Type O Negative "World Coming Down" (1999)

 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Mudvayne "The End Of All Things To Come" (2002)

 

Following up on L.D. 50, here is another "what could have been" record of my Nu Metal era youth. I vividly remember a close friend showing off the album art and raving about the music. Of course Not Falling is now somewhat of a downtrodden metallic anthem. One for Millennials needing to wallowing in ones woes. Its a powerful but moody song, flexing between aggression, torment and loathing indulgences. Like their classic Dig, it builds to a fiery release of tension, unleashed with half of a bouncy groove still holding on to its grievances, never quite going all the way in.

The End Of All Things To Come was a surprising maturing of ideals expressed last time. Thoughtfully channeling the syncopation to impactful riffs, toning down the overt Korn influences, this cloudy chromatic aesthetic edges out more from Gray. He finds a range of unique strains on his vocal chords to fire frictions and contrasts with the de-saturated texture his band forges. The rhythm section has power in force, chopping out grooves while melodic outbursts seem sullen and rainy in muted vibrancy.

Considering its sixty nine minutes long, the record lacks bloat. A real sense of care surrounds these songs, traversing a broader multitude of ideas with refined craft and expressive intent. It's a subtle shift away from the bouncy boom of Nu Metal, a further exploration of Jazz and Progressive musical ideas. Tribbet's guitar riffs often slam simple rhythms housed in different time signatures. Backed by the creative drive of drummer McDonough and dexterous musicality of bassist Martinie, it plays a delight.

Moments of expansive percussion, utilizing tom atmospheric drums, hazy looping guitar leads and progressive song structures, alluded that Tool were likely a keen influence on the band at this time. This retrospective has given much appreciation for a band I once considered just part of the fad. Mudvayne have much more to offer than typical Nu Metal bands, this record really defines their creativity and uniqueness. I know things take a turn from here, to stay on this path could of really been something!

Rating: 8.5/10

Devin Townsend "Lightwork" (2022)

 

After two dubious lock-down escapades, Devin Townsend returns to form with familiar footing. Leaning into his glossed up, cloudy yet punchy production style, Lightwork makes fortunes of his friendly craft. With a familiar melodic styling, empowered voice and shimmering aesthetics, a listener is lavished with the finest, matured, wines.

After the rampant revival of prior paths walked on his Empath amalgamation, Dev's Heavy Metal antics of past get channeled to dramatic drifts and subtle surges of might potently deployed when asked of the music. Even extreme screams get buried, a deep rumble to electrify this synth tinged mesh of melodies resonating up top.

A theme of healing runs throughout. Dev's often soft timbre and gentle words stir a compassionate call to calmness on many occasion. The serine nature of steady acoustic melodies woven with sparkling synths seem a perfect match. Humble yet firm percussive grooves command the pace as a variety of instrument voices chime in.

Despite being so typical, once again Dev wins me over with his charm. However, Lightwork as a whole struggles after Call Of The Void. A shift to unsettled rhythms and quirky temperaments may be brief but the charming flow of its opening four isn't resolved again until a scaling epic, ten minute closer, Children Of God.

Rating: 6/10

Polyphia "Remember That You Will Die" (2022)

 

Last I heard of then Texans Polyphia, they were lumped in a then emerging Djent camp. Still echoing time signature grooves and the guitar styling of the scene, a clear evolution beyond it has served them well. Now they perform a smart, sophisticated game. Rocking jazzy, Progressive arrangements and mixing what would often be snubbed as technical "guitar nerd" music with Pop sensibilities. It commands ones attention, the two often opposed ideals meld invitingly when this quartet perform.

With an intricate approach, dazzling technicality and performative tenacity, crafty compositions of dexterous notations gleam with satisfying melody atop sharp percussive rhythms. A simpler key focus always captures ones attention while around it a whirl of showmanship embellishes an inviting idea into a wild ride of tricky performative art. Bass guitars slap and pluck away with impressive precision. Alongside, a three armed drummed who fleshes out tight fills and jolted hi-hat rhythms between electronic drums that snap and kick with a modern punchy brightness.

The records opening songs focus on the instrumental aspect with guests bringing pianos and horns to the mix. With ABC the focus shifts as quest vocalists and rappers really sell the pop appeal. Its a warm fusion, where the band revolve around that focal simplicity their friends bring. It gives the album another dimension to dip in and out of, keeping a fresh flow. Interestingly its most memorable moments are birthed from the catchy hooks guests bring. Not a surprise if you think about it. These things do tend to trump the incredible gifted abilities they have as musicians. Steve Vai signing off on the album closer is a real testament to their accomplishments as musicians.

Rating: 7/10

Matt Uelmen "Torchlight II OST" (2012)

Rejoice! A gift from the heavens, a FREE original soundtrack! If like me, you grew up on the music of Matt Uelmen's Blizzard classics Starcraft and Diablo II, then this is for you! Spellbound by his earthly incarnations of weathered stone age lands and the lurching mischief of a corrupt evil, the D2 soundtracks became frequent listening beyond the game itself. The broody, engrossing atmospheres Matt conjured stuck with me over the decades. Catching wind of his work on this soundtrack, released by the games published for free, peaked my interest. Bar its title theme track, Torchlight II is essentially another half to the classic D2 soundtrack that's so dear to me.

Its no understatement, the instrumental pallet is identical. Shades of all five chapters of the game intermingle. The cinematic orchestration unlocked with the Lord Of Destruction expansion pack a prominent feature too. Not just aesthetics and texture but the musical approach musters that timeless magic. Certain passageways bear a sparkling resemblance. Others seemingly direct incarnations or alternate takes. Once again we get to experience the mesmerizing layers of acoustic guitar Tristram blazed so brightly in Diablo's opening track. A song worthy of any curious listener.

Its a lengthy soundtrack, eighty minutes where new crevasses of his earthly musics are explored, always tumbling back into familiar feelings and arrangements, then to vanish again into something new. Its a delight. A literal dream come true. Too often have I wished for more and finally it is here, or should I say unbeknown to me for ten years! Nestled at the end, Camp Dawn is my favorite track, essentially the closest you'll get to another Tristram. Beautiful! I'm so thankful to have found this.

Rating: 9/10

Helmet "Aftertaste" (1997)

 

Lured to Betty by Spotify's auto-play, I thought a follow up on Helmets final output before a later reunion was due. By fans and critics alike, Aftertaste wasn't well received at the time. Its a mild affair but personally I've enjoyed this one. Harking back to their roots, Helmet pump out a rather stripped down, straightforward rendition of syncopated Drop D riffs alternating on shimmering shoe-gazing chords.

Effective and simple drum grooves build an easy framework for each song to deliver a handful of riffs that rarely venture beyond a few bars. Shuffling back and forth with monotone vocals overhead, It gets repetitious fast. Their songwriting finds little in the way of "special" or ambition, its just simplistic structures playing out their basic ideas.

Its all about aesthetic, If the mold matches your taste, then its worth a spin or two. Beyond that, I'm not sure much else can be found. Occasional compositions resonate well, poking its head above the mediocrity on display. For example, the opening riff of Broadcast Emotion melds a grooving riff with hazy texture wonderfully! On the other hand, its crass guitar solo not on the same level. This record is really for fans of Helmet, beyond serving that crowd, there is little to be said about the music.

Rating: 6/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Lorna Shore "Pain Remains" (2022)

 

With the huge springboard of viral success from last years To The Hellfire single, Lorna Shore have ample opportunity to stake claim in Metal's legacy with this new full length, Pain Remains. Leaning heavily into their breed of attention grabbing breakdowns, the lush orchestral thematic extremity on display gets smitten by sudden barrages of unmitigated brutality. Opening with a symphonic piece echoing Death Cult Armageddon vibes, its dark fantasy orchestration swiftly falls mercy to sporadic, murderous crashes of cold and cruel aesthetic abuse. Brazen pummels of lightning blast beats and unearthly demonic gutturals intrude, lunging its musicality into blunt, primitive howls. Carnal and crude in nature, its offering are slim past its inception.

And thus a truly interesting elevation of symphonic extremity gets subverted. The mighty, triumphant and mercilessly aggressive union has its fantastical themes abruptly diminished by these unconnected inhuman roars from an unforgiving abyss. Identity is lost as synths are stripped out, so to do melody and rhythm fall wayside to simplistic noise barrages. Seeming worlds apart, the immersive lather of strings, trumpets and horns integral to world building, slips into a void, in favor of brutal tropes.

For this listener, a sense of identity and direction for these songs failed to manifest. Where progressing with musical ascends and crescendos might be expected, all I found was the sudden dissolution of magic in the wake of its breakdowns. This was likely the intent, that all roads lead to their ugly abandon of over the top extremity. For me its a novel trope that undermined everything else. Fortunately its final three part title track ads a little saving grace, the best songwriting on the record where they have an opportunity to shine. But at the end of a grueling slog of intensity, it too wains.

Rating: 4/10

Mudvayne "L.D. 50" (2000)

 

As typical a Nu Metal band could get, somehow the depths of Mudvayne's debut record eluded me in my youth. No one could escape the maniacal assisted suicide anthem of Dig, a classic of the genre. Familiar with it, Death Blooms and a few others, I decided the deep dive was in order! Having now binged its downtrodden frustrations these past few weeks, I've unearthed a simultaneously intelligent and trope riddled record. Primarily just a curiosity for the times, I've enjoyed its offerings immensely.

Talking of tropes, the influence of Korn is undeniable. Obviously, syncopated guitars and the angsty, moody tone but more notably does Chad Gray emulate many of the quirky antics and painful inflections Jonathan Davis defined. It stands in contrast to his furious screams and vulnerably endearing clean singing that offers a refreshing individuality. He melds well with his fellow band mates, as musicians, they are clearly a step above their contemporaries when it comes to ability and creative execution.

A big takeaway from the attentive ears of a now seasoned listener is the technicality. Mudvayne were clearly flirting with ideas from Technical Death Metal, Jazz and polyrhythms. Bassist Ryan Martinie routinely counteracts the simplicity of dropped guitar riffs. With elegant, yet complicated finger work, high octave chord strikes and purposeful dissonance, a delight is revealed. His presence textures the music, adding dimension and stripping out dulling repetition where song structures retread riffs.

Also toying with time signatures and more ambitious syncopation, quite often will one hear brief echos of Meshuggah as stabbing guitar riffs jostle with unusual rhythms. This along with calmer moments, delivered by cold shimmering acoustic guitars, amount to a solid formation. On its journey, the ideas explored abridge Nu Metal with more musicality while compromising nothing. The result is a very distinctive sound, easy to cast aside by its tropes yet under the hood a trove of aggressive wonder.

With a depth of inspiration unfolding, L.D. 50 plays sweet and steady. Broken up by a handful of zany, ambiguous electronic interludes, its relentless metallic march is bridged to reinforce a maniacal tension even present in theme. So too do core songs offer occasional instrumental explorations Progressive and atmospheric in nature. With all these elements firing strong, its sixty eight minutes play exciting from front to back. I'm walking away from this astonished, the bands reputation deserves more.

Rating: 8.5/10

Gravediggaz "6 Feet Deep" (1994)

 

Unwittingly, I've uncovered Hip Hop's Horrorcore origins, a treasure trove of terror led by none other than RZA of the Wu-Tang Clan. United with The Undertaker, Grym Reaper, Gatekeeper and producer Prince Paul, this Rap quintet delve deep into life's dark sides. Graphic themes of death, suicide, murder, poverty and black suffering permeate. Both serious and comical, the latter gets punctuated by gruesome exacerbation of comic book horror tropes through verbal creativity. Its former sincerity makes use of thematic extremities to highlight the serious issues of street life.

I'd been aware of 6 Feet Deep's existence for decades. Despite an encouraging reputation, my playlist choices always gravitated to something else. Finally cracking the cookie, I'm overwhelmed by its fortunes. Slipping snugly into an early 90s Jazzy ruggedness, to many samples, flows and drum beats echo many favorite sounds, posing the tricky question of how it fits the tapestry. Warmer Southern tones turn up on Mommy What's A Gravedigga, 1-800 Suicide and Blood Brothers, the latter cruises on a chilling nightly tone with its shimmering pianos and danger lurking baseline.

Diary Of A Madman plays like a blueprint for what I know of Rap duo Jedi Mind Tricks, both beat and flows are uncanny. Many other songs conjure similar familiarity. A handful of verses spat akin to Ol' Dirty Bastard, and the occasional beat like Graveyard Chamber reek of Wu-Tang outtakes, perhaps leftovers from the era of RZA's Demo Tape. Recorded over the prior three years, overlaps with the nine are no surprise, yet Gravediggaz stand boldly apart with their own devilish identity.

The distinction is wild, leaning into theatrical cheesy horror tropes, grim lyrics get cut keenly into its topicality. A depth of cultural references finds its linage in the unsavory side of American cultural history. Experimenting with unhinged wordings and maniacal cadences on occasion, the music ebbs and flows between tongue in cheek humor and deadly frankness with more conventional cuts. Prince Paul's contributions certainly serve that convention, with RZA and other producers offering up the looser screws. All in all, 6 Feet Deep is an essential experience if a fan of Hip Hop's darker leanings.

Rating: 8/10

Old Sorcery "Dragon Citadel Elegies" (2022)

 

In concluding the "castle trilogy", Finnish composer Old Sorcery masters their mysterious craft. Perhaps one to be labeled a modern Dungeon Synth classic, Dragon Citadel Elegies culminates its finest aesthetics for an epic adventure. Woven with elements of Fantasy, Dark Ambience and soft touches of Berlin School electronics, a diverse arsenal of instruments converge on glowing visions. Both its lurches into foreboding darkness and deliriously majestic daydreams find cohesion. Across five mighty songs we explore the peculiar crevasse of an imagination so rich and lucid.

In spellbinding fashion, the grandeur of its themes smother the listener, a fine craft of composition and execution where very minute detail of design seems articulated with brilliance. The balance of intensities, reverberations and tonality of its instruments illuminate otherworldly tunes. This elevation of components seems steeped in unbounded inspirations. The quirkier, playful melodies seem almost Harry Potter akin, as magical bells jostle and chime in nightly gusts of wizardly winds.

Either lurching in cold shadows or bustling through night skies, a zest is always in the air. These paths are well walked as the music bestows a clear vision of fantastical realms home to magics that don't lean into the atypical moods this genre has become accustom with. This has always been a part of what sets Old Sorcery aside. Still growing as a musician, these stunning forty minutes gets at the essence of its identity.

The final song, A Haven, does linger somewhat on its lengthy exit. An intriguing start drifts into its most subdued passageway, however a transition to a final majestic curiosity seems intentional in design. Perhaps leaving us with an appetite for more? Its clear we have been treated to the best offering yet. Who knows what could follow?

Rating: 9/10

Helmet "Betty" (1994)

 

To discover Helmet, is to learn of the bridge between Grunge and Nu Metal. Familiar with their classic Meantime, Betty drew me in after Spotify's auto-play kept spinning I Know. The rhythm laden kick snare groove it opens held uncanny resemblance to Deftones' Around The Fur. The following loitering Shoegaze guitar chords present a striking affirmation of influence on yet another Nu Metal era band. These drifting, hazy, fuzzed out riffs seem seminal to the Deftones sound, leading me to wonder what else the record offered. Between the expectant roll out of syncopated Drop D riffs, dense and hazy showgaze aesthetics conjure a little atmosphere to counteract its grungy metallic stiffness. Its a warm, bold tone, lacking any lean to the dark or light and driven by competent percussive kick snare grooves. Bustling with choppy riffs, they routinely veer into that hazy texture. The back and forth is pleasant and undemanding.

Its other distinction was surprisingly that of Primus. Just a couple of songs venture into the bizarre oddities that their breed of the short lived Funk Metal established a few years prior. Its quite obvious, cheeky baselines, discerning noises and comical vocals break the sound suddenly. It works but lacks originality and serves to spice up an otherwise narrow sound as there is little to be found in the way of expansive song writing or progressive ambitions. This is straight riffs and Hamilton's meager cleans and reaching shouts tend to simply accommodate rather than spear on any energy. He definitely chimes better with the Shoegazing sections but doesn't feel like a key component of this simple syncopated style that would go on to influence so many bands. Betty is a really solid record, a firm execution of simple and effective ideas.
 

Rating: 7/10

Type O Negative "October Rust" (1996)

 

Smoothing out the oddities of torturous experimental sound design and crass, filthy humor, Type O Negative deliver a cohesive, lengthy album experience fit for a classic. Breezing past two brief humor driven tracks, Love You To Death embarks on chilly December moors. Cold winds groan as merciful  melancholic melodies descend upon on a cursed gothic romance. Stripped is the architecture of cinematic cheesy horror tones they previously yielded to sincerity. With a dreamy yet dreary aesthetic, imbued by fuzzed, hazy guitars and murky bass distortions, the record croons with affection.

October Rust's metallic foundations plays second fiddle to the manly sobs of Steele's engrossed voice. Soaring with emotive words, punctuated by cunning lyrics, he lands songs gracefully with infectious moods to latch onto. In duet with Josh Silver's keys, together they reign in a 90s spirit, yielding it to their own confessions in a glory of tuneful delights. Touches of the Alternative and Grunge sound lurk, even a smidge of Britpop akin sensibilities are heard on brighter numbers like Green Man.

Embracing warmth on brighter outings, so to do swings into dramatic sorrows and pains adorn this venture. Glorified by a passionate love of Gothic veneer, Type O Negative revel in the anguish of heartbreaks and loves lost. Thus its songs swerve the terrain of frosty landscapes in remarkably acute degrees. Both light and dark find unusual unions under brooding church organs, shimmering Shoegaze guitar tones and even a glistening Christmas bells on a mournful, gloomy Red Water.

Despite brilliance throughout, October Rust's second half steadies pace. After My Girlfriend's Girlfriend, a tongue in cheek romp, a string of excellence expires. The cover of Neil Young's Cinnamon Girl a further highlight and the concluding ten minute Haunting. Their absurdist humor is not lost, as the song abruptly ends during its Doom Metal parade upon lunging tempo and choral harmonies. I do wonder if it was brought about by medium constraints. After the sudden close, its final spoken remarks, "I hope it wasn't to disappointing" a crude one, given the wonderful seventy minute machination of Gothic majesty and 90s moods that proceeded it. A classic? Almost!

Rating: 9/10

Machine Head "Of Kingdom And Crown" (2022)

Flying on the spirited shoulders of front man Rob Flynn, Machine Head's one soul surviving member, a renewed lineup embark on a mission of defiant intent, to reaffirm their iconic demeanor boldly again. Pulling no crafty surprises, Of Kingdom And Crown rekindles the throttling metallic edge explored over their now lengthy history. Sadly, it arrives on shores of apathy. as my diminishing interest in the Metal treadmill grows. Its song writing may be cunning, the attitude ripe with passion and riffs as intoxicating as ever but a lack of originality breeds only serves a familiar serving.

Its one defining encroachment seems fitting to fail. The "woah-oa-woah" chorals, intentionally epic in shape and crudely catchy in execution just happens to be a cliche I'm not keen on. More commonly heard among cheery Electronic tinged Indie Rock of the last decade, Rob weaves it well into the aggression. As for everything else? A typical assemble of Groove and Thrash, woven in with iconic obnoxious fret harmonic abuse. It serves to paint its climaxes in a stale familiarity, fun but lacking freshness. Although wonderfully directed songs, catchy with steady progressions, the satisfying structures assemble an arsenal of riffs thoughtfully. Yet they blunder, as rehashing classic riffs from past records sours the potency of these peaks they strive for.

Where the record crumbles is in its mediocrity. Only a handful of tracks partially navigate these momentous intentions. Its darkly interlude muster little excitement and Rob's political resentments seem contrived, emerging as stiff frictions between words and the musical attitude. Of Kingdom And Crown may have octane aesthetics and lively execution but its contents are bamboozling, a case of deja-vu intent on a frothing urgency dulled by a lack of something new to say. Sure, one can have a good head bang and enjoy the energy, but ultimately its the same old Machine Head.

Rating: 5/10