Wampyr "Wampyr" (2017)

 

This will be the first of three records I will cover on the topic my newest unearthing, Vampire Synth! Whats that? Apparently a subset of the micro-genre Dungeon Synth. Can you imagine my reaction upon stumbling onto a massive list of this so called "vampyric" music. Excitement alright, Ive often yearned for artists to look for new avenues in this easily accessible genre flooded with amateurish attempts like my own Forgotten Conquest. So far we are not off to a good start with this brief EP of three originals and a cover by James McKeown, the man behind the Wampyr moniker.

These lonely, sombre songs lean heavily on their Casio synth keys and low fidelity aesthetics, sounding fumbled and off the mark. Meandering and directionless whatever solemn piano, gaudy choir synth or cheesy tone takes focus the music can't escape its design. The brash and awkward percussive strikes on the opening track seem like a failed rouse to arouse mystique. As it passes the yearning atmospheric synths that arise usher in a new phase seemingly unconnected. With barely more than two instruments chiming in at any one time, its possible minimalist ideas fall flat in forging anything meaningful out of the subdued setting it occupies.

I'm being harsh here, individually some moments do conjure that ancient dungeon feeling but its all to brief and interspersed by the swiftly transitioning music. It doesn't create a sense of theme bigger than any one moment that's passing by. To pile on the critique a little more, where is the vampirism? I picked these records at random, unsure of what to expect, hoping for a new nostalgia, gothic and cruel, drenched in blood, exciting the imagination for mythic legends of Counts and Countesses, dwelling in darkness and conspiring nefarious plans for their victims. This had none of that and thus my disappointment. Even removing my colored expectations I hear little distinction.

Rating: 2/10

Greta Van Fleet "The Battle At Garden’s Gate" (2021)

The young Zeppelin starlets return with a sophomore effort I initially found underwhelming. Was this a repeat of the fumbled Anthem Of The Peaceful Army debut? Trying to find my way into the music I decided to put it on shuffle with along with the dynamite EPs Black Smoke Rising & From The Fires. They showed so much promise at that early stage of their career. Switching back and forth with this new set of twelve songs, it starts to make much more sense. Those original songs were wild, full of youthful energy and big riffs. Now, the group seem to look beyond the obvious.

The Battle At Garden’s Gate seems like an attempt to mature beyond the flash and dazzle. Thus it can seem somewhat dull at times. Greta Van Fleet's Problem is still the footsteps of acts gone before that they tread. Much of the music lacks originality, creating an undercurrent of uncertainty. Ive tried to let go of that tho. What I've found are the subtler crafts, cohesive song writing to focus on theme and topicality with out being steered to strongly by guitar and stage antics. Its best songs creep up on you, brooding, steadily building but not always seeking a "big moment" to conclude.

Though with a handful of songs that climax does arrive through ambitious guitar solos. Aiming for that classic timeless lead magic but awkwardly residing in the confines of ideas that were once the cutting edge. They do find their space to soar tho. To let go of the more critical ear, it can really feel quite special. The variety of cuts keeps the record flowing, moving between different intensities and focuses, everyone gets a moment to make a song memorable, mostly the Kiszka brothers with singer Joshua having a field day on some of these songs, going above and beyond to flex his mighty voice. Its an absolute pleasure on a song like Stardust Chords.

The record sounds fantastic, very lived in and warm, so much so I've barely considered the fidelity until now. Drummer Daniel Wagner carries the songs competently with groove for the backbone and occasionally flairs up with unleashed freedom as he goes ham on his kit. Its wonderful, like a progressive drum solo as he goes the rounds on the drums. Would certainly like to hear a little more from him.

I'm lukewarm on this record but mostly for the lack of originality but letting go of critique I've had nothing short of a blast with The Battle At Garden’s Gate. Now the initial shock of a band so stunningly reviving an old sound has worn off, its up to them to write memorable songs and I think they've genuinely done that here with a handful of them. As whole, its a case of time will tell but I can't complain as so far Its been great fun.

Rating: 7/10

Chevelle "Niratias" (2021)

 

I'm glad I'd taken the time to discover Tool before encountering a record like this. Chevelle have won me over with their thoughtfully tempered and artistically angered take on Rock and Alternative Metal. It was on the second listen that the resemblance to Tool suddenly clicked and its been unshakable since then. Singer Pete Loeffler emulates Maynard at every turn, both in style, pitch and delivery. I feel that I can only refer to his obvious influence as the distinction. His multi-instrumentalist brother Sam does much of the same with the song writing, arrangements and riff ideas with an occasional big riff more akin to perhaps Nu Metal in delivery. Even deviations from the norm on instrumental interludes with ghostly pianos have an echo of similarity. Either I'm right on the nose with this or infantile to the web of influence Tool have undoubtedly cast on bands like Chevelle.

Similarities aside, this album has been a blast. Niratias runs an expressive line of crafted writing, steering clear of leaning to hard on tropes and arrives at its conclusions with the grace of lavish instrumentation that gets everything involved in intervals with space for individuals to shine in the gaps between. So often do the guitars drop back for the bass guitar to rumble. Lead guitars get to sweetly slide into focus with elongated stretches of atmospheric melody and around it all the drums weave together a narrative. Its theme is supposedly rooted in the talks of the times when it comes to a commercial era of space flight and the now popular philosophical discussion of simulation theory. Its most potent lyrics to me tho, where the impassioned cries towards misinformation and science skepticism which too have risen to prominence during the pandemic.

At a meaty fifty minutes, Niratias offers up some fantastic vibes, balancing aggression and artistry with something I can only describe as the "festival feel". Many of these songs feel set for the summer stage to be shared with thousands of fans, delivering those big riffs and crunches after grueling through the gradual build ups and hold over sections that keeps the music in lane. In the past I think its the sort of music I'd gloss over but I am happy to say that ignorance is gone! For all the familiarity this has been an exciting listening experience that feels best as a whole, having found it hard to pick favorites from the track listing. Peach however... is a peach of a song! Oh too easy but yes this one has an exception bite to it as so quietly builds to its blunt force guitar throwing down thumping slabs of low end noise. Pete absolutely makes this song pop with his fiery singing, crying out woes of foreboding limb removal!

Rating: 7/10

Public Enemy "What You Gonna Do When The Grid Goes Down" (2020)

 

Maybe I should of passed on this one... but I couldn't help myself right? The legendary Public Enemy collaborating with Ice-T, Cypress Hill, Run-DMC, The Beastie Boys, Nas and George Clinton? Well it is to good to be true, as one might suspect there heyday is long behind them! What You Gonna Do When The Grid Goes Down is loosely themed to the pandemic and global issues, asking questions of the audience and our reliance on modern infrastructure but It does little to elevate the music. Where this record falters isn't so much its topicality but the execution of outdated musical ideas.

 These instrumentals, handled by C-Doc not DJ Lord, fire up the old formula but lack the sharpness or urgency. Sadly it comes off as exactly what it is, a bunch of older guys who haven't update their ideas, spinning the same tricks with less excitement than ever. Many of the beats house a mediocrity of samples that layer up noisily without the bite and grit of classic Public Enemy attitude. To give it some credit, there is a lot of creativity shaping up the songs to be varied and fleshed out with shake ups between the main loops. This goes out the window on a handful of tracks as out of tune Rock guitars, both rhythm and lead, frequent the record with this tone deaf presence of half baked 80s aethetics rattling off under the raps and drums. Its not flattering.

Chuck D and most his guest are as sharp as ever, his voice sounding aged but the energy is there. Sadly he falls into the trappings of artists from his era, getting hung up on the past with many passing remarks and even a whole song rattling of a list of Hip Hop traditions lost to time. There is little wrong with this expression but it adds to the lack of fresh ideas on offer. Its merits are ironically the resurrection of old songs with varying success. Fight The Power Remix 2020 has some bite as Nas steps on the mic with rhymes sharp as ever. Its home to some of the records best verses but also the worst as YG's flow just doesn't match the energy here. All in all its a tolerable listen but mostly disappointing for failing precisely where you'd guess they might.

Rating: 4/10

Arcturus "Constellation" (1993)

Writing has been a lot of fun recently but more so has the listening! Discovering the foggy gloom and doom of My Angel and reliving the unique astral wonders of Aspera Hiems Symfonia again, my recent dive into Symphonic Black Metal has potentially led me onto an Arcturus journey but alas we will stop here for now.

Writing on the bands aforementioned debut, I remarked how dingy and overly symphonic this short four track EP was. It certainly is riddled with fidelity issues, inaudible bass and overpowering keys. My curiosity couldn't help itself tho. Giving this one some time and with swiftly adjusted ears I am astonished again by a band who seem to always lavish astonishment upon me. These songs are essentially identical. Where its keys once had a creaky yet powerful subtly, they are now front and center with dank and humid tones that relish in their own oddities. On some level it plays down the extremity of Black Metal, amplifying the symphonic magic at the heart of Arcturus, illuminating the majesty of their night sky inspired theatrics.

And check the date! The music is a mighty force of cosmic wonder, wedging itself in a scene yet to explode or even blossom. How delightfully strange these defined ideas are. Cosmic, majestic, curiously carnival and a little jovial. Its beautiful eccentricity emanating from keyboardist Sverd's fingers. I knew this element was the spark but it seems all to powerful and obvious here, the compositions are so inspired, creative and otherworldly with its astral icy gleam illuminating the darkly music. Each of these numbers are mighty journeys, adventures of the night full of twists and turns.

The intolerance of my youth had me gloss over and dismiss these lower fidelity releases... such a shame... but now I see an opportunity, to re-visit these demo tapes and early releases of my most favored bands that I once ignored. I hope to unearth more gems like this one.

Rating: 8/10

Carpe Tenebrum "Mirrored Hate Painting" (1999)

 

My most treasured record in existence is Spiritual Black Dimensions by Dimmu Borgir and perhaps It would of fared better not have written on it as my first blog post here. My aged words seems quite inadequate given how years of writing has evolved my articulation and expression. One day, when inspired, I will write of it again. The reason I mention this, is because I could use much of that language here, you see Mirrored Hate Painting is essentially a counterpart to SBD. Carpe Tenebrum is the side project of lead guitarist Astennu who illuminated SBD with a darkly rapturous presence heard here once again.

He is joined by Nagash, also of Dimmu Borgir who emulates Shagrath's vocal style wonderfully. A little loose and fragrant at times, he captures the throaty guttural growl in uncanny resemblance. The music too emulates much of the compositional principals too, mixing dark, aggressive guitars with throttling drums, classical dizzying pianos and a lavish helping of bold synth tones, going through all the stark theatrical dynamics. Released the same year, it gives an impression of left over material from their work with Dimmu. The lead guitar solos being the one carbon copy element that rouses equal emotions as they plunder into the night with a soaring sense of epic.

It leaves a question to ponder, does this highlight the influence of Astennu on his band mates? Or did he bring the ideas and leftovers to this effort. I'm sure its a question that will remain unanswered as the records either side of this sophomore project have quite the contrasts in identity. Its own, however, is tarnished somewhat but a less refined production style that could of done with a little more care. The synths are dulled by quietness more often than not. As are the sprawling piano melodies jump in with flashes of jovial color. They find themselves smothered, however if you know what to expect, you'll hear it somewhere in the mix as the sections of music roll out with mirrored ideas from SBD.

 And mirrored they are, the tropes play out with all the same techniques, half time beats often giving rise to atmospheric synths and the guitar pinch squeal whammy bar howling plunging us into blast beats and momentous darkness. Mirrored Hate Painting does come with one distinctive tarnish, the inclusion of bizarre audio clippings, down pitched and reverberated in the tackiest of manors, something akin to b-rate 70s horror movies. An English woman talks of satanic coercion, sacrifices and the murder of infants... My only thought are perhaps that the audio is not fictional and that is supposed to hold some merit to the records theme? Because if not, it sounds pretty trashy and runs in contrast to the music the few times it crops up.

I've enjoyed this one immensely, however it cannot compare to my most treasured record. Only in flashes does it show the same level of brilliance. Dimmu forged some fantastic music that felt more purposeful in composition as its lyrics and lead guitars would channel a song to meaningful climaxes. So far I hear the same ideas but not the glue to give the songs a sense of start and end. Perhaps I need more time with it, which It shall get a lot of in the coming months and maybe I will learn more of its magics but for now I am just stoked on finding such an adjacent record.

 Rating: 8/10

Gojira "Fortitude" (2021)

 

Although delayed by the Pandemic, French Metal outfit Gojria's seventh record, Fortitude, marks an increasing gap between records with a five year wait from the toned down, atmosphere driven Magma. As these musicians mature, so does the music and the time waited feels worthwhile as the Duplantier brothers and their band-mates hone in on a wholesome, naturalist and cultured tone. Embellishing the heavy sway of their rhythmic guitars, the space between instruments groans with earthly pains as the common themes of environmental and indigenous concerns manifest it the texture, painting its modern Metal cliches with a humanitarian identity.

Gojira's craft for groovy, swaying chugga riffs remains firmly intact with plenty of timely moments to deliver the momentous, head banging riffs with pinch harmonics, slides and all manor of guitar noise between. New Found is a keen example, housing a couple of the albums most infectious rhythmic grooves. The difference is the space between, often the guitars work in tandem, high and low, delivering meaty chords and melodic lines that weave the earthly texture between them. The bass guitar too plays a wonderful roll in this too. Its thick warm presence being rather dramatic and creative at times with fret dives, slides and high notes that resonate wonderfully.

Up front on vocals, Joe Duplantier gives a complimenting measured performance, having the reach for gritty growls, demonic shots and a range the crosses over to the spirited and effeminate. He draws out this indigenous native spirit with frays into wordless cries of melody that weep with the spirit of the land. Equally the anger of destruction and human pains burgeons in its sway to the dark and gruesome screams Metal music adorns. Most these songs sway between to the two as so do the instruments, intensifying grooves and opening up to emotional atmospheres between.

There is little I can flaw but I can't say there were many grabbing moments of awe. This felt like balancing act to pull us along its dreary and bleak hurt without becoming too engulfed by attention capturing grooves and heavy metal distractions. Its an album that gently cruises by, holding presence and brooding in its own shadow. Despite being rather downtrodden in mood its a joyous listen as that earthly spirit permeates so well. The production helped achieve this but I must say some of tracks feel a little dulled and muddy with the music carrying weight through reasonable fidelity. Perhaps it is part of the charm given those earthly tones I have commented on, for some reason it just strikes me as missing a sharpness. Either way its a solid record.

 Rating: 7/10

Arcturus "Aspera Hiems Symfonia" (1996)

 

 The unhinged rattle of a rapturous drumming, A lone distortion guitar with a dark breeze of melody, the aura of nightly synths glistening. Its a muddy mess we are initially thrown into, which then swiftly plunges into blast beats and throaty howling screams before opening up its triumphant gleam as astral organ synths and warm patrolling baselines bear its melodic majesty with might. As the music sways, the darkness is doubled down on, driving rapid chugs on the low end of the guitar and nose diving with the snare led blast. As it rears towards the darkness, so does it expand the crevasses of starlit light. They are birthed into progressive passageways of rhythmic creativity and instrumental craft imbued by subtle violin strokes and blossomed with a stunning guitar solo before the wretched howls of Garm and a bleak melodic lead reels in the song to a festive, carnival conclusion of mischief.

This is To Thou Who Dwellest In The Night, the opening track too one of my most deified Symphonic Black Metal records. Its the niche of a genre that really spoke to me in my youth. This being that one weird and sloppily produced record that I couldn't resist. It lured me in with its spellbound tone over and over again before I gave into its persuasion. Its flaws are beauty and the musical craft is a wondrous moment of genius somewhat confined to the initial cliches of this emerging sound. Arcturus would go on to fully explore their unique identity unchained but at this moments, its true birth, the grasp of Black Metal is simply a blessing to steer it to a fantastical darkness of unending imagination inspired by the mysterious night sky above.

The brilliance of drummer and living legend Hellhammer is all over this record. Although a toned down performance by his technical prowess, the rattle and roar of his thunderous drumming houses the strong expression through melody in aggression mainly backed up by the reverberated cries into the night by Garm. He also has a stunning clean voice which enters the fray timely to bring enchantment to its sways into the more expansive side of their music with deep belows and high notes alike. Its the guitar leads and synths that embellish the identity, offering up matured arrangements with melodic sways and subtle grooves more so than its occasional power chord thrashings. This is thoughtful music, reaching at the harder to express ideas with a range of fantastical synth aesthetics to back it up.

Aspera Hiems Symfonia's texture is often cold, harsh and bleak with the keys injecting this linage of majesty through its often clanky involvement. The production is a mess! Instruments bleed and clash but through this, the keyboard's classic Casio and Korg tones are blemished, shining through cracks in the seams to make themselves known. It has just enough presence to be known in subtlety and with each listen one can revere in the clarity that comes of repetition. To this day I feel like I always learn a little more of its nature with each listen. As the album art intends, they often remind me of the Northen Lights illuminating the vast endless forests of Norwegian darkness the genre's counterparts are so inspired by. These musicians noticed the stars above.

Interestingly, this record is preceded by Constellation, an EP with four of these eight songs. It gets unbalanced by its overuse of synth however with this outing they nailed a concept you could of completely missed given its initial execution. Its the newer songs that tend to be the finer affairs with a more dynamic sense of where the songs should travel. The older songs have some stiffly stitched together sections with dramatic shifts in tone and dynamics, often repetitious in structure. The attempted sound design with thunder strikes and other rumblings at the end of Wintry Grey is a fumble but the music is too glorious for it to tarnish the spell.

Arcturus have been a deeply wondrous band I've adored for so long and have been blessed to see them live. Its hard to pick a favorite, each of their albums so different and interesting. They would go on to be better known for their Avant-Guard styling but even here at the cast mold of new ideas they were a force of their own, standing alongside the cold bitter darkness of their counterparts, yet being an entirely different beast fueled by the wonder of the cosmos, both in name and spirit. My recent brush with My Angel was a keen reminder as to how special this debut album of theirs really is. Twenty five years on and it still holds up.

Rating: 10/10

Cane Hill "Krewe De La Mort, Vol. 1" (2021)

 

With news of this three track EP, I was hoping these Nu Metal revivalists would remain astray from their primary sound. The alternate styling of their Alice In Chain's inspired Americano Kill The Sun was an absolute delight. Sadly for this listener, Krewe De La Mort is a full pelt pummeling of modern Nu Metal and Djent aggression, fashioned with a loose grip that goes full throttle on a high octane production style. Maddening, paranoid and viscous, the music roars like a lashing out, firing back at inflicted pains and misery. The mood is consistently frustrated, angry and inert on the topic. Shouting full tilt, delivering meaty growls and lines like "God is the enemy" over and over, these songs never let the foot of the gas. Its like a run away train.

 The whole affair is lavished with the sprinklings of Industrial whirls and hisses, soft textural synths to busy up the massive slabs of dense guitars chugging away, moving with might. On occasion a break for more musicality opens up with glimmers of melody. Otherwise its present ambition is wholly heavy aggression and mania. Its choppy riffs and bursts of pace liven things up but I mostly found myself not vibeing with the bleak and downtrodden spiral of anger these fiery songs spew forth. Its somewhat adjacent to Slipknot and others of that era, with its modern twist but the whole dance felt a little to sterile for me. Loved the solo on God Is The Enemy though, a lively moment of color in an otherwise chromatic listening experience.

Rating: 3/10

Kauan "Ice Fleet" (2021)

 Underwhelmed by the soft and withdrawn, forever wandering Kaiho, the Estonian outfit Kauan return again. Having forever earned my interested with Somi Nai, I had to check this out. Its an album that, reflectively, has some charm attributed to the excitement of a fresh sound on these ears. I'm pleased to say Ice Fleet steers in a feistier direction again with its balance of cold, sombre beauty and lengthy swells of aggressive gusto finding an equilibrium to coheres us gently through the ebb and flow as a path is forged. Onward we trek, through the vast scenic wonder of deeply atmospheric, emotional and engrossing music to captivate. They have found their stride again here.

Part Post-Rock or Post-Metal, fostered by airy synths to brood a smooth and welcoming denseness, Kauan lunge into the epic with a touch of Doom Metal pacing with slow and crushing beats. They give momentum to scale on these linear journeys across the vast bewildering wilderness, or possibly oceans as its title and album art suggests a naval inspiration. Tremolo guitars cry out in reverb as the gravitas pulls in a single direction. Slow and simple melodies, often singular, break through the walls of sound as its direction converges on beautiful notations to bring gleams of light to its otherwise un-intuitively baron landscapes.

The record plays as one, growing into its more ambitious metallic beast early on with dramatic symphonic lulls between its eruptions of rugged guitar riffage that misses on Maanpako and does a devilish dance on Raivo when accompanied by howling, lurching screams as it dips into the Black Metal realm. The pull between dark and light is stunning and with its final numbers the music drifts to a calming, Etheral piece with airy, wordless vocals wandering in like a lost spirit. Its quite the contrast from the sailing frenzy in moments past but that is much of the magic of this record, how it holds opposing forces in a special place. The pacing is just right, everything broods and crawls to conclusion, holding us in its cold temporal majesty.

Rating: 8/10

Plini "Impulse Voices Remix" (2021)

Uncommon but more so unexpected, Australian musician Plini has collaborated with three producers to bring us an intriguing remix EP of crossovers with the Electronic music scene sound. Often a recipe for disaster, on this outing it seems the two styles pull in the same direction, with guitars and synths of the original music being lifted into the bass and percussive designs of Downtempo, chilled out, laid back Electronic music. I must remark, my memories of these Metal adjacent remixes are somewhat scared by the early naughties attempts of Limp Bizkit and Linkin Park with full remix albums. Over the years many other collaborations have come by with varying success but are yet to make footing as a common feature.

In this scenario the vibes match and make for a fine indulgence with the breezy moods and easy nature of the intersection. These are easy, summery songs, hard not to like. Despite that, I find it difficult to give this project merit beyond chemistry as its energy rides almost exclusively of the melodies of Plini. Dayce brings a powerful thumping, steady Dance beat with 90s hi-hats and airy reverberations. The bold bass and rhythmic glitchy grooves add a contribution but not one of remark. The following tracks play it even safer, limited to drums as the main creative contribution. Production techniques with fade ins, outs and frequency cut fades make transitional designs sparkle but again, the musics charm is all with the original material. Ultimately, these songs end up feeling purposeless in the shadow their source and fail to bring anything beyond a shift in tone.

Rating: 3/10

Hexenkraft "Deep Space Invocations: Volume II" (2021)

 

Being rather fond of this Doom adjacent darkly Synthwave ride into the depths of hell, I thought I'd give some time to this new two track EP, having now built up an itch for the ever delayed full length debut Permadeth set to arrive some time in the future. Unlike Volume I its cuts are half the length but twice as intense, taking a massive influence from the Doom Eternal soundtrack. Gone are the acoustic guitars, soft strings and general meandering to the unsettling quiet of space and nature. These songs ride percussive strikes and dense wave synths to the edge of oblivion as danger lurks nearby. Its breaks for respites always pull one back into the action like a force of gravity. Its synthetic edge bleeds the lines between tone and force as it ebbs and flows in rhythm and shimmers of melody as notation whirls in its dark frenzy. Its always intense, like a spree of action with moments to catch your breath, knowing you've got to do it all over again.

Its reminiscence of Doom Eternal is uncanny. Although devoid of big chunky Djent guitars, its follows many of the same tropes and tricks to create a hellish synth atmosphere for action and carnage in other worldly environments. Track two, Devastated, feels like a guilty partner for its blaring siren like buzz saw cutting in and out of focus like a heart attack. Going purely off of memory, this is either a lifted idea from the Doom soundtrack or a brilliantly crafted inspiration that would also fit sweetly into the games audio, which in turn complimented the gaming experience massively. These are two of Hexenkraft's best executed songs, yet closely ride the curtails of another beast. Most important though, they are fun, engrossing and immersive even if short lived in the eight minute runtime. Its craft is focused and doesn't need to go beyond its means, unlike its predecessor which felt as if it had room for something more.

Rating: 4/10

Brockhampton "Roadrunner: New Light, New Machine" (2021)

 

Ive found this record difficult to put in words. A strong diversity of instrumental moods and heavy lyrical narratives that I struggled to connect with left me enjoying but not entirely resonating. Two years on from Ginger the group feel artistically evolved with maturity of word and a better execution of ideas. My lack of connection mostly stems from the endless stream of lyrics that Hip Hop offers, a form of personal exhaustion perhaps. Either way there is no doubt these songs hold up for there foundations. The group of producers who put hands on this one pulled together a colorful set of sounds to house within tight percussive grooves, a strong presence whenever put on spin.

The first five tracks feel like the strictly Hip Hop cuts. An emphasis on rhyme, reason and rugged beats brings Danny Brown onto the bass driven, wild Buzzcut. Its a massive salute that makes for a memorable number, followed by a strong appraisal for JPEGMafia and another collab with A$AP Ferg & Rocky. The attraction of big names says a lot for their ascendancy in the scene. Kicking of with deep bass kicks and some strong rap flows, Windows's inclusion of a poppy, over the top, auto-tune hook hints at where all this goes as the other aspect of this collective starts to emerge.

The rest of the record explores its Pop, R&B and Soul influences, often channeled into a modern context with high pitched and auto-tuned vocals weaving a lot of swooning singing into its songs while retaining darker themes in its lyrics. Its remarkably catching and In many a song, represents the groups unique sound at its best. When I Ball is a personal favorite for its old timely string section and warm, riveting baseline strutting beneath. The pivot to pitched up vocals so smooth. Its often been a point of contention but this time I think they pull these of the time trends so well.

It should be mentioned they swing back with a home run into the strictly Rap world with a ghetto whistle led banger Don't Shoot Up The Party. It comes with a strong message and bouncy energy that juxtaposes party vibes with a grim proposition. It held as a stiff moment in the albums flow as we move to a Gospell track before the vulnerable, emotion gushing The Light Pt. II that feels like a sweet send off as members of the group step to the mic to deliver some heart felt, emotional words.

A common experience of mine is holding off from writing as I don't feel I have a complete picture of the music. Sitting down to actually force out the words somehow brings it into perspective and with this analytical breakdown of what stood out to me, I feel as if I got closer to the record but again the short coming is always lyrics. These songs are loaded with substance that I could feel in passing but didn't stick around for long. Its a personal problem. The music of my youth as taken all of my lyrical capacity. I wish I could pick up and bond with it more these days, I feel like I am missing out on so much. Especially here on Roadrunner which is a fine record and a strong maturing of Brockhampton's sound.

Rating: 7/10

Clipping "Visions Of Bodies Being Burned" (2020)

 

Its album number four by Clipping, an experimental Hip Hop trio doing remarkable things with their mashing up of Industrial and Noise with Horrorcore Rap and spoken rhymed monologues. So far I've developed a great appreciation for the artistry and craft but lacked an emotional connection. The same is true again with another fifty two minutes that seem to emphasize the same response from me. There is a difference this outing though, more of what I connect with. That's mostly a banging beat to elevate the obscurity of these minimalist noisescapes that house the rhymes.

Clipping's unsettling and grim take on urban life and crime has its apt tone again. Either expressed through rhyme or Industrial dissonance, Say The Name brings it to current events with a gripping power to address the death of George Floyd. The most notable track however is found in the lurching paranoia of Check The Lock. The John Carpenter-esque melodies and haunting bells are an illuminating compliment to the click, clack and rattling of sparse and distant industrious world building noises.

Alongside the lyrical talent of Daveed Diggs, who's sharp as a blade with his despairing narratives, a host of features fall short of adding something memorable to the mix. I was delighted to see the inclusion of Ho99o9 but even their shout raps felt at odds with the abrasive instrumental below the pair. Beyond these points of remark, much of what I've written about Clipping before remains true, its mostly a jarring experience of conflicting instrumentation that paints physical discomfort.

 Its best exemplified by slabs of white noise between tracks and the maddening Eaten Alive, its loose percussive performance seems perfectly dialed up to maximum confusion as its dislocated pace grows with the clattering of kitchen utensils. When Diggs drops out we are treated to a couple minutes of completely unhinged sound. Its a novelty, one this band are capable of channeling into convention with thumping base and a sensible kick snare groove but it too is sparing on this outing, with much of the record being chalked into that particular confrontational space again.

Rating: 6/10

The Kovenant "In Times Before The Light" (2002)

 

Its interesting how a legal battle incurred not only a name change but also a shift in sound and identity for this Norwegian duo. Nexus Polaris would suggest this transformation was possible but it was Animatronic that solidified it, the first album released under The Kovenant name. A few years on from that record the pair decided to re-record their debut full length In Time Before The Light. Under their new moniker, the approach was to re-write the songs in their new Industrial infused aesthetic and the results are mixed.

Staying faithful to the original song structures, it is mainly the instrumentation that gets an update to match the fantastical dystopian sound. Without the measured pace of Industrial Metal guitars churning out choppy palm muted chords the original riffs rub up against its now lavish synth sounds. So to do the blast beats, when the atypical plunges into Black Metal darkness come, its a point the music is at its weakest.

Much of the original lone and linear synth lines feel stripped out, replaced with Industrial noises and re-worked textural tones for the new electronic enhanced aesthetic. Over top of them reigns a lavish dance of illustrious pianos, blazing through rapturous melodies, outpacing the music with its hasty notation. Along for the ride come the retro spooky and carnival keys too, they often sound a little suspect in presence.

 The better songs beforehand tend to hold up here but overall, its hard to enjoy this one being able to hear how these songs were converted. Sticking so rigidly to the original track design creates an odd contrast, where the musicality excels individually against outdated songs structures. In other words this wondrous sound the duo fell into moved with their songwriting too. Ultimately it leaves a stale taste but has me curious what I would think had I gotten to know these re-recordings first?

Rating: 5/10