Harm's Way "Posthuman" (2018)

Hailing from Chicago Illinois, Harm's Way are a Hardcore five-piece outfit who have been at it for twelve years, recently putting out this release, their forth full length record. I can't decide if its the music of Posthuman, or my apatite for excessively aggressive music dwindling that's minimized my enjoyment. Harm's Way are just a step behind the cutting edge and thirty three minutes of this dense, meaty pummeling anger echos too many shades of other bands for something unique to emerge.

Coming from Hardcore and Metalcore roots, one can hear a pursuit of aggressive aesthetics overtaking the core of their sound as the continual barrage of fiery riffs assaults on a tonal level before the music itself, in other words mediocre riffs propped up by intense textures. Mammoth crunchy guitar distortions and punchy drum strikes hammer away in unison through a production that compresses as much sound into tiny spaces as it can, giving the music a claustrophobic, suffocating power when its guitars chug away at full pelt. It doesn't go to the extremes that a band like Nails do but one can hear the creaks and groans of extreme distortion ready to burst at the seems.

In a guitar dominated record, their Hardcore riffs often feel extenuated with a touch of Grindcore's ferociousness. The syncopation of Nu Metal riffs from days gone by delineates its influence and the bounce of Groove Metal jumps into more persuasive breakdown riffs. A couple of songs exhort Industrial Metal tonalities, pounding beats with mechanical, industrious drives from the drummer. The song Temptation feels like a direct response to Code Orange who have been experimenting with mixing atmosphere guitar dissonance leading into sonic beat downs, the song is akin to some of theirs and despite being decent feels like a carbon copy.

The album plays through with a very consistent intensity, which is much the same of their one dimensional singer. In the first half its more in sync with my words so far and as the last few songs roll around it feels as if their roots come across stronger. The Gift however sounds very inspired by Godflesh. All in all there is not a lot that stands out here for anything other than being too similar to sounds I'm exhausting my apatite for. Its a fair record with little to criticize but without that spark of excitement for something new and fresh it quickly becomes dull.

Rating: 4/10

AZ "Doe Or Die" (1995)

A year beforehand Brooklyn rapper AZ made his debut with Nas on Hip Hop's finest record, Illmatic. Although its mark as the epitome of smooth 90s beats and Nas's poetical flows take much the praise, critics rarely fail to mention AZ who illuminated himself with an unforgettable opening verse on "Life's A Bitch". The pair team up again on a couple of tracks for his solo debut "Doe Or Die" which follows in a similar vein, smooth jazzy samples complimenting rugged grooving drum beats with a barrage of swift, intelligent lyricism that rolls of rhymes faster than you can digest them.

The album defines itself through the lyrical vibes of an emerging Mafioso Rap sub genre, AZ's slick technical flow is idealistic for the fast flipping of crime family imagery, he drops names of known criminal figures between that of expensive brands, luxurious goods and of course plenty of word play in the firearm department. Talk of excessive wealth, luxury living mixed in with the contrasting world of government agencies spying and the paranoia of Illuminati organizations paints the tone intensely. Samples clipped from mafioso movies and slick instrumentals find themselves on a similar wavelength however the production is rather varied, the title borders on a West Coast G-Funk sound with its ghetto whistles for a song fondly reminiscent of Skee-Lo, while other tracks like "Sugar Hill" move on different vibes with deep rumbling low-fi baselines and R&B singers in the choruses.

Eleven tracks handled by nine produces is understandably mixed but a few weaker cuts have it falling short of variety as a strength. It strikes pure gold when AZ and Nas team up on "Mo Money, Mo Murder, Mo Homicide" the two teeing up their best rhymes, sweating out luxurious criminality spoils between the violence and murder. Much like Nas, AZ paints a vivid picture with his words, and that technical, swift flow of his is engrossing, especially when he drops into story telling. He brings a wealth of material to the mic but somewhere between his abundance of talent and varying degrees of production it feels as if the brilliance is only glimpsed at. Immensely enjoyable record but leaves me feeling it fell short of being truly special.

Favorite Tracks: Gimme Yours, Sugar Hill, Mo Money, Mo Murder, Mo Homicide, Doe Or Die

Rating: 8/10

Röyksopp "The Understanding" (2005)

Röyksopp are a Norwegian duo of producers in the realm of Electronic music I found through fellow Norwegians, the Black Metal group Enslaved. Their cover of "What Else Is There?" had my curiosity sparked but imagine my excitement when none other than Karin Dreijer aka Fever Ray is the lead vocal on the track. It instantaneously felt like a song close to my heart and one I known I'll enjoy for years to come. I am a little saddened that she was just a feature on that track alone. I thought I had unearthed another project of hers but alas I wanted to listen to the whole record anyways.

The Understanding feels very much of its era, a post-Daft Punk Discovery world of Electronic pop music echoing shades of Techno, House, Downtempo and Trip Hop. It finds its feet with an appropriation of gentle, unobtrusive, calming music to politely invite you into its smooth and simple world. Temperate drum patterns groove on steady, repetitive beats and the range of synthesizer sounds drift from obscure and quirky, electronic and robotic all the way to light soft airy synths that linger in the atmosphere. A few songs into the record it builds up some gusto as the music expands with lively energetic drums and jiving baselines that play off Disco vibes of times gone by.

Alpha Male sticks out us a lengthy track that lures you in with its soft cinematic opening, slowly building its pace an intensity into an explosion of Electronic Progressive Rock on a exploratory tangent ever so similar to the ideas executed by Contact on their records. Its a warm, inviting record with little to fault other than being somewhat too subtle at times. Its always interesting, never quite engrossing bar a handful of songs that step away from the slow start the record kicks off with.

Favorite Tracks: What Else Is There?, Alpha Male, Dead To The World

Rating: 6/10

Goodie Mob "Soul Food" (1995)

 Welcome to the Dirty South! A term supposedly coined here on this debut record from the four piece group Goodie Mob, closely associated with fellow Atlantians Outkast. Both Andre 3000 and Big Boi feature on the record, their voices but mostly production by Organized Noise, home in on those laid back, smooth southern vibes they established a year beforehand. Soul Food is a rugged affair, tight punchy beats charmed by the accent of Jazz, Soul and R&B set a serious tone for a weight of rich, meaningful substance entirely fitting of the records title.

Its a decisive collection of reflection and introspection, the usual topics of street life, the drug game and racial tensions in American life feel urgent, on the edge as the energy of these four rappers bring has words bursting at the seems as emotions spill over the mic from their intensity. With deep burly voices pushing powerful pronunciations as they flow, the message in their words is felt with sincerity. Unlike a lot of other Hip Hop records, they stick very firmly to their point. Barely an inch of braggadocio or flaunting makes its way into the lyrics which track by track approach an abundance of topics, dissecting, reflecting, providing the listener with a wealth of thought to dive into.

As Cee-Lo says on "fighting" featuring Joi, the name Goodie Mob stands for The Good Die Mostly Over Bullshit. It illuminates the statement and intention of the group who debut with a classic record. The whole sixty minutes stay on track with a consistent string of indulgent beats that set a laid back tone with an under current of sorrow fit for fruitful expression through rhymes. There is little to flaw here other than my own enjoyment which has been a little muted as of late, possibly due to other stresses in life. I think this record is fantastic now but when I return to it in the future I'm sure its going to click on another level of appreciation.

Favorite Tracks: Dirty South, Guess Who, Live At The O.M.N.I., Goodie Bag, Soul Food

Rating: 8/10

Pallbearer "Heartless" (2017)

Smooth, serine harmonies and scenic wonder wrapped in sadness, Arkansas based Pallbearer reinvent the Doom metal sound to their own liking, at least to my ears. Having not had a lot of experience with the genre Ive mostly come to know it for sluggish pacing, dense morbid atmospheres and gaunt guttural vocals that explore a romanticism with sadness and depression. Pallbearer on the other hand seem to explore that plane from a balcony of gleam and glory, turning this undercurrent of wallow into a luminous, uplifting crusade through the epics of the soundscape we traverse, of course that feeling of burden and melancholy lingers not far behind.

With an inviting, tonally pleasing yet dense and thick measure of distortion guitars we are lured into a dazzling arrangement of riffs, licks and leads that melt and ooze over one another in an endlessly animated, yet steady, movement of music. Guiding the motion, tight crispy drums pack a crunchy punch as the gorgeous production gives them a spacious, primed setting to work around the involved riff work. Coursing over the ornate arrangements of unfolding magic, singer Cambell illuminates much of the record with serine vocals that saddle the lines between power and vulnerability, sadness and gleam as the instrumentals lure us into spotlights for him to overwhelm the musics persuasion.

What is most charming for me is the attraction of opposites, the doom and gloom finds itself rubbing up against beaming guitars with potent a brew of indulging melody. They have the tone and texture of aggression and force, the rumble and grit of distortion cries out yet its execution is delicate and measured, finding dimension for the anger to bleed out and the meaning prevail. This feels like a record ill have fun with for some time, it has certainly made an impression and as a friend pointed out, it has that faithful re-imagining of Metal ideals much like the band Ghost. Definitely getting their first two albums now, which I have heard are supposed to be even better than this!

Favorite Track: Cruel Road

Rating: 7/10

Kaitlyn Ayrelia Smith "The Kid" (2017)

Its an involved, vivid experience... zany, eccentric and astral, "The Kid" is wild ride through a tapestry of electronic quirks and swirling synthesizers reminiscent of Tangerine Dream, engulfed in an intelligent, synthetic Art Pop construct. I saw this release in a few lists, noticeably in some "Avant-garde" sections. Its American composer Kaitlyn's sixth full length in as many years with a consistent output that seems to be building steam among critics. Unfortunately I do not share their praise, for all its vivid intensity and use of marveling sounds, I found such sounds mostly novelty with little emotional cohesion between her voice and the accompanying journey through sounds. Some passageways have direction, a sense of rise and full but a large half load in a calamity of colliding sounds that don't visualize anything too obvious.

"An Intention" Is the one song where passion and emotion pervade in the instrumental which scales back its quirkiness and gives focus to Kaitlyn's synthesized voice, always heard through some mix of multi harmonized pitch shifting. The human robotic tone is utterly engrossing as words and sung notes sway between the two ends. Its atmosphere is mysterious, nocturnal and very akin to the Fever Ray self titled record, yet it has as greater freedom in its instrumental to explore as winds whoosh and alien organ synths gleam maddening melodies over the steady, slow murmuring bass kick.

Its the a rare time across all thirteen tracks that balance is achieved, for in most the other tracks her voice plays second fiddle to a swarm of quirky, adventurous, playful sounds exploiting the dimensional space of the listener with mysterious manipulations and smothering them in a dense web of intricate noises which mostly have little melodic value. It could be considered an "experimental" approach but it feels as if the point is missed. A lot of the synthesized noises, often imitating natural, jungle sounds, feel messy and unorganized, the result yielding little spark or pizzazz to get excited about beyond aesthetics. It has certainly been an interesting experience but its hard to enjoy what feels like a deliberate move away from convention when the convention clearly works wonders. There are plenty of fruitful ideas and interesting compositions here, to often do they seem to steer away intentionally.

Favorite Track: An Intention

Rating: 4/10

Brockhampton "Saturation II" (2017)

The second of three released in 2017, Saturation II is unsurprisingly very much in the same vein as its predecessor. Hip Hop collective Brockhampton from Texas hastily put together this record just a couple months after their last and in terms of production you wouldn't of guessed it. Sixteen tracks of tight hitting quirky beats and banging grooves make for a lively, energetic album that's mostly a ton of fun, with a sprinkling of illuminated instruments like "Sunny" that leaps to your attention with its glorious, luscious acoustic guitar conjuring soothing vibes counterpart to the hyped energy on the microphone.

Lyrically the large assembly of voices and styles fall wayside in patches as the commonplace cursing and excessive braggadocio dominate the premise of the groups weaker rappers. Much like the last record the album frequently drifts into streams of forgettable nonsense but luckily the gifted few wage in with substance. The track "Junky" is a milestone in terms of topics in Hip Hop, one of the group being openly gay and questioning how homophobic rappers can be. In the same track the topic turns to another progressive train of thought, questioning another trouble of the genre, misogyny, and males attitudes towards women when rhyming on the mic without a filter.

There is a lot of creativity flowing from this group. Their passion, excitement and youthful resilience leads to a freedom unleashed in fruitful ideas, not always hitting the mark but there are great hooks, rhymes and compositions that ooze with fun. Moving forward an ear for filter would suit them well, cutting out the weaker raps, rhymes and dimes this forty eight minutes could of been a killer thirty as it is a little bloated in places but certainly a big step forward from their first endeavor.

Rating: 7/10

Favorite Tracks: Queer, Jello, Junky, Fight, Sweet, Sunny, Summer

Bell Witch "Mirror Reaper" (2017)

Seattle based Doom Metal band Bell Witch have topped many lists for best Metal album of 2017. The artwork so reminiscent of Zdzislaw Beksinski and heaps of praise lured me into a record fondly familiar, its acoustic drones reminding me of Earth's Hibernaculum. Packaged as a double album it comprises of two lengthy songs totaling over eighty minutes of deathly slow and bleak Doom Metal that goes to the extremes of pace with several seconds marking the distance between the striking of snares and cymbals. It flirts with temporal timing and lets notes ring out and bellow as the distortion guitars, despite being fairly soft, drone out into a textural fuzz before the next strike is drawn. Its performance is impressive, the art of playing slow seems flawless as the group coordinate immensely slow tempos that seem organically stretch and sway but it is the lethargic nature of the music that makes these instantaneous shifts dissipate from focus.

Tempos aside, Mirror Reaper has a strong current of sorrow and sadness in its atmosphere which drifts between other worlds as the slowest moments yield little presences for melodies to pervade this somber dismay. In doing so an enticing atmosphere is illuminated by distant, sinister chants sung with a choral cleanliness. It does find its counterpart in drawn out gruesome growls, rumbling like a textural layer in the aesthetics. A few grisly howls an shrill screams erupt in one violent, conflicted moment in the music but it is mostly an instrumental affair as the sluggish drones of elongated notes crawls onwards.

For me, this album is interesting, indulgent and oddly soothing, however it never musters anything that quite hits the nerves and that is the same for most Doom and Drone music. The first track's opening twenty minutes is rather enchanting but as the song drifts inwards for grit and gusto its melodies and musters of aggression dispel that atmosphere. The second song is stripped back with faint guitars and ambient echos painting a chilling setting for a lone voice to sing a serine sadness with an almost heavenly voice. For all its beauty, the slow, spacious and minimalist approach sucks much of this away but that is a person preference. It drifts into a morbid, dirge organ solo that really drives home a current of sadness but at this length into the record my attention is a little worn out. I enjoyed checking it out and very much appreciate the brilliance on display but its not quite for me.

Rating: 5/10

Cane Hill "Gone To Far" (2018)

Labelled by some as Nu Metal, New Orleans based Cane Hill represent a handful of bands who in recent years have been resurrecting some of the principles and aesthetics from the millennium era music which has been subject to much mockery and hate within the Metal community. To my ears Cane Hill come forth on this sophomore record as a group still figuring out their identity, yet writing fun and cohesive music, wearing their influences proudly for all to see. They bring the best guitar work from Metalcore, Groove Metal and Nu Metal. It collides in a whirl of excitement with a spark of Industrial Metal in the noisy, full on wall of sound, giving these tunes a weighty clout of forceful metallic power with a dense aesthetic.

On first listen singer Elijah Witt makes a very distinctive performance with a variety of approaches to his presence that bares sometime uncanny resemblances to other Metal singers, his range can throw out fiery screams of vengeance to soaring, soft, soothing Chino alike "ohh"s on "Singing In The Swamp". The prior track "Lord Of Lies" chorus sounding like its pulled straight from the Masatdon catalog as his voice elevates the bouncy groove that rumbles and crunches away beneath. Echos of Corey Taylor can be heard but most noticeably Chad Gray of Mudvayne frequently dominating the tone of singing. The slower, crushing moody track "Erased" sounds completely akin to Cray's style in both the unleashing screams and introspective clean moments.

Its no criticism, Elijah has a wonderful talent that's perfectly complimentary to the instrumentals. Being a fan of these bands the record became immediately inviting and appealing. Behind him the chemistry is tight, shuffling bombastic grooves drive the music from the driving seat of drummer Devin Clark who has a knack for finding the right intensity to direct the atmosphere. The guitar work explores all the tropes of the aforementioned genres, slamming in with big chords, chugging gritty grooves and plenty of greasy guitar dissonance with the splicing of harmonics and squeals. The occasional break downs echo some Deathcore ideals but the eruption of racy, dexterous guitar solos keep the music feeling like it can go anywhere and not hedge itself in to one particular vision.

At thirty five minutes with a ripe pallet of ten energetic songs, Gone To Far is an impressive release that shows a ton of promise for the group. I would be somewhat critical to say there is a lack originality or something definitively new about their music but the ability to bring together the best of Metal's most criticized era and make lively music, brimming with excitement, is something to behold. Depending on what the group go on to do next, this could be seen as either a high point, or just an old record that proved they always had it. Definitely going to be keeping up with this band in the future!

Favorite Tracks: Erased, Why?, It Follows

Rating: 7/10

Dead Can Dance "Into The Labyrinth" (1993)

After a string of five records, Australian duo Dead Can Dance take a little longer to get their next effort out with a compilation released just a year after Aion. It follows a familiar construct of the two exchanging the lead roll as a sole voice over enchanting, cultural instrumentals. Two mesmerizing accapella's make an appearance in the eleven tracks mainly distinguished by an Mediterranean persuasion. First heard in slapped bongo grooves and steady tambourine alike percussion it grows with the record as the melodies feel increasingly sun soaked and the rich tapestry of instruments grows increasingly exotic and foreign with a desert sand tinge.

Its mostly Gerrard who indulges in these traveled voices. Sublime might be an understatement, her singing was under no contest but one has to be taken back by the cultural echos she inhabits with an ever expanding set of voices. Rich in texture and flawless in execution a emotional resonances illuminates her songs. Perry on the other hand often pulls the record back to the mystical, fantasy, medieval side of their sound, choosing to sing on the tracks rooted in sounds previously explored. They two are equally enjoyable but certainly fitting into whats been heard before.

Into The Labyrinth has little surprise. The excellence and inspiration this band can achieve is performed again and perhaps where they could of fully dove into new territory they have tread the lines between two strong ideas for an album most excitable when exploring the aforementioned cultural sounds of heated climates. With balanced measures of complimenting instruments, they once again muster together another set of magical songs to transform your imagination and take you on a journey through other worlds, times and beyond.

Rating: 7/10

Eminem "Soul Intent" (1995)

Although labeled here as an Eminem record, this cassette EP was a self titled release from the Detroit group known as Soul Intent, consisting of Eminem, Proof from D12, plus few others, although on the microphone it is only Em we hear rapping on the two tracks "Fuckin' backstabber" and "Biterphobia". Back in the Napster days this was a godsend to get your hands on this, the earliest recordings known at the time however doing a little research reveals now you can hear recordings of Em rapping as far back as 1988. Astonishing! I thought this was the final piece to cover on Ems roots and although there is more uncovered I will probably not return to writing about them for now...

Comprising of two sets of raps over muddy, dingy beats at cassette quality there may not be much to get excited over here and that is certainly true of the first track. Em still finding his feet shows off his pronunciations skills as he doubles up the consonants of his words in true Das EFX style. The higher pitched voice and vocal inflections are strangely distracting from the flow and strength of his rhymes as they divert attention from the songs narrative. Its a reasonable song but the low fidelity sucks the wind from its sails.

"Biterphobia" is where things get interesting, the beat musters up a lot of atmosphere and urgency in its intro before Em steps to the mic and drops in on a prolific flow. Fast swift and effortless Em breezes through a crafty assemble of tight rhymes that land like knockout blows. Its a moment where his talent comes to fruition in a raw and energetic form as Em raps about spraying spiders with aerosol and lighters. The two songs encapsulate his roots in learning to rap via imitation and where he is heading, finding a voice of his own and defining himself with a brilliant set of rhymes on the second song.

Favorite Track: Biterphobia

Rating: 3/10

First Aid Kit "Ruins" (2018)

Swedish sisters Klara and Johanna return for their fourth full length record, one I have highly anticipated as their previous release, Stay Gold, resonated with me deeply. Its such a joyous record that has provided me with much warmth in the few years since I discovered it, as much to say it would undoubtedly make a favorite albums of all time list. With the stakes set high and a familiar sound the duo show their influences boldly on a strong and unsurprisingly luscious album with a sense of era and character about it, the album cover reinforcing this concept with a striking chromatic gesture labled by its staple mark seventies font. You wouldn't blink an eyelid if you found this floating around in a box of old crinkled vinyl sleeves.

Ruins comes on strong with more Americana and Country influences the two wear on their sleeves. The slick country tang guitar accents in the opening songs set a strong southern undercurrent amidst a sweet and warm production full of rich instruments. Fleshing out the acoustic strumming, strings, country pianos, additional guitars and wholesome percussion enriches these simple heart felt folk songs. Often complimentary there is a couple of moments where it takes lead over their voices which, as we know, are soft, heavenly and the soul of the music.

Hem Of Her Dress embodies a flaw with this record. A rousing scream mid sentence feels out of place as the sentiment of the song falls misplaced. It slowly builds intensity to an eruption of group singing that lacks charm and a sense of purpose, perhaps in this moment their influences border imitation as the lyrics, in this song and others, feel recreational of the genre's known characteristics. That got me thinking about how little of the lyrics stuck in my mind. Stay Gold was like an introspective awakening, coming to embrace life's finite and ever changing experience, ever lyric offering a wealth of seniority. It felt from the heart where as Ruins references whisky, interstate highways and other topics steeped in a different familiarity.

I'm sad to say this one hasn't struck a chord with me, Its opening tracks start out strong and Fireworks has some surreal moonlight singing to tug at your heartstrings but as the record stretches on the spark fizzles out as the southern country feel outpaces the songwriting. Although a stunning sounding record, their beautiful voices only go so far to make these songs work. The lyrics don't resonate and so a very pretty sounding record dulls as it stretches on. Its unfortunate but that's just how I heard this one.

Favorite Track: Fireworks

Rating: 6/10

Summoning "As Echoes From The World Of Old" (2018)

To compliment their new full length album, With Doom We Come, the Austrian duo Summoning release a fifteen minute, two track EP from the same recording session. The first a steady burning flame of nine minutes journeying its burly guitar droning and hunching Nazgul screams through an epic landscape marked by the pounding of deep Orkish drums and continual melodic inflections on a mysterious harp like instrument. Its climaxed by a warm flute melody that rides above the music and ads a focal point for the song as it drops in and out with more accompanying instruments harmonizing like empowering trumpets each time.

It gives the song a sense of linage which the second track doesn't get close to. With a gloomier, thicker guitar dominance and the returning pounding of tribal drums its similar construct and steady pace doesn't achieve the same charm as its complimenting melodies stem from a more sorrowful, uneventful source of imagination. These two, more primitive songs, could of made the final cut but you can see why they are bonus tracks, they are rather simplistic and repetitive. A fair setting is conjured but it doesn't scale near the heights of the full length.

Favorite Track: As Echoes From The World Of Old

Rating: 2/10

Eminem "The Slim Shady EP" (1997)

My recent dive back into the roots of Rap titan Eminem has left me with one other rare release to talk about beyond this character defining EP. Its an understatement to say it was a flop, shifting only 250 copies it was another step backwards from the failed Infinite album. Thank goodness this found its way to Dr.Dre at Interscope, how this release didn't make waves in the Detroit scene seems absurd retrospectively. The tone of this record indicates it may have been his last attempt at making it in the rap game too, who would of known this struggle would take him so far!

The record name is a direct link to the Slim Shady LP, Eminem fully defining the character that would inhabit his major label debut here on this EP. One cut is identical and two others would have the instrumentals remixed for the LP. With two skits and a pair of radio edits you'll find three songs that didn't make it to the album, "No Ones Iller" a lyrical mic passing, the D12 group upping each other with dark, gritty, offensive lyrics set to shock anyone in sight. "Murder, Murder" a gloomy, downtrodden storytelling Eminem walks us through a crazed loot and murder spree with a tragic tone and vivid, violent lyricism that's got an utterly oozing flow.

And then there's "Low Down Dirty" which could essentially be the Slim Shady anthem, Em loading his smartest self depreciating lyrics and rhymes, talking of self inflicted gun wounds, molesting himself and getting convicted, his split personality having an identity crisis and the classic line, "Murder murder, red rum, brain size of a bread crumb, which drug will I end up dead from?". Its a brilliant string of rhymes with a cheeky lifted hook, Em instructs to smack anyone who sounds like him, and question the origin of the raps, precisely as Redman did with the same words. Its a brilliant song and it, like the other two, could sweetly fit into the LPs track list.

That brings us on to the production. Working with DJ Head, DJ Rec and the Bass Brothers, Em has the same tone and vibe we would here on the LP, despite being self funded and released on a small indie label there is very little between this and the breakout that would sell millions of records. Everything is essentially fully formed here, the surviving songs would get some polish and reworking on the LP but all of Em's rhymes stay intact, even the recordings are the from the same session I believe. One thing it has over that record is the birth of the Slim Shady character on the cinematic intro, an evil voice birthed into the mind of Eminem who has to confront himself in the mirror, Its a real treat, as is the whole EP.

Favorite Tracks: Low Down Dirty, Just Dont Give A Fuck, Just The Two Of Us, Murder Murder

Rating: 8/10

Danzig "V Blackacidevil" (1996)

Given the streak of four solid, successive records I was expecting a downturn at some point along the line in the Danzig legacy, however this drastic shift in style was not anticipated. With vague echos of their former identity lurking in the shadows, the group choose to reinvent their sound in a different vein. Released the same year as Antichrist Superstar, they move into the currently exploding Industrial Metal scene. Vocally this performance sounds very akin to Nine Inch Nails on one track, Danzig himself ditching the voice that made the project dazzle in favor softly sung, half spoken verses in the same fashion as Trent Reznor. Mostly though he adopts another familiar approach, the distant yet channeled shout, that of Ministry's Al Jourgensen.

Initially all of this was a bit much to stomach, a harsh and rigid tone fronts the listener as its chiseling, roaring guitars drone under a dense layers of sampled drum loops and the drummer churning out steady grooves to keep the tempo. An unsurprising compliment of machine like synths whirl and buzz out half melodies on Industrial sounding noises to thicken a lifeless texture. It all forms into a clatter of noise which mostly has little charm. A lack of groove, energy or purpose dominates the dull vibes as the songs mull through simple song structures with the odd mustering of unusual sounds within breaks. It really comes off like an imitation game of sorts, with Danzig missing the mark.

With familiarity a couple of better songs emerge but mostly for being more tolerable in a string of unexciting, tedious Industrial drones. Although the production style initially seemed a stiff and harsh it turned out the lack of melody and texture to the songwriting gave it a rough entry point. As my ears adjusted across several listens it become apparent the music itself was the real problem. Their racket of a cover of Black Sabbath's "Hand Of Doom" another low point on a record that only produced two good songs at best, their attempt to follow in the footsteps of others a disappointing one. They threw away a golden sound, I can only hope the sixth chapter gets back to what they are great at doing.

Favorite Track: Sacrifice

Rating: 3/10