Vektor "Terminal Redux" (2016)

With an epic, intergalactic cover art of lush alien planets and mysterious alien spacecraft deep in the cosmos our tongues are wet in anticipation of an ambitious piece of music set to rival the imaginations the cover inspires alone. Unfortunately the guitar tone and narrow, raspy, grisly vocals took the edge of what is truly a record to remember, a space opera of metallic magnitude. Vektor are an American Thrash Metal band with Progressive elements from Arizona and given there young age could be considered part of the Thrash revival seen in recent years. "Terminal Redux" is their third full length, weighing in at seventy three minutes it is quite a lot to chew and an ambitious piece of art.

Vektor sound like they could of come straight out of the 80s. A true sense of the Thrash spirit exudes from these songs however with twenty years of maturity they take the traits of Thrash guitar work and execute them with an intensity and blinding precious that will have all sorts of rampant shredding taken to new speeds and technicalities, the fast fretwork interwoven with frenetic drumming that takes no moment for granted. These songs move in a constant sense of progression with dense arrangements shuffling in all sorts of directions and occasional turning back on themselves to repeat a theme. Nothing feels out of the ordinary but its execution is remarkable and many riffs push the boundaries with lightning speed and creative use of old techniques. Its quite the drool in awe fest if your a fan of the classic thrash sound.

The album plays to a bigger concept and all the songs tie together. That much is apparent but within the last three or so tracks it really comes together as the record reaches its climax and the music pushes even harder at those boundaries. In these moments the Thrash sound is transcended in spirit as the songs become bigger than themselves. For all that's fantastic I have my gripe with the vocal and guitar tones. Firstly DiSanto's narrow, raspy shouts are a constant turn off that I failed to warm up to. The guitars do admittedly sound fantastic as could be said for the entire production of the record with a near perfect drum sound and tight baseline but I found the tone slightly plastic and flat in the higher ranges. Its actually what gives the guitar tone its charm and there is where I find an understanding of whats not working. There's little emotional connection here, its a finely tuned metal machine pumping out blinding songs but it ends at entertainment. "Terminal Redux" Is a remarkable record on one level but there are only a few moments where I feel any form of deeper connection. Music doesn't always have to hit you on that level to appreciate it.

Favorite Tracks: Charging The Void, LCD, Recharging The Void

Rating: 8/10

Eternal Lord "Blessed Be This Nightmare" (2008)

Well, its all over now. "Blessed Be This Nightmare" marks the groups first and final full length record, at the time I found it to be a stinker, a real disappointment. After revisiting their fantastic, stylish and unique debut EP "Eternal Lord" I set out to listen to their discography. Their two track "Split With Azriel" showed promising signs of a symphonic direction for the band before their 2007 "Demo" took a turn for the worst. There are no twists and turns at this point, the album takes off where the demo left, with the tracks that featured on the demo only sounding a hair better on the full length in terms of production. 

The record suffers the fate of the Deathcore cliches and fails to make itself more remarkable than the breakdowns every song seeks out. Chugging palm mutes and crashing china symbols pound away the same routine with various variations, mustering no more than the occasional palm muted discord to spice it up. Its far from terrible or offensive, something to bob along to and forget the next minute. Between it the band show signs of trying to expand there horizons but it all feels aimless and unfocused. Acoustic guitars crop up in "I Am The Deciver" and "Amity" with a vastly different vibe that are only to be dispelled by pummeling Deathcore brutality in the songs next phase. Some creative guitar work and riffs do momentarily pop up, "Set your Anchor" has some interesting melodic guitar leads but again just falls mercy to incessant Deathcore cliches.

If you not giving it your attention it may be half entertaining but ever grace it with thought and consider whats going on its little beyond hap hazard ideas lost in a generic brutality fest. Its ironic that its strength is in what holds it back, the Deathcore is well executed, just no longer to my taste. Any signs of breaking away from that are far from interesting. This record wasn't for me, Its not awful but I think I'm just tired of this sound which is now a decade old!

Rating: 3/10

Thorns Of The Carrion "The Scarlet Tapestry" (1997)

My interest in Doom Metal was recently peaked with Candlemass's "Nightfall" and at the whim of youtubes algorithms was suggested this unheard of video with next to no views. It was this forgotten and obscure bands second album and hooked in by the striking record cover I listened to the opening tracks which where certainly interesting. Thorns Of The Carrion are from Ohio, USA and may have been a somewhat of a local scene band in the 90s with a string of demos and two independent released records of which this is the second. Only active for ten years they have little reputation in the Metal world.

Far from terrible but lacking in charm, "The Scarlet Tapestry" suffers the fate of its own doom and gloom themes as the mood and atmosphere created in this sorrowful record often drift into a lull of morbid guitar drones and soft airy key lines dragging through unhurried tempos. Demonic guttural growls grimace with a lack of oomph and interchange with screams similar to Dani Filth. Clean vocals are also delivered in a deep and teary tone which gets a little to much with moans of "Why Am I So Alone" over and over. This record dives into love and heartache with melancholy and a touch of gothic romanticism which doesn't manifest well in lyrical form but the instrumentals do have a cohesion to define a unique blend of depressive, wistful and slightly morbid music fit for a foggy, human form of darkness.

Bar the introduction track the album opens up with a fair stir of energy and tempo as thunderous horns scale up and down reminiscent of Graveland's "Prawo Stali". It transitions into a begrudgingly sluggish dragging of guitars and much of the record follows this theme of slowness with moments of energy and life splashed in unexpectedly. If not in one of these sporadic bursts of life and movement the records next best output comes from the timid and lonely flute melodies, occasional pianos and thick gothic organs. Other than that the record feels lengthy and unfocused with minimal ideas being draw out of proportion and its atmosphere isn't immersive enough to make that sluggish pace meaningful. Enjoyable to hear something different but far to flawed to return to again after a handful of listens.

Rating: 3/10

The Underachievers "It Happened In Flatbush" (2016)

I was very excited to see this record pop up in my inbox. The Underachievers are one of my favorite modern Hip Hop acts and their last full length "Evermore - The Art Of Duality" really made its mark on me. The first half of the two sided release is loaded with deep and meaningful messages about achieving in life and keeping on top of your goals. Its a record I frequently turn to when running and working out. Unfortunately "It Happened In Flatbush" isn't on that introspective wavelength and is stated as a "mixtape". Essentially a less focused and shorter release to tie fans over.

Initially this sounded fantastic. Tight spacey, dark beats and deep cutting baselines but a few tracks in the lyrics were tiring me. Gone is the insightful, thought provoking, life changing lyricism. In come the blow trading, braggadocios flaunt raps loaded with violence and threats. With much talk of gun play, settling rivalries and street warfare the mood is ripe for these dark atmospheric beats however Its not what Ive been in the mood for from the East Coast duo who won me over with their honest lyrics and positive attitudes. If the subject matter wasn't to my taste I couldn't deny their flows were pretty solid throughout and at times elevating with technical prowess. On the flip side there are a few singular rhyme flows cropping up with the word niggaz that gets nauseous repeating it over and over and over.

After a few banging beats at the start the album drifts into a continual setting of gritty, deep sub baselines grooving under spacious minimalist leads with flickering trap beats. With violent raps the atmosphere is tense and intimidating. With a lack of lyrical charm it simple wasn't my cup of tea and the most interesting thing beside the instrumentals were references to Master P and Silkk The Shocker of No Limit Records. Always fun to pick up on name dropping in Hip Hop.

Favorite Track: Al Capone

Rating: 4/10

Emperor "IX Equilibrium" (1999)

Third times a charm or so they say but for Emperor the bar had been set unseasonably high by their iconic debut "Into The Nightside Eclipse" and 97s "Anthems..." which transformed the bands sound with remarkable vigor. "IX Equilibrium" stands in the shadow of its former with little evolution and a tamer set of songs in the second half that don't amount to the same level of musical astonishment. Its a step up in production, tighter, crisper but still a menacing wall of sound that pummels away with moments of equal intensity and lightning blast beat tempos faster than ever. The album crashes open with the thunderous and mighty "Curse You All Men", ripe with melodies of empiric glory entangled in agile, enduring guitar shredding while Nordic group shouts call in the distance and the horns of warfare are sounded.

With "Decrystallizing Reason" the symphonies of war and wonder gleam brightly before the song erupts into mayhem with cascading blast beats somehow finding room to intensify the already blistering wall of sound. The song moves through its motions and the returning war horns signify a climax I feel the song was searching for but didn't quite find. "An Elegy Of Icaros" follows, a song which may be one of their finest. I developed a great appreciation for this song learning to play it on guitar and reading all the instruments. Its a fine example of Ihsahn's intricate musicianship, with every instrument playing a different line of notation to form a woven piece of music that shifts through original and interesting riffs to culminate in a beautiful song laden with splices of melody and aggression, climaxing in a splash of color and wonder in the songs break out moment. With a lack of relenting blast beats and calmer tempo I wonder if this is the direction this album should of looked for as it offers far more in the reflection of "Anthems..."

"The Source Of Icon E" returns us to dizzying drums and spiraling aggression that stands apart with a flair of startling high pitched vocals similar to King Diamond. I believe that perhaps the bands cover of "Gypsy" by Merciful Fate comes from the same studio session given this vocal performance appearing on both. The bands other cover of Bathory's "A Fine Day To Die" also has echos on "Warriors Of Modern Death" with its guitar solo being identical in tone and notably similar in composition and delivery. All had been fairly strong to this point but with "Sworn" and the following tracks the record seems to shift gears and the musical complexity is traded in for simpler power chord shedding controlling the progression of these songs. 

"IX" comes close in moments and falls far in others. Some of its arrangements and intricate compositions don't quite hit on the same emotional level. Sometimes its progressions feel more transitional than natural and overall its shortcomings lie in repeating itself. Where it retreads the waters it isn't as remarkable however it is still a dose of extreme music from one of the genres finest bands. It makes for a cracking listen and is a great record in the shadow of greater ones.

Favorite Tracks: Curse You All Men, An Elegy Of Icaros

Rating: 8/10

Amon Amarth "Jomsviking" (2016)

Given the ever growing hype around Amon Amarth and there continual rise in the Metal scene I decided to pick this one up. Its the Swedish groups 10th full length in over twenty years as a group. With themes of Norse mythology and viking warfare they have been hailed by some as thee Viking Metal band. Amon have unfortunately never done much to captivate my attention as other bands in the genre had. I can hear whats distinct and unique about this band but it doesn't get me fired up or create an atmosphere I can absorb.

After many listens the same flat, mediocrity of neutrality emerges. I find myself feeling rather indifferent to its presence. "Jomsviking" is aesthetically soft and sterile with crisp guitar distortions, dense baselines and punchy, balanced drums forming a warm and approachable mix of crunchy toned down Melodic Death Metal. Hegg's vocals are the heaviest aspect of their sound, he growls and bellows meaty screams with a vibrant texture that doesn't get overbearing, probably an easier tone for a newcomer to digest.

This album progress through the motions with simple song structures and prominent guitar riffs that outline the songs directions and build the Norse themes. As much as I can hear "it", their is no stir of emotion within me in response to their riffing style. The guitar leads drop into particular tracks with bright colorful tones and melodies sometimes reminiscent of Iron Maiden. Together they steer the ship with a sense of destination in sight. The themes however are particularly uninteresting to me with a lack of poetry or sense of scale delivered in the lyrics. They often culminate with a simple use of words and basic rhyming pattern that has the words steered by matching rhymes in favor of visionary word play.

Its all a matter of preference and as much as Id like to get into this record It just doesn't stir me. Looking forward to seeing them at download though, seeing a band live can help it "click" which is yet to happen for me. Ill stay neutral on this one, there is a couple of tracks with a bit of spark but equally some that bore me too. One thing I can say is nothing here felt out of place or obscene, its a well rounded record.

Favorite Track: Wanderer, Raise Your Horns

Rating: 5/10

Tame Impala "Currents" (2015)

Hailing from the other side of the globe, Tame Impala is the musical output of Australian musician Kevin Parker who writes, composes and records all the bands music before taking a crew of musicians to hit the road on tour with him. In the eighth year since its inception Kevin released the third full length which caught my attention some time ago with its intriguing record cover and critical acclaim to peak my interest. It took a few listens to click but has since become my addiction, full of good vibes, luminous music and easy going, laid back atmospheres of psychedelic wonder.

I'm rather inexperienced with Psychedelic Rock and Tame Impala to my ears dwarfs anything Ive heard before it in comparison, as if the genres climax in the 60s and 70s was just a precursor, a prototype for the magic within this record. It oozes, ebbs and flows within an organic tapestry of sounds from electronic and natural instruments formed in a modern production that makes fantastic use chorus pedals, phasers and pitch shifts in its psychedelic moments. The opening track "Let It Happen" drops in a couple of beat skips before breaking into a stunning moment where the beat loops like a CD skip repeating over and over before thematic synths roll in and take over the direction in a moment that felt fresh and unexpected. Its this use of electronics that makes the music glimmer like the summer sun, dense synthesizers weave in and out between the guitars and a solid drum machine with dance kicks, claps and snares hold a solid back bone that in the occasional moment resemble a dance floor beat. 

The music stays true to a warm, heart felt inspiration of summer sun, fresh air and care free good times that radiates when Parker puts his voice into the frame. He has a stunning high pitched and soft tone that breezes through the reverbs he layers his voice with. Its reminiscent of MJ and with his ability to write a solid hook makes for some truly mesmerizing moments where the songs are sparkling like a dream. Together they sound so lush and intricate with layers of sound often trumped by a bright and simple melody to keep it easy going, yet one can peers deeper into the layers of sounds that form into something so effortless to enjoy.

In between the main tracks some trippy interludes crop up and with "The Less I Know The Better" Kevin rocks an olskool Rock / Funk groove on the guitar. Sometimes the drums have a little Hip Hop groove and even a Trap hi hat crops up. This albums flexible and although it doesn't steer far from its core so many things pop up through the record that make it so interesting when examining closer. Its a record for the warm climate, summer music, for good times and with the magic Kevin delivers good times will be made. Its such an impressive record, especially considering he did everything here himself. Writing, recording and production. Hats off!

Favorite Songs: Let It Happen, The Less I Know The Better, Cause I'm A Man, Reality In Motion

Rating: 9/10

Messenger "Threnodies" (2016)

Back in 2014 I found myself sitting in a the pews of a quaint chapel in London, humbled by this band who were opening for Devin Townsend performing his "Casualties Of Cool" record. After the show I picked up the bands debut "Illusory Blues" which won me over swiftly, perhaps being the most impressive Progressive Rock record Ive heard in recent memory and with time that impression only strengthened. Messenger have echos of the greats while standing on their own two feet and subsequently had me hyped for this release which promised more of the same, another seven tracks spanning 46 minutes it continues where its predecessor left off.

Opening with "Calyx" the group set the precedent for a collection of songs that seem so uninhibited by structure and form with music that unfold at its own leisure, moving through the motions with no urgency, creating an indulgence that starts with a calm and tranquil motif that's got a surge of unrest beneath it. With a calm before the storm a lone electronic lead brings us into a shift in momentum that leads to a grand climatic guitar riff that's got glory in its soul. The following "Oracles Of War" thickens the atmosphere with a galloping intensity and the guitars and drums thunder forward with classic prog organs laying the density. The momentum slowly unwinds into a lush calm of serene acoustics soaking in a soft ambience and light pianos accenting the soft, dreamy vocals of singer Lowe who shines bright in every moment of this record and takes it to some sublime peaks with his grounded harmony. For all of its lush tranquility, every moment flirts with a darkness that's forever fleeting, never surfacing and in its immediacy can sound rather sorrowful and sombre. As the songs flow and progress the whole affair becomes rather entrancing in an effortless manor that makes enjoying a breeze but analyzing becomes allusive as no part of its charm lies on one riff, melody or hook but the overall journey these songs draw you into. This is best heard in its strongest melodies which can often drop in from the quieter region of the sound, rather than being immediate and upfront.

"Threnodies" is another self realized and inspired creation that is perhaps a little bolder and more adventurous than its former. Again its persuasive with its atmosphere and draws you in closer when your not looking, which is part of what makes writing about it so hard. Putting music into words is a challenge but you can never do that music justice, and in times like this you feel as if you cant ever come close. The production is sublime, the instruments are rocking and vivid. Lowe's vocals are enticing, reminding me slightly at times of Thom Yorke, and the drums where particularly more expansive this time around. I adore this record, cannot wait to catch them again on the road and I'm sure this one will not tire like that last has yet too.

Favorite Track: Calyx, Balearic Blue, Pareidolia, Crown Of Ashes
Rating: 8/10

Kvelertak "Nattesferd" (2016)

Prior to this record I had never heard of this Norwegian six piece band Kvelertak. It would seem that they have had a significant success selling records in their homeland and have been praised by critics for a unique blend of Rock n Roll and Black Metal. On "Nattesferd", the groups third, much of the black sounds like a hangover heard in singer Hejlvik's rough, tonal screams and guitar distortions that are a touch more visceral and thick than whats warranted for the Rock N Roll core of their sound. They are not the first too fuse the two sounds together but maybe the first where the artistic intention comes from a much brighter and expressive place than the scornful fire and hate filled noise of Black Metal.

The sounds of a generation gone by echo through this record 70s Rock and Hard Rock leanings reminiscent of Thin Lizzy, see "1985", and other acts of that era make up a large portion of the sounds between the occasional blast beat and shredded guitar riff. Its fluid, organic, full of twists and turns led by solid guitar riffs often accompanied by bright acoustics that accent the rhythm guitars direction. These songs have a fantastic sense of direction and expansion as they evolve through many riffs and progressions that become pretty captivating when in the mood to enjoy whats on show.

With this they certainly carve a unique identity for themselves on a gorgeous sounding production that breaths a ton of life into the guitar tones and strikes a sweet balance with the drums. Everything sounds peachy except for two things which I always found dispelling. I'm not a fan of the vocals, they feel out of place, a little raw and flat and for the most part become tiresome when in the music. As well as that some of the guitar tones get a little weighty and aggressive which feels unnecessary. With that said there are plenty of blacker moments in this record that flow very well between its counterpart. There is artistic creative and vision in abundance but the way it comes together just isn't quite for my taste all of the time. Despite my annoyances I still think its a fantastic record.

Favorite Tracks: Nattesferd, Heksabrann

Rating: 7/10

Candlemass "Nightfall" (1987)

Portuguese band Desire recently sparked my interest in Doom Metal and with a little digging around and research it didn't take long to find myself in Sweden again, home to some of Metals finest bands, Bathory, Diabolical Masquerade, Entombed, Meshuggah, Opeth and Soilwork to name a few. Impressed with rave reviews throughout this bands discography I thought Id start with their highest ranked and critically acclaimed sophomore record from 87, the same decade where the term "Doom Metal" really started to take hold as a musical genre beyond its prototype days in the 70s. Quickly did I hear the echos of "Black Sabbath" who defined some key characteristics of the genre, like the slow tempo, bluesy guitars and use of the tritone.

"Nightfall" made a swift and monumental impression, after a haunting intro of ghoulish choirs Candlemass drop the guitars in with crisp, bold, solid distortions that glaze with a touch of venom in their harmonic aesthetics. Riffing with singular linear notes they fall between the groove and melody, crunching rhythms and straying into the higher regions to expand the burdening atmosphere. Without any dizzying distortions Candlemass bring a weight of doom and heavy in a storm of atmosphere that feels almost biblical in its damnation. The gloom of funeral, the shadow of death and the shame of sin swirl within these songs, however from a safe distance we are the observer. In its harmonic tone its distanced from the emotional burden and becomes quite the bewitching and devilish rock out as these slow crawling riffs tangle into memorable melodies.

The bass and guitars have a concrete harmonization for the riffs and the drums slowly shuffle around them, groaning out slow grooves that occasionally pick up tempo in short bursts. Over it all singer Messiah Marcolin makes an unforgettable impact with his voice, powerful, bold and commanding he steers the ship with a thunderous voice and stunning pitch control. Hitting bellowing lows and soaring highs he creates the air of epic with a sublime vibrato and operatic performances that flow with the rhythms steady movement. It all takes place in a stunning production for an 80s Metal record, big, spacious for the guitars to fill they rock sweetly in a rich atmosphere fit for the glorification of the macabre. It has been a pleasure to enjoy such a well realized record.

Favorite Song: Samarithan, Black Candles

Rating: 8/10

Carbon Based Lifeforms "Twentythree" (2011)

It would appear I've found my niche with this Swedish duo's ambient project CBL who's previous record "Interloper" is a completely different style and form of soundscape music. Despite such a difference they tap into my preferred sound waves and with "Twentythree" we are submerged into soft ambiguous drones of non specific and continual sound that organically repeats over like a flowing stream of water as opposed to some mechanical operation. These drones are light and cloudy, foggy and mysterious, dense and transparent all in the same instance.

The record flows as a single track and the nuances of each drone may pass you by as this record drifts into the subconscious, creating a mood and environment without form or awareness. It has its darker drones, spacey, aquatic and all of them come with some form of buried and smothered sampling. Maybe its voices, bells, a water stream, an effeminate voice singing, birds chirping of even a dog barking if not an electronic lead playing a melody can sometimes be heard lost in the depths. Deep in the soundscape many sounds converge in the density which doesn't come over like a wall of sound but more like a rabbit hole that gets deeper the more you peer in and give it your attention.

Even though these dreamy ambiance pieces are vivid, rich and poised in the easy listening spectrum they do succumb to the perceived limits of such music where your foreground attention can be lulled. These are songs for the subconscious, the backdrop and serve a purpose as powerful and meditative music to condition the mind for focus on a task at hand. This is the sort of record to drop on when your attention is required elsewhere, the result, a wash of calm and tranquility. If your already in that mood it can serve as a door for your limitless imagination.

Rating: 7/10

Hacktivist "Outside The Box" (2016)

The letter H has been carved in the corner of my mind according to the narrated mission statement on the opening track of this groups debut full length. Hacktivist are an English experimental group fusing together the bipolar styles of Djent and Grime with a flavor more accessible to fans of Metal than London's form of urban Hip Hop. I remember when the group formed three years ago, there was a wave of hype and despite quite a wait for this record the band have delivered on there promise. The name "Hacktivist" is a relevant and recognized term in this internet era society, a fusion of hacking and activism to represent independent online activism. With this the band take on a revolutionary persona of social and systematic consciousness to spread a message of anti capitalist, anti commercial action and awareness but as A.C. once said, "Music ain't the revolution, its only the soundtrack".

Starting off with "Our Time" Hacktivist set a strong tone for the record which never falters from its path of conscientious lyrics and stating their presence in the music scene. Rappers Hurley and Marvin come loaded with fast and sturdy flows, hitting their lines and rhymes over the top of crunchy, rhythmic Djent riffs. Its effortless on the listeners end, their tones and delivery works well with chunky grooves rattling away and waves of colorful shimmering guitars in between their raps. Marvin crosses from rap into shouted screams and guitarist Beazley drops in the harmonious clean vocals to offer three vocal dimensions that keep things fresh and varied across the forty minutes. On occasions the clean style sounds familiar to Enter Shikari, however these lads are from Hertfordshire too and the one song that sticks out actually features Rou Reynolds himself, which explains a lot.

With the versatility to sway from slamming Djent riffs into reverb heavy acoustics the instrumentals keep a lightness about them with subtle Post-Metal leads creeping into the background creating a spacious atmosphere for everything to fit together within. As with the vocals this dynamic expansion flows through the record to give each track its purpose and identity. There are moments where the raps are not present and other where the instrumentals take on a subdued approach to let the Grime raps shine. They are blunt and bold, no creative wordplay but more so straightforward expression and to the point message making that asks little of the listener. My only qualm may be with Hurley's breath control, leaving huge inhaling gulps in between each line, at the same time it adds an authenticity in favor of its removal through studio edits.

Outside the box is a solid debut, no weak moments or lulls, forty minutes of music that's not demanding. Fantastic production value with a great cohesion between the vocal and instrumental elements that could easily find themselves on different wavelengths but Hacktivist get all aspects right and are set to have a promising future if they develop as musicians. Entertaining record!

Rating: 7/10

BABYMETAL "Babymetal" (2014)

Back in 2014 Babymetal's debut didn't make much of an impression on me due to its apparent and unapologetic gimmick, however "Metal Resistance" won me over! Gimmicks aside its the music that counts and Babymetal's fusion of Metal and J-Pop, fronted by a trio of girls, is fresh and exciting. I'm glad I didn't listen to this one until now as I'm sure my perceived flaws with this project would of become an inflated critique in the face of fun music that shouldn't be taken to seriously. Unlike their sophomore record Babymetal is far more varied, experimental and a little garish with its electronic aspects. Starting with production it is once again a compression fest of forceful, volume oriented modern aesthetics which on occasions can be daunting in its intensity, the kick is especially crisp, clicky and heavy in the mix. Much the same can be said of all instruments in the mix and in moment's it gets a little crowded yet remains clear. Some of the trance synths used in tracks can also be overwhelming. My experience is that this once surprisingly doesn't suit high volumes.

Aesthetics aside we have a collection of wildly energetic and varied tracks that continually mix and mash styles with a ruthless "anything goes" attitude. Between the records more typical metal tracks all sorts of musical sounds and genres can be heard. Mostly its entertaining, fun and vibrant but its rigid and choppy composition between styles leaves food for thought on what is reminiscent of IGORRR's "internet age" of music where any styles and genres can be mashed up given the widespread availability of online music and information at the touch of your fingers. For me it was the main talking point of this record.

It starts with "Inie!" introducing glitzy fast paced trance synths culminating in dance tunes with pumping bass kicks and coin arcade sounds. It switches up into some form of Rap with what I can only describe as a cheesy "bling bling" Hip Hop beat. Of course it then drops into howling death with demonic screams and evil, shrill guitars. "Doki Doki" picks it back up by mashing slamming Nu Metal grooves with chirpy upbeat sunshine pop and glittery synths. "Onedari Daisakusen" sounds to me like it could of come out of the Limp Bizkit catalog, minus the quirks of Babymetal's aesthetics, this has all the makings of Freds little catchy raps and Wes Borlands dynamic grooves complete with build to a breakdown moment where things get heavy. No to mention it also includes a sample of Fred from "My Generation"... now that I think about it, its got a nearly identical build up to the sample. "Song 4" brings some laid back, beachy Reggae dub sounds and "Uki Uki" goes full Skrillex with base wobbles and a noise eccentric breakdown. I'm not criticizing any of it, I enjoy it greatly but its interchanging rigidity and entertainment value leaves little in the way of emotionally charged or moving music. This record does however have much more versatility and I'm hoping in the future they can utilize that with a little more inspiration and emotion.

Favorite Track: Babymetal Death, Gimme Chocolate!!

Rating: 6/10

Inlayer "Sequence" (2015)

Its exciting to hear when Metal reaches new parts of the world and Inlayer are the first band from South Korea Ive heard off. Whats even more exciting is the music, their single "MINDJACK" for a presumed forthcoming album blew me away, possibly one of the best songs I'll hear all year along with Babymetal's "The One". Sequence is a four track EP and the only other music I could find by the Korean band. Released last year it is a step down in production value from the new single which appears to be on a major K-Pop label.

The four piece perform as an instrumental force, playing technical, fast tempo Djent grooves and polyrhythmic signatures with a side lavishing of illustrious reverb laden acoustics, much to the trend of the international scene. Inlayer don't have a lot to distinguish themselves with and can often sound like Animals As Leaders and other Prog Metal bands, however what they do have is quality and a singular trick that seems to find itself in the songs best moments. The hammer on! At many points a hammered on lead will rattle away glorious waves of sweeping colors through fast electric melodies over the rhythmic Djent grooves. Not the most original technique but there is something captivating when they do it.

The first three tracks jam out a fest of color and groove while the final track gets a little experimental with some Post-Metal sounds and steady guitar solos to lead the EP into its climactic groove. It all sounds exciting and energetic but some of this is lost the rawer mix. Where the drums would clearly aid from fidelity it falls a little flat in the recording. All the kicks, snare and cymbals sound flat and as if in a different dimension to the rest of the instruments. Its a shame as the drums themselves are energizing and full of life however this flat recording tone sucks some of that away. Very solid debut but "MINDJACK" has set the bar high for their next release which I am eagerly awaiting.

Favorite Track: Unfine

Rating: 5/10

Desire "Infinity... A Timeless Journey Through An Emotional Dream" (1996)

Chasing down one of many rabbit holes the world wide web offers I somehow found my way to this obscure, niche and unheard of Portuguese band. Sucked in by the vivid and lonesome crimson red cover I heard a sound that reminded me fondly of two records close to my heart that I am yet to talk about on the blog. Doom Metal is probably my most neglected sub genre of Metal considering I adore Black Sabbath and have never heard anything to turn me of the style. This record, Desire's debut, really highlighted the qualities in these other records of which Id never linked to Doom before. If your familiar with the genre you wont be surprised to hear that "Infinity..." is a sorrowful record of mourning, heartache and sadness that flirts with the endless depths of the infinite. That may sound rather unpleasant but its a spiritual, emotional look into the hurt and longing one can feel.

The records moves with a brooding, gargantuan weight that slows many riffs, leads and melodies to a crawl, including the bellowing low growls of vocalist "Tear" who has an astonishingly textured growl that he can draw out with a touch of class. It gravitates deeply to a heavy and menacing side which isn't reflected in the instrumentals that have an almost eerie, nearly gothic vibe with thin synthetic strings peaking from between the bleeding power chords and crashing drums which thunder between spaciously timed tempo keeping hi hats. With drawn out movements and longing melodies the gloom and despair washes over for moments of subtle uplifts where the songs can break for a chunkier groove or colorful synths. Accompanying the main growl, shriller howls and growl come soaked in reverb and on occasions mysterious female vocals drop in the back ground feeling illusive and mournful, despite being rather sublime and tender.

Given the long nature of the albums core songs, up to sixteen minutes, Desire do wonders keeping the mood and atmosphere relevant and moving forward in a slow and reluctant setting that will draw out sections for many minutes. They do however grow and evolve even if at a snails pace and what it greatly benefits from is how suited slow and gradual is for such weighty themes of human sorrow. In the records short tracks we have acoustic, symphonic interludes that feel of the same realm but come across with a scenic, fantasy drive, less human and emotional. "Forever Dreaming" the albums last Metal song is one to remember with a deep nostalgic vibes seeping through the synths and soft effeminate vocals. We grace into another slow crushing movement that's climaxed by an unpolished flute lead that gives a deep sense of mystery and conclusion at the same time. The way these instruments are presented just open dimensions in the mind and as the song draws to a close we are again treated by spell bounding keys that dance lightly.

There was a singular moment which always makes me chuckle where a whispering voice proclaims "Dance with me... infinity". I can never take it seriously, something about the Portuguese accent and whispered delivery tickles me. Other than that I feel this album would of been perfect for me ten years ago, however even as I write and understand this record it still has me at its mercy with its sorrowful mystic and nostalgic atmosphere. The records production is a touch raw and rough in places but in its lower value it finds a sweet charm to let the magic work its ways.

Favorite Tracks: (Leaving) This Land Of The Eternal Desires, Forever Dreaming... (Shadow Dance)

Rating: 8/10