Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Malcolm Horne "Frost Walker" (2022)

 

Released Christmas day, with seasonal, wintery hints in theming and bowing out on a familiar festive melody, Malcolm Horne gifts us a mini record for the holidays. However Frost Walker's synergy doesn't house that timely cheer. These are rather typical sounds for him. Leaning into the soft and gentle, breezy side of mellow Jazz Hop beats, the instrumentation croons in its gorgeous setting. Roomy pianos, glistening bells, humble organs keys and echos of drifting acoustic guitars shimmer above warm bass resonance. The spacious groove of sparse bass kicks and snare clicks guides tempo, anchoring otherwise lofty music that could almost drift away without it.

Frost Walker is one for the vibes, a mood setter. Its occasional voicing of soothing saxophone seeming like an ethereal voice in the winds, aching to roar yet subdued on this instrumental voyage. Its pleasantries are welcome company, a warm fuzzy set of songs with the easiest of pacing. As often happens with seasonal suggestions in music, the tone seems flipped to my mind. I hear cool summers days and relaxation. Not as wintery as intended for me but a welcome set of songs to mellow out with.

Rating: 5/10

Rune Realms "Caverns Of Gemfire" (2020)

 

Unlike the aching curiosity and gleams of majestic beauty Secrets Of The Deepwood possesses, Caverns Of Gemfire passes one by with a gently brooding and indifferent unease. Brought about by tensions in softly groaning bass synths, It too lacks a sense of being, intent or presence. The record plays, once again, like scenic explorations. Sites of calm and stillness visited, yet their wonders remain sequestered from contact.

My frame of mind could influence perspectives but I suspect it is not so. Unable to escape the disquiet bass murmurings of Caverns Of A Hidden World, Spire Of Crystal Spirits and Hidden Builders Of Gemstone & Crystal, their is a definite tension reflecting the empty solitude of lonely caves and caverns. Devoid of life and sheltering perilous conditions for such, these atmospheres carry a quiet impersonal hostility.

This darkness fluctuates back and forth with the presence of its plucked instruments. Gleaming harps, crystalized bells and subtle strings of warmth add shimmering spells of mystique to an otherwise cold and inhospitable terrain. One would not wish to be trapped within these spaces, yet through the expression of this crafty musician, another distinct sense of place is arrived upon. Seemingly simple in construct, the emotional magic mother nature provokes is achieved again in auditory form.

Rating: 6/10

My Top 10 Music Discoverys In 2022

The relationship with music is changing. Having adopted Spotify, I not only have access to a larger library of music but the whims to pursue sounds at the click of a button. With this, I've found many new acts and novelties I'd of missed out on as a purchaser of records alone. Its been my most "productive" year with this blog, amassing 217 entries. I've also decided its time for a change. In the coming year I want to lower the amount of albums I get stuck into and focus on more of an transient experience, following my fancy and committing to records only when they seem to show something of merit. This means less dissections on music that didn't click, a shift to focus on what resonates deeply. My goal is to make next year the richest reading experience, yet not abundant. As for discoveries, there were plenty to pick from but a group of clear favorites emerged swiftly.

(10) Old Man's Child

Not a discovery but simply a joyous journey over a bands discography from the years of youth exploring Symphonic Black Metal. Revisiting these Old Man's Child record's brought about immense pleasure, unearthing a few new gems too with the albums I didn't fully digest back then. I'll always have a soft spot for Galder's solo project and last I read, we might get a new one in the next year!

(9) Toadies

Although it was the lone record, it left nice to get stuck in with a sound that an older me would have turned a nose at. Their Alternative post-Nirvana sound is not one I am familiar with but the character of these songs and the energy they roll out with struck a vibe. Perhaps one to go a little further with!

(8) Kero Kero Bonito

With quirky pleasures of simplistic expressions and lively instrumentation unabashed by aesthetic, often more musical merit than initial impressions, Kero Kero Bonito made a splash with a style marked by childlike innocence. Their youthful joy and happy energy ran counter to my musical norms yet with an open mind I found a fond connection to uplifting and spirited music, occasionally wrapped in a contrasting twist.

(7) Timewave

Soundtrack to my summer holiday ambience, these lengthy stints of lively Pysbient Downtempo bangers scratched a niche I rarely encounter. Much of the electronic music scene explores vibes and melodic styles that don't resonate with me. This shift to an astral, cosmological focus gave it exactly what I needed. Since discovery, its been a constant throwback when in need of energized focus.

(6) Kyros

One of Spotify's recommendations, something that will dominate the list next year no doubt, is Kyros. Reset/Rewind is still a juggernaut song that I can't get enough of, yet plenty more we to be enjoyed in this Progressive Metal band's discography. They have a distinctive expression and when it comes together, its wondrous yet their output is somewhat mixed. I have no doubts they could pull off something remarkable so anything new will come with giddy speculation!

(5) Tamaryn

With roots in Shoegazing and Cocteau Twins influences, Tamaryn's steady progression over four albums to Synthpop is where the magic lies for me. Each record has matured with Pop sensibilities that resonate strongly. Ditching dreary guitar aesthetics and incorporating bolder, punchier melodies was a delight to behold. If this direction continues, the next installment could be something special!

(4) Dreamstate Logic

Always in search of cosmic ambiences, the discovery of Dreamstate Logic was a blessing. Not only a dense discography of records with a keen focal point on mellow spacey Downtempo drones but a license to use the music commercially. Therefore, it has been a welcome soundtrack to my livestreams, creating a cool, calm atmosphere fit for introspection and astral thought. The pace and temperament is perfect. Plenty of Synth lead lulls that gently swell into drum lead grooves. A pleasure to unearth.

(3) Andrew Odd

Discovering the term Pysbient led me to Andrew Odd, who also operates under the alias Timewave. His distinct approach to melding Psychedelic, Berlin School adjacent synths with cosmic ambience and the steady blooming of Downtempo grooves struck a nerve. Of this genre I have dabbled with through the aforementioned artists, his Random Thoughts record moved me the most. Its energy another to invoke deep focus and relaxation when needed.

(2) Matt Uelmen

Matt Uelmen is no stranger to me, in fact his Diablo II and Starcraft soundtracks have been an eternal source of endearing warmth over the years. Deeply tied to youthful nostalgia, imagine my astonishment when discovering his Torchlight II soundtrack was built of the foundations of that Diablo magic. A gift I have literally dreamed for over the years. Normally reserved for artist discovery, this record had to make the list.

(1) Type O Negative

A name I've known over the years, possibly once encountered directly yet was never taken in by. It took a friend to nudge me into the dreary heartbroken beauty of Type O Negative. Eclectic and estranged, their musical genius stems from the sluggish carved grooves of Black Sabbath and chirpy appeal of The Beatles. Yet these pillars manifest into romanticized Gothic soundtracks, oddly brash and deeply emotive, the expressions of Peter Steele are immortalized in the soaring brilliance their songs offer routinely. Between enigmatic anthems lies an unrestrained creativity, peering into Hardcore energy, metallic sway, Noise aesthetics and Pop Rock sensibilities with a most curious origin. The union of these four men is a blessing, one for the ages. I can only dream of discovering more deep connections again. Type O Negative have touched the peaks of my personal musical landscape. Brilliant.

My Top 10 Albums Of 2022

 
Reviewing the shortlist, It didn't take me long to pick out ten. Quite a few bands, Slipknot, Puppy & Ghost to name a few, have come through with solid efforts but what were the moments that resonated the most? Novelty tends to be a strong fancy yet sometimes a dose of what you know and love has sticking power. This year didn't produce as many deep impressions, with exception for the top two, clear favorites that are still mesmerizing. I look forward to giving this all a listen again in coming weeks!

 

(10) Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022) link

The re-ignition of Frank's C&C era music has been an absolute delight. Although parts of this brief four track EP may have been clunky and obtuse. Its spirit melds that Industrial Metal magic with Power Metal gleams and fantastical RPG VGM themes to a degree that's grown on me. In general its exciting to hear these musicians working on this sound. Even not if exactly what I wanted, together, they have so much potential to appeal to my nostalgia!

(9) Chaosbay "Boxes" (2022) link

A front runner in a post-Periphery era, these Germans made such a remarkable impression with their high octane meld of gleaming melody and hard hitting Djent. Its a juxtaposition that can play to delights on occasion and this EP captured a consistent magic stunningly. Like anthems, its soaring choruses got stuck in the mind and its five songs continue to bestow crunchy, shinny magic.

(8) Malcolm Horne "Mending" (2022) link

Malcolm returns to the top list again with another warm, endearing record of Jazzy Hip Hop beats, now fine tuned for a calmer atmosphere. Mending, crafted for streamers, finds balance and consistency as its flow of gentler crafts keeps one safe while accompanying adventures. This intention is felt so well as the record strides smoothly for its hour duration. An easy pleasure for sure!

(7) Nas "King's Disease III" (2022) link 

Seeming like a routine entry now, the "Goat" returns with an undeniable assembly of rhymes to grip this listener with a dose of the Hip Hop I adore, done to a level of excellence. Its main fault is its strength. That persistent theme. Lacking a little surprise, Nas continues strong with an installment to stand head and shoulders above anything I heard in the scene this year.

 

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

As a newly indoctrinated fan, I got another dose of exactly what I wanted. Their WW1 themed music got a second stint, recycling the same musical ideas and pumping out more of what works. It can't go on forever but as a result of such, they pulled of another cracking record that gets me fired up again and again. 

(5) Warpaint "Radiate Like This" (2022) link

 

 With so many crooning grooves, gleaming warmth and vulnerable emotive singing, this one read a resounding impression I've gone back to plenty of times. In need of warmth from a sincere, beautiful, endearing place, Radiate Like This has a sweet tone to indulge with. An exploration of prior records has taught me this band like to experiment and explore. I doubt they will repeat this formula, usually leaning to a darker grit. The Ethereal aesthetic here will likely be my favorite of theirs.

 

 

(4) The Weeknd "Dawn FM" (2022) link

You can't escape the Blinding Lights, however the craft of a whole record triumphs here as Weeknd takes on a nostalgic re-imagination of 80s Synth and Michael Jackson's singing style. With that music so rooted from my childhood it was beyond a pleasure to enjoy such a masterful handling of creative vision. In retrospect, the radio interludes are a little on the nose and break up its flow. Its also a record of two halves, the first I find much more appealing.

(3) Ocean Grove "Up In The Air Forever" (2022) link

In another case of "all I want is a repeat". Ocean Grove deliver the goods with another fantastic chapter. Re-imagining the Brit Pop, Grunge, Alternative Rock and Metal of the 90s with a splash of 00s pop too, its appeal ran deep. Little advanced beyond its original concept plotted last record. Perhaps this time a little less aggression and metallic tone but in that absence the catchyness and energy goes a distance. Another cracking record of back to back great tunes.

(2) Arcanist "Hyperborea" (2022) link

I'd consider these Dungeon Synth adjacent spaces a spot for both genius and low-effort clones to emerge. Discovering the better is always a delight for a genre I feel still as much to offer if done like this pair of records has been. My top two this year both take the biscuit in going the distance. With touches of Berlin School and vivid imaginations for fantastical journeys, each offers a vastly different experience yet steeped in powerful musical exploration, they both bare freeing structures and a musical ethos for exploring unchained dynamics between instruments.

(1) Old Sorcery "Dragon Citadel Elegies" (2022) link

As part of my streaming music arsenal, Old Sorcery edges out through its familiarity and repeated listens. If felt obvious early on yet as the months roll by its fantastical character and sense of adventure persisted. Old Sorcery has always felt like an artist with a unique voice but in this conclusion of the Castle trilogy, it's matured greatly. Perhaps The Hand Of Merlin soundtrack helped with that development as Dragon Citadel Elegies instrumental composition feels expanded. Either way, this is one artist to keep an eye on!

Skinny Puppy "Vivisectvi" (1988)

 

Stylized as VIVIsectVI, this fourth machination of darkly Industrial and sporadic electro tones is one I vaguely remember from over twenty years ago. Revisiting it has not rekindled any youthful memories or sparked any further intrigue in Skinny Puppy. Once again the approach of Ogre and Key alludes me. Their dystopian soundscapes running detached from a convention I'd connect with, like groove or atmosphere.

Harsh drum machine percussion pounds its persistent drone, a shuffling assault of stabs and jerking motions as jolty synth basslines busy themselves with energetic resolve. A persistent theme arises once again, the emerging instrumental pallet heard better used by others later on. Vivisectvi has its moments of chemistry, often brief and wedged between Ogre's bare screams, grisly spoken shouts and plenty of sampled snippets that attend to emphasizing a darker side of society and human behavior.

For me, this one barely amounts to more than the sum of its parts, however for the year I can see how fresh and different this experience might of been. Vivisectvi bridges its fidelity into a more digestible format, the music sounding visible. Crisper instruments and synthetic instruments play boldly. Where it looses me is after Testure, another notably Synthpop adjacent song with melodic convention and gleaming bells juxtaposing the dystopian madness with a touch of hopefully, if not naive, light.

With a touch of Dejavu, the record descends into a sprawl of chaotic ideas after this song. State Aid and beyond leans hard into distortion and battering percussion, never quite recovering the atmosphere once flirted with. I've heard these ideas re-imagined by others further down the line and packaged so much better. I can give it merit for exploring these grounds but the end result isn't satisfying, simply of curious nature.

Rating: 4/10

Mudvayne "Lost And Found" (2005)

  

Despite being released beyond the swift decline of Nu Metal's popularity, Lost And Found stands as the groups best selling album, charting well on debut. Its a detail I don't think reflects the quality of music within. Mudvayne arrive worn out, stripped of Progressive Metal tendencies, relying on simplistic riffs and their personal aesthetics. It bares their character but lacks enthusiasm. Songs drone by in routine, syncopated riffs playing out with little relation to the passing screams and shouts of Chad Gray.

These tracks lack the challenge and intrigue proposed prior. A lone song, IMN, infringes on their past genius. Bold baselines and polygrooves but it too dulls as the band can't seem to conjure the maniacal, frantic energy once heard bustling on L.D. 50. On occasion the tone dips with horrendous choruses, chiming "Eeny, meeny, miny, moe". Another recycling Disturbed's cries of "I don't wanna be" over and over again.

As my brief remarks indicate, this album suffers its own futility. Unable to make a lasting impression beyond the forgettable nature of its mediocrity and a few sore spots, it somehow houses the bands most popular track Happy? This song has enough punch and gusto to stand heads and shoulders apart in the runtime but still seems weak in comparison to what was achieved on their first two records.

Rating: 4/10

Type O Negative "Life Is Killing Me" (2003)

 

Consistency is a thickly thing among bands amassing the years and albums. Maturing into their second decade, I anticipated a dip. With a sound no longer reflecting scenes of the time, Life Is Killing Me firmly solidifies the genius of this group. Stripping out the crass comical skits and experimental noise design interludes, Type O Negative ram another compact disc full with seventy plus minutes of moody Gothic tinged delight.

Their eclecticism runs amuck, new territory conquered and past roots resurrected. The pumping Hardcore Punk energy of Slow, Deep and Hard returns, accompanied by classic horror cheese synths. Fresh worldly instrumentation inflects accents in breezy unison with their motif. Somehow the experience comes intermingled with wretched bursts of sludgy Doom Metal riffage, Life Is Killing Me seems to offer it all again.

No thematic arc seems prevalent, simply a string of fantastic songs. Easily jumping among its more diverse territories, dense atmospheres and ripe attitudes always accompany. Steele seems evidentially distressed. Troubled by medical and identity issues, a handful of lyrics catch the ear as "overpaid meat magicians" are taken aim at professionals I can only assume gave him news he didn't want to hear. That and "I know I'm strange, I ain't no queer" turns up unfavorable attitudes lost to time.

Its a humble reminder of the human fragility behind the mesmerizing power of music, a touch unsavory in places yet his singing is quite the opposite. Leaning further into harmony and tenderness, the vulnerable side of a burly voice expresses captivating melodies with a keen pop sensibility among the 90s Alternative Metal vibes and doomed gothic romance he conjures. A bleeding heart performance, with sore pains and bleak suffering upfront yet not falling folly to shoutings barbaric aggression.

Thus its fifteen offer up fantastical conjurings which any fan will pluck some favorites. For me, IYDKMIGTHTKY a clear favorite. As Peter chants, "Gimme that", a snaky guitar grooves broods intensely in contrast to its shoegazing verses. The pivot into a hypnotic Synth whirl as he cries "If you don't kill me" an absolute delight. I could drone on but its rather simple, a quality record, lacking soaring peaks but absent of valleys along its path too. Just one record left to enjoy now. What a discovery!

Rating: 8/10

Rune Realms "Secrets Of The Deepwood" (2018)

 

Plucked from an abundance of Dungeon Synth, Spotify's algorithm thrust forth an unobtrusive spell of lurking forest magic. Although less than a minute, Call Of The Glow Wisp caught my ear. With marching Harp melodies, complimented by the dance of softly glowing bells, its composition showed a different charm to the typical.

Delving into this brief thirty minute record, one finds a sleepy reminiscence for Fantasy synth interludes, the ones found between swells of more intense music, those moments where respite and reprieve blossom with a gentle counterpart to soothe one.

It seemingly stems from focusing on chemistries that lack a dominant perception. So often does the music drift by in a foggy haze of luscious instruments, ascending and descending the keyboard without a voice or focal melody. Thus the record peers into ambiences where notations seem environmental, as opposed to expressive.

Secrets Of The Deepwood has a subdued magical mood. Wondering through enchanted woodlands, its temperament suspends the beauty of each moment. Songs occasionally peer into a little uneasy curiosity, a hint of mischief afoot. Mostly, it sizzles on a glimmering beauty as a welcoming cast of instruments cast environmental magic.

At times adjacent to atmospheric drones, these short songs conjure a desire for more, as inconsequential Harp, Bell and Flute melodies embellish the foggy rumble of bass and airy synths that provide a firm footing for its design. Im impressed, a niche find for a genre swamped by low effort clones, this one found a way to stand apart.

Rating: 7/10

96 Bitter Beings "Camp Pain" (2018)

 

Yes, that 96 Quite Bitter Beings, CKY's best known song! Taking on its classic name to signify his artistic intent, Deron Miller went solo a year on from when his former band mates produced The Phoenix. Often credited as the brain child of Camp Kill Yourself's unique persona, my impression of CKY without him was an adequate one, yet with Camp Pain you firmly hear the creative source in action once again.

Although this record wanders into a few odd curiosities, acoustic tangents and Cavalcade Of Pervesion's odd sample snippets interchanging with a synth jam, its mostly a rocking set of songs. They firmly strike the charm that made CKY so charismatic and unique compared to other metallic Rock groups of the time.

Its oddities muddies the pacing, along with a brilliant cover of Micheal Jackson's classic Beat It. Not the first metallic cover, yet they nail it with attitude. Wedged in the middle, it breaks the albums tone as mood is suddenly shifted, rather than being a little icing on top nestled at the end of its runtime like a cover might normally be.

Not to dwell on its inadequacies, Deron's guitar style pairs wonderfully with starchy synths that boldly punch in tuneful contributions, as do his mingled lead and rhythm riffs that ebb and flow with groove and melody. Megadextria nails their early tone, vocals harmonizing with a breezy pace not found to often across its thirty minutes.

Deron's singing comes across a little rugged and aged in patches, not landing like it once would. The Whipping Hands is another track echoing former glory with memorable choppy, galloping melodic riffs, yet not firing on all cylinders. Ultimately, Camp Pain is solid, yet somewhat mixed in the shadow of legacy. It's well worth a listen however, plenty to be enjoyed between compositions less fruitful.

Rating: 6/10

Skinny Puppy "Cleanse Fold And Manipulate" (1987)

 

 

Fine tuning the dials of its industrious abandon for a noteably consistent peruse through nightmarish dystopias, Skinny Puppy loses any spark on this third and fiendishly monotonous outing. Its opening however, suggests new ground as janky and flustered bursts of softening symth seem organized. They spew murky unease alongside subtle sensibilities that suggest a slight Synthpop influence. One can hear a keen sampling of Kraftwork on First Aid. The following Addicition strides to a cohesive expression, where its disjointed elements cast a worried spell of personal struggle and abuse, between injections of obnoxious samples that brake up Orge's snarly shouts.

And then a sudden descent into mediocrity, every following song until conclusion seeming to allude any potent melody or enticing chemistry beyond its disheveled industrial exterior. Broken baselines thrust notes forth between the shuffling of metallic percussion, banging and clattering along without a settled rhythm. In flood samples and crude hissing shouts that too fail in amounting to anything of merit. Despite this extended lull, one hears an occasion echo of some aesthetic chemistry, to be repeated by Industrial Metal juggernauts to come. Other than that, it lacks on all fronts.

Rating: 2/10

Backxwash "His Happiness Shall Come First Even Though We Are Suffering" (2022)

Traversing deeper into painful themes that have defined Backxwash's raw, hopeless expressions, this newest installment of darkness suffers familiarity. Scarcely making ground on I Lie Here Buried With My Rings And My Dresses, an unhinged rattle of caustic demonic beats accompany now accustomed flows. They run formulaic as the Canadian rapper settles on her flat tone and biting cadence for another round lyrically battling her demons. Its plays as a war siren of distress, simmering in a difficult intersection of ignorance and bigotry. Select samples of pastors preaching illuminate these struggles aptly, focusing the records somewhat conceptual scope to a degree.

 His Happiness Shall Come First Even Though We Are Suffering sums itself up well. A tale of religiosity preaching division and judgement. Although not a sole focus, it fits a discomforting darkness felt through its rough instrumental abrasion, a continual unease suited to the evils parading as morals highlighted. When on point, a potent chemistry. Yet a lack of subtle bombast, groove or sensible musical appeals bounds it tightly to a thorny bed of pain. Weaving layers of disorienting noise, soft distortions and broody bass, gospel samples and estranged companions stir a wild atmosphere. These instruments peak curiosity but lack command of simple pleasures to sway one.

Almost brilliant yet a spark is missing, or just all too familiar. An issue becoming stark in Backxwash's cadences, especially later in the record, Juju a prime example. The hard rhyme inflection and pacing of words becomes repetitive and stale, adding to a sense of stagnating style. The albums ambient feeling one retreading horrors expressed before with an interchangeable nature. One distinction apparent this outing were a select few songs hiding uplifting or beautiful instruments within its mix, burying them a dense darkness, occasionally surfacing them for false relief.

Rating: 7/10

CKY "An Ånswer Can Be Found" (2005)

 

 

Fond for a touch of nostalgia and youthful memories, I thought I'd give this overlooked Camp Kill Yourself record another try. Released amidst the years discovering Extreme Metal and darker sounds, An Ånswer Can Be Found fell wayside among a group of friends who adored the CKY videos and soundtracks. With matured ears, one hears an intelligent craft through thoughtful songs falling mercy to its mid tempo pacing and calmly subdued temperament. Experimenting further with channeled guitar effects, their tuneful leads retain a distinct character encroaching on an electronic tinge.

The emphasis on a warm gooey vibes gives its mood a welcoming tone but sucks away some of the sporadic energy previously associated with the band. Frequently do its unique melodies ride upfront, exchanging harmony with Deron's competent singing. In doing so, its chugging guitar grooves drift by, plodding along with murky intent and lacking intensity. This chemistry is why I think the record once went amiss. Now I rather appreciate its balance, which gives illumination to their melodic expression and especially the slick, gorgeous, often brief, guitar solos that dazzle upon arrival.

When the guitars shift into tandem mode, the classic CKY grooves croon again. Their dynamic sway, traversing rhythm and melody simultaneously, sounds ripe on Deceit Is Striking Gold yet elsewhere it lacks the spark. Again, another addition to the initial disappointment, a muddied step into a refinement of sound that matured in its lack of bombast and explosiveness. It comes across soft yet has quite an endearing comfort as one gets to know the better malf of its songs. A fun listen! Perhaps An Ånswer Can Be Found is one that would grow on me with more exposure.

Rating: 6/10

Skinny Puppy "Mind: The Perpetual Intercourse" (1986)

Unlike the exploratory oddity predecessor Bites, Skinny Puppy's sophomore reeks of conceptualization. In presentation, aesthetic and an unwavering tone, Mind assaults the listener. With janky, discombobulated elctro-percussion, uneasy distorted samplings and the strained snarky chords of Nivek Ogre, one is plunged into a nightmare realm of their ghastly making. Striding into a rotten discomfort, these songs mostly build from unsettled origins into clusters of claustrophobic noise and howling.

Kicking off with One Time One Place, a restrained Ogre groans as airy synths brood in the distance, quite the spellbinding atmosphere. Its a navigation through pain and discomfort that's gratifying thanks to its soft melodic backing. Sadly, as the most accessible song, what follows descends into a madness with a specific shade lacking the allure to pull me in. These disjointed melodic phrases get roughly pushed aside by punchy Industrial drum kits with an assembly of noises seeming to only loosely fit together. Its hell bent on painting a dark and grisly dystopian soundscape and gets halfway there.

Despite having occasional spurts of curious chemistry to charm and capture ones attention, the janky nature of its inhuman rhythmic drive seems to steer the music into maddening piles of disorientation that ended up being my lasting impression. Some merits lay in aesthetic exploration, where intriguing Industrial textures emerged to be recycled by many more in the genre later on. Sadly though it didn't amount to much beyond the sum of its parts that became apparent after just a single spin.

Rating: 4/10

Dimmu Borgir "Dust Of Cold Memories" (2022)

 

With a lyric plucked from Absolute Sole Right as its title, Dust Of Cold Memories accompanies the recent Remixed & Remastered celebration of Puritanical Euphoric Misanthopia. Comprised of two halves, The Kolbotn Tapes and Prepod Session, these aged, degraded demos offer a curious insight into the albums creative process. The five Preprod songs are most intriguing. Recorded before all elements had converged, they play with many missing pieces and placeholders around its core musical ideas.

One of the PEM's finest crafts, Blessings Upon The Throne Of Tyranny, stands apart in its nakedness, the arsenal of razor grinding riffs completely absent. Hearing it at this stage illuminates their creative process. We see etchings of inspiration converge not unlike how you might of expected. With such a riveting rhythm guitar performance, I would of strongly guessed it was central to its formation but apparently not so. The other tracks aren't as insightful. One can hear absent contributions and entirely dropped ones too but mostly these songs arrived at this stage relatively fleshed out.

Of the Koltbotn Tapes, Fear & Wonder stands rather distant from its final incarnation with a persistent militant snare and bare piano chords. The other five arrive in varying fidelity. Loud clicking drums, occasional shouts and voices are heard, along with roomy rehearsal room ambiences being a common trait. With the songs fully formed out this point, they simply play like demos prepared before entering the studio.

Rating: 4/10