Kero Kero Bonito "Time 'N' Place" (2018)

 Going forth with a bold stylistic shift, Kero Kero Bonito introduce a rather gristly over driven guitar tone into the mix! Not only do they dial back the childish quirk and charm established prior, the keys too recoil from punchy unabashed aesthetics. Time 'N' Place has the trio trying on new shoes. When sticking to their guns, they find a glossy, serine temperament stepping into classic Pop vibes with a modern edge. On the other front, hints of Grunge, Indie Pop and Shoegazing push them towards the uncanny valley as creative ideas clash with a touch of imposter syndrome lurking nearby.

Alongside the strives into guitar driven territory, the group take failing inspiration from the abrasive scenes of Glitch and Noise music. Three tracks in and Only Acting grates away with intentional CD skips leading into a ear aching assault of sharp fuzz on the listening. It seems so pointless, a barrage of disorientation that doesn't resolve to anything of interest. Fortunately these grating oddities are few and far between.

It doesn't look good among a series of misses. Opening with Outside, the Shoegazing kicks off on an odd note, not quite gelling with the sparkling synths found glittering around its chord progressions. From their most the songs land on odd footings, just not landing a charm as they low through a string of simple themes and old timely vibes. Late in the track listing, Sometimes is another stride beyond means. Aiming for a youthful, folksy pub sing along, the brash acoustic guitar strumming clashes with unrehearsed singing. The VGM 8bit synth jam that takes place alongside sours too.

Most the songs are inoffensive but oddly mediocre in the shadow of their other works. It makes for a dull, lukewarm listen that often drags. Bit of a shame considering how interesting I've found this group up to this point. In fact what comes after with Civilization II is remarkable, a major difference from whats to be heard here. Time 'N' Space feels like the new ideas they brought to the mix didn't have the chemistry.

Rating: 4/10

Old Man's Child "In The Shades Of Life" (1994)

 

Having concluded my recent Dimmu Borgir binge, the itch prevailed and thus it felt like the perfect time to dive back into the one man band of Galder, known as Old Man's Child! His solo project lurked in the shadows of Borgir over the years, following a similar temperament and trajectory for their take on Symphonic Black Metal. He would of course end up joining the group for Puritanical Euphoric Misanthropia and has since remained with them to this day. Its often been seen as his ambition, given how similar the two bands are. For fans of Dimmu it is a wonderful treat to have a collection of records so similar to their sound. I wouldn't say Old Man's Child is superior but its not inferior either. Galder truly does holds his own as a musician with a vision.

In The Shades Of Life is an old, crumbly, low fidelity five track EP, OMC's debut and my love of it is mostly born of youthful binging. Trying to be objective, its guitar tone is rather dingy, bleak and pale, similar to that of For All Tid. Galder's vocals are rather wild and unabashed. His serpentine rasping and ghostly guttural howls resonate off the reverbs they are delivered through. Whats peculiar is apparent on its opening. Contrast to its grittier metallic side, the Spanish acoustic guitars are gorgeous! Though standing apart in the mix, they bring a silky nightly tone to the music which the aggressive guitars plunge into darkness with an arsenal of grindy riffs.

As the demo album steadily blooms and more synths come into the mix, its clear Galder has a knack for composition. Creating scenic passes leading into his breed of Black Metal, he embellishing momentum with timely accents and melodies played on the keys. The guitar riffs often feel built for purpose, capable of driving on their own, yet in come the synths to elevate so often. Seeds Of The Ancient Gods is a great example of his talent. Despite the bleak guitar tone, the intro riff gets straight to work and the accompanying Spanish guitar ascends it to the next level.

I'm reminded of how genuinely fantastic this is. Even its blemished appearance feels like a mask. Galder experiments with some heathen clean vocals in a couple of spots, they seem off beat yet always manage to resonate in the quirky darkness he embodies. The outro track now strikes me as more remarkable than remembered, its lack of distortion guitars and creepy horror ending is another one of those Dungeon Synth moments occurring long before the genre name was coined. Fun fact, this demo was re-released with Dimmu's Devil's Path on a split album somewhere around the time Galder joined the band. I believe it is remastered and the original demo lost.

Rating: 7/10

Dagoba "By Night" (2022)

 
Having enjoyed the relative mediocrity of lead single On The Run, the bands newest and eight full length offers little more than the same tone set by its lead up release. By Night might parade past with a few scenic interludes and Synthwave adjacent electronic sparkles but the core of its music is as to be expected. The group aim sights on the more approachable spectrum of modern metal with simple song structures, attempting catchy hooks. Front man Shawter's rough and ragged singing struggles with them at every turn, his screams during aggressive stints competent but when reaching for cleans and melodic his ragged delivery lacks both tone and ability.

The record plays into a typical Synthwave theme, the nightlife, lit by neon lights which the lyrics quite explicitly state on one of the songs. It gives the music an easy vibe, something that passes by swiftly with little effort as the sways between jolts of stomping groove and moody, drawn out power chord strumming. The latter is where the main melodies hinge, often with the aid of subtle electronics that reinforce the vision through aesthetic. Its somewhat weak however, not finding a magic.

I've enjoyed each listen but I have been far from impressed or even excited. At this stage the band are in a comfort zone, lurking in the shadows of Metals drive into more Pop adjacent sensibilities. On all fronts its mediocrity at best. Nothing offensive but lacking any melodies that grab or even heavy grooves as most the bombast and low end guitar riffing ends up cornered by the mid tempo drives the album cruises on consistently. What their trying to achieve beyond proven means isn't paying off.

Rating: 4/10

Corpsegrinder "Corpsegrinder" (2022)

 

Although not their original, long time vocalist of Cannibal Corpse, Corpsegrinder, has stepped out on his own with this solo effort. Presenting his stage persona with a classic gory gruesome Death Metal album art, he boldly sets an expectation met on this self titled debut as a solo artist. Fans of Cannibal Corpse will adore, as Corpsegrinder brings his dense gutturals forth again, remaining as ripping and ferocious as ever. Its a typically blunt force barrage, a one dimensional performance that has his growl consistently groaning at the same resonance with next to nothing to offer in the shape of experimentation or variety. These lyrics too stick to his typical template, a slew of murderous fantasies depicting all sorts of horrendous nefarious activities and violence. The wording lacks anything not heard before, his plain faced descriptions hinge on ridiculous concepts of mental derangement and necrotic desire.

As a fan of his style, its tolerable on this thirty minute stint. Its his band mates that make the record charm. You might expect a meat and potatoes Death Metal experience, diving into the hardest hitting sound however the group frequently steer things more towards the subtleties of groove and bombast. Guitar riffs lead and drums reinforce, not always hinging on a blast beat. The chemistry is ripe as these mid tempo rock out tracks throttle through a keen arsenal of riffs. They gallop with bounce and energy between the grinds of snarly aggression. A similar experience to Bolt Thrower, using momentum and compounding groove as its heaviness, the kind of Death Metal I'm more responsive to these days. The song writing quality is pretty consistent too, you'll probably pick out a handful of favorites after a couple of spins. The massing force of Corpsegrinder screaming "There's no running from the punishment coming" and the slamming guitar riffs a favorite moment of mine.

Rating: 6/10

Sabaton "The War To End All Wars" (2022)

 

As a newly indoctrinated Sabaton fan, getting exactly what you wished for isn't always perfect. Released one hundred years after the end of its inspiration, their last album The Great War completely engulfed me. Understanding the historical context, learning about the individual history of each song through their history channel turned me into a believer! Much to my initial delight, The War To End All Wars simply continues that theme. The Swedish group dove deep into the history of World War I, leaving them with a wealth of inspiration, becoming the ten tracks of this newest album.

As I mentioned, this isn't a perfect scenario. With three years to dwell on the glory of its predecessor, the lack of shift in tone or aesthetic gives these new songs a large shadow they struggle to emerge from. Although its been less than a week since its release, I've wrapped my head around these songs on repeat and felt as if the formula of their War inspired Power Metal style prevails but only with the hallmarks and cliches very visible. Its no longer has the impact of surprise, muting much of my excitement.

That's not a put down on the music. These are fine metallic strides of fist pumping power and might, aligned with sharp, riveting rhythms to carry forth a sense of epic and glory. The group dominate with Joakim Brodén's triumphant vocals. The glossy melody resonating from its synths and lead guitars gives it a great sensibility. Sabaton are seasoned and it shows in both writing and execution. Its a stellar production, bold and bright, a gleaming aesthetic for their excellent song writing, which again does show its own tropes now that I am more accustom with their particular approach.

With every listen the last four tracks seem elevated to my ears. Starting with Lady Of The Dark, their tribute to Serbian combatant Milunka Savić kicks a little fire into the tone. Something about Joakim's plain faced, descriptive lyrics seem to strike a nerve, as they do again on Christmas Truce, a subject with immense significance. The lead piano's inflection of seasonal tone is very well handled. Versailles then asks the important questions of peace and loss and life, a powerful subject the band approach with a brimming jollity that then collapses into hints and what is to follow historically...

Rating: 7/10

Ozzy Osbourne "Bark At The Moon" (1983)

A stark realization has dawned upon me, I've completely neglected thee Metal legend's solo career. My youthful exuberance for extremity had me turn a nose up at many of the older acts. Despite loving his timeless voice, I'd only fumbled my way into The Ultimate Sin. Now dawns an opportunity! Bark At The Moon has lured me in and blown me away! I've got Heavy Metal fever and the Ozzy journey shall now begin.

Working with the same lineup as The Ultimate Sin, the blemishes of its older recording swiftly diminish as that same fantastic song writing emerges. Don Airey's keys have a stronger relevance, rising up to give each song a couple moments of glossy sparkle as they resonate alongside power chords. Ozzy's voice is timely and mighty, right in the prime. He has a knack of flowing with the music, the two bouncing of one another.

One track sticks out like a thorn. With golden strings and gentle pianos, So Tired embarks on a ballad of sorts. It has a strong sixties soul accent. Ozzy just doesn't seem a fit for the instrumental that embarks on a warm emotive stride. It would of been more fitting for Dusty Springfield than Ozzy, who's voice suits something more loose, less classic. The guitar solo too feels at odds with the songs soft temperament.

The other nine songs are all cut of the Heavy Metal cloth with blazing guitar solos and all. Mostly fun, upbeat tracks with pace, good vibes and a little groove. It never runs short on energy and gusto, up to the end do they bang out hits, each song hinging on a memorable chorus that Ozzy nails every time. I particularly like how Spiders lets the bass guitar lead the song to embellish its creepy mood with its brooding prowl.

Giving an analytical ear to the record there is a sense of trying to embellish the music with a somewhat, horror, Halloween or cheesy evil tone. It comes from its retro synths which jive in quite often for a few bars. They just sound dated and "of the time" to me now but perhaps were heard differently then. Either way it just works, the great songwriting beats out any dated tropes which it has a few of in its composition.

 

Rating: 8/10

Dimmu Borgir "Death Cult Armageddon" (2003)

 

A conclusion for now, the last of the great Dimmu Borgir records. Death Cult Armaggedon was the first release I lapped up as a fully fledged fan. Its nostalgia is immense for me. Having convinced my circle of sixth form friends to buy it on release, it became a soundtrack to our friendship exploring the world of extreme music. The reason I say Its the last of their greats is because DCA ventures into the lavish orchestral avenue, ditching traditional key tones. Both Galder and Silenoz's guitar styles undergo an evolution away from constant power chords too. Although these songs are a far cry from their classic sound, this stride is phenomenal and everything they tried is golden. I can't say the same for the following In Sorte Diablo.

Song after song is utterly embellished by the orchestral instruments. Dimmu's extreme metal aesthetic would sound lost without it. The union is wonderful, bringing a rich sense of cinema to the drive of Barker's batter drums and aggressive guitar grooves which stomp and grind from end to end. A couple songs, namely Lepers Among Us and Cataclysm Children, ride the storms without the Prague Philharmonic Orchestra behind them. Evenly spaced, they break up the albums flow, injecting more devilish brutality as Dimmu get into some of their hardest, crunchiest songs to date.

The album excels on all fronts but as Dimmu do, their song structures always lead to interesting places. Plunges of darkness and other abstract arrangements give each song a real trajectory to venture upon after the verse and chorus have been established. Each song has a defining component, a special musical passage, making it hard to skip a beat. Perhaps more so than any record before it, they get a little closer to a whole experience. DCA is one album I love to listen to all the way through.

Everyone is pretty much on their best game. Shagrath delivers his demonic howls as usual with some adventurous manipulations too, possibly with the aid of pedals. It contributes to the albums lean and mean texture, occasionally with an Industrial brush as mechanical noises and swells of ambiguity feature sporadically. Its a harsh, rapid storm of malevolent metallic music that evolves across its ambitious arc. First with Blood Hunger Doctrine, DCA open up. A slower tempo pounds out a thumping groove from the rhythm section and offers respite on journey to a fantastical conclusion.

ICS Vortex unleashes his beautiful heathen voice on the albums second Norwegian track. The chemistry with the pianos is stunning. I love how this band can fit illustrious melodies between rapid blast beat assaults. Eradication Instincts Defined is where the concluding magic begins. Its orchestra into so memorable and vivid. One can picture the devastation war brings over the natural beauty of mother earth, as if flying over the fields of war. Shagrath crashes the song into a fury with a length scream that sets this epic on its way. Its lengthy venture leads us into the sirens of war and devastation as the albums longest number unfolds after it.

Unorthodox Manifest's audio scenery of war depicted against the cry's of hail Satan sets off a chilling saga. The band pivot from what seems like a regular song into some of its harshest blasts, leading into a roaring epic, flush with melodies and amazing guitar solos that interchange and play off to the highest magnitude. Its such a surge of energy, that seems like only a fade out was appropriate, unable to land the beast they unleashed with a single strike. Its one of the bands more remarkable songs.

Although I often consider the three prior albums to be superior, writing my thoughts out on DCA makes me reconsider. This was a group of musicians with far more maturity and direction then they had armed themselves with before. Galder and Barker brought much to the band, transitioning them again to the frontier of Extreme Metal. Although Dimmu are considered Black Metal, its far from the tradition. They are their own powerhouse of evil and on this occasion manifested a vision to perfection.

Rating: 10/10

Dimmu Borgir "World Misanthropy" (2002)

 

I just couldn't help myself. There is yet a couple more Dimmu Borgir records I desire to write about. World Misanthropy is a six track bonus disc, part of a DVD released the year after Puritanical Euphoric Misanthropia. I actually have the vinyl edition, a nice rarity! As far as additional music goes, Dimmu have stated they have pretty much released every song recorded and this EP only offers one additional song, as well as a re-recording of Devil's Path and four solid live performances from Wacken 2001.

Until writing now, I had never pondered where the song came from. Masses For The New Messiah sounds very much from the Spiritual Black Dimensions era. Its lack of an Astennu solo hints it may have been written after is swift departure. Its lead guitar melodies ring in Silenoz's ETD tone. If it was a left over, the weaker intro my explain why. The first minute or so pushes big cheesy synth hooks that get recycled a couple of times. Everything outside this chugging grind of bold aggression is wonderful though. A lavish exploration of darkly synth manifesting through a variety of passages. It leads to a gratifying conclusion of serine uplift and sparkling keys glistening over top of drawn out power chords. It does plunge back into the shadows of aggression right at the end, feeling as if a climax for the song happened to eluded the band.

The re-recording "Devil's Path 2000" has a welcome glossy acoustic guitar intro stitched in the front. As a song restoring the power of their old sound, its additional infusion of keys over its brimming distortion guitars gives the song a revitalized glory. The guitar solo is completely rewritten too, going for a scaling Power Metal vibe. I think I prefer the original solo more. The rest of the song could be "better" but honestly they feel like different interpretations. The original, a darker meaner beast and this newer one gives more weight to the respite and uplift from its evil dimension.

The following four live songs are fantastic. Unlike Godless Savage Garden, the audio quality is a lot better. Only the guitars seem a little quite and guarded. A few vocal switches, baseline changes and synth arrangements give a keen fan something to latch onto for the live performance too. The band execute the songs wonderfully. Between tracks Shagrath gives me a mighty laugh, declaring "Darkness has its attraction, which everyone can feel! Only hypocrites deny!". Hilarious, love this band.

Rating: 6/10

Judas Priest "Turbo" (1986)

 

Feeling nostalgic and adventurous for more Heavy Metal, I thought id check out the controversial record released a couple years before Ram It Down. I barely listened to Turbo in my youth as it was often cited as their worst album. Interestingly it made for a commercial peak at the time. Title track Turbo Lover is also a cracking classic they still play live to this day. The critique I remember used to focus on the inclusion of synths, something they had not done so bold before. Having given it a good go, the electronics are barely a fraction of whats wrong with Judas Priest's tenth, Turbo.

 Softening the edges of their metallic might and looking for anthemic vibes in all the wrong places, Priest essentially miscalculate their strengths. Pivoting to themes more fitting of partying, excess and love. The records overall tone seems have one foot in the Glam Metal trend of the time. Every song brings a bigger than life attitude looking for the sing along stride of the time, which on paper it achieves but the you can sense the crowd pleasing lyrics falling flat. Oddly, this isn't too far from their kettle of fish but Halford's lyrics just don't strike a nerve. He doesn't feel authentic or real, often awkward or uncomfortable. its as if he is on auto pilot at someone else's show.

Its all so odd, song after song checks all the boxes yet it plays through a musical uncanny valley. The big riffs rock hard and wild guitar solo's blaze over top with that classic Downing & Tipton shred but it never escapes the gravity of its own softened tone. The old school analog synths don't flip the scale in either direction. On a couple of songs they are more prevalent but its mostly a soft aesthetic dressing. It is the Glam persona they attempt to take on that's mostly to blame. Wild Nights, Hot & Crazy Days is probably the best example. Halford crams all the lyrical cliches in but despite his phenomenal presence as a timeless front man, It doesn't suit them.

Turbo is a strange experience. On one hand I do kind of love the overt cheesiness, more so the delivery than words. On the other, it all plays with an awkward misfire that fails to land emotionally. The album does deliver another cracking tune tho. Locked In just about beats the Turing test. Its big crooning guitar notes and warm bass drive is a gorgeous moment. The synth break before the solos is fun too. Its no secret as to why this one is so contentious but that's nothing to do with the electronics. Its the song writing and lyrics to be blamed. I'm glad I checked Turbo out but I wont be returning.

Rating: 4/10

Author & Punisher "Krüller" (2022)

 

 Krüller is fantastic. It had me going back to Beastland to feel the difference, which is colossal. Author & Punisher is an Industrial musician with an edge. Using his own custom built VST controllers, Author manifests a physicality to his music. The punishing landscapes of weighty mechanical monotony birthed through sweat and tears. Beastland had a unruly harshness about it. With time, it faded from memory. Krüller on the other hand opens up with streaks of color nestled between its slow grudging strikes of percussion. His voice, now melodic and sustaining, gushes with painful emotions. Alongside the streaking synths that burst brief sparkles of reprieve, it becomes a memorable craft. The best of this musician I've heard to date so far.

Although this mostly speaks to the opening song, the through line is often the relation between voice and what offerings of melody come by. The record is dense in atmosphere, a wash of fuzz and static broken apart by the smashes of snares and collisions of kicks as its percussion arrives with a force overcoming any obstacle. They drag and groan, slugging with a lethargic crawl that subtly gives way to the fuzzy atmospheres as the record broods with each passing song. Through its lengthy drives, often six or more minutes, creeps of resolve briefly emerge, always fizzling back to the shadows. Its a burdensome experience. One worth enduring for its glimmers of hope.

Glorybox is my favorite song. The gravitas of pain the album encompasses initially had me hearing it as a transsexual expression. The cries of "Give me a reason to be a woman, I just want to be a woman" so harrowing and wrought with anguish. It mirrored pains of bodily identity, however turned out to be a cover of Portishead's original. Now I know it, I can hear the difference in the music, best revealed by the guitar solo. It still is a remarkable cover on a brilliant record that may be a little to weighty to remember every moment with the same thrill of its better parts. It must be said its peaks soar to a punishing and unique place you wont forget in a hurry.

Rating: 7/10

Kero Kero Bonito "Bonito Generation" (2016)

Following their debut mixtape Intro Bonito, the London trio known as Kero Kero Bonito polish their sound for a sophomore effort that rides the curtails of their quirky warm persona. Bonito Generation doesn't stylistically evolve as much as its aesthetics are refined with a touch more welcoming tone. Stagnation seems prevalent, conjuring similar moods and feelings from their smiley place of simple thoughts and life's innocence. It doesn't pack quite the punch with surprise no longer being a factor.

That's not to say its a bad record but both the instrumentation and lyrical themes roll off lukewarm as the tracks are packaged into simpler song structures. Slower melodies, gentler percussion and a sense of safeness permeate. Bonito Generation is less adventurous, lacking creativity and sparkle. Thus Sarah's easy expressions of her college life tend to lull into a mediocrity. At its most off track, the band infuse casual communications and Japanese lyrics but its not the saving grace the music needs.

Trampoline is the records best track as the simplistic language and metaphor finds a space to feel a tad absurd when it revolves around the jumping mat. The song has a little more of a club vibe with its colorful synths and tight percussion, something one or two other tracks do but its not enough to give the record edge. This one really hides in the shadow of its predecessor, somewhat of an autopilot experience. Its competent, enjoyable but lacks the dazzle of Intro Bonito.

Rating: 5/10

Andromida "Hellscape" (2021)

 Naturally my enjoyable experience with Voyager had me curious for more. Clicking play on Hellscape, I immediately knew what would be next on the playlist. Kicking of with Havoc, the album blasts off with a banger of bouncy low end djent riffs and siren synths painting the hellscape its title suggests. The album art too hints at whats in store, as this particular approach to Metal with a heavy dose of dystopian Industrial synths is in tribute to composer Mick Gordan and his atmosphere defining Doom Eternal soundtrack, which aesthetically caved itself a niche in the Metal universe.

Sadly, others replicating this fusion of textural guitar barrages and hellish saw synths on overdrive tends to be hit and miss. Opening with its best track by some distance, Havoc embodies the best of this aesthetic. For the album experience Hellscape feels constrained by the narrowing options sticking to such a temperament imposes. Unable to escape the drive of eight string might and gravity warping synths, its flushes of string symphony always tied down to the monstrous weight of its dark demonic roots.

Subtle club drum grooves and nightly Synthwave vibes emerge on the journey. scenic guitar melodies expand horizons but the climax always falls back to the chug riffs and evil slam of the synths. As the album draws on, I'm reminded of Skrillex and the Dubstep drop fad, as the machinations of these two seem to get progressively more random and obnoxious in search of new grounds it never quite lands upon.

Only briefly on a couple of occasions does the intensity let up for some atmosphere. The respite serves it well but as the demonic onslaught marches on, it becomes clear this is a tribute to the game. It feels like a compliment to the Doom experience, the unrelenting tensions and onset of dread as demonic hordes descend feels intentional. Hellscape is a love letter to the style from a very competent musician and producer. Unfortunately for me, the style doesn't quite amount to more than the sum of its parts.

Rating: 6/10

Dimmu Borgir "Godless Savage Garden" (1998)

In the imaginative realms of "what could of been", Godless Savage Garden always haunts me with its utterly majestic, fantastical offerings. One can only dream of what a full length may have sounded like. Wedged between Enthrone Darkness Triumphant and Spiritual Black Dimensions, the two original songs of this mini-album are remarkable. Both in tone and composure, its slower pacing, drenched in esoteric symphony, the dynamic and spiritually memorizing guitar solos of Astennu. It all marks a band advancing boldly into new territory. Although recorded in the ETD sessions, to my ear they lean towards my all time favorite record, SBD.

Chaos Without Prophecy is an utter delight, its slow beefy power chords and altering drum intensities let the synths set a darkly atmosphere. Shagrath storms in with phenomenal screams on the back of bouncy guitar riffs, resonating with a glorious bell chime. In its lengthy seven minute duration, the back end of the track embarks into a slow brooding drudgery of mysterious intent. Its haunting, creepy and rife with witchery. Moonchild Domain has a comparatively upbeat tone, more of a colorful voyage through dark arts and cryptic magics as the ride is punctuated by glorious pianos and bursts of lead guitar. The drums its housed in batter hard at times with big pedal grooves and lots of complimenting intensities. This all leads to a gratifying guitar solo, blazed by Astennu and his ponderous nightly character.

The other tracks consist of two fine re-recordings from For All Tid. They do an inspired repurposing of the bands once glum and odd atmosphere to this mighty powerhouse sound of rocking Metal and satanic darkness. A cover of Metal Heart by Accept plays a fantastic tribute to their influences. Although the song is not their own, parts of it feel very fitting for Dimmu. Beyond lies live recordings. Not in the greatest fidelity, they are a fun insight to the live experience but sadly feel like filler. Perhaps plundered around obligations to release a record.

As described, Godless Savage Garden brings two of Dimmu's finest songs at the crossroads between records. The particular spirit they share is defined enough to create a glimpse of something special that could of taken place. Maybe in another universe. Who knows. Anyways, I think that about raps up my tangent back into the origins of the band for now. Someday I will get around to the other three or so records I'm yet to cover on this blog. I look forward to it!

Rating: 8/10

Animals As Leaders "Gordian Naught" (2022)

 

Now approaching six years since The Madness Of Many, this technical trio led by the trailblazing Tosin Abasi and his phenomenal guitar skills, have another album set for release next month. I'm unaware as to if these tracks will grace the record but I must comment that a preference is to be found in this trio of songs in a shorter context. Without a vocalist, looping structures and repetitions often feel drawn out despite the magnetism the band have. At eleven minutes, Gordian Naught is a bite sized delight of the latest cuts from the Animals As Leaders camp.

Sadly, despite much enjoyment, the needle has not moved far in terms of style. The group are still exploring the veracity of timely executions dissecting chugging rhythm and dense aesthetic. Often abstract guitar and bass noises become a facade for extreme polyrhythms and dissonant grooves. The percussion is a particular persistence of ambidexterity. A technical feet of ability, weaving in detailed beats flush with delicate intricacies around the battering picking sequences.

Its best moments are at the intersection with convention. Luminous colors arise from its electronic synths or melodic lead guitars, breaking up the impressive but monotonous drives of its intricate rhythms. These moments are gorgeous, open and expansive. Pivoting from the dark and mechanical into streams of uplift and light. Its jazzy, emotional and soothing yet doesn't come along often enough.

Title track Gordian Naught is the chugging powerhouse concluding with a mighty discordant breakdown. The Problem Of Other minds opens up the colors with synths and leads. Monomyth then elaborates further, its curious background bells giving its grooves feeling. As it drives harder into the mechanical feet, its pivot out feels more gratifying. In that moment it is the most satisfying, better of these new songs.

Rating: 3/10

Stormtroopers Of Death "Speak English Or Die" (1985)

 

This classic record has been on my radar for years. Having finally plunged in and gotten to know its flavor of chaos, the year of release endows a context of immense appreciation. Before Slayer unleashed the unbridled fury of Reign In Blood, here stands one of the first Crossover Thrash projects encroaching on that timeless intensity. Stormtroopers Of Death is somewhat of a "supergroup" uniting musician from either side. With an intentionally unsavory and controversial, politically incorrect theme, they converge at a furious intersection of Thrash Metal and Hardcore Punk. The result is a wild, uncompromising assault on extreme music of the time. Perhaps Metallica's Kill Em All was the cutting edge before this? Although it may seem tame today, I find myself stilled stunned this was released in 1985!

Boasting big gritty distortion guitars, the fast and choppy slaps of power chord shuffling gets amplified by a fantastic percussive performance. Charlie Benante is a powerhouse of Hardcore groove and Grindcore blasts as his drumming often derails from mosh stomps into loose thumping rattles of chaos. Its an old-school flavor of blast beats so uncommon now yet it sounds utterly fantastic when unleashed. Its the duality with Scott Ian of Anthrax who, for a Thrash guitarist, gets the Hardcore energy just right. The constant shuffling between moshing grooves and unrestrained extremity is fun and fast. The songs blitz through an arsenal of riffs and ideas that simply excels.

The majority of songs clock in around two minutes. A helping of very short stunts chime in too. The six second Anti Procrastination Song a particularly fun one, an idea preceding Napalm Death's Guinness world record holding "You Suffer". All ideas are explored swiftly, rarely lingered on for more than a grasp of whats going on. They tend to roll into one big wash of frenetic aggression as its pummeling charges roll out the punches over and over again across its twenty one tracks. It does end on a bit of a whimper, limping out on a string of jokey seconds long songs that don't land well.

Often abbreviated to S.O.D, I realized the song Pussywhipped was mistaken for System Of A Down back in the file sharing days of Napster, a common issue with the service. It brought quite the smile to hear an oldie from my school days. I always thought it was an early band demo or something along those lines. Its also one of the albums best songs with razor fast riffs switching into big bouncing grooves as the drums batter down hard with snare rolls. I'm left with no illusions about how significant this record is in the landscape of extreme music. I reckon it will only ever grow on me with time. If id discovered this in my youth, I'd probably be worshiping it till this day!

Rating: 8/10