Benny The Butcher "Pyrex Picasso" (2021)

 

As a new name on the rise, appearing alongside the likes of old greats like Snoop Dogg, Busta Rhymes & Jadakiss, Benny has made a remarkable impression on me. With a firm voice fit for classic story telling, both his style and beat production has a gushing nostalgia for the 90s and 00s era. Pyrex Picasso is concise seven track stint, nineteen minutes of straight class. The title track plays like a cut from 2001, dead serious pianos, a softly sorrow Spanish guitar lick and timely horns, vibes I'll always welcome more of. The following '73 gets dingy with ambiguous samples, gritty drums and low-fi strings. The RZA would be proud! Flood The Block has the Immortal Technique mark, not just instrumentally but how Benns flows with a through line and sharpness that feels like he doesn't have to bend his thoughts to a rhyme scheme.

I could rattle off on similarities to other artists. This really is a case of seeing shadows tho. Where Benny shines on his own is purely through the power of his rhymes and narratives he unfolds. I wouldn't say his style is original or ground breaking, but very well refined as every verse makes a catch, throwing its line and hook. The themes are atypical, street life, prison and drugs. The topics of hard life are aired and also his resolve to make it as a rapper. I imagine he won't appeal as much to the newer generation but this EP embodies the best of Hip Hop from decades gone by. An impressive introduction that will have me seeking out more from this talent!

Rating: 7/10

Poppy "Eat" (2021)

 

Along with Flux, last year also received this brief five track EP with little stylistic affiliation to the latter. As a soundtrack for NXT wrestling, one listen will affirm why. This is possibly Poppy's "heaviest" songs to date, with her upfront deploying some utterly fowl throaty screams that have me concerned for both her vocal chords and the recording equipment. Its rough and raw, much like the instrumentals led by gristly noisy guitar distortions that have a messy tone. We do hear her light and harmonious voice in brief bursts, often in competition with an eruption of wild visceral screams.

The record feels structured to gain more respite and musicality with each passing song beyond Say Cheese, which leans heavily into Metalcore guitar riffs with stomping breakdowns, crunchy riffs and a really odd warbling bass tone. Breeders ropes in a zany synth tone to crank open the song to another dimension of feeling, very much similar to that classic Tubeaway Army song. Each song has its identity, emergent musical ideas executed through a smothering Industrial tinged aesthetic.

Its a riot of creativity, feeling fresh and fun with a lot of energy being thrust forth. Although it leans into my preferred avenue of Metal, these songs feel creative and dynamic, putting up a sound not too many other bands offer in a rather stale scene. She has really scooped up some great musicians with Greatti and Wilcox helping write these feisty songs. I've spun them over and over and they are probably among my favorite songs of hers now. I'd certainly like to hear more on this wavelength.

Rating: 6/10

Techno Animal "Re-Entry" (1995)

Today marks the beginning of a new era! I will no longer own my records... Finally I've got with the times and made the migration to Spotify. In doing so I haphazardly stumbled onto this record I couldn't find anywhere after listening to Ghosts back at the beginning of this blog. Techno Animal is an experimental side project manned by Justin Broadrick of Godflesh and Kevin Martin of God, two musicians deep in the early Industrial Metal scene but exploring a very different breed of sinister music here.

Re-Entry isn't as dark as I remember Ghosts being. It does however lean heavily into unease, tension and dread as its droning soundscapes venture on psychedelic depravity. Its a mental trip of looping sound design, organically unfolding with incremental changes that can transform a song over mostly lengthy outings. Its two CD format boasts halves of six tracks each, often clocking in well over the ten minute mark. The result is oddly meditative and soothing in an adventurous way. Dreamy music for setting atmosphere and tone to let the mind focus on other demands.

These compositions are near density, every instrument seemingly tuned for that slow meandering shift that occurs over its lengthy duration. Subdued percussive drums keep pace as Elctro-Industrial synth tones layer in a little zap and bleep tone texture, seemingly at odds with the music but melding in. Its best experiments seem to come on Flight Of The Hermaphrodite and Demodex Invasion. The first using Middle Eastern sounds and instruments to visualize a drug trip in Arabian deserts. The later morphs its drum loop through dizzying distant tonalities that wash in and out of focus.

Though in its worse, the remarkable chemistry of these tracks feels underdeveloped and neglected. Most of these songs are lumped in the second half, Catatonia and Red Sea are examples of experiments that didn't quite come together and lack direction. The twenty minute Cape Canaveral feels even weaker as a dull Black Ambient drone piece. The closing Resuscitator too is a lone drone of eeriness and without that lavish layering of odd noise and drums, it becomes unremarkable in comparison.

Its really just a handful of songs that shine here. Even then some feel stunted by a lack of progression. Moments to break the mold and give these songs a sense of arrival or event would really elevate it. There is however fascinating chemistry and visceral trips to be explored. With less filler and more focus this could of been something great but for the context of times, this experimental Avant-Guard release is quite unique and remarkable. How they got signed to Virgin Records, even more so!

Rating: 5/10

Cranes "Loved" (1994)

 

With a warm uplift in mood felt on Forever, Cranes return two years on continuing that trajectory. It arrives along with a musical shift in tone that firmly positions them within the 90s Dream Pop sound. Taking on a Shoegazing guitar aesthetic and shedding the shades of Industrial and darkness that followed them before, one can hear their established song writing style taking on new ideas but mostly leaning on thick acoustic chord strumming and hazy lead guitars that paint dreamy waves of bendy reverberating noise over top. Its charming in these particular strides.

Opening with Shining Road once can hear a percussive distinction that crops up a few times over. Its one of these musical ideas where the direction just feels different. With an injection of lively drums, fit for the times, Cranes offer something that doesn't exactly build on the sound they have forged. Where they get it right is with the dreary guitar haze that washes over a handful of tracks. The song Beautiful Friend is an underwhelming cross of the two. The following Bewildered however gets it spot on.

Lilies and Loved are two tracks leaning into their darker past with crowded noise and gristly stiff guitar licks to stir a little menace and unease among an otherwise warm record. Cranes's music does however still linger in that strange place I can only describe as limbo, with Shaw continuing her roll as the voice of innocence adjacent to danger. Its the Shoegazing guitar that embellished this record with a rewarding new direction. I hope to hear more of that lushness on the next outing.

Rating: 6/10

Knocked Loose "A Tear In The Fabric Of Life" (2021)

 

My excitement and appetite for the cutting edge of brutality in the world of Extreme Metal as diminished severely with time. Most bands I encounter seem to be locked in the Post-Deathcore and Djent overlay which tends to recycle the same ideas found at their origins. Alongside a Metalcore backbone, some of that bore is to be found here too with with a shimmering of Mathcore in places also. The reason I mention this is because Knocked Loose have spun that formula into a short and pacey affair of pummeling intensity. On this EP, six tracks blaze through the many tropes and un-original ideas common to the genre on the heels of an adrenaline shot of excitement. Their song structures continually race ahead, leaping from one moment of bludgeoning to the next, leaving you with little time to recover from each metallic blow. Its a fun experience as the chops come quick and fast, rarely looping back and often jumping into sludgy palm muted break downs with barely a moments notice.

The production is stellar, a show of strength, an aesthetic treat of modem engineering that has its instruments frothing with a rage shared by front-man Bryan Garris. Initially I found his shrill, high pitched bark a bit rash but I warmed up to it as his energy fell inline with the unrelenting march of aggression the band set out on with these songs. Not only do the instruments bring intensity, the moments of texture embellished in its discordant riffs take up the pauses for breath with expansive moments of tense atmosphere as on occasion the music blossoms into something more than the meat grinder it initially seems to be. With quite a few spins in the past weeks, A Tear In The Fabric Of Life is a short experience that's delivered much gusto as its rapid approach brings continual waves of excitement that last the initial explosive impression created.

Rating: 6/10

Kero Kero Bonito "Civilisation II" (2021)

 
Kero Kero Bonito are a London based trio led by singer Sarah Perry, who's half Japanese status has a clear cultural influence on the Electronic group. With warm shades of J-Pop and K-Pop influencing the audios character, this short three track EP Civilisation II was an excellent entry point for me. The feel good uplift and structural sensibility of Pop music finds itself in the arms of deep grooving electronic styles that drift in a direction I am far more familiar and comfortable with.

It kicks off with The Princess And The Clock, the chirpiest track speared on by driving percussive kicks that dial up the energy of a youthful, dancey, daydreaming song. Perry resonates warmly, her lyrics mirroring this slightly dreamy aesthetic has she sings a fairy tale of a royal prophecy fulfilled. 21/04/20 mellows out in a direction reminiscent of Anime theme music as its sparkly lead melody blossoms out of a glossy toned song. Perry's lyrics embellish normality with a sunny pleasantry as she words out the details of what might be a mundane day into something much prettier.

The third and longest cut at seven minutes is my favorite. Well Rested swiftly drops into an easy breezy groove of deep soothing bass and steady percussion. Its reminiscent to me of my favorites songs in the realms of Downtempo and Ambient electronic music. The mood is rustled up along the way with Perry making commanding remarks on a cadence fit for an activism rally. It arrives alongside jolty, slightly frenetic electronic leads that usher the second half of the jam into a livelier version of its own first half.

All of this wonderful songwriting is channeled through a wonderful productions that musters a fair helping of glossy reverb and timely echo to embellish that dreamier tone. All the while its many electronic instruments stay crystal clear and chirpy, dense in texture and color. The percussion too is imaginative with a great selection of both samples and pattern arrangements. All in all this brief fourteen minute outing is absolutely solid and has me very excited to discover more from this dynamic trio.

Rating: 5/10

Cranes "Forever" (1993)

 

Arriving at their sophomore album, Cranes show signs of maturing songwriting. The blunter lunges into shadows are scarce as brighter acoustic guitars and friendlier distortion riffs take focus on a warmer, yet curiously limbo like outing. I'm noticing a pattern in how songs come in degrees of arrangement. Its most notable when percussion is entirely absent, as it where on a few songs off Wings Of Joy. Their ability to brood on simple, repetitious melodies and stay engaging is remarkable.

And Ever makes a mark as its lone, moody piano ushers in a two hand chord melody to dance with Alison Shaw's distant Ethereal voice. The music swells upon the arrival of a singular, lone and soft string synth. Reverberated acoustic guitar notes then pluck away in compliment with a brisk ascendancy. Another drum less track Cloudless has a touch of Medieval melody to it, as did Watersong. Just a minor musical note.

Adrift and Clear peer towards shadows, bot quite intensely as before, with upheavals of brooding distortion guitars soaked in echo. The later creates quite the maddening atmosphere with its bendy alarm siren droning in the backdrop, creating tension. The lead guitar riffs is quite a devious lick yet so simple as much of the components are like the flat bass line. Their ability to grasp so much power and feeling from the simple connections between each instrument is everything that makes these songs great.

The Dream Pop label still alludes me. There is little at play that reflects the quirk and upbeat nature of Pop music of the 90s. Not as dark, limbo is the word that comes to mind with Alison Shaw still playing innocence off the more sinister soundscapes of her band mates. Through her the dreaminess is all there though. Heavy use of reverb gives the mix a cold spacious feeling throughout and with a lavish of echo her singing ices the cake with an Ethereal quality. Forever is a fine endeavor but generally feels like a lighter exploration of the same musical ideas presented beforehand.

Rating: 6/10

Hypocrisy "Hypocrisy" (1999)

 

I know little of any lore or significance behind the self titled naming of this sixth full length outing by the Swedish group. Perusing their catalog in my youth, this quickly caught my attention as one I should give more time too. Before long it was my absolute favorite and picking it up again all these years later, its got legs. Mostly, its the streak of bluesy emotion emanating from the voice of Peter Tägtgren that resonates the strongest. Alongside an arsenal of both galloping and broody atmospheric Metal, the record offers up a varied landscape of song styles that Hypocrisy have recycled since, all hinged around extra terrestrial paranoia and conspiratorial themes. Hearing it all again on Worship, I was keen to spin it again!

Opening track Fractured Millennium is an anthem of its own creation. The grand synths that open it up brew in anticipation of the epic riff that grace the highs and lunges into the low chords with great effect. Its a slower, atmospheric track peaked by a wonderful guitar solo reminiscent of Ride The Lightning. The rest of the record is scattered with a few more helpings of blazing guitar leads that always arrive just on time. Apocalyptic Hybrid pivots sharply into menacing Death Metal with a galloping pace tinged by melody as much of the record is. Although these tracks get tough and mean with hard hitting guitar grooves, its always a break or two away from a melodic theme, making its mark so much more enduring and memorable than brutal acts.

Later in the track listing Time Warp brings back that frenetic energy but otherwise the group lean into the atmospheric and find some unique magic as Peter opens his voice up to a burly, heathen, cleaner side. Elastic Inverted Visions and Paled Empty Spheres ushers in acoustics to take lead on sombre songs with darkly lyrics of struggle and tones of redemption seeking. Until The End and Disconnected Magnetic Corridors straddle the slow tempos with grandiose as the depressive, downtrodden tones struggle on in the rainy atmospheres that brood with no light in sight. The variety is magnificent and the track arrangement used to puzzle me. It always felt like you could chalk the songs into three distinct camps. Now I see that it offers a change in pace and respite from remaining in one lane continuously.

For the year of its production, the album reflects the Symphonic Black Metal sound, with Peter being a key influence on Enthrone Darkness Triumphant and Spiritual Black Dimensions. Probably speaks volumes to why I like it so much. The constant inclusion of synth lines behind the roaring of blazing mighty metal to much to resist! All these years later its magic has dulled a touch, more of a nostalgic affair than something to whip me off my feet but its still utterly terrific and full of fantastic peaking moments, usually those guitar solos which remind me of Kirk Hammett in some ways.

Rating: 9/10

Lena Raine "Oneknowing" (2019)

 

Having only gotten to know her music through the Minecraft & Celeste soundtracks, Ive set out to hear Lena Raine's voice through her own lens on this debut album release after the remarkable music of Celeste. Its a high bar of comparison but as a solo artists expressing her own vision, Oneknowing is a comparatively ephemeral experience. Distorting time with its dreamy pace, the soft Ethereal tone has much of the gentle music drifting through lofty ambiences of thick, lush, airy synths. Its the framework for a small variety of ideas in rotation that make up the track listing.

The excitement croons when Lena brings in her remarkable percussive grooves. They rock and rattle with subdued momentum on the back of rather harsh and sharp drum and glitched sounds. The mix is magical and births many of my favorite moments as one is snapped out of the inertia and into the power of her beats. A subtle alternative element at play is the inclusion of strings, in more classical leaning tones which tend to build up with a Post-Rock like growth. A stead swelling which ends up at unexpected intensities in comparison to the songs humble beginnings.

The third of three elements that caught my ear is her voice, something I'm not sure she used on Celeste. I've got to be blunt and say it caught me off guard. She sings with a quite timid and fray tenderness, hinging on either a foreign language or vocal inflections that make he presence wordless and rather shy emotionally. Its an odd performance, possibly all to flat in tone and power as she meagerly drifts into a songs with lots of reverb and effects to carry it through. I like the end result but get a feeling she might be making up for lost ground in some capacity.

Blown away by her other contributions, this solo experience has a mix of that exceptionalism and a more typical Ambient experience which mirrors many sounds Ive heard in recent years. When her music breaks the mold of that softness, like on Insomnia and Momodani, it feels very unique. Along with that I get the distinct feeling the music is packaged through the lens of a story, as if shifting from scene to scene in a computer game. Oneknowing is a strong album but time will tell just how much.

Rating: 7/10

Pop Will Eat Itself "Box Frenzy" (1987)

 

On occasions, the rush of excitement that always comes from record browsing can get the better of me. The rule I am not learning is to give something a listen before parting with your hard earned cash! Given that PWEI blew me away with their sophomore record, This Is The Day, I was happy to jump straight in! That album was a time capsule of nostalgic innocence, reflecting the cultures of the day. It spoke directly to musical scenes before my time that Ive always been fascinated with. Looking to follow up, the acclaim mentioned in breath of their debut Box Frenzy had me pick it. Sadly the horrors I've found have me wanting to give up. I can firmly say its quite awful.

I'll be blunt with my words but a handful of listens has improved my tolerance. In a nutshell, everything "edgy" of the time retroactively sounds stale, dated and damn right corny! Fueled on by the Run DMC Rap sound, these youthful twenty-somethings hinged all of their songwriting on aesthetics that have died off. Box Frenzy is forty three minutes of unabashed punchy tone abuse, taking synthesized 80s sounds and running them through the mills on old school drum machines and retro keyboards. These arrangements are stark with spacious drum grooves droning away, accompanied by obnoxious "sound effects" and Walk This Way inspired guitar stabs.

The lyrical content is often cheap and cheesy, atypical 80s rapping flows with a lack of underpinning substance. The spirit of these songs reminding me of "dated" party songs, the sort of unbearable 80s tunes encouraging kids to do a variety of then trendy dance moves and routines, hinged on gimmick and novelty. That in your face cheese is tiring but also entirely the point. For 1987 I can see how this would have been on the edge and pulled in praise but having little nostalgia for this particularly disposable and dated sound, Its no surprise it turned me off.

I've been cruel so far and I must say the foundations of what made This Is The Day is firmly heard on this record. A few tracks have something good to offer in the way of groove and energy but the aesthetics tend to be a bit to grating. There is also the term Grebo mentioned here. Labelled as "Grebo Rock" its a curious disconnect from how the term was used in my youth to label the alternative crowd I then Identified with. Seems the term has roots that extend back to the 80s, and a sound I wouldn't associate with the Nu Metal and Gothic music of my youth. This introduction won't have me looking much further though!

Rating: 3/10

Nas "Magic" (2021)

 

Released Christmas Eve, seeing Magic in my inbox was quite the surprise. With King's Disease III now confirmed for 2022, I expected that this shorter album, clocking in just under 30 minutes across nine tracks, would be a collection of outtakes from his fruitful collaborations with Hit-Boy. But alas it is not so! If anything, Magic speaks volumes to the stride Nas is on as his lyrical content feels interchangeable with that of King Disease II. Thinking of these songs as sub-par in anyway is erroneous. It simply seems as if he is oozing with creativity right now and enjoying sharing it with us all. Unsurprisingly though, the tone of these songs are in the same lane. Nas is offering up his unique personal perspective within the Hip Hop scene and addressing his audience with wisdom and a little introspection in doses, much as he has been doing.

Wu Is For The Children is the one underwhelming cut. A reference to the Wu-Tang Clan setting high exceptions for a dreary percussion-less track. The following Wave Gods brings on DJ Premier to drop his iconic drum break style and scratches of classic Hip hop snippets whilst resurrecting Gang Starr themes. The opening Speechless kicks off with a remarkable verse, referencing fallen musical icons of the twenty seven club and the grittiness of his neighborhood. Its a wonderfully articulate flow that extends into Meet Joe Black as Nas touches on successes built, mistakes made and criticisms keeping him energized as he words it. Interestingly it ends with a snippet of individuals mocking his Hip Hop I Dead record statement from back in 2006. I didn't feel like his words provided much of an answer to that though.

Ugly is a wonderfully aesthetic track as its wobbling distorted sampling creates a foggy drone for Nas to paint a gloomy scene with his words in the opening verse. The following couple of tracks are much livelier in contrast and his rhymes are tight and slickly delivered as you could expect. All in all its a sweet selection of tracks to salivate on in anticipation of part three. Not much beyond that though. Hit-Boy's approach get one in the mood but I didn't feel like these beats were exceptional. There wasn't anything here that "leapt off the page". I'm satisfied, left with high hopes for KD3!

Rating: 7/10

Cocteau Twins "Heaven Or Las Vegas" (1990)

After a discovery hiatus and with a new year ushered in, I felt it was time to return to the Cocteau Twins. This next destination being the one other record of theirs I knew alongside Treasure. Heaven Or Las Vegas is the trio's commercial peak and a record of notoriety among "albums to hear before you die" lists and whatnot. Rearranging the various aspects of their sound, the group hit a stride and roll with it through ten fantastic songs that revel in the Dream Pop realm they helped to pioneer.

Opening with Cherry-Coloured Funk, the temperament and pace is swiftly set as each song moves with this steady shuffling drive, as lavish, pedal effect drenched guitars drone in a wash of color and delays. Its the defining aesthetic of each track which hinges on simple, straightforward song structures. Each one plays out presenting its main idea and upfront with a few variations woven in. With Guthrie on a stride its a fine curation of ideas, resonating well with his fellow musicians who put icing on top.

Fraser pivots from her wordless performance style to sung lyrics which arrive with a magical cadence and distorting accent to throw one of the scent on occasions. The way she lays emphasis and elongates notes is charming yet often out of step with expectations, giving her words a cryptic dimension. Behind them, on every song, Simon Raymonde pumps away simple yet warm and cushioning bass lines, with an occasional tough of groove but mostly very simplistic and straightforward playing.

 

Brief moments of electronic synths can be heard too, often woven into the drum machine arrangements. They can sound bare and stiff on some tracks, bearing its mechanical nature with claps and snaps. Counter too that, it sounds completely organic on a handful of songs too. All in all its a beautiful aesthetic arrangement of Ethereal colors dazzling in the wash of dreamy guitars and singing that finds its charm swiftly and keeps you with them for the duration of the record without a blemish, bar a couple of drearier songs, however they bring their own rainy day magic too.

Rating: 8/10

Killing Joke "Hosannas From The Basement Of Hell" (2006)

 

With a new year comes a ritualistic return to the extensive discography of Killing Joke, a band I've been exploring since this earliest days of this music blog. These English Post-Punk emergents have had a massive influence on the shape of Industrial Rock and Metal to come, Ministry being a keen sample of their ideas propagating to new frontiers. Once finding myself burned out, its now quite a pleasure to return to their particular sound with a new set of songs periodically. This one might be a new favorite in the collection. Released in 2006, it reminds me of my Download Festival poster from that year. They headlined the third stage and given all the cracking shows I've seen over the years in the top spot of the smaller stage. I often wonder what the was like? Sadly I didn't investigate their music until many years later, that's when I noticed they played on that legendary year, my first and unforgettable outing at Donnington!

 Hosannas From The Basement Of Hell is possibly the bands most engulfing feet yet. Riding on a backbone of pounding repetition and dense aggression, the aesthetic crushing of its gristly guitar distortions, beefy percussive strikes and Coleman's aged throaty shouts, caries the music into a hypnotic dimension. With a cold mechanical drive these songs drone with an unshakable pace on lengthy escapades that chew through its crammed assembly of instruments. Often with gusto in its step, the drums pound simple grooves as the guitars roar with uncompromising attitude, chopping up tight chugs and aesthetic marvels of discordant noise and pedal effects. Jaz tends to draw his vocals out, giving a little relief to the unfaltering march each instrumental sets out on. Its a strange chemistry to have two aggressive forces, playing one as relief.

Its fortunate that one can zone out a little with this record. The songs do churn a handful of ideas over and over in the meat grinder. Its atmospheric. Killing Joke have brought a curated collusion of their finest ideas to revel in the moment. If you have got the time, its a pleasure to go through. Every song comes with its own little spice. Invocation stands out for a superb integration of menacing Classical symphonics vaguely reminiscent of Kashmir. Majestic has a riff that gives me chills. The tone and progression almost sounds like a sample from a T.S.O.L. song. Walking With Gods unearths an obnoxious angular guitar noise to ride alongside the massive bass guitar, somehow finding a melodic crescendo to peak the synthetic oddities that arise.

I could go on. The point being each song has a strong intention and musical idea the band hammer out with this intense drive festering in the palm of their hands. The production aids it greatly. 2006 was a time where the loudness wars and wall of sound production still hadn't settled. Records from this era vary in quality and I feel like this was a looser, jostled production that actually aided the final result. A little low fidelity can often suit an agressive direction. Ive read that album is considered a creative peak for the band. If the next two records are not up to scratch, that is fine. Im happy to have found this one. If forced to make a list, Id put it somewhere near the top.

Rating: 8/10

My Top 10 Music Discoverys In 2021

 As mentioned in yesterdays Top 10 Albums Of 2021 post, I've been in a rut! There is however a rather nice list of artists here, even if the short list was just as small. Three of these are a regular features on my Twitch streams too! So on that front I'd say its a success. I have decided however to be far more fussy when it comes to listening to the same bands still pedaling out the same old music. Its time to give a little more focus on whats fresh and new! I say this often but this time I have a plan of action that starts with reduction.


(10) Secret Stairways

The exploration of Dungeon Synth continues to be an interesting one. Its roots before the online explosion of Bandcamp records a decade ago seems to have fans unearthing lost relics. These newly surfaced cassettes have us enjoying a deceased musicians work from a time before there was much of an audience to enjoy it. An interesting sentiment but the music is good too!

(9) Tetrarch

Initially I wrote this band off for its formulaic creation of era inspired Nu-Metal. A lack of originality doesn't necessarily mean bad music. It can be a tough thing to look past but with time passing from my initial assessment, I've found myself really enjoying this record and getting those nostalgic youthful chills too!

(8) Chevelle

Very much of the Tool inspired camp, the reference point has helped me find a way in! Its a new breed of metal for me and with little else of familiarity, I've really enjoyed this bands take on the Progressive and Alternative Metal sound. Originality is not a strength but the whole approach is fun and exciting for me right now.

(7) Arcanist

Another Dungeon Synth record but this one is way more inline with what I'd like to hear. A new taken on the genre that infuses "Berlin School" synth ideals and paints an exciting soundscape with its progressive songs that move together on a journey. It was a short but sweet journey and is now very much one to look out for future releases.


(6) Cocteau Twins

Not a new discovery but an intentional deep dive into an artist I knew of two records already. Sadly, the plunge into both an extensive amount of EPs and albums went a bit sideways as fatigue quickly set in. I will pick up the journey again at some point. It was however a really nice experience to get a bigger picture of a band with timely influences felt in the decades that followed them. Treasure is still an all time favorite of mine but now I got to add a few more songs to the list.


(5) Pop Will Eat Itself

As a huge fan of Metal and Hip Hop it is practically an embarrassment to have never stumbled on this British act before. There 80s crossover of the two opposed sounds is just wonderful! A true moment in time capturing the energy, spirit and culture of that era like a musical time capsule. Its dated in the very best of ways!


(4) Gelure

Having had permissions to stream this artist, my love of the music really settled in as its relaxing ambience and warmness creates a wonderful relaxed state that comes along with waffling about whatever is on your chest for hours on end. It suited the experience so well my worry now is that I might listen too it too much. A good problem to have!

(3) Jim Kirkwood

Another from the streaming list, Jim has been on a "Dungeon Synth origins" list of mine for years. Finally pulling that trigger, I have now discovered wondrous world building music that has an ancient nostalgic charm, built on those classic keyboard tones without the steering into darkness that is all to common now. The Tolkien themes and general vibes of the music is very Dungeons and Dragons and that stream of imagination is my cup of tea!

(2) Lena Raine

To extend the simply enigmatic music of C418 and his Minecraft soundtracks would of once sounded like an impossible task yet Lena has stepped into that space wonderfully well. Reflecting many of the old ideals and injecting some of her own personality, it seemed likely her genius would extend beyond contributions to the soundtrack. That has certainly turned out to be true and I am now deadly excited to check out her debut album!

(1) The Alan Parsons Project

For all the Progressive Rock I was raised with, The Alan Parsons Project was not a part of that picture. It is however a perfect fit for that era and thus I've had the odd nostalgic experience of discovering new songs that remind me so fondly of my childhood music. Its as if I knew these songs already. A novel and rare experience that I've treasured working my way through the three records considered to be his best. I think I'll has a couple more to the playlist at some point next year!

My Top 10 Albums Of 2021

 
On reflection Its felt like a somewhat uneventful year musically. Now into the second year of this pandemic, the isolation and lack of normality has had me listening to less music and more podcasts. With seventy one records to pick from, it didn't take long for me to sus this list out with only thirteen or so making an impact. Thus the list reflects my taste with only two new artists of which one was more out of my comfort zone than the other. Its always my ambition to find new music each year but given the current circumstances I feel like I'm in a music rut of sorts, listening to to similar sounds.


(10) Hypocrisy "Worship" link

Speaking of similar sounds, its been far too long since I've had a dose of the Hypocrisy sound. Their return was a welcome one, delivering a class set of songs that riffed hard and recycled the vibes they are known for. I can't fault it, I've enjoyed Worship plenty of times since. I can only think of a missed opportunity for the paranoia themes to have more of a potency in our age of misinformation however It is more likely myself that has a different viewpoint from that of my youth when I found them.


(9) Malcom Horne "Infinity Volume II" link

Malcom's music was an instantaneous click for me. The first Infinity volume felt rather varied in focus and quality but had its mesmerizing moments too. This second installment has a focus, music for streamers! Now a regular feature on my own streams, the consistency of this larger basket of songs holds up well and continues to provide chilled classy vibes to relax with.


(8) Little Simz "Sometimes I Might Be Introvert" link

As a big, bold and ambitious record, Introvert has a few bumps in the journey that maybe held it back a little in terms of my personal taste. The good news is that I've enjoyed this one plenty since, which is the recurring point of this blog. The new and novel can often fade from ones conscious with time but this one held up! The rapid narratives and expressive excursions of thought she drives on with the opening songs is still a marvel!


(7) Billie Eilish "Happier Than Ever" link

A strong return for one of musics biggest starts. Happier Than Ever isn't quite as remarkable as When We Fall Asleep, however Billies strength of character and maturity is! Some of the lyrical themes here are so refreshing where Pop music it can often be fraught. I also think the stride for a little more musical diversity may have been a bit and miss but better to stride in new directions than stay in a comfort zone. Looking forward to more in the years to come!


(6) Turnstile "Glow On" link

I've been tempted to put their EP Turnstile Love Connection in this list. Its essentially the best cuts from Glow On, which in its strides to infuse Hardcore with some other influences, wobbled its way over the victory line. Its often the more Hardcore leaning cuts I enjoy as the vibrant energy they exude fades a little on the experimental cuts. One thing is for sure they are still swinging hard and one to keep a watch on.


(5) Spellling "The Turning Wheel" link

Spellling was quite the enthralling experience! A chemistry sounds reaching far in different directions and reassembling the influences like a breeze. On one had you can relax with the music and enjoy the wonderful songwriting. On the other you can get analytical and dissect, where a trove of interesting ideas is to be found both aesthetically and in the writing. Great record, sadly I didn't feel the same of Mazy Fly.


(4) Deafheaven "Infinite Granite" link

Of all the records on this list I must confess that Infinite Granite is one I have not returned to but its impression was a remarkable one. The reception was a bit mixed among fans but I was personally blown away as this engulfing musical experience unraveled. The cleaner vocals and 80s influences were a niche touch delivering an organic record with some intriguing extremes.


(3) Nas "King's Disease II" link

As one of Hip Hop's greatest, Nas has been exceedingly consistent in a genre often victim to high starts that trail off. With Illmatic he has a debut that could never be peaked but that hasn't stopped him from delivering quality and his inspirations has been stoked again thanks to fruitful collaborations with producer Hit-Boy. This second installment was a remarkable into some of his best rhymes in decades. Fantastic narratives and insightful expressions give it an endearing impression. I'd be keen to put this in his top three records and with a third installment on the way there will be more to enjoy but this chapter will be hard to top!


(2) Ministry "Moral Hygiene" link

Ministry have been a favorite "later discovery" of mine for some time now. The sort of band that would have fit perfectly into my youthful tastes. AmeriKKant was a welcome return at the time, now a little worn out, this new installment Moral Hygiene tackled the current social political climate again. This time around the mood and tone was class. Musically, it is more varied and interesting, wrapping with a stunning spectacle of an ending as the death toll keeps rising! I was blown away and am still this one!


(1) Lil Nas X "Montero" link

Never had picking my favorite record for a year been so easy. I was simply blown away by this record. Lil Nas X is an interesting artist, with much to say while captivating a mainstream audience in the process. Its not a place I'd expect to find so much musical maturity, yet here it is! A diverse record that balances popular light weight trap beats with a country tang primed to detour into experimental places that blossomed stunning songs. Its a remarkable record, setting a high bar for him, however the quality of songwriting here suggests this is no fluke. A follow up could be just as good!