Death Grips "The Money Store" (2012)

Whatever curiosity lead you to this post I'd highly recommend opening a can of worms and giving this record a listen if your open minded with music. I became aware of Death Grips back in 2013 and despite initially not understanding the record I couldn't give it up thanks to the enthusiasm of music critic Anthony Fantano and this video which really helped me understand what the record is about. That video will say so much more about it than I ever could and so I thought id take personal reflection on what this record has done for me musically. Honestly music has never felt quite the same since, this one effected me so much Ive felt my horizons expand and my love of music grow ever since it cracked open for me. That didn't happen for at least ten listens or so, I would take a long walk every day dedicating my focus to it and slowly but surely it started to creak open and reveal its magic. I still find the experience strange as I'm accustom to abrasive, noisy music, perhaps not in the more electronically oriented style though.

In a nutshell Death Grips comes of as erratic, noisy, ugly and dissonant. Off kilt sampling and grizzly waveform rumbling baselines collide between solid percussive grooves with a lot of glitchy sounds splicing into the rhythm. Over the top of it MC Ride shout raps with a ferocity and unchained energy that makes up a huge part of the trios character. MC Ride may be one of the most exciting rappers of this generation, not for slick rhyming patterns or clever word play but for taking a different approach and pushing the boundaries of what is defined as raping. At many times he will sound more Punk than Rap has he shouts his way through songs. Lyrically its similar to Wu-Tang Clan's "free association" rhyme style where sentences don't often form a coherent line of thought but create an atmosphere or scene through its words, "Concussion blinding, not my fault, ankles tied to cinder blocks" for example. His delivery further expresses this artsy approach with free flowing spits that have a knack for a catchy hook yet break freely away from the beat or restriction of the beats tempo.

This knack for a hook is one of the remarkable things about the record, when peeling back the layers of its sound and slowly making sense of it all it becomes apparent that the songs are basically poppy, bouncy and catchy in nature. Loaded with lyrical hooks the accompanying instrumentals are strangely satisfying in their noisiness. The percussion is tight and banging, the core of the beat rocking but always feeling slightly obscured by experimental sampling and dense percussive noises that crop up in certain songs. Its melodic or tuneful value is twisted and distorted in this mess but they still carry the weight a good melody can.

From one song to the next it never lets up and each song here feels like an island, there is no formula or consistency to what can happen, each track is truly unique. "The Fever" and "I've Seen Footage" are the albums party tracks, toning down some of the eccentricities and giving the overall groove and hook more love. "Punk Weight" and "The Cage" get wild with noisy samples and electronic instruments going to extremes, unafraid of peaking the bass to extremes. Its remarkable, all thirteen tracks offer so much wild and eccentric delight to delve into, you could talk about them all endlessly as each track is loaded with oddities that culminate into wild, unchained, banging music. Death Grips are the most exciting band of the millennium and couldn't recommend this album more. Modern classic.

Rating: 10/10

Head Of David "Seed State" (1991)

Some bands, some records get buried by time and English Industrial Metal outfit "Head Of David" are one of those bands who have drifted into obscurity. In this Internet age its just about possible to find copies of their records and small discussions about the group. They often cite their relation to other important Industrial Metal groups, like Justin Broadrick of Godflesh who also played in Napalm Death (early) and Techno Animal. He was in the band before leaving in 89 to be replaced by a drum machine. Fear Factory's cover of their cult classic "Dog Day Sunrise" is about the most exposure the band ever received and it may just be their influence and contribution to the sound of that era has been vastly overlooked. Either way "Seed State" is the bands farewell record and not what the band have been praised for. Its an Industrial Rock record with Metal aesthetics that wasn't particularly well received at the time and has vastly been forgotten about, its videos on youtube only scraping a few hundred views per song.

So why this record? Its a personal favorite of mine for a handful of songs that catch a vibe I really dig. I picked it out last week after years since I last enjoyed it and felt like talking about it. The record is musically mediocre and its production is sloppy, muddy and unpolished. It only favors the lead guitar, my favorite aspect of the record. Through this muddy wash of Industrial noise the leads sing out with a gorgeous tone and reverb that lays some deeply nostalgic and epic 90s feels over a chunky, mechanical rhythm section. These leads are often short riffs played over and over, quite often with stereo shifting effects. Slightly noisy and often shifting into chords they burst out of the music with a freedom and wild energy that's reflecting the mood of the times.

The lead single "How Primitive Are You" is a fantastic is example of all that's wrong and right with this record. In one moment its a mechanical droning of thin guitars and grooving base guitar and drum rhythms and the next it bursts into life with the chorus lead guitar illuminating the songs atmosphere with two dense notes held for a moment before looping into a swift melody. It feels aimless and without progression, just simply existing in the moment and I adore that. Singer Burroughs's lyrics are simplistic, poppy and without depth, they come of like an attempt of something "catchy" for the charts in the case of this song. Asking over and over how primitive we are before stating we should go primitive. It comes of as trying to be clever without any real depth to the idea. This kind of cliched chart music lyrical style is prominent but it has its moments where it works, "Vulture Culture" for example is a catchy rhyme that in itself could say a lot to the listener.

The songs mostly compromise of short sequences played over as the verses between choruses, standard stuff but its constant repetition and lack of variety creates is the heart of the Industrial sound that pounds away and gives more life to the "breaks" which may simply come in the form of an extra vocal line or sound effect in a particular moment. Its balanced minimalism, its effect is reliant on the chemistry between drums and base guitar which sound very much like the works of Frank Klepacki on the Command & Conquer soundtrack from 1995. Big, bold baselines strutting short grooves between the rigid, pumping automatized drum machines. Its a niche of taste but I thoroughly love the moments of this record where it hits the mark, shame its not consistent throughout, some tracks are quite the lull.

Favorite Tracks: How Primitive Are You, Human Feel, Vulture Culture, Zen Walker

Rating: 8/10

Unlocking The Truth "Chaos" (2016)

"Chaos" is the much anticipated debut record of teenage band Unlocking The Truth from Brooklyn, New York. As three black males from the home of Hip Hop it is quite out of the ordinary they have found Metal but that's hardly whats remarkable about the trio. Established in 2007 the band weren't even teenagers when they got started out. Youtube is littered with videos of these three as kids playing on the streets of the famous time square in downtown New York. At a very young age front man Malcolm Brickhouse developed an admirable attitude for life, citing a strong work ethic and desire for following his dreams of making a success of his band. Considering the band have toured with Metallic at least one of those dreams has been fulfilled. For a debut record its a solid introduction to the band. In its best moments they show sparks of being a rather special act, however a fair few tracks drift into obscurity with underwhelming riffs fixed into standard song structures. The point though should be that their is much to get excited about, they show a ton of potential.

Pinpointing their specific sound and style isn't exactly easy but they do have a broad appeal about them. Its Metal that's not about extremities or some over encompassing theme or aesthetic. In Malcolm's guitar style can be heard hints of Slipknot, Metallica and Disturbed and in terms of style, Nu, Alternative, Groove, Heavy Metal and quite often Metalcore. Its a blender that gives the album quite a diverse set of riffs however the simplistic song structures tone down the differences on display. His singing style is also a strength for the band, laying down clean vocals with a force and grit to them that work great for the metallic tone. In moments he moves to screams but nothing menacing, on one or two tracks dropping in a slight growl. Lyrically the album is loaded with light digestible language, some of which is somewhat angsty and there are plenty of great chorus hooks that will get you singing along.

For a trio they sound full of power and strength on the record, the production gives the baselines a real thudding clunk and dense tone, the guitars fill out the space above with a welcoming, satisfying distortion tone that's got energy, spirit and aggression without over doing it. The drums sound fantastic, very roomy and authentic sounding symbols. The snare is sharp and the pedals sound fab, very deep and audible, the cutoff is fast but you can hear every kick so clear. Great mix for a reasonable record which does have a weak stretch between "A Tide" and "Numbing". These songs weren't quite to my taste however they did have some strong riffs. I think this debut really highlights their potential to do great and we certainly get a taste of what they are about.

Favorite Song: Monster, Made Of Stone, Ravens, Escape, Take Control

Rating: 6/10

Dimmu Borgir "Stormblåst MMV" (2005)

Nineteen years after the original record, Dimmu Borgir stepped into the studio to re-record the memorable "Stormblåst", stating it had always been their intention to produce the album with a similar, modernized aesthetic to "Enthrone Darkness Triumphant". The original is its own gem within the bands discography from the low fidelity era where their symphonic side really came to fruition. I remember not being optimistic at the time this was announced and upon its release Ive never cared for it much. Its enjoyable at least, I know these songs inside out but practically everything about the production value dispels the magic I remember so fondly.

Gone is the opening melody composed on strings and pianos, straight into the majestic cosmos we are hurtled and after the opening riff the shift to epic choral choir synths is rather persuasive but probably the records best moment as the following riff feels hollow with the synths dropping out and this is where its problems are first heard. Shagrath's scream despite being meatier and strong doesn't have the same charm. Much the same could be said of all his growling, guttural vocals. They have more oomph but that doesn't magnify anything about the Norwegian words being sung. The clean Norse chants however sound solid in comparison.

The production here is simply to much for the music, its charm was in its strangely soft and thin production which had a lot of magic extruding from instruments that sounded individually narrow and weak. On MMV the opposite is so, the drums are loud, powerful and the base pedals rattle away constantly under many riffs where they never reached such speeds previously. Theres more blast beats, the tom rolls and fills are much more dense and they become quite an intense part of the music. Between them and the loud polished synths the guitars get buried and smothered. The base guitar rumbles low and gone are its higher notes which stepped into the fore front. With all these changes much of the chemistry is dismantled by lacking subtleties, the synths implore rich dense tones in the mix, so loud they take a large focus of attention where once they complimented the other instruments.

The simplistic nature of the music is stretched by this high octane mix. There is so much oomph and energy in the instruments sound that any changes in tone, the coming and going of synth keys, sounds out of balance and disproportionate. This is literally what it is, music written for a vastly different aesthetic. The drumming is especially disappointing, Hellhammer is a legend and I mean no disrespect but his style is to fast and ferocious for this record. Everything is done with double pedals and feels twice as fast, its simply nauseating.

The origin of original track "Sorgens Kammer" means it was dropped for a newly written track "Dell II". This is possibly why the introduction melody for the record was dropped too. With that new track Shagrath and Silenoz also re-recorded a left over "Aumaktslave" which has one riff sounding nothing like what they were writing in that era. Maybe they filled in the gaps on an old demo. These two tracks are the only reason to listen to this record, everything else is vastly inferior to the original.

Favorite Tracks: Sorgens Kammer - Dell II, Aumaktslave

Rating: 4/10

Dimmu Borgir "Stormblåst" (1996)

In 1997 Dimmu Borgir released "Enthrone Darkness Triumphant" a defining record for the band, evolving their identity with a rich wall of sound production and writing music to captivate the more rhythm eccentric styles of metal, producing mosh friendly aggressive riffs and manic break down moments. Its symphonic component was to be praised too, with gorgeous synths deepening the wild and dark atmosphere the band created a vastly more appealing sound, only true in spirit and theme to Black Metal but ditching the low fidelity and anti-music aspects. Before it came this gem of a record which I adore, more so for the years of my youth I listened to it religiously than its actual merit. Twenty or so years later the band would go on to re-recorded it with a similar aesthetic to EDT. Musically though it is very different regardless of what aesthetic its wrapped in.

The original Stormblast shows the band maturing quickly from their flawed but spirited "For All Tid" debut. The songs are rather similar in stature, simplistic power chord progressions from the guitars, tuneful synths with atmospheric tones backing them and narrow rattling drums pattering without a lot of force or intensity. Previously their drummer, Shagrath steps up as the front man playing guitars and performing the vocals with a textural approach, stretching the gutturals and snarling at the listener from a safe distance. They don't have an oomph or immediacy about them, but simply growl and groan with throaty textures over the rest of the music in a why I quite like but could easily see how it would turn others off. Some of the vocals are clean, deep and bellowing with a medieval heathen tone and in Norwegian, something I always adored, it ads mystery and an ancient feel to the record which is mostly more uplifting then it is dark. Most of the songs find a way to shift gears between darker and lighter passageways, often controlled by the synths tone and guitar riffs direction.

The songs themselves are relatively simple affairs with multiple riffs, verses and choruses. As no spectacular fete of song structure they tend to drone at the same intensity for the most part. Each song has its moment of creativity "Antikrist" for example messing around vocal distortions and reverbs in its opening momentum shift. The symphonies mostly exist in the backdrop, adding a soft layer of atmosphere and in a few bright and uplifting occasions pianos come to the fore front and treat us with gracious melodies dancing over steady guitar riffs. For example, the title track "Stormblåst" climaxes at the end, its best riff rocking out over and over with a gorgeous piano flowing a soothing melody over the top of it. The album is opened with a string and key section, an enchanting melody playing over soft, sorrowful strings. "Sorgens Kammer" is the only solo track for keyboardist Stian Aarstad, its a memorable one that it was unfortunately discovered through the internet had been lifted from a computer game without the rest of the bands knowledge. It still fits perfectly into the record.

Picking this record out after a fair few years since my last listen it occurs to me that the production is rather narrow and thin. Each instrument alone is rather underwhelming, the bass guitar isn't very deep, the guitars fuzzy distortion is thin and tan, the drums lack punch, the pedals loose and overall it feels rather narrow. Its amazing how it comes together, the synths fill in a lot of lost space and in its individual inadequacies it finds a charming, spell bounding chemistry as a whole. Its a soft record, despite being Black Metal everything except the vocals don't feel particularly harsh of abrasive and something worthy of note are the base guitar riffs that on every other song or so find a moment to step up with a complimenting melody and given their lack of depth sound pleasant playing higher notes.

 Its a record of atmosphere and indulgence crafted through simplicity, the result an ancient realm of nostalgic wonder helped on by the Norwegian lyrics, something the band would ditch on their next record. This record represents a large portion of my youth and my love for it is bias but trying to take a more objective view whats fascinating to me now is how primitive this record is, you could argue the production is poor and the music not as wild or unchained but through all that the charm is undeniable for me. "Stormblast" is a one off, not a genre defining record or even worthy of mention when discussing Black Metal's history but a brief moment in Dimmu's history that does wonders for me personally.

Favorite Tracks: Broderskapets Ring, Sorgens Kammer, Stormblåst, Antikrist, Vinder Fra En Ensom Grav

Rating: 10/10

Emperor "Prometheus - The Discipline Of Fire And Demise" (2001)

I was never too keen on Emperor's fourth and final full length album "Prometheus" but now that Ive given it a proper listen in recent weeks I have certainty grown an appreciation and fondness for it. Its not quite the calamity I remembered it as, in fact its a rock solid album but one where we hear the character of the band stretched further from its initial identity. Its not to surprising that the group split after its release, the bar had been set so high in the past they could easily go through the motions releasing albums, never reaching that same caliber again. "IX Equilibrium" held onto that original direction but maybe at a cost with the second half lacking. This album however makes to attempt to keep that original spirit intact.

"Prometheus" scales back on the immersive qualities associated with the band and transforms into a frontal beast of forward aggression and direct guitar work which makes for a thick and versatile rhythm section. The drums no longer aesthetic as a wall of cascading noise and more so the structured backbone for the guitar work to mingle its way between. Gone is the power chord shredding and simple progressions that defined their first record, the dexterous intertwined guitar work on "Anthems To The Welkin At Dusk" is at full tilt here with practically every riff revolving around carefully worked overlapping guitars playing of one another. In the low end a lot of chug heavy and grooving picking rhythms define the albums crunchier side. Counter to that most riffs dance their way around the fret board with fast, noted leads and a lot of pinch harmonics, usually left to ring out over the next lick as the twin guitars work off one another in a back and forth manor. its chaotic, fast and wild but in a structured and expressive manor.

Around this aggressive whirl wind of lively guitars, varying degrees of symphonic synths jump in and out of the composition. They sound high fidelity, emulating real instruments rather genuinely. Like with the guitars they become an upfront part of the music, involved in and adding splashes of color and melody between the ever active guitars. Ihsahn's screams are decent, not much to marvel but have a decent tone to them, his clean vocals are particularly illuminating to the songs they grace, occasionally elevating to the King Diamond style seen on the last record.

It all adds up to a solid, memorable record with no particular stand out moments but a consistent adventure through the twists and turns in its fifty one minutes. The last track "Thorns On My Grave" is a step down production wise with awfully over compressed instruments playing at full intensity and continually peaking them mic. Clearly some sort of unnecessary demo track with an unlistenable quality blasting the music beneath into oblivion. A solid farewell from the band.

Favorite Songs: Depraved, Empty

Rating: 7/10

Cradle Of Filth "Dusk... And Her Embrace - The Original Sin" (2016)

What a surprise it was to see this release in my inbox. The original sin? When I saw the name I wondered, remix? remaster? This is actually a remastered release of the recordings made when the band where on the Cacophonous Records label. To my knowledge they recorded the album "Goetia" which had its master tapes erased due to the record label going bankrupt. It turns out they also recorded "Dusk... And Her Embrace" with the same band lineup as "The Principal Of Evil Made Flesh" and subsequently released "V Empire" instead to get out of that record contract. So now over twenty years later we get to hear what the bands magnum opus would of sounded like in 1995, unfortunately though this is remastered. It would of been far more interesting to hear it in its original state.

Musically almost everything is the same, the track listing includes "Nocturnal Supremacy", an alternative symphonic intro track, a few songs shuffled in the play order and "The Graveyard By Moonlight" is entirely different. A couple of song names are slightly different too and for the most part its the same beast, a lot rawer, rough around the edges but its biggest difference is in the synths, their tone and presence clearly indicate a different keyboard was used and for the most part they achieve the same atmosphere, however the tones are far less appealing and a little plastic and cheap in the mix. The overall chemistry in terms of production is nowhere near the 96 versions consistency in tone. That record gets all the subtleties right, where as here some instruments stick out like sore thumbs against others and in occasional moments the record fills a little thinned out when the keys are on their lonesome. On the flip side it has louder drums and a rocking bass guitar upfront in the mix, something the 96 release didn't have.

Lyrically and musically too there are quite a few moments to pick out that are slightly different, either with words, delivery or riffs. All of these seem better of changed however the bias of knowing its counterpart inside out highlights the subjective nature of music, these are still the same songs. Dani's vocals are between the two record as heard previously, still developing the trademark shrill scream and his growls still meatier and blunt. There are some additional guitar solo's that crop up too, sounding thrown in as an after thought, both musically and in terms of production, they feel stitched on to the songs and the ones that were dropped were rightly so, in this state they were quite lackluster. There's also a couple of "cringy" wolves howling samples thrown in too which were better left out.

Musing over all the differences it should also be said that sometimes the guitars sounded identical to the original and a lot of the gothic vocals, female and guest also didn't feel different in the slightest. Overall I think the fate which at the time may have felt cruel for the band, led them in the right direction. "The Original Sin" shows the bands best sound emerging from its embryonic state. It had found its inspiration in a gothic theme but had yet polished out the sound with the keyboards and in retrospect gained a lot from this polished and refined sound the band eventually came out with.

Rating: 5/10

Seeds Of Iblis "The Black Quran" (2013)

Seeds Of Iblis are an anti-Islam Black Metal group from Iran which I discovered when my curiosity had me digging around looking for Metal in unexpected parts of the globe. It shocked me at first but makes a lot of sense given some thought. In Europe and other regions dominated by Christianity we have rebellion in the form of Black Metal which is strongly rooted in anti-Christian values, so in a country where Metal alone wouldn't be seen as orthodox we have anti-Muslim's using the music as a weapon against the faith it thinks hypocritically of. Because of the bands location they are shrouded in mystery, supposedly consisting of two men and two women their identities are concealed for obvious reasons. It is also speculated they have ties to the French embassy who would intervene and protect them if ever their identities were compromised. What is more remarkable about this record is its existence more so than the music itself.

Background aside the music is what I was initially looking for and in "The Black Quran" we have a hellish Luciferian atmosphere of malicious, scornful abrasive aggression. Ferocious blast beats continually batter into waves of pummeling attack, clattering like machine gun fire. The use of drum machines gives them a rigidity and unapologetic ruthlessness. The guitars tone is gristle and thin adding a unsettling tone between the drums and evil ooh synths that continually descend through minor key arrangements. Vocally the assault is on two fronts. The Arabic Female vocals tie in the regional and religious background of the music, singing native chants in the moments where the black drops its intensity. When at full swing the Male vocals scream and howl in a menacing tone that drifts into the space of its heavy reverb. Its like the voice of a tormented demon reaching out from the darkness.

The band certainly achieved a notably dark aesthetic, it is undoubtedly the vocal aspects that give this record its merit and charm but for a single twenty minute song its structure unwinds rather quickly past the half way point. The first half is a continual battering of blast beats, howls and descending synths with Arabic chants in between. In the second half there's many atmospheric interludes and the return of the songs main riff in a reconstructed manor crop up but it starts to feel short of ideas and any direction for conclusion. It fizzles somewhat with the sound of burning fires which bring in an eerie and haunting piano that sees the final moments of the song out with a gloomy burial.

A very intriguing record with a fascinating background it unfortunately doesn't live up to the same heights musically but its aesthetic is so menacing and pungent it kept me interested in its lengthy span for a singular song. Its lack of climax through conclusion was disappointing but what it offers outweighs that let down. I should also mention this group is part of an "Anti-Islamic Legion", meaning there are more bands in this region actively rebelling against their imposed religion.

Rating: 4/10

David Bowie "ChangesOneBowie" (1976)

On my musical journey Bowie had always been a destination Id planned on visiting but given his recent and unfortunate demise it prompted to pick up some of his records, something about the cover and name of this one made me feel like this is where I wanted to start. The months rolled by and with every passing listen familiarity crept in but no true understanding of his acclaimed genius became apparent. Its not often I listen to Glam and Folk Rock, it made me release the nuances of music your accustom to makes it much easier to digest and understand. In recent weeks though many of these songs have really got into my head and I find myself singing along, which is a great sign. One thing that became swiftly apparent was a lack of concept, direction or theme, the inclusion of a live performance a little odd but the records flow stylistically shifts from an arty tone to Glam Rock with slight Country tinges on some songs. It hit me like a slap in the face when I looked it up online, its a greatest hits or compilation released in the midst of his acclaimed peak, the seventies.

So now I'm familiar with this selection of his songs but I more often prefer the album experience to understand the music and I don't have to many musings on this record either. With it not being what I'm used to its hard to find the words to express. One song that really stuck a chord with me was "Changes" with its lyric "Time may change me but I can't change time"... Deep and profound it gave me much to ponder over but then I thought "Ive heard this before!" and it hit me. Fred Durst of Limp Bizkit lifts the line on a track adding a "So fuck it" to the end of Bowie's introspective statement. My teenage self never found any meaning in Fred's butchering of the sentiment, or maybe I was to young to understand it.

To comment on a few other tracks, "Space Oddity" has quite the emotional progression as fictional astronaut "Major Tom" makes his way to the moon, slow, brooding and fragile strings build a subtle tension that blossoms into a moment of wonder with a shift of pace and inclusion of a flute lead, Bowie singing about sitting in a tin can. The guitar then brings a momentary groove to the track before enigmatic strings snap us back to the setting. Its scenic and quite the narrative song with a lot of charm. "Suffragette City" packs a punch with overdriven guitar riffs making quite the racket and jiving piano chords being played with force. Its fast, upbeat and climaxed by a tonal guitar solo in the middle of the track. I really enjoyed this and will continue to listen to more of Bowie's record. Next time it wont be a compilation.

Rating: 8/10

Abbath "Abbath" (2016)

If the grim corpse paint looks familiar that's because it is thee Abbath Doom Occulta of Immortal who's classic sophomore record "Pure Holocaust" I wrote about two days ago. That being said he is no longer part of the band, their split sounds like a messy affair with the musicians unable to agree on who should advance with the name. Abbath earlier announced that Immortal disbanded but later his former band mates Demonaz and Horgh stated this wasn't true. So now on his own this self titled debut could easily be considered an Immortal record given its style, written by the man at the heart of the bands sound. With Immortal also announcing a new record there are hints that some of the material on this record may of been intended for the bands 9th album.

In true Immortal fashion this record rumbles away with a consistent pace and tone. A fierce tone at that and its overall pace isn't as blinding but has its moments of accelerated intensity. The drums batter away with an almost Industrial quality to them. The hi hats muddy and buried, the symbols in general require a little focus to pick out behind loud and clicking, hollow base pedals that roll like a machine. The snare thuds with a thick and punchy tone while the tom drums make a thunderous presence with their heavy tone. It plays out cold and calculated with timed flurries of expression as rapid fills and drums rolls jump into the spaces between the battering beats.

The guitar work starts of imploring more groove eccentric riffs as discordant palm mutes chug away in the opening track. The arrangements that follow are often shorter, simple chord arrangements that fit one bar and interchange frequently with variations and a sense of progression than can easily return to previous riffs. Its chemistry with the drumming is brilliant, the cold and machine like percussion paired with short riffs create a sense of repetition and momentum that the song structures counteract. Each song locks you into its moment without feeling any sense of anticipation, but just a steady unraveling of its musical trajectory.

Abbath's vocals are rather commonplace for his style, a lack of reverb left them feeling a touch thin. They came across accommodating as opposed to having a commanding presence in the music. Not bad but not spectacular. The record plays out with a linear mood and a rigidity as it sticks to its guns. All of this adds up to consistency and although there is the use of war horns in one song and light synths in the back drop of another the record rests in a steady posture, cold, grim, full of might and ready for war.

Favorite Tracks: To War, Fenrir Hunts, Eternal

Rating: 7/10

YG "Still Brazy" (2016)

Two years back Compton rapper YG dropped his debut "My Krazy Life" which stirred up rave reviews, solid sales and featured a lot of big names including Kendrick Lamar. That's as much as I know about YG, I have the record but never got around to listening to it and I probably would of passed on this one if it wasn't for the promise of G-Funk era beats, something Ive never heard enough of. Unfortunately these beats were the only side of this record I genuinely enjoyed, as It can often be with Rap the braggadocios, violent, misogynistic lyrics don't carry as much weight when its not to your taste.

YG's flow, tone, delivery, all decent and steady but the lack of substance and meaning in his words was disturbing, most of what made an impact did so for the wrong reasons but looking at the positives he does have the knack for a good hook and catchy lines however replacing your c's with b's only goes so far before feeling like a gimmick. There's a lot of features too, big names like Lil Wayne and Drake, none of the guests made much of an impression either but I''m stuck in the 90s still. Its the track "She Wish She Was" that really gripes me on this record. Such a sexist and hypocritical statement holding double standards for men and women, slating a women's behavior for things they would celebrate in other songs, calling her a bitch for being a groupie while flaunting sleeping around in other tracks... Its a ludicrous song, not a topic I haven't heard before but not with such a lack of moral consideration.

It made a mess of a slamming beat and "Still Breezy" is loaded with them. As I mentioned this album revives the G-Funk sound in style, keeping it fresh and relevant, allowing modern Trap beats to swim in out between the tracks, giving it a great flow converging two styles together. The Funk baselines pop in with texture and density, accompanied with piano chords and swirly ghetto synths at times feels right out of Doggy Style. In fact there's quite a few tracks that are very reminiscent of Dr.Dre, especially his use of minor key chords.

Beyond these thoughts I didn't get to deep into this record. Its got a great instrumental vibe but the lyrics mostly drifted in one ear and out the other. I can't end it without mentioning the track "FDT", fuck Donald Trump. The sentiment of the track is musing, its not often gangster rappers get political but in its simplicity there's an sentimental message of unity between gangs either side of the border. Not what you might expect to hear.

Favorite Tracks: Twist My Fingaz, Gimme Got Shot, FDT

Rating: 5/10

Immortal "Pure Holocaust" (1993)

In the infamous Norwegian Black Metal scene Immortal were there from the beginning with a demo tape dating back to 91 and this release, their iconic, identity defining second record, coming a year before the global media exposure that came in light of the church burnings and murder controversy.  Not to be taken seriously, Immortal's image plays tongue in cheek to the seriousness of corpse paint and satanism within the scene. Although themes of demons emerge, Immortal's lyrics and atmosphere revolves around scenic fantasy and nature, the extremes of cold winter weather and war. Its a classic but flawed gem that gets merit for its blinding speed and grinding intensity. Its execution of atmosphere and vision is sublime however the record is rather one dimensional, sticking to a singular principle through the course of the record, however that purity to an idea is in itself rather charming.

 Starting with "Unsilent Storms In The North Abyss", a cracking song name, it takes all but eight seconds for the records lunging speed to pulverize as a blitzkrieg snare pummels down with a frighting blast beat. Its stride doesn't let up as the base pedals roll in with an endless momentum. The drumming is unsettled and astonishingly fast, more so for the time but the drums make up a large portion of the bands sound not just for its speed and intensity but its tone and texture too. The pedals are dense, the snare sharp and loose, the cymbals a indiscernible clatter. It all bleeds into a colorless haze of menacing force and power that is a constant persuasion alongside the other instruments.

Alongside the thunderous sound of the drums a thick drone of noisy, sharp distortion guitars paint the icy cold landscapes with their muddy presence. Unsurprisingly they match the whirlwind speed of the drumming with incredibly dexterous tremolo chord shredding that has power chords strumming at a ridiculous pace while they progress and transition through the motions. There's barely a lick of melody, occasional resemblances of a lead above the rhythm guitar and a short solo on "Frozen By Icewinds" that ads a momentary extra dimension to the sound, something that could of featured more. With its blinding speed, narrow, claustrophobic tone and messy, dissonant record the guitars are another cold layer of sound giving birth to a frosty and scenic imagination in their partial ambiguity.

Vocalist Abbath is very much the star of the show, songwriting, playing the drums and bass guitar too. The base mainly adds a warm undercurrent to the otherwise bleak tone, occasionally breaking to add a subtle melody. His vocal style is fantastic, despite being a little stark and laughable his gargling demonic calls play with the higher ranges and have a light growl about them. The delivery is key, always of its own accord and with some light reverb it jumps out from within the frosty cold wall of noise. Its best and most powerful moments come with volume raises and increased reverb for dramatic effect.

I could sing its praises all day and its short comings aren't complaints so much as observations where things may not quite play in their favor. Its a very linear listen, never steering far from the path, no break out moments or change of pace its a continual hammering down of pure darkness. Maybe with exception to "As Eternity Opens" inclusion of what sound like noise choir synths towards the end. The production style is charismaticly raw and unpolished, to the point of leaving in odd snare strikes and symbol clashes that peak the microphone. The band also implore the Darkthrone principle of sudden endings as the ringing distortions are interrupted by silence. These are things I'm not sure I like or not, but one thing is for sure this record is timeless and I adore it.

Favorite Tracks: Unsilent Storms In The North Abyss, The Sun No Longer Rises, Eternal Years On The Path To The Cemetary Gates
Rating: 9/10

Zeal And Ardor "Devil Is Fine" (2016)

Here's a record that pays tribute to the times, the internet age, a treat to spoil yourself and indulge in something rather unimaginable two decades ago. Much like IGORRR's genre blender from hell fusing Breakbeat, Baroque and Black Metal, Zeal And Ardor throw us at the mercy of genre mixing that comes up all aces. Its core theme is rooted in a dark satanic tone fronted through the blues, or more accurately the vocal origins which originated from slave songs. You'll hear emotion bluesy, gospel singing that collides with ferocious Black Metal and zealous electronic melodies. There's even a short Trap banger in the mix, chop and screwing the vocals, throwing in light organs between the spacious grooving beats and fluttery sampling.

 Starting with the title track, call-respond singing chimes out, the clank of slave chains rattle to keep tempo and peaking the microphone it creates a stunning authenticity, although I'm fairly certain this is original, not lifted or sampled. Some grizzly distant guitars drift in and out, rumbling beneath with a groan. "In Ashes" has the menacing guitar grinding a string as eerie, morbid calls are sung. Then the pedals come crashing in and swing the song into full tilt. Whats fantastic here is how the drums take a temperate and structured raising and lowering of intensity rather than blasting out typical Metal drumming patterns.

"Children's Summon" gives light to a xylophone lead that features individually on "Sacriegium II & III" with a playful lullaby, full of carefree wonder, not far from the sort of melody you might expect to hear on an Izioq or C418 record. The song itself sets its tone after a brief blasting of instruments and screams, satanic chants reign out and before long it all amounts to a rampant onslaught of menacing Black Metal peaked by a chirpy xylophone. "Blood In The River" brings back the main theme and expands on its evil undertone with more Black Metal and rash screams.

No moment here feels without purpose or intent, although its a short listen at twenty four minutes it serves itself just fine and leaves me yearning for more with every listen. These songs have been on repeat, they are short and sweet but infectious. Charming, dreamy melodies, furious Black Metal and bluesy slave songs, a strange and enigmatic combination that does everything so right despite sounding like a calamity on paper. Completely in awe of this record, wanting, waiting for more.

Favorite Tracks:

Rating: 8/10

Basement Jaxx "Remedy" (1999)

A recent revisit to this record takes me back to my youth. At the turn of the millennium London based House duo Basement Jaxx's debut burst onto the scene with heavy airplay rotation and music video promotion on MTV that ultimately landed this record in my lap. The nostalgia was strong but I found the retrospect hadn't changed my opinion much in the ten or more so years since I last gave it a spin. The singles are banging, classic Dance tunes that speak volumes but beyond them a rather varied inclusion of styles through sampling that doesn't always hit the same intensity.

 Behind almost every song a steady is baseline thudding away in unison with programmed drums shuffling through tight varied arrangements to lay down the Dance foundations to move and groove to. Sometimes a little drab and narrow they get rather bombastic on the livelier, upbeat numbers and around them the samples and instruments create a different atmosphere for each song, with flashes of Pop, Ragga, Big Beat, Downtempo, Dub, Synthpop, Techno, Hip Hop and Ambient in the last two tracks. The duo give the House sound an expansive flavor from track to track which can be a little hit and miss.

It really comes down to taste but for the most part I like a lot of tracks on this record. For me "Always Be There" stands out as a song more released with its slow build up creating a slow settling mood for its vocal feature to climax with rich, sunny strings and echoing reverbs shuffling back and forth. The opener "Rendez-Vu" is a timeless classic sampling Spanish guitars, delivering a hook with infectious strings and topping it with the opening vocal lead "dum dum dum" and "doo wop" siting no need for coherent sentences to sing along with a tune. Each song has its own chemistries and arrangements, most of them suffer from a little repetition once the song has shown all its tricks and I'm left feeling pretty much the same way as before. It has fantastic moments but is rather inconsistent in flow. The final tracks drift off as the wheels slow down and fizzle out.

Favorite Tracks: Rendez-Vu, Jump N' Shout, Always Be There

Rating: 7/10

Sithu Aye "Senpai" (2015)

Sithu Aye's latest release "Set Course For Andromeda" is an impressive one, a record of two halves, a set of remarkable collaborations and a singular song split into six parts. Left yearning for more I spotted this previously overlooked record on bandcamp. For a three track EP it really packs a punch and brings out the better qualities of Sithu's sensibilities for lead and melody, undoubtedly because of its anime inspiration. On one listen alone you can hear the influence, if you've ever watched Japanese animation the style of music that accommodates can be cliche, which had me wondering if these were covers but a little reading uncovered these songs were created with specific common theme in mind for each track.

These songs are radiant, uplifting and cheerful in a carefree way and the first song reflects this strongly with the inclusion of poppy electronic chords bustling away like a dance song. There's a strong emphasis on the lead melody which can scale fast soaring solos and playful quirky melodies. The second track "Senpai" is the records strongest and could easily be the opening theme for a show, you can almost envision the cartoons behind the music as it swings between its energetic guitar solos and main hook. Despite the now obvious Anime inspiration for this record, I just took the music for what it was and loved how bold and charismatic the themes in place were. Its only now that Ive put one and two together that I can see how well the two gel. Sithu comments that the record is cheesy but I have to disagree, I think its a brilliantly warm and fun record full of lasting substance!

Favorite Track: Senpai Please Notice Me!

Rating: 5/10