Old Tower "Plague Harvest" (2020)

With a history of patchy release in Old Tower's beginning, a stride of good form developed into a unique craft of darkness, culminating with The Last Eidolon. It is a stellar record, the apex of the Dutch musicians scenic Dungeon Synth spell. News of fresh music excited but ultimately disappoints as its lengthy, fourteen minutes halves dabble in the black ambience that usually builds to bigger and grander things. Plague Harvest however, meanders in the moments before, its shadowy reverberated sounds of eerie mystique and foreboding despair barely enriched by the creaks and cracks of movement in the tunnels of darkness ahead. Being a creature of atmosphere, the music drags its way into denser constructs, with only a flicker of melody and brief sense of event as lightning strikes under the downpour of glum rain and howling winds.

These details of particularity return in the second stint as distant clanks echo against the crackle of a dying fire. Its light stays as light, airy synths of temporal presences sway in against the gloomy weathers, overtaking it to eventually hear the trickle of a river and sounds of life in the distance. Eventually the flickering returns and darkness prevails on a rather uneventful affair. Writing these thoughts out makes it all seem more obvious that this is an exercise in a different approach to story telling. Against the backdrop of what came before it, Plague Harvest often feels like the calm before the storm this artist had forged before. On their own, it does feel underwhelming but its temperament is its own. Expectations may of caused disappointment but I don't think so this time around.

Rating: 3/10

Fragment "Unknown" (2002)

 

In the frenzy of a musical high, scouring my archives for a sample I needed, I stumbled upon a lone MP3 obtained probably over a decade ago, the song Negative Patterns. Standing as a ten minute epic of early Djent tone insanity, I scrambled to find the full record online. Turns out this band once opened for Meshuggah and this, their only record, was produced by none other than Fredrik Thordendal, who lends his distinct lead style for a solo on that same track. In that moment It felt like I had stumbled onto a gem but having had time to sit with it the take away isn't so good.

My excitement was mainly triggered by the Chaosphere / Nothing era tone. There may be a plethora of imitation and influenced bands around today but in 2002, not so much! It's also Meshuggah's later guitar work that became their legacy so finding a project in this vein is less common. In terms of originality, Fragment offers little new to the formula. Their singer emulates the flat monotone shouts of Jens and the guitar is a slug fest of all the same low end chugging arrangements. Anything higher up the fret board comes with the expectant "alien" melodic feel. Even the drums deploy the same tricks, switching from open hi-hat to splash cymbal to give a riff renewed groove.

With three mediocre interludes of reflective, astral ambience the four songs of erratic Extreme Metal barrage with little relation to its synth counterparts. They toil endlessly in a low end choppy slog of oddly timed grooves looping up under a 4/4 percussive pattern. Its remarkable how little creativity is brewed here. This monotone pummeling literally spans the runtime with differentiating one or two note grooves over and over again, endlessly. Discordant lead guitar refrains give the relentlessness relief but never lead to anything other than another churning of complex picking rhythms.

In all my supposed criticism, one can enjoy this record if your into this style, which I am. It has it's moments, occasions where some pivot into a new riff has renewed aggression and sway. What is disappointing is lack of originality. The group are somehow unable to put forth any new idea's Meshuggah had not already. Because of all this, my initial excitement faded quickly. Unknown is essentially a one trick pony and that trick isn't theirs. Competent production by Mr Thordendal, invigorates the musics aggression and tone, salvaging the best of what would of otherwise suffered. Worth a listen if you want more of the Chaosphere era sound!

Rating: 5/10

Bring Me The Horizon "Post Human: Survival Horror" (2020)

 Last outing with Bring Me The Horizon we got to experience the first of their now preferred EP format for releasing music. Supposedly being done with albums, Music To Listen To... suggested an experimental, carefree direction for the group. At thirty two minutes, Survival Horror feels like an album but it is just the first of four releases under the Post Human banner. Formats and definitions aside, this is undoubtedly a great listening experience that explains itself regardless of how its packaged up and sold. There is also the price, can't complain about saving a few quid to pick it up!

With these nine tracks, BMTH step back to the cutting edge. Their fusion of Electronic, Metal and Pop thrives within the throttling production that gives all instruments a punchy clarity whilst retaining the wall of sound energy. Most these songs land between Amo and That's The Spirit, poppy hooks and structures with splashes of electronica just about everywhere. It Kicks off with a notable dip into exhilaration as the blast beats and lively guitar work show strong Extreme Metal influences.

A fascinating collaboration with Babymetal stands out, Kingslayer, a song that could of easily fit on the Japanese groups record as it utilizes their song style and aesthetic quirks. The rest of the record mostly toys with different temperaments of Pop Metal, the loud quiet dynamic and many creative ways of delivering catchy ear worms. Its still fondly reminiscent of the Hybrid Theory formula, the song Teardrop practically a tribute to that record with a its parallel guitar tone and ideal song structure.

The band constantly sway between tuneful swoons and doses of heavy, often punctuated with dense synthesizers droning in syncopation with the guitars. The percussion too has an entanglement with drum machines and samples that give the songs a textural weight to bolster the music with aesthetic intrigue. Its made revisiting these songs fun as the depth has one picking apart the layers that make it up.

On the lyrical front its opening songs seems poised to reflect on the internal stresses and turmoil the current pandemic is putting many people through right now. Its a middle of the road, unpolitical take that wrangles out frustrations caused by the situation. It could just be coincidence from a band that frequently deal with the negative spectrum of emotions through their words. Its all a little to uncanny though.

Survival Horror is a sharp record, concise, creative and at the edge of cunning, the group have managed again to evolve their sound in exciting directions. With a handful of guests to bring on extra voices and no shortage of ideas it ends out being a fruitful affair with something for everyone. Its been stated that each of the four parts will have their own identity. I'd love more in this vein but the idea of pushing something different with each release has me excited for their future! This band have long defied the odds against their origin and watching them continue on is simply fantastic.

Rating: 8/10

Old Sorcery "The Path Lies Hidden" (2018)

 

Another journey has begun, Realms Of Magickal Sorrow lured me in and now I've become obsessed with Old Sorcery! This fantastical fusion of Dungeon Synth and enigmatic oldskool Electronica is a fascinating one. Fortunately, there is more to be unearthed! Between albums are two twenty minute, one song gems. The Path Lies Hidden is the first and firmly straddles the line between halves, for almost its entirety.

Kicking off win the bass region with buzz saws and sine wave synths, the music resonates and rumbles as a rhythmic melody forges a path through the foggy ambience, a low distant humming. As it repeats over and over a variety of instruments play along, awaiting there turn like destinations on a cosmic journey. Crystallized synths and sparkling sounds dazzle in little eruptions of magic along the path.

As the pallet grows the music sways between its halves with cosmic synths dancing and playful Fantasy melodies chiming in. It even deploys those classic "strikes" of synthetic sound among echoing percussive hits like the pioneers did. Its a mesmerizing ride that comes to transition in the mid point, an unnerving darkness sets in as the repetitive melody is textured to a sound design less astral and cosmic.

In its final phase, the playful Fantasy melody returns to stay as we arrive upon our destination. Its a peaceful, charming place with a cold, lonely touch to it. Like a serine garden that's frozen over, Its beautiful but chilling and empty. The Path Lies Hidden is a powerful song with an indulgent persuasion that has made every spin a pleasure. It is currently my favorite song from this most interesting of artists in the genre.

Rating: 6/10

Carcass "Despicable" (2020)

I was eagerly awaiting a new Carcass album. It has been seven years of silence since the reunion record Surgical Steel. Disappointment struck upon learning this release is simply a four track tie over to the full length pushed back by the ongoing pandemic situation. Despicable's four songs apparently "didn't make the cut". Considering these are pretty darn enjoyable numbers, I'm now even more excited for Torn Arteries, now delayed and set to drop sometime next year.

Returning again with their defined textural flavor of Melodic Death Metal, seasoned musicians Jeff Walker and Bill Steer craft warm, inviting strands of extreme music. Residing mostly within the mid-tempo, even temperaments of aggression and melody play out mostly from an approachable middle ground. The drums rock steady grooves with fractional forays into challenging blast beats and dexterous sequences. Distortion guitars churn out sturdy power chord arrangements with exciting iterations on the fretboard, mostly manifesting into dazzling sparks of color as the lead and rhythm guitars work in tandem. Its only notably "extreme" in brief moments.

Its the raspy, whispering shouts and screams permeating all of the music that anchors the edge down. With a snaky serpentine flavor, they slither over these songs with severity. Not to get too hung up on the Extreme Metal angle but if you strip out the vocals, this record is basically an accessible set of adrenaline charged songs with gorgeous melodic entanglements and great song writing. Everything comes together wonderfully, even with a catchy hook or two. On Slaughtered In Soho, the slaughtered lyric is cried out, wrapped in a brief reverberation after the lovely unraveling melodic refrain from the lead guitar. Its leads are continuously sublime.

Everything about this record feels measured and in balance. Some of the more creative, tempo breaking riffs come with a keen sense of quality over going "full throttle". The breakdown riff on Manchester Morgue makes great use of deadening the power chords on path to the next. Small details and moments like this are illuminated when a guitar solo wails over top. Its great writing, over exploiting techniques. Despicable has a fine production, crisp, bright instruments get to dance in the forum of aggression underpinning the overall mood. My only annoyance is the use of cowbell. It forays into the music on occasion but something about that instrument never feels right to me.

Rating: 6/10

Bathory "Destroyer Of Worlds" (2001)

With a notable five year break between records, Bathory returns to the new millenium with Quorthon as the sole performer of all instruments. It had always been his band, his music but from here on out he is without company. Destroyer Of Worlds is a record that stagnates on former glories and failures too. Attempting to unite the Viking Metal and Thrash Metal sounds of the 90s, it ends up being a mash up with one or two songs making the crossover and the rest standing in stark contrast to one another.

It is the Thrash sound that makes up the bulk of this lengthy sixty five minute slog. Lake Of Fire opens things up with memorable anthemic glory. Reverb soaked drums, heathen choral chants and Quorthon's authentic yet tarnished singing. Ode and the closing Day Of Wrath sustains the atmospheric Viking sound. The albums title track handles the crossover well, a chugging guitar and bass rumble offering up a dirty driving march for its gloomy tone. Pestilence offers up chunky groove riffs that only pivot to the Viking identity with punched in choral chants and acoustic guitar overlays.

The rest resides strictly in the Thrash realm. In doing so, the production value takes a hit. The insistence on a stark temperament rattles the composure with many of the songs feeling like a big step back to Requiem and Octagon territory. Semi social-political themes and anti-war topics manifest into hollow lyrics again, offering little to ponder over. Most of the riffs and compositions reek of creatively challenged mediocrity, nothing in the way of a memorable impression is achieved at all.

Jumping between a couple of tracks, one can hear what seems like multiple sessions brought together, with different aesthetics at play. Overall it feels like a hashed up attempt to unite two different sets of songs, maybe leftovers from the years gone by. One thing that is for certain, Quorthon knows how to do the Viking Metal sound he pioneered best. Its pretty fantastic and up to scratch in two or three of the songs here, the rest simply drags the record down.

Rating: 4/10

Clipping "Splendor & Misery" (2016)

 

Last outing, their debut CLPNG, I found myself at odds with the swift articulation of Daveed Diggs and his Avant-Guard instrumental backing. Rapping to the sound of an alarm clock is certainly different but for all their merits and experiments, not a lot of the music clicked emotionally, despite the impressive lyricism. On the groups second, Splendor & Misery, the inventive approach to sound design seems aptly steered towards atmosphere and electronic industrial details that reinforce the emergent theme set down from the very opening.

Fuzzes, drones, deep rumbling bases and ambiguous swells of sound among the buzzing of electricity gives one the sense of interstellar travel marked by the mention of a ship in the opening verse, which hurls words rapidly from the perspective of a mothership observing a cargo ship. Its puzzling and thought provoking but following this narrative feels like a tangle of observation and emotion that becomes a blur in trying to understand the meaning of this tale from spaces cold abyss. Its like a puzzle, one I couldn't quite get my head around.

From its cold mechanical bleeps and bloops churning over like an 80s computer, radio static injects and transitions to bluesy music, a choral of burdensome vocals etched with a great pain sing their sorrows. Although these occurrences are brief, they add a further complexity to this mysterious story. Rapping over the sounds of old printer technology, True Believer brings about tension with convention, driving a regular percussive groove and uniting these contrasts for a brief moment. More convention arises again on Air em Out, a party track vibe resonates from Daveed's flow with minimal instrumental reinforcement.

Whats remarkable on this outing is how well the lack of convention works. A relatable anchor is unnecessary as the theme comes together cohesively. The opening raps are entrancing, a rapid mechanical monotone expression. As the album progresses I seem to loose sense of the narrative but there is no lack of appreciation for all remarkable that follows. Much like on their debut I find myself in great appreciation of the art but not finding a strong emotional bond with it. I will continue with this trio though, their music is deeply intriguing and this spacey outing is a big step up!

Rating: 6/10

Old Sorcery "Realms Of Magickal Sorrow" (2017)

 

Dungeon Synth can almost seem like a cliche of itself at times. With the similarly Old Tower fresh in ones memory, the haunting grayscale cover, a gloomy castle and cryptic band logo sparked my amusement, especially the name. It was as if a "starter pack" meme had been taken to heart. This is no fault of the Finnish musician but having consumed an abundance of this music, its tropes are often laid all to bare. I'm glad I didn't pass it over, Old Sorcery does indeed have a magic worthy of attention.

Opening with its decrepit lurching synth and lonely washes of airy ambience drifting from its piano chords, the slow paced drawl of decaying nostalgia unfolds without surprise. Its atmosphere holds majesty and wonder, a sense of lost grandeur, magic and might, buried by time and dust. Its at eight minutes that the artists flair comes to light and a new dimension is steadily pried open with a deepening sense of wonder.

Reminiscent of Tangerine Dream, Jean Michel Jarre and the likes of early electronic acts, the hypnotic whirl of a lopping oscillating synth seemingly rises from the ashes. Although standing at odds with its stereo panning, heightened pace and differing melodic intent, its steadily gains a foothold with the contrasting sound. At this point a psychedelic journey has begun. Realms Of Magickal Sorrow makes its distinction as a record with something different to offer the Dungeon Synth scene.

It would be quite straightforward to deploy this technique of swirling synths, wavering in pitch and volume, to induce an entrancing temperament. Old Sorcery however redeploys the power of oscillated synth tones with powerful subtlety that clings so frailly to this hallucinogenic vibration. One can envision secrets kept in keeps of cold stone as plants and herbs, guarded secrets of an esoteric cult.

The second track, Vaikerruksen Portti, uses a similar synth setup to the first track but with laser zaps and more electronic instrument design accompanying it. Both halves go strong, the Dungeon Synth side toys with mischievous melodies in the forefront, backed by dark organs and deep choral voicings. Its a loud and powerful outing to play up the unique union. A Lost Soul Amid The Listening Trees finds eruptions of gleam and glory, horns and glistening synths dazzle between the long and yearning stretches of shadowy ambience. It has a foreboding presence devoid of electronics.

In A Forest Trapped, those glistening synths return for a sleepy track of yawning pace with a dreamy persuasion. It builds to playful melodies before we arrive at the final track, possibly my favorite. Further Beyond The Melancholic Horizon opens like an Old Tower track, deep drones of devilish dreariness, lost in the distances. One can hear the deep gong strikes and an eerie fuzz of ambiguity. Suddenly it gives way to a different composition, then taking a few minutes to arrive at the final destination.

The next few minutes ponder the infinite, the synths ripple into the void, minimalism and subtlety slip into madness. Its a glorious moment in a song that goes through some vivid transitions that work masterfully. I did not expect to find such a rich experience within this genre I feel can so easily be overplayed. Old Sorcery has brought a sequence of deeply curious ideas that play into the dark, spiritual, meditative flows I just love. With another two albums, there is more to discover now.

Rating: 8/10

Havok "V" (2020)

 

Slow to the take up this fifth installment from revivalists Havok, It perhaps found me at the perfect time, an apatite Thrash Metal brewing and certainly satisfied as my recent spins of V have been nothing but fun and exciting! The faithful four piece outfit from Denver, Colorado tow a difficult line in resurrecting a style from the 80s with the glory of modern production. Originally is not their main aspiration but a consequence that could derail the vision. Subsequently they walk a tightrope in the shadow of great bands that came before, utilizing all the song writing constructs, techniques and aesthetics of the arguably most pivotal era in the history of Heavy Metal.

In its opening tracks just about every melodic refrain, chugging palm muted riff and cutting drum pattern reeks of that which came before. Distinct echos of early Metallica rhythm guitar and Megadeth's technical innovations are at the root of musical intent. Only the bass guitar strays with the occasional discordant harmonization more reminiscent of the Technical Death Metal to come. Riffs, arrangements and song structures are all potent! Each track feels fiery and intentional, written to pivot through its ideas with powerful impact, almost reminiscent of the momentum in a Slayer classic with its keenest of headbanging passages.

If it sounds like high praise then allow me to restrain myself. V tends to lack in stand out moments but instead deploys its music like a consistent revolution of familiarity. Executed with exceptional ability and flushes of dazzling, dexterous fretwork through its guitar solos, Its a dose of excellence devoid of originality or surprise. Front man David Sanchez seems to have fully embraced the politicization of his music, first appearing on Conformicide, V is also loaded with social-political commentary of a particular leaning. Like last time, his lyrics seem close to the pulse of podcast culture and the discussions of our time with Panpsychism and the coined term "Post-Truth Era" making its way into the topicality. Expressed with bold statements, it leaves little room for the same discussions that may have inspired his words.

As expressed in my opening remarks, an album like this ultimately boils down to personal preference and temperament. It's brilliantly executed revivalism with a strong political inflection that may put some off. The forging of Thrash Metal may of had similar sentiments within the scene but listeners today are of a broader variety. Personally, I don't take it all to seriously but it is very much in a similar spirit to the anti-war stance from the 80s. Fortunately for me its elements clicked into place. A stellar production and aesthetic fidelity plays well into the hands of the riveting Thrash energy these songs conjure! Its been a blast.

Rating: 8/10

Zeal And Ardor "Wake Of A Nation" (2020)

Wake Of A Nation, our state of current affairs are deeply rooted in this mini-albums reflection of the past and present, the ongoing social upheaval sparked by the death of George Floyd earlier this year. Zeal And Ardor has been a beacon of excitement in recent years, a fantastical fusion of Black Metal and historical Chain-Gang music. Conceived as an imagined union of slave struggles and satanic rebellion, its inception was magic but notably tacky in the best of ways. With a leap forward in musical maturity on Stranger Fruit, the promises began to blossom but now through the lens of a concise expression, this seventeen minute plunge commands attention as its wades between ferocious exorcisms of righteous anger and bluesy emotional vulnerabilities.

Baked into its expression are the infamous lines and words echoed into the minds of many from the horrific event transpiring in the hands of cops. Both through his lyrics and with audio samples from the event, these five songs remind us of the horror, ask the questions and repeatedly unravel into sprawls of fury and rage. One of its hardest hitting verses, "I know how you're going to die, whispers weary mother to child, we've seen this all before you were born", comes through these bluesy piano led passages of downtrodden melody, a new counterpart to the extremities that looks beyond the scope of its Chain-Gang origin. Although this remains on Trust No One, a song with a menacing wail of high pitched guitar over stomping riffs, the expansion in songwriting is an endearing one.

Its social-political message around Black Lives Matter is hard felt. Looking beyond that scope, the motive has clearly spearheaded the exception music. With snarling discernible screams leading the eruptions of dark extremities, its gravity of brevity can be felt in texture alone and when the music propels into darkness the shrill assault of blasting drums and drive of nihilistic guitars is bursting with atmosphere drenched in emotional turmoil. Each of its songs bring a spice and equally, the "clean" side comes with enticing flavors that have endured my back to back spins of this stunning record.

Of all the listens, not once did the production value cross my mind. With no obviously over polished elements or fidelity lacking focuses, it has served its purpose stealthily, a very good sign. It could simply be that the contents of music and subject matter are so strong it carries the record alone. At seventeen minutes its a streak of excellence that an album may have stretched thin, a good choice to keep it all hyper focused. Wake Of A Nation is without a weak moment, steeped in urgent inspiration that's manifested in the context of an artist still refining their sound. With new angles and elements playing in wonderfully their future looks bright. Lastly, I have to comment on the police batons forming the upside down cross, a perfect image to represent this artists moment in time.

Rating: 8/10

Bathory "Blood On Ice" (1996)

 

Relinquishing the failed detours of Requiem and Octagon, this ninth installment, supposedly compromised of mostly unreleased material from the era post Blood Fire Death, it marks a return to the much adored Viking Metal sound Quorthon pioneered. Although similar in overall length, its eleven tracks feel clunky, alternating in temperament that breaks up its flow. This falls inline with a statement that forty percent of material was was reworked for this release. The swan songs Man Of Iron and The Ravens, One Eyed Old Mans Motorhead energy, the galloping pace of Gods Of Thunder And Of Rain and the Progressive riffing of The Stallion stick out with a keen shift away from the established sound of heathen cultural inspiration.

The rest of the record however carries over much of what was heard on Twilight Of The Gods with far more gusto in its meaty distortion guitars and epic drums lavished in reverb, with exception to the tom drums which are claustrophobic on some tracks, as if recorded in a cupboard. Choirs of human voices with a rural burden return and Quorthon mostly delivers his cleaner style blemished in authenticity as he tangles with notes just beyond his grasp. Its mostly charming, at least I've heard him do worse with this unfiltered approach.

After many spins Blood On Ice still plays like a fractured record with a shared vision. The Lake takes merit as a stand out track, its dragging discordant guitar chords provide an epic drone for gloomy voice to be counteracted by frays of glossy acoustic chords plucked slowly. Its an epic with a guitar solo to match, which bring me to another point, his lead guitar work on this one isn't as sharp. The record was shelved unfinished in 1989 and its resurrection doesn't make it feel anymore complete.

Rating: 6/10

Dan Terminus "Last Call For All Passengers" (2020)

 

 Its been a few years since I last checked in with the French musician Dan Terminus. Back then the Synthwave scene was still emerging and this darker flavor caught my ear. With only a few songs making marks, much of those early records have faded from memory. This particular niche in Electronic music is one that I feel often doesn't go far enough with many of the artists clinging close to the pillars of aesthetics that define it. Much of that applies again on Last Call For All Passengers, however its opening cuts aim for something with more of a percussive drive that is present throughout but makes itself known fresh out of the gate.

Kicking off with Oubliette, big slabs of meaty synthetic buzzing slam into the fray as baselines following its opening arpeggio. A harsh slapping snare drum, hollow kicks and snappy cymbals pound away giving structure to the choppy shuffling of hard hitting virtual instruments that dance between with a subtle reminder of those old jolting Dubstep drops. There is a whiff of something in the air, track two's opening melody and sense of groove confirms beyond doubt, The Prodigy have had an obvious influencing hand, pushing the John Carpenter Synthwave sound into club territory.

Its two persuasions don't add up for me. The dazzle of glossed up melodies, spearheading a spirit of pedal to the metal night life, rubs right up against the harsh deployments of hard edged synths and an Industrial like, colorless approach to their timely union with the thumping drum arrangements. It often plays with that loud quiet dynamic, yet the two don't compliment one another. An atmosphere conjured with one hand, is often smashed by the shift in temperament to grooves that don't feel all to fresh in the face of whats come beforehand.

On the aesthetic front its production is hard and crowded, often cramming sound in for the loudness effect. The grittier sound of its drums could do with some polish too. Its a game of contrasts that doesn't pay off. Many of these songs are embellished with layers of synths, oozing in slick textures that conjure visions of cybernetic cities from a dystopian future. They work in tandem, moving in directions and illuminating the neon glow but often thwarted by this return to a club floor banger mentality. That unfortunately dispels any magic for me and leaves this one feeling like an arrangement looking better on paper than in execution.

Rating: 4/10

Kataklysm "Unconquered" (2020)

 

 The appeal of purchasing this record was mostly to "check in" with a band from the years of youth. Unconquered is Kataklysm's fourteenth in a steady flow of albums spanning over twenty five years, a competent yet routine production of modern Metal by seasoned musicians with not much in the way of something new to offer. Initially known for their "Northen Hyperblast" take on Death Metal, only a resemblance of the shocking rattle of drums on overdrive that defined them remains. The songs are of course intense in nature, however only one track stood out too perpetuate that distinction, Defiant. Its opening hailstorm of machine gun snare blasting makes for an intensity wall of sound relieved by brief glimpses of dizzying fretwork from the guitars. It tho break to the mid-tempo, a region most the record spends its time within.

Getting onboard with the times the group utilize seven, or even eight string guitars with a brutish tone set to dazzle with a textural indulgence of low and meaty distortion. Its a great sound fit for the groove, bounce of low strings and groan of pinch harmonics wrapped up in the Djent guitar style. It actually came as a shock to hear the embracing of riffs with less of that Death Metal flavor, however there is no polymeasures at play. In all fairness it does not dominate, most songs tend to come with a mix of tonal noise abuse and a shredding of chords more akin to their tradition. The balance keeps Unconquered entertaining on its thirty eight minute stretch.

Luckily for me, Iacono's throaty shouts of forceful anger have a temperament I enjoy. Many of his lyrics that I managed to decipher, however, felt all to chest pumping and shallow. Triumphant threats and statements of violence ushered in with simplistic use of language. Little too ponder on but maybe something to cling to if you can relate it to personal grievances. The lyrical dimension gave me little to enjoy but with a crisp textural production, the barrage of battering drums and brutal guitars timely laced with melodies made for enthralling extreme noise music listening experience that is hard to put down. The record lacks distinct songwriting to stand beyond the norm and given my immersion in metal music, nothing here will root itself in my memory. Perhaps with one exception, the ending to Underneath The Scars has a pretty sick breakdown. The rapid pedals firing in the silence between slams of guitar noise is wonderfully executed. Unconquered is a fun one for fans of extremity but offer little new.

 Rating: 6/10

Cypress Hill "Demo Tape" (1989)

Decades into this wonderful internet experiment, one can easily find rare tracks, b-sides, outtakes and demo tapes that used to be privy to a handful of ears. With another nostalgic plunge, I looked up Cypress Hill's demo tape. Its somewhat disputed what year its from but 1989, a year after their formation, seems to be the best guess. What a fantastic idea, this six track tape is a remarkable insight into where the group started and what evolution took place in the years leading to their debut self titled.

Its remarkable how much of Hill's trademark sound is present from the get go. The four tracks that would carry over to the album have their core samples all in place, the unique flavor is bold and obvious, the stylish identity firmly established. They all carry a little extra percussion and layering that got stripped back. Refining his beats, Muggs polished up the occasionally crowded jabs, stabs and redundant vinyl scratches in the end. These elements do have strong ties to the 80s Hip Hop sound and characteristics, with that these demos create a cultural bridge between the two eras.

 

The one track that didn't get carried on is Caliente. Its a stage for Sen Dog who raps entirely in Spanish. The beat is jive, the classic Amen Brother break loop on sharp repeat. The sparse sampling ushers in a calmer hypnotic flow for Sen's bilingual ability to sway in this listeners discern. Instrumentally it harbors much of the aforementioned 80s tropes, one can hear why it was ditched, there is however no doubt that Sen shines in the spotlight but its the only time we really get to here him go for it.

As the groups main MC, B-Real dominates the verses with much of his flows and style figured out. A large portion of the verses start with the same lines but quickly derail into less refined collections of rhymes loosely linked. Although my memorization of his lines immortalizes them, it genuinely feels like he puts the best at the front, later on fleshing the rest out with better ideas. On occasions his voice drops off the navel inflection and in a few lines he sounds much more regular.

The demo tape is a fascinating insight into a group who have mostly figured out their sound. In comparison to what else was around at the end of the eighties, the Hill must of sounded special landing on the desk of some record executive. Or possibly not? I don't know much of their origin story at this point but it would be fascinating to find out. Making records was a longer process back then, two years on paper can technically be thirteen months and with it known they recorded some of the record in 1990, they could of been snapped up after this demo! Its fun to speculate.

 

Rating: 6/10

Funkdoobiest "Which Doobie U B?" (1993)

With a recent dive into House Of Pain, I found myself poking around into the production history of DJ Lethal and DJ Muggs, leading me to this West Coast stoner trio with an uncanny resemblance to Cypress Hill, the epitome of treading in their footsteps. Obviously his hand on the instrumentals would lend itself, however lead rhymer Son Doobie, a name I've heard in rap verses before, brings a strong navel inflection and similar set of funky oriented rhymes to the likes of B-Real. Similarities and influences are fine, I was mostly excited to unearth a scene extension of the Hill's dynamic sound. Funkdoobiest have it nailed down, colorful Bomb Squad beats and lyrics constantly referencing the Mary Jane. It's been a fun nostalgia trip listening to Cypress Hill's cousin from round the way.

Although Muggs handles only a couple tracks, DJ Raplh M and T-Ray pick up the slack where Muggs laid down the foundation. Imitating his style, bombastic percussion, bold double-bass lines and stacks of samples making for a madhouse of funk and groove playing from front to back as if he did the whole project. Its complimentary, however a couple tracks are all to similar to Hill classics. Distinction wont come on the lyrical front either, Son Doobie's measured flow, stacking of quirky rhymes and delivery all have a similar cadence that fails distinction. His partner on the mic, Tomahawk Funk, is distinctly reminiscent of Main Source. Having absorbed so much Hip Hop over the years its hard for either them to stand apart.

Not to dwell on the parallels, Which Doobie U B? has a loose theme with recurring references to the doobie question. The topicality feels a shade hollow with braggadocio and stance affirming angles recycled track by track. A read of the track list alone gives you an idea of what to expect. This was never meant to be a serious record though. Its all about the fun rhyme schemes, stringing witty snaps and cultural references to much effect in its best tracks, Bow Wow Wow, Freak Mode and Wopbabalubop. At first its fun and exciting but as the verses become familiar a lot of bold boisterous rhymes fade in interest. Its of the time and somewhat dated but a really good listen as a fan of the era.

Rating: 5/10