Aurora "The Gods We Can Touch" (2022)

 

For the last two and a half weeks I've been rather engrossed In Aurora's latest offering. Its a warm invitation into a keen world of bright enduring melodies and fantastical sincere singing. Forged with a little folkish charm, it remains grounded and authentic. Once again Aksnes's voice carries a tune so powerfully, illuminating the already glowing notation of her well crafted backing instrumentals. Much of the music rests on a subtler moody sombre side, with these periodic bold strides into Electropop territory, stirring an excitement she remedies with words sung sublimely.

Picking apart the particulars of ones voice is a service words can't quite achieve but she has swiftly become one of my all time favorites. On this outing the performance expands with lyrical themes becoming more personal and intimate than I recall before. A handful of songs feel rather direct and vulnerable, an insight to personal struggles. Its endearing, bringing more humanity and passion to the music, less lofty in concept and theme. Not a sole focus, it arrives in balance with ideas more common for her.

The album has a great sense of flow, many moments of Ethereal calm seem to intersperse the jovial strides, as perky melodies played on pianos, strings and all between ride the surges of energy that arise. The compositions are expertly crafted with percussion guiding the songs through organic calms to then give its main moments more punch. Production is wonderful too, everything feels snugly fit in with reverberations perfectly measured to give the music depth and resonance.

 At fifteen minutes, things do fizzle out. A handful of the last few songs feel underwhelming in comparison. Its final song, A Little Place Called The Moon, has an experimental temperament. Aurora makes it work but the end result seems so different from anything before it. Its a hazy passage that seems the record off on a ghostly note. The Gods We Can Touch isn't perfect but I have thoroughly enjoyed my time here and its packed with some new favorites to return to on occasion!

Rating: 8/10

Kero Kero Bonito "Intro Bonito" (2013)

Dazzled by the dense musical exuberance of Civilization II, I now venture back to Kero's origins. This debut mixtape, Kero Bonito, was quite the surprise! A warm, happy and pleasant record finding its inspirations in the mundane and putting a quirky spin on its simple themes. This take shapes on two fronts. Singer Sarah Perry, often interchanging Japanese and English, sings slightly spoken accounts of many passages of daily life, distilling simple thoughts and concepts into plain language. Its charming, carrying no burdens or hardship, an innocent, carefree and fun little journey.

Instrumentally this spirit is captivated wonderfully by its embrace of often bold and cheesy synths from decades past. Drums punch and kick away in lean environments with a handful of chirpy synths chiming in, often punctuated by timely pauses for brief silences. Sprinkled with cultural and stock samples between its shuffling grooves, the themes draw from a variety of nostalgia and foreign places. Housed in great compositions, its brash boldness is truly endearing. Even the use of old 8-bit cat and dog synthesized effects bashed obnoxiously come across as good spirited fun.

 

Its an oddball record, a mad house of silliness landing on a genuine warmth. Not purely quirky though, flushes of creativity and dexterous keyboard playing inject bursts of magic on occasion. Its also quite colorful, bright and uplifting, a record to steer your mind firmly away from anything troubling. My favorite track has to be Babies Are So Strange. Everything about this song is silly yet in a great spirit, landing with a slight sense of tongue in cheek deepness on the "Child producing machine, that's what nature has designed me to be" line. This record has been a breath of fresh air, so fun and easy going!

Rating: 7/10

Koreless "Agor" (2021)

 

Now at the mercy of Spotify's algorithms, I find myself immersed in the unknown, the platform feeding me new names one after another from its playlist system. I have to be picky with where to go. On occasion, one artist will captivate my intrigue more so than the others. Because of the songs Black Rainbow and White Picket Fence, I had to go deeper into this curious musician who's take on electronic music was off the beat and track from what I am used to. Glitched out and mysterious, its popular songs morph closer to normal conventions. Getting deeper into Agor reveals a few typical fundamentals have been torn up and thrown out.

These buzzy saw wave symphonies simmer and fizzle in both texture and tone. Metamorphic and fluid, its oscillations sway and groove in ever changing directions. Somewhere in the mix, something holds center, either the variety of plucked instruments or bursts of rhythm and tempo that come and go. Even then, notes curiously slide up and down in pitch. Percussion is illusive, often forming out of burgeoning instrumentation, feeling occasionally poly-rhythmic as its shuffling glitches and choped up vocal samples make for mirages and illusions.

The result is unique, an identity unlike much I've heard before it. Yesterdays Oneohtrix Point Never has a similar experimental quality but Koreless homes in on something particular, with varying success to my taste. Again it is convention that aids aesthetic into form as many of these songs go on ciphered tangents. Melody rubs shoulders with frequency and sequence. Rhythm seems to had no steady footing and the Nordic singing sampled is rearranged in the most curious manor. The take away is similar, another curious experiment in sound design with a few moments of convention one can fall into, otherwise attention is jilted by all the quirks of its inspiration.

Rating: 6/10

Oneohtrix Point Never "Magic Oneohtrix Point Never" (2020)

 

Having played a hand in the production of Dawn FM, this curious hexagonal album cover lured me in for a listen. The one collaboration with The Weeknd himself serves as a bridge between the Synthwave stylings of that project and the artsy avant-guard electronic experimentation that adorns this record. Labelled as "Plunderphonics", the history of that musical term would suggest much of the strange distortions heard through the album are possibly sampled from well known songs. More likely it is in reference to the well known voices that frequently crop up in these esoteric sampling manipulations. It seems likely its many radio voices sampled mostly on the cross talk tracks may have been lent to Dawn FM's own thematic interludes.

Magic Oneohtrix Point Never is mostly a curious exercise in the depths of production techniques and studio manipulation. With heavy utility of effect plugins, the dynamics of sound are explored to illicit many emotional ambiguities. Like a quilt blowing in the whim of winds, its soundscapes morph and mold through the invisible hand of its all-seeing producer, an organic unraveling bleeding through many dimensions of waveform. Such is the nature of experimental design, that its meandering directions can drift on without direction, as it does in the second half of this record.

The first is where one can find some structured percussion and recurring melodies to fit into a more traditional mold. It gives the experimental and unusual synth sounds a context and format that is much more digestible and entertaining. Its aesthetics are given meaning through decent song writing. Its only a handful of songs though. Without that, every curious noise, esoteric texture and unidentifiable instrument ends up being a passing interest that after a handful of spins becomes dull. I can see how this record has been praised for the many remarkable sounds conjured but mostly lacking a form, it doesn't amount to much when aimlessly morphing through is bizarre soundscapes. A great listen but remains in the experimental lane that doesn't quite connect without normal conventions.

Rating: 5/10

Dagoba "What Hell Is About" (2006)

After writing about this French Metal outfits latest release On The Run, I realized I had already checked in with them a few years back on Black Nova. I'd forgotten much of that record and this one too, until a couple of spins had the nostalgia jogged with memories rushing back in! This was one me and my friends enjoyed on rotation during the heyday of the Deathcore scene, which they were not part of. With ICS Vortex lending his voice on a song, I suspect the discovery was related to Dimmu Borgir.

The bands aesthetic is a sonic assault of elasticated exaggerated grooves, playing out on seven string guitars. With a rhythmic battering from the pedal clicking drums and the aggressive roaring shouts of Shawter, the band have an intense sound constantly erupting head banging riffs. The ace up the sleeve has to be the synths that frequently shift in and out of focus, often layering in simple chords or single notes to beef up the musics atmosphere with an astral coldness. The precise mechanical slugging of brutal rhythms in between help play up an Industrial Metal component too. This chemistry is ripe for the elusive Future Fusion Metal genre label that never stuck around.

These songs are well written, balancing out the aggression with an uplift and respite as melody and "cleaner" singing work there way into some tracks. It gives the record pacing as it can't rely solely on chugging stomps of low end guitar djenting and pinch harmonics for its forty four minutes duration. The production is very much of the time, clicky drums and dense guitar tones making progress in sounding clearer but still a ways to go compared to where we are now. Give it some volume and it will sound great. Revisiting What Hell Is About has been a blast! It is always nice to unearth forgotten records and get a dose of nostalgia in the process.

Rating: 7/10

Chaosbay "Boxes" (2022)

 

Taking a page from the Periphery book, this German Progressive Metal outfit have forged a fine fusion of sweet Pop sensibilities and chunky Djent guitars. It oozes at the seams with color as its fine aesthetic powers through a range of pummeling guitar grooves through to gorgeous washes of bright melody. The two ebb and flow breezily, elasticated between extremes that offer no contrast. The mid track Lonely People champions this sublime chemistry. Its a four minute attention grabber swaying in with their heaviest sledge hammer of a riff, cruising onto the catchiest of choruses with the "I am afraid, What have I done? I've got this feeling the machines have won" line.

Singer Jan Listing has a wonderful voice. Delivering meaty screams and ascending with a sharp clean voice that soars, he moves with the musics gravity. His presence often bridges the melody, fostering a link from the menacing brutality of Djent slabs that pluck in and out of focus to form mammoth grooves. Between it all the music is embellished by both technical prowess and inspiration as guitar solos and other creative compositions give the five songs a constant stream of excitement.

The albums production is clear and pristine, It feels dense as the two guitars play compliment to one another. The one focusing on power chords and low end guitar notes, the other adding the melody with glossy acoustic guitars and gleaming melodies. Its quite amazing how massive this four piece sound together. Drummer Patrick Bernath also puts out a wonderful show of dexterity and creativity. A continuous source of exuberance for these five tracks. I'm frankly blown away, this has been a fine introduction to a band touching on a decade together. More listening is required after this fine initiation.

Rating: 7/10

FKA Twigs "Caprisongs" (2022)

 

I'm unsure of where to start, my thoughts on Caprisongs are mostly negative. Coming of the back of the remarkable Magdalene, these seventeen songs feel like a departure from concept, a pivot to the casual that get by with its most memorable contributions coming from other artists. I always want to hear artists try new things, not living in the shadow of what they have mastered but that is never a guarantee of success.

Of course, all of this is highly subjective. My impression of Caprisongs is a socially oriented album, a collection of personal moments. The records pacing is sprinkled with interludes, snippets of conversations with friends and no sense of urgency as many of the numbers take meandering avenues with sparse percussion to move it along with ease. The instrumentals are breezy unions of dreamy synths and snappy, creative drum grooves. Occasionally a little disjointed and experimental they mostly steer towards the safer, trendy modern sounds that are easy to get along with.

In the past I remember much of Twiggs's singing going to traverse interesting places, both individually and with the utility of studio manipulation. On this record however, much of that is void. Her tone and temperament is still charming. The high pitched singing is gorgeous but mostly its tame in comparison. Tame is a word I'd associate with many of this tracks. There isn't a lot of momentum or structure that doesn't dissipate the energy as its often dreamy nature has the music dropping out of moods its barely begun on. Perhaps my expectation are blinding whats on offer.

Either way, I've given it a fair try, after plenty of spins It just doesn't leave an impression. The two moments I most enjoyed most was the collaboration with The Weeknd. The two bounce of eachother well and the song has direction with its kick snare groove guiding us through. The other interesting moment was a recycling of classic 90s lyrics by Olive, "you're not alone, I'll wait till the end of time" on Darjeeling. That sent me down a Ministry Of Sound rabbit hole of memories, which was fun!

Rating: 4/10

Batushka "Carju Niebiesnyj" (2021)

 

Operating under the drama of band name disputes, here we have Krysiuk's Batushka marching on with a string of three EPs that passed me by. Perhaps I am only following Krzysztof's Batushka? The whole thing is a confusing mess of foreign names often interchanged with unique language letters. Either way this arm of the sound Litourgiya reckoned upon us feels stylistically cornered as this iteration of the band hash out a similar resolution across six songs. Sticking to their guns, the main focus is steeped in overtones to tie in a darkness counter to eastern orthodoxy of centuries gone by.

After many spins, that's left Carju Niebiesnyj feeling like a duller incarnation, throwing the same punches over again. Its one merit is in production, a sense of expanded budget falls upon its crisper tone where instruments and voices come across clearer. Even with that, some charm may be lost as low fidelity often stirs magic in the Black Metal aesthetic. Talking on the music itself, only Pismo V stood aside as an interlude focusing on a duet of male and effeminate voices, singing with deep reverbs to evoke a sense of biblical burdens bestowed upon church goers of a time and place now lost.

Otherwise its screams, bleeding guitars and batterings of blast-beats tread a familiar line. Its competent but expectant, leaving one with little more to remark on than the particulates of their unique take established six years ago. Its enjoyable, especially in the embellished moments where choir voices and eastern overtones take rise, most keenly on its closer. In the plunges of darkness speared on by aggression and fury, not so much. Ultimately, its been another case of Metal music played safe and steady where as I am seeking something different and new.

Rating: 4/10

Rich Brian "Brightside" (2022)

 

Dropping a surprise EP out of the blue, the Indonesian rapper Rich Brian returns with four concise and impressive tracks, with no mention of a fourth coming album. Still a youthful figure at 22 years, maturity is starting to show in his lyrics but more obvious is his flow. Tightening up the bars, increases the pace of his cadence, Brian commands these cuts on his own with one feature, Warren Hue, on Getcho Mans. Its a banging off kilt number led by a dirty baseline and oriental overtone. To me, Brian shows his inspirations a little candidly with his second verse. The delivery style gives me some serious Lil Uzi Vert vibes, particularly from the opening stretch of Eternal Atake.

With that one distinction, the rest of the music stands on its own. The opening New Tooth, a fantastic union of beat production and lyrical direction. Brian moves from fiery Braggadocio raps into a more reflective stance over the two beat switches. It takes the music to an emotive conclusion with its introspective pianos. Lagoon and Sunny split that direction apart further, the first a gritty brooding number muddying in darker spaces. The latter bolsters uplifting moods with motivational words. Brightside is promising set of songs for an artist who sounds like they are in a great creative space.

Rating: 4/10

Dagoba "On The Run" (2022)

 

I'm not overly enthused about this release. Its more of a passing curiosity for a band name I was surprised to hear are still going. Its was back in the early days of the Deathcore scene that my friends and I also listened to these French metallers who were in a different lane, the "Future Fusion Metal" breed that never really took off. Melding an earlier take on Meshuggah's chunky Djent guitars, blisteringly fast mechanical drumming and an atmospheric helping of electronic synth, they caught our attention. They have since seemed to of escaped my interest... Perhaps I should revisit that record? Take another walk down memory lane! Music is always infused with memory for me.

Anyways, On The Run consists of two tracks still in that vein, modernized and toned down in intensity. The opening title track however goes for an accommodating temperament, a duet with an effeminate voice fit for more than just Metal. I couldn't find a name, but she has a style that steers the music into the classic European scene of decades past where women really started to get a foothold in the scene. The soft blare of trance synths nestled in the mix gives it quite the pop appeal. Initially it felt a little contrived but its an easy going song with a darker leaning that's grown on me.

Its following songs get meatier, shifting emphasis to big stomping grooves erupting between rough shouts and screams. The synths tend to play accents on the unfolding momentum but too get moments to shine and play up the Trance and electronic club scene vibes. Its a decent chemistry that doesn't amount to anything spectacular but does no harm either. A little astral in places, they distantly remind me of Aeons Confer. This has been a reminder of how enjoyable Metal can be, even if not much out there feels fresh or different.

Rating: 2/10

Rachel Chinouriri "Fourº In Winter" (2021)

With calming, softly sung wordings and crafty subdued instrumentals, singer Rachel Chinouriri steers R&B to the shadows with gentle Ethereal vibes to forge a unique sound. These eight tracks fit snugly together as they ebb and flow through the cloudy ambiguity of dreamy sound manipulation and tight traditional arrangements driven by sharp percussive grooves. Throughout it all she remains present as both the focal point and as an embellishment of textural layering, the music being interwoven with vocal manipulations. It gives the music a warm and curious tone where shadows, darkness and limbo, the usual arsenal of words in my vocabulary for description. They just doesn't feel quite fitting for the direction she drifts towards.

At twenty three minutes its an indulgence that never falters, crooning through these timeless spaces where melodies have devolved into brief surges of ambiguous sound. Its an amorphous experience. Give Me A Reason kicks us off straight into its curious mood as the slow tempo and pallet of odd sounds work there easy wonder. The ending however sours, a collaboration injecting a plain talking male voice with a verse structure to switch the vibe up, a contrast that didn't offer much in my opinion.

All between is a wonderful ride. Instrumentally its vaguely reminiscent of Jan Amit, possibly some Post-Rock artists where sparse acoustic guitars and airy synths take over. Vocally its Billie Eilish but more so because of her soft and breathy, intimate performances. In borders ASMR on occasions, which more often that not, doesn't rub me the right way. In this instance it works so well with the dreamy atmosphere, most of the time... In one or two moments she goes a bit far with it. Otherwise I really enjoyed this gem, very unique, occupying an interesting space between genres.

Rating: 6/10

Dance With The Dead "Driven To Madness" (2022)

 

With several years passed since my plunge into Dance With The Dead's albums, this lively return, polished of with an aesthetic upgrade, has re-invigorated my interest in the band. Bolstering their metallic adjacent temperament with brimming distortion guitars and equally aggressive synths, the duo pivot musically to something akin to a breed of Synth-Metal where the horror inspired Retrowave aesthetic meets modern Metal song structures and metallic themes in somewhat of a perfection union.

This charge of ten songs is kicked of by a symphonic horror treat as John Carpenter lends his classic theme melody style to the opening March Of The Dead. The record then shifts into gear, stomping down with chunky aggressive grooves, interwoven by stylish, creepy movie inspired synth melodies. At times it embodies an Industrial Metal temperament, reminiscent of Rammstein in places. This aided greatly by its gorgeous instrumental textures that make the music a pleasure on two fronts.

With crystal clear instruments churning away in this superb production, one will pick out favorites among the grooves and melodies but one thing feels strikingly absent, vocals! Somewhere early on there was a soft choral choir voicing used but other than that its a wordless affair that I felt really needed a persona up front to guide its verse chorus structures. As someone who isn't all to captivated by lyrics it was peculiar to feel its absence. With compositions being recycled and only the occasional guitar solo to give it a voice, I could really see a commanding presence at the front elevating the songs. Other than that, this was a much better execution of everything they had striven for in the past, at least to my semi critical ears!

Rating: 6/10

God "Possession" (1992)

With a wealth of music just a few clicks away, my reading tangents of band connections, genre exploration and general curiosity is no longer manifesting an obscure list of music I'll never actually get around too. My recent unearthing of Techno Animal's Re-Entry led me to find out what its other half, Kevin Martin, was up to with God! What a band name, I wonder how it had not been scooped up early, perhaps held by some iconic artists. Its competition in the shadow of the church and religion is no cause for a lack of prevalence here, the music rather obscure and unwelcoming.

Labeled as Avant-Guard Industrial Rock and Metal, I thought there is a fair chance of finding some appeal. Sadly these length tangents of manically droning exhaust whats decent and smother it an onslaught of tonal assault that forever meanders on its repetitive structure less form. From its shortest four minutes into the lengthy stints topping out at seventeen minutes, every song hinges on a baseline and drum pattern backbone. It works away, iterating itself at the same tempo incessantly! Then a fog of samples, random noises, distant voices and a zany Jazz Saxophone slowly wash in. Each song finds its flavor, a distinction but they all grind on endlessly.

The Sax performance is rather impressive with some vibrancy and illumination often steered into a maniac frenzy of squirrely notes bordering on mental illness. Its other instrumentation, sometimes pianos, other percussive sounds and shrill sounds, often feel intentionally out of step with the core musical loop. Its result just doesn't spark a magic for me. A couple of songs may have a strong drum groove or meaty distortion guitar lick going for it but when that crops up, its repeated to death.

Don't get me wrong, I had a fair bit of fun with this. The first listen was the strongest with walls of maddening sound a treat to pick apart. The texture and intensity is wild on first glance but once a songs played twice its all to apparent how lacking the depth the project is. The songs have no direction other than to drone and all its ebbs and flows of accompanying madness just seem random and without much intent. Reversing those trends could of yielded but sadly the whole record is a bore.

Rating: 3/10

Pop Will Eat Itself "Cure For Sanity" (1990)

 

 Despite the disappointment of a "Grebbo Rock" record with Box Frenzy, I will continue my exploration of English genre mashers Pop Will Eat Itself. Spotify has alleviated the friction of research and investment into albums. Now any curiosity is just a few clicks away! With that I've also felt less of a need to go deep on records, the result feeling wonderful. The burden of expensive MP3s has been lifted and my ears are free to explore. Does that factor into why I enjoyed this hour of early 90s vibes so much? Probably, its nice to not have a thought gnawing at the back of ones mind about frequently sinking money into your listening choices when they turn sour.

Cure for Sanity opens up with fantastic sampled dialog of the shape of music in the fabric of society and outdated notions of how this should be controlled. Its sets a high bar for topicality that I never felt returned in the next nineteen tracks. Admittedly the cheesy 80s rap flows in British accents made for a lack of investment in the lyrics. Its following Dance Of The Mad Bastards feels like a send off to the Rock Rap crossover that made This Is The Day so magical, reusing distortion guitars and other samples that gave it identity. These snippets run alongside new sounds and a percussive drum loop fit for the coming Electronic scene of England in the early 90s.

From here the record strolls through a fair bit of mediocrity, leaving its metallic tone in the dust and stitching together newer moods and tones of the times in a heavy wash of sampling that will have you clambering to remember from what artists you first heard that sample or sound before. Again it includes many cultural snippets too, like the famous commentary and crowd sounds from England's 1966 world cup victory.

Going back to the remark on the yet to blossom Electronic scene, the better songs here seem to bolster House and Dance pianos that would be a staple style before long. Its other cutting edge is in percussion, many drum loops a precursor to Big Beat and the likes can be heard and all at the start of the decade. It would be so fascinating to see a deep dive on the samples and their place in the timeline. It seems so apt for whats about to arrive and undoubtedly wouldn't be possible without legal freedom for sampling at the time that what be drastically changed in years to come. Cure for Sanity is a fair bit of fun with a lot of mediocrity as many songs feel like a collection of sampling ideas. Luckily there is a couple of solid songs in here too.

Rating: 5/10

Kero Kero Bonito "Civilisation I" (2021)

 

 

 I've been diving into a few Kero Kero Bonito records and loving whats to be discovered! Initially, I didn't vibe as strongly with this other half to Civilisation II until I had the further context of their back catalog. As a quirkier, bold and colorful trio of songs, it seemed offbeat from the marvels of its successor. Released two years earlier, these three songs perhaps signify maturity over the period, however being new to the London based outfit, my passing thoughts are of little value currently.

 

The opening track Battle Lines bursts to life with a barrage of punchy instruments, a disorienting layering of cheesy 80s synth sounds reworked to produce a carefree, wonderus mood. Its zany synths jive unabashedly, jolting into life with sequences of notes that play like guitar solos, often seeming out of key initially and swiftly find their orientation with the music. Ironically its was the most jarring track but now the one I love most. The wildly animated nature of its busy instrumentals is remarkable!

When The Fire Comes drifts into a calmer, soothing temperament, letting Sarah Perry take a little more light with her keen singing voice. The steady percussion gives rise to layerings of gorgeous, vibrant keys. So easy to enjoy! The River follows up extending that warm, easy tone with its breezy synths making a mockery of its jittering percussion and sporadic bursts of odd synthesized noise effects. Its somehow dreamy, yet that drum pattern is so shaken and agitated! The chemistries these three conjure are simply wonderful. They are now the subject of my next musical journey!

Rating: 4/10