Rating: 8/10

Izioq "My Own Private Video Game" (2015)

 It's taken me a while, but I've finally grown into this record and learned to love it. Sometimes it just takes some mindless listening while preoccupied to let the familiarity and mood settle in. When I first spun this one I was initially turned of by the productions change of direction and general versatility. In hits me now like a slap to the face what this records about, on "My Own Private Video Game" Izioq ditches the recreational nostalgic aesthetics of "Retro Life" in favor of his own fantasy video game world. Possessing all the charm of its predecessor, this record plays out enchanting melodies in a new and adapt aesthetic.

Loosening up on the rulebook, the aesthetics in the percussion department see the biggest change, with tightly compressed kicks, snappy snares and tinny hi hats comprising a rigid sense of groove that brings a passionate off kilt groove to these tracks with beats that take control of the ride in the moments they crop into the songs. Avoiding any simplistic or entry level beats, Izioq gives the groove a breath of life that add another level to the songs character, like on "Wallow In Sorrow" with tight shuffling snare grooves or "Soundtrack Of A Soul" where the percussion becomes part of the atmosphere. This change in aesthetics extends to the electronics too which take full use of dense reverbs and a wide range of waves that wouldn't apply in the previous context. The expansion gives much freedom that Izioq flourishes in, "Pixel Cemetery" and "A Link To Our Past" using big atmospheric synths to guide some fantastic moments in the songs.

The chemistry between the texture and the music itself is spot on. As I said Izioq flourishes here and we get a collection of charming songs that dazzle and humble in the delights of imagination. There's warm, uplifting vibes to be felt, all in a relevant and meaningful context that explore many themes. One of the albums strengths is just how much substance there is from start to end and in the middle there's a run of songs that really hit the mark for me. These compositions have a dexterity and creativity that keep these short fresh songs continually evolving and unraveling as many of the multiple layers of melodies play and dance with one another and I just love how attentive the percussion is to this, how it will drop in and out, letting the focus shift without feeling forced.

 After many listens through I barely recognize that initial reaction I had and I find myself truly loving this record and experimentation that has come to this sound and approach. The production is solid, the creative ideas are flowing and the execution is on point. Can't wait to hear whats next.

Favorite Songs: Reset, A Link To Our Past, Wallow In Sorrow, Soundtrack Of A Soul, I Guess I Should Play Minecraft, Seiklus Sky

Rating: 8/10

Macintosh Plus "Floral Shoppe" (2011)

This cult album crossed my path a while back as I learned of a new "Internet genre" called Vapourwave that emerged online a few years ago. Although the music is relatively unheard of in popularity terms, it comes under a fair amount of scrutiny in online discussions, often attributing its distinct values to intentional decisions in an attempt to create something new. The arguments against are futile in my opinion, what music is not created with intent? And what is wrong with wanting something new and different? It would seem most of this controversy extends from unjustified hate, but enough of that, Vapourwave has two sides of a coin, the image and the music. Firstly the art creates relatively warm and inviting imagery combining elements of 80s corporate image and consumerism with early 90s computer renditions. Neon, high contrast colors and Japanese text tie it together creating an interesting reassembly of nostalgic culture. The music is mainly characterized by reuse of 80s music, sampled, chopped and rearranged they are often pitch shifted down and mixed with drums and other airy instruments that feature a fair amount of reverb to create songs that re-imagine the core samples into dreamy, relaxed, laid back tunes that come across with a touch of nonthreatening ambiguity. 

Vektroid is the alias of the music producer behind this record. She hails from the USA and has been creating and distributing music online since the age of 14. Not much else is known about Vektroid, but her large output of music under many aliases has been consistently released over the years and "Floral Shoppe" has become her most popular released, cited as thee definitive Vapourwave album.

Controversy aside there was not a lot that can get between myself and the music. I wanted to find something new and interesting and I found just that. The vibe and character of this record is a unique mix of an almost alien reinterpretation of culture asserted in a chilled out and comforting manor. The nostalgic re-samples in pitch shifted form give a particular flavor the sometimes glitchy percussion reinforces. The airy synths and additional revebs help drive home the calm nature of the record. Its an enjoyable oddity, simple in design and fruitful in execution, "Floral Shoppe" offers something new and fresh, both in theme and texture.

The extent of how much the music leans on its samples is a point of discussion. Being completely unfamiliar with all the samples its hard to understand the balance with the original compositions. Either way I think sampling and the power to re-imagine music is a beautiful thing and not much different from tradition forms of influence through simply hearing other musicians. We stand on the shoulders of giants and anything that's reused for further enjoyment is a positive in my mind.

Having listened to this and a few other Vapourwave records I've gotten my feel for what its about and although this was a great record that offered something completely new it was not without its flaws. Not all the tracks rise the same level and as a whole the album can stretch a little, much more so with the bonus tracks from re-releases. The genre has potential and "Floral Shoppe" executes whats possible really well at times, just not consistently. Its truely worth checking out if you have an open mind for new music.

Favorite Songs: リサフランク420  現代のコンピュー, ライブラリ, Eccoと悪寒ダイビング

Rating: 6/10

Soulside Eclipse "Forgotten Conquest" (2010)

 

It was over five years ago now that I made my first record. At the time I was working an active job that gave me lots of time to think. Times were changing and I decided to take my own music seriously. I invested money into a new computer and audio equipment for music production and set out to turn the large collection of songs I had written over the years into a series of albums. During the composition and production of the first record I stumbled into the world of Dungeon Synth, a microcosm genre of ancient, mystic songs packaged in low fidelity. My intrigue into this music quickly had me writing melodies and songs which hastily grew into a full length. I made the decision to follow other musical interests alongside my "main series" of records, with some electronic songs developing into an album too. Unfortunately it was not long after this record that youtube started to take a big portion of my time. It started as a hobby, something to break up the continual indulgence in music, eventually becoming more and more engrossing. I then hit a point where it was viable for youtubing to become a job and at that time I ended up leaving the music behind, with plans to return to it again sometime. I left behind a lot of unfinished work but managed to write two full length records, of which this one saw release.

My point of view on this record is obviously going to be a unique one since I created it. Each song holds vivid memories, stories and a uniqueness no other music can create, so for me this record is very special and its not possible to approach the same way as my other blog posts. Therefore this will be an insight into the story behind each track and the concept of the record.

"Forgotten Conquest" Is no cryptic title, each song represents a part of a tale devised by my inspiration for imagined mythology and ancient nostalgia. The record starts with "A Journey Begins", fittingly the very first Dungeon Synth inspired song I wrote. It sets the tone of impending wonder and ambition as the songs rises with a building of anticipation towards the main melody sung through triumphant horns that signal the start of a new conquest across the seas for a civilization looking to expand their territory and wealth. "Eternal Myst" was originally written for guitar and was adapted to suit the record as the song to soundtrack the beginnings of the voyage as a thick fog rolled in across the oceans between the two continents. Its my least favorite song on the record, mainly for the lack of care the instruments received in production, and perhaps the writing to which is a little monotone and lacking depth at times. The song ends with the sounds of stormy seas, thunder, the horns of despair and the cry's of men as I took my first ever attempt and creating a vivid image of events through sound. The conquest is cut short as a kraken like creature attacks the ships in the fog of night.

"Drowning Tombs" dives into a world of eerie ambiance as we follow the one survivor, a prince,  through the wreckage of ships and bodies as his consciousness drifts into darkness at the wake of horrific events. The song unravels with spooky sounds, rain and deep noises that set a tone for the decent into darkness as our prince comes to terms with whats around him before passing out, overwhelmed by the horrors of his slaughtered people. Drifting through the night our prince awakes in a mysterious underwater "Cave". This writing of this song was a turning point in the records production, the sound pallet used and the chemistry of the instruments made its way into other tracks and gave me a huge motivation to finish the record. The songs eerie and wondrous feel signifying the beauty of the caves explored as dazzling melodies sparkle in their reverb soaked glory. The song turns to a darker vibe as our prince overcomes the beauty of the cave and realizes the reality of his situation. "Snow" shifts gears drastically to a slow and hazy drone of synth that signifies the princes escape from the cave onto the freezing planes of snow of an unknown continent. This song and the next are inspired by some of the early ambient works of Burzum and attempt, and succeed in my opinion, to create thick and stiring emotions through droning minimalism and simplicity of melody, using minimal notes to form melodies that build gently into grander beings. The princes journey across the barron planes leads his consciousness into darkness as "Withering Visions" takes us through his drift from consciousness as he losses touch with reality within himself. The song dives further into minimalism and creates an empty and sparse atmosphere above the underlining beat of his heart playing often with just two melodies and tiny amounts of background noise.

It was on a day of great inspiration I wrote the next piece, my job had me working alone in the woods for a day and the nature gave me these melodies that came so easily when I returned home to write. "Heros End" has the prince coming back to consciousness in a lush and green forest having escaped the snowy planes. At the midpoint of this song it turns to a dark and despairing melody echoed over sorrowful synths as out prince discovers the dead body of his farther, the king, who also escaped the wreckage. I especially love this part of the record as the two instruments repeat over and over, the reverbs continually increasing and amplifying the emotion as every passing second deepens the reality of his fathers death. The record ends with "Ice" a lengthy, sorrowful track of repetition that has the prince walking back out onto the planes of snow, knowingly walking to his own death. On his last legs he comes to terms with all that's happened and finds a moment of peace as he accepts his fate and chooses to die with the memories of his life he cherished most. Its in this final melody the record comes to a close and the prince passes away.

The record holds up well to what I wanted to create, and it continually inspires me to create more, which is something I will get back to one day. Looking back on the record there are one or two songs that could of received more attention. Some of the pianos get a little stiff in their repetition and in a few moments a lack of depth, or layers take away from the immersion the melodies offer. On the flip side, songs like Cave, Snow, Wither Visions and Heros End really hit the mark and I am very proud of what they turned out to be. Every now and then I have to go back and listen to the record, its like a therapy and writing this blog was therapeutic. I just want to say thank you if you took the time to read this all. The album is available for download here and streaming here. If you want to let me know your thoughts you are more than welcome to comment below.

Mazzy Star "Among My Swan" (1996)

 Its been an absolute pleasure to enjoy this record which instantly grabbed my attention, singer Hope Sandoval's sleepy, dream like vocals washed over the hazy distortion and entrancing acoustic guitars to create a sound that felt right at home, yet new to me. Mazzy Star are an American band whos music is composed by the core duo of Hope's vocals and guitarist David Roback. The band released three albums in the nineties before a hiatus that left 17 years between this record and their 2013 release "Seasons Of Your Day". Their sound and style is distinctively blurry between Alternative Rock and Dream Pop with a subtle touch of Country too. 

This record struck me with a vivid image of simple life, maybe on a farm or working the land but with a deep respect for life. The mood and tone balances both beauty and sorrow on a mortal hinge that could be felt in either direction as a sombre undercurrent drifts through Hope's soft, sleepy words. In the distance hazy distortions play out ambiguous riffs as radiant acoustic tones strum out colorful melodies that dance around Hope's voice. On the first tracks bells feature in a slightly discordant manor, their presence is spellbinding and the additional instruments that pop up throughout the album add new dimensions, the harmonica in particular conveying that simplistic, yet emotional depth the music has.

 Across the twelve tracks theirs a mix of tones, moods and intensities to be found. The percussion sometimes fully involved with a light kit, occasionally a tambourine keeping pace, something I haven't heard in some time. The group get psychedelic on "Umbilical", a chilling slow drone with a haunting organ building atmospheric intensity from the guitar and drums. The distant, hazy distortion guitar brings the most unique flavor to their sound, but on every track if its present or not they play out truly charming, engulfing songs that wash over with a touch of tranquility. Bewitched by Hope's voice and the humble emotion the instruments serenade I find myself hooked on this record and the peace it brings.

Favorite Songs: Disappear, Take Everything, Ive Been Let Down, Roseblood, Happy, Umbilical

Rating: 7/10

Graveland "Raise Your Sword!" (2001)

Taking a little nostalgia trip back to "Prawo Stali" my research led me to this Graveland record which consists of three tracks from the same recording session. It's labeled as an "EP" and clocks in at thirty minutes, not far from what could be considered a full record however these songs were left off the record for a reason and despite being such, they make for an enjoyable listen.

"Till The Final Death" marches to the same warlike anthems of the full length, parading battle horns and war crys under the focus of tempered guitars that don't have quite the same groove and momentum, but bare a colder vision with riffs that lurk into higher octaves, rattling and fuzzing away at the mercy of the low fidelity distortion. Between these moments the familiar shifting riffs chime away with the symphonic elements and make for a solid song.

"Temple Of My Hatred" dives into darker regions with a relatively similar style of track, utilizing the same lengthy song structures and compositional choices, but homing in on a darker tone through a memorable lead rift that once again comes through a wash of fuzz and rattle as the distortion's higher end struggles to contain. A selection of moodier riffs give this one a different twist but its a very familiar feel.

"W Objecia Simerci" is the records most distinctive song with a different mix that has the snare snapping through the mix and more space between the guitars and synth. The composition is a little more sparse too with plenty of passages for just the guitars, or for them to drop behind the synth which has some brilliant choir tones singing out booming chants in their moments. Overall its really enjoyable, but a definite mark behind the full length which had the pick of the sessions best songs.

Favorite Track: Temple Of My Hatred

Rating: 6/10

Autumn's Grey Solace "Monajjfyllen" (2014)

 

Autumn's Grey Solace are an American duo who could be considered a "spiritual successor" to the Scotish group Cocteau Twins who broke musical boundaries in the 1980's with their wordless Ethereal dream music. Scott, all instruments and Erin, vocals have been creating dreamy, melancholy ethereal music since 2002 and I have had the honor of being able to feature their music in some of my videos. The two refine some of the Cocteau Twin's best ideas and in their beginnings, delivered glossy sombre guitars and beautifully soft, delicate, almost ghostly vocals over gentle drumming, calm baselines and acoustic chords that echo out captivating serene revebs. Across the six records since the first the duo have dropped the subtleties and drifted further into rich reverbs and glossed over sounds which until this point had been nothing but a delight.

With not a lot of promotion, or presence online "Monajjfyllen" slipped completely under my radar with the duos migration to bandcamp. I was praying for more from the two and now its arrived Ive got to say I feel disappointed. The new record has lush aesthetics as one would expect. Erin's voice is as soft, airy and dreamy as ever. The guitars vibrant gentle tones always playing off the reverb, and there's a thick layer of airy reverbs and synths gliding through the mix. Its all great, but the music behind it doesn't carry the same weight.

Every track on the record drifts through itself in a haze of self indulgence that seemingly forgets to be spectacular in ways the duo usually are. None of the tracks break from the status quo and the temperature set in the opening moments never changes intensity as the songs drone for a few minutes before coming to an end. There's a lack of hooks, spark or excitement, and of what the album does offer feels very much familiar to the tones of previous songs. Each track brings a guitar chord to echo out over and over while the bass and drums quietly keep tempo. Erin's vocals, despite delightful in tone, fail to encapsulate and I'm left wondering If the magics gone or I've simply gotten my fill of this sound. "Divinian" was ripe with ideas and excitement and with this one offering just thirty minutes across eight tracks it feels like the two just didn't have the inspiration.

Favorite Track: Neowollic

Rating: 3/10

Birocratic "Beets" (2012)

 

Beets, exactly what you can expect from this short record, just not the edible kind. The play on words, or word, sets a straight to the point tone that lets the music speak for itself on this small collection of instrumentals by Birocratic, an American Hip Hop producer from New York City. How I found my way to this project I am unsure, but no doubt it has something to do with the obvious Nujabes influence that takes hold of a couple of tracks on this one, feeling like carbon copies, emulating his distinctive mix up of bright, jazzy piano hooks and bouncy drum loops.

 As a whole this record is very much a short appetizer showcasing static instrumentals that for the most part have little progression or change beyond the initial samples and concept. It holds the listening experience back, but one is still to be charmed by the dazzling chemistry of loud punchy kicks and snares that bouncy back and forth with airy jazzed up samples. Biro shows two sides of himself on this record, "Merlot" emulating the styles of Nujabes with a choice of rigidity in the cut and splicing of piano samples, a touch that comes into its own on "Wants To" which makes a engrossing melody of female vocals cut to distort the words and craft a tune with the instances between the distinguishable while rocking a bold moving bass groove underneath. Its not an original technique but its executed to serve its purpose. Biro shows a lot of promise but the short release hinders itself from offering up more of his style and creating an engrossing listening experience.

Favorite Songs: Orientation, Wants To, Stay Gold

Rating: 3/10

Carl Karjalainen "Snakebird The Soundtrack" (2015)

 

Having thoroughly enjoyed my recent playthough of the addicting puzzle game "Snakebird" I found myself compelled to pickup the soundtrack, which I was pleasantly surprised to find out its free on bandcamp. The hours spent rattling my brain for solutions had been accompanied by delightfully quirky and innocent melodies that got stuck in my mind. This is often the case with soundtracks, but its a sign greatness when you can enjoy that same music in another setting. Whenever I need to knuckle down and do some jobs, "bits and bobs", the snakebird soundtrack is there to sooth and help me focus on the task at hand.

There is not much information available about Swedish composer Carl Karjalainen, but his music speaks in volumes, or maybe lack of. The soundtrack's gift is in its minimalism, its quiet, and what it crafts with so little. Its not demanding, or taxing in anyway and just a few instruments create little passages of time that drift on by peacefully if your paying attention or not. The percussion quietly shuffles along with muted kick and snare sounds that are not to dissimilar, as ambient sounds of waves on the beach and winds fill a void quietly in the distance. Along with a murmuring baseline, the lead instruments sing out chirpy, harmless leads and define each song with a strong melody.

Its music for a setting, music for a mode and beyond that there isn't too much spectacular at work but there doesn't need to be. There are a couple of songs which go for a bit more depth and it dispels the simplicity a little. The last song feels very out of character, but it was composed for the end credits, an attention grabbing song to signify victory over the game. For me this record is a great "go to" when you need something gentle to focus your efforts elsewhere.

Favorite Songs: Down Below, Sokosnake, Up Above, Space Maze

Rating: 5/10

Young Guns "Ones And Zeros" (2015)

 

Trying to stay out of the rain at Download Festival I caught this band, one of the secret acts, on the forth stage. I was sucked in by there performance and stage presence. Upbeat, bold, energetic and poppy they certainly put on a show that at the time I knew wasn't exactly my cup of tea but I enjoyed it none the less. Young Guns are an English five-piece group who play enigmatic Alternative Rock with reverb heavy metallic tones and poppy hooks. Their sound is both generalized and accessible, as it is distinct and a tinge on the heavy side.

"Ones And Zeros" is their third full length record and as a whole a powerful, absorbing record if their dreamy, pop epic aesthetic is to your taste. In my case it very much was on the aesthetic front, however the pop hooks and overuse of "woah-oh-oh-oh" vocal inflections really killed of a lot of the enjoyment to be had. There's a lot of good tracks in here, beautiful numbers that soar and glow as epically strum instruments collide in a wash of noisy bliss. Its the poppy undercurrent that at times get under my skin. There's too many moments where the group trade in the progression for cheap hooks and breaks that really break the spell, often with the backing vocals throwing in reinforcing, distant "ah-oh-ah-oh" chants that by the end of the record are driving me mad as the last few tracks seem to ramp up there use.

If it wasn't for my dislike of these choices id be really into this record, there's a lot of the magic I saw live and the aesthetic of the instruments, their chemistry with singer Gustav's strong, velvety voice a real treat for the ears. The production is a typical flawless modern capture that gives so much space for each instrument to fill and with little technical issues to talk about its sound is fitting of the big, lofty, glistening sounds the group create. Its a shame the rely so much on the cheap thrills of trending poppy styles, but between those moments there is substance to be found.

Favorite Songs: Rising Up, Memento Mori, Lullaby, Daylight

Rating: 5/10

Graveland "Prawo Stali" (2001)

 

 It was back in the early days of my minecraft adventures that I discovered this record and a little nostalgia for the game always brings back fond memories of caving adventures and building for the first time while listening to this record on repeat. Rob Darken's "Graveland" holds a formidable reputation in the Black Metal scene. Emerging out of Poland in 92, before the scene flourished with exposure and controversy in Norway, Rob has been consistent releasing records, over 20 in total, since the inception. The quality is somewhat inconsistent, but on "Prawo Stali" he strikes a nerve with a glorious and immersive record defined by its unique theme of viking warfare, paganism and mythology as well as executing some of Black Metals most standardized principles in a unique and memorable fashion.

The beauty of this record is both in its aesthetic and writing, both of which excel, creating a rich, atmospheric record of dense mystic black which rolls over the ears with fuzzy high end guitars chiming with deep horns and a buried base line. Rob's vocal's are usually a little to shrill for my ears, but on this record he gets the balance right and utilizes the wordless screams with thick, echoing reverbs that create haunting chills, amplifying the intensity as the screams cry out from under the other instruments. The drums are a tad stiff and lifeless, but they hold a solid beat for the other instruments and never make much of an attempt to gain your focus. The key here is in the chemistry between the guitars and symphonic elements which continually create the best moments and drive home the strong sense of theme this record has.

There's a warlike feel coursing through these songs, set in mythic times one can envision the glory of conquest as the symphonics gleam victorious sounds of horns blaring the signals of attack across the battle field. The drums clash and pound like the rhythm of warfare while Rob delivers his battlecrys that echo and resonate under the thunderous noise. The progressions and notation used between the guitars and horns helps glue the record together with each ten minute epic feeling right at home with one another, yet each finding their own niche and mood to carve a different setting. The albums only flaw is perhaps its production and the drumming which could of been polished better, but its always a point of debate that the lack of fidelity falls inline perfectly with the records ancient and mythic feel which does an incredible job of uniting such strong themes together under the Black Metal banner.

Favorite Song: Tyrani Okrucienstwa

Rating: 9/10

D'Angelo "Black Messiah" (2014)

 

Having heard rave reviews about this record, I decided to pick up a copy, despite R&B being a genre I've never given much time or attention. It was the fourteen year hiatus between records that intrigued me, despite that being somewhat irrelevant. With an open mind and a new found love for exploring music I gave it a try, and thoroughly enjoyed this record of which I had few points of reference for.

D'Angelo's back story is an interesting one, at a young age he received praise and acclaim for his voice which would guide him into the music business, creating two records that had monumental success before disappearing from the limelight, disillusioned by his fame and status. Fourteen years later we have "Black Messiah", an easy flowing record of laid back groove and soothing soul that ebbs and flows with D'Angelos harmonious voice swaggering sweet vocal infectious in an effortless breeze of ranges, peaks and styles.

His voice is a highlight, a point of attention, but the instrumentals are as much a part of the chemistry creating a chilled, versatile setting for funking grooves to content with a soulful counterpart. The bass bobs and weaves under claps and kicks that strike a powerful rhythm without need for force. The guitars, pianos, trumpets and occasional strings all contribute with a subtlety of force that can do so much with so little as each add quiet inflections to the groove in the moment's there not playing a lead, or directing the drama with sudden hits and strikes. It utilizes simplicity and executes it with cunning, for example a simple clap, kick and whistle groove on "The Door" with acoustic guitars accenting the vocal leads creates so much without filling all the spaces. Its not the sort of sound I'm used too, but I'm liking everything about it and this album is increasingly enjoyable with every listen.

Favorite Tracks: The Charade, Prayer, Another Life

Rating: 7/10

Wardruna "Runaljod - Gap Var Ginnunga" (2009)

"Sound of runes, the gap was yawning" is the translated title of this fogy, foreboding record by Nordic Folk group "Wardruna" who formed in 2003 with a vision of creating music and sounds to captivate Norwegian heritage, Norse Mythology and nostalgia of forgotten times through Ambient music. The group distinctively pass the mark of general musical ambiance, creating wildly vivid and transforming soundscapes that paint a dark and tribal vision of cold, unforgiving north.

The record is ripe with cultural instruments, tribal chants and enchanting vocal choirs that play over a rigid backbone of foggy, dense violin-like sounds and the deep pulse of the drum that keeps pace in the backdrop. The sound is lush, capable of igniting the imagination for tribal life and mystic mythology in the snowbound Norwegian landscapes. The detail going as far to include the sounds of birds singing, and crows squawking in the distance as the sounds grow into visions of ritualistic behavior and worship of ancient gods.

The record has a powerful, and obvious drone as the feel of one song flows into the next, the pounding drum guiding the way, never giving in to any dramatic experimentation beyond the scope. Wardruna have a clear vision thats executed exquisitely. Its strengths make it a fine record when in the right mood, in others its droning nature and rigidity leave it a little dry and uneventful, but thats clearly not the intention. Every droning moment paints the abandon of vast empty landscapes and brings us closer to our mercy of nature. With caring production capturing the charm of the instruments and cultural voices "Runaljod - Gap Var Ginnunga" throws the listener deep into a vision of the past through the eyes retrospect and romances with the times forever lost.

Rating: 7/10