Bring Me The Horizon "Post Human: Nex Gen" (2024)

 

Five years on from the opinion dividing Amo, a diverse yet trendy leaning record, Bring Me The Horizon return again to the cutting edge of catchy, tuneful Metal. We got a whiff of this feisty spirit on preceding EP Survival Horror. The Post Human series continues in aggressive glory as the group nail down a solid set of songs, remaining intense and lively while skirting edges with Pop Rock melodies and Post-Hardcore creativity. Weighty sonic riffs and the mania of glitchy frenzied synths in its extremes, yet gracefully swaying into the arms of Pop sensibilities through Ollie's knack for catchy, ear worm choruses that hook into the vulnerability of your personal emotions.

Lyrically, the theme continuously hinges on negative internal dialogs, spinning the words of self doubt and inner turmoil into anthemic sing-alongs. These songs pair their tuneful inflections with words for strongly palatable emotions we have all experienced. Its cathartic, yet hollow. A spin machine twisting hurtful self talk into spirited release yet little of matured substance lies below the surface of these catchy cadences.

Originality is always a curiosity with Bring Me The Horizon, a line can always be traced elsewhere, some echos, obvious or vague, to other bands and genres. Although a favorite song of mine, Limousine blushes in its naked Diamond Eyes era Deftones demeanor. Even Ollie sings to Chino's tune as the low-end guitars crunch and peruses with the lunging gravitas of Steven Carpenter's definitive style.

Many other influences make themselves known too but ultimately this record boils down to song writing, which they have lock and key. As always, these musicians know how to forge musical ideas into apt structures that revel in their merits. Each song feels fully realized as riffs, melodies and hooks land without fail. Their unconventional side shines bright too, the OST interludes breaking the flow for spicy deviations.

Aesthetically, density is a delight. A tight production bordering on wall of sound, as guitars often get lost in the weave of electronic noises. Glitchy bursts of color and vibrant synths intermingle, deepening the experience as its pivots and transitions invite a flavorful diversity steadily becoming more frequent in modern Metal. For me, this is an unsurprising assemble of many proven ideas wielded to their Pop Metal writing. Its nothing they haven't done before, the true test will be how long these songs will stick around for. I have a feeling this ones got a handful to go the distance.

Rating: 7/10

Tineidae & Sole Massif "Remnants Of War" (2024)

 

Although Remnants Of War is themed around the aftermath of AI fulled armageddon, I could not escape its dramatic cover art. Reminiscent of the cult Japanese Cyberpunk flick Tetsuo, I've absorbed this one with metallic body horror in mind. Learning now of its true intention, the cinematic vision locks into place. These desolate soundscapes paint dystopian terror as the unease of soft synths collide with ghostly mechanical buzzes and whirling sparks, echoing on through tainted winds. Worbling electronic voices churn from automated warfare wreckage, a poisoned landscape, terrain now littered with cybernetic corpses. As far as eyes see, an endless sprawl of technological annihilation claims mother nature herself as collateral damage.

Its only tuneful moments stem from brief surges of soulless arpeggio saw-wave cycling. It births intense motion out of lifeless scenery. The tension derived suggests the presence of a surviving robotic killing machine, scanning the area for life, a dangerous prospect for us observers. Otherwise its charm resides in dense atmospheric dark ambience, littered with sound effect design to paint maddening scenarios in the mind of the listener. My favorite moments are the subtle whirls and buzzes, hints of wrecked machines with robotic systems attempting to function. So too, distorted voices add mystery. Seeming like scrambled recordings they possibly hint human life is transmitting from somewhere... or are simply remnants of the war.

Rating: 6/10

Silent Planet "Superbloom" (2023)

 

Here's an interesting release labeled under the emerging Argent Metal genre. For their fifth outing, Progressive Metalcore outfit Silent Planet pivot to a Djent driven aesthetic redesign of brutality, envisioned by producer Mick Gordan with his iconic Doom soundtrack eight years back. Shades of the bands Metalcore origins mostly remain in vocalist Garrett Russel's raging throaty shouts and bitting lyrical cadence. Otherwise, they have fully embraced a fusion of low end guitars with Industrial synths to layer on dense, rhythmic shunting of force as the driving component in the music.

Superbloom has a clear artistic vision I haven't fully clicked with, an aesthetic smothering, powerful and intense yet often lacking melody and memorability. Its meaty slabs of rhythmic assault seem to miss out on the groove or elastic sway others like Meshuggah have used to bring me around. Behind theese jolting punts of guitar noise, darkly synths lay interwoven, reinforcing momentum and often providing a luminous sense of color. Its sadly just aesthetic dressing in absence of melody. Occasionally swift arpeggios emerge, or swelling chords but always lacking a hook.

The best moments come in climaxes, where intensity surges with a luminous stream of color blooming through its dense synth design. A peak blesses the album on its title track conclusion, tying a bow on its conceptual nature as "I'll rest for now in the Superbloom" leads into a stunning glide of epic proportion. These ascending sections were my favorites among a looping slog of sporadic fret-board leaping riffs that carried little meaning beyond the fist throwing aggressions of jolting Djent guitars.

In conclusion, I've spent enough time to acknowledge Superbloom's class yet find myself not fully sold on this new aesthetic direction. Its gorgeous to listen to but the songwriting suffers as its tracks drift into mood, rather than casting one under its spell to march to its beat. The idea of Argent Metal has its merits but until it delivers something truly innovative in terms of song writing, it will mostly feel like cosmetics.

Rating: 6/10

Steve Roach, Kevin Braheny & Michael Stearns "Desert Solitaire" (1987)

 

Mesmerized by opening track Flatlands, my morning walks exploring the cliffy sandstone shores of southern Portugal were elevated by its meditative qualities. Fit for the sunny Mediterranean climate, a rhythmic trance of exotic percussion guides us through unforgettable swells of dense soothing tone. Cycling through several stellar synths, blushes of warmth arrive on the heels of the prior rescinding surge. Emotions stir through apt chord selections on occasion too. Its a remarkable track, one I've returned to often, however this time, I was reminded that its appearance on Journeys To The Infinite, which I've covered previously, was a hand picked compilation of works.

I'm sadden to report, Desert Solitaire does not expand its opening majesty. More so, it picks apart its pieces, rearranging them into lengthy stints, sharing those initial aesthetic suggestions. With a theme of solitude in desolate regions, scorn by the heat of our sun in daytime, the record quietly picks through temperaments, moments of grandeur and scenic suggestions all laid bare through competent track titling.

A handful of songs try too cut the mold, Knowledge & Dust deploys an irritating stereo-pan, attempting trippy disorientation. Shiprock shifts its instrumental drone with a shrill cutting synth to usher in eerie nightly sounds. Empty Time returns this high pitched whine to conjure in baron horns and percussion on a lifeless wandering that seems to leads nowhere. These three are also the weaker pieces on the record.

Labyrinth feels completely out of place, a nightly spell of bleak, cloud swept skies converging on imitate dusk. A lurch of conspiracy and lonely unease wrestles with its subtle reliefs of tension that dissipate like waves on a beach. Its a stunning piece of darkly atmosphere but more fitting of a Dungeon Synth record to these ears.

The other remaining songs flesh out the tones heard on Flatlands. Those swells of tone, now elongated into soothing drones to transform your imaginations. Its all to typical of this genre to comment on deeper but a handful of them merit return for conjuring these meditative moods, this time with a warmer climate than usual.

Rating: 6/10

Billie Eilish "Hit Me Hard And Soft" (2024)

 

Three years on from Happier Than Ever and still working with her brother Finneas, Billie returns reveling in crooning strides. Reminiscent of classic singers from bygone eras, she captures concise emotional narratives central to many of these songs. Let loose through an endearing vulnerability in tone and lyrics, her breathy whispers build to climactic swells, both wounded and resolute, given the mood. Finneas builds powerful current around her vocal direction. Classy instrumentation, seemingly subdued and minimal yet rises aptly with layers of subtleties to flesh out roomy indulgences. Following her lead, climaxes gratify as the two come into focus together.

  Setting aside the strident Surf Funk strut of a catchy radio earworm called Lunch, Its opening stretch of tracks have a softly sung Billie alluring over rocking baselines, bright shimmering acoustic guitars, adorning string sections and colorful saw wave arpeggios. All with that aforementioned classy touch conjuring echos of greats from decades past. This wonderful stretch ends on L'amour De Ma Vie as its final minutes pivot with a thudding pulses of nightly dance-floor energy, Billie flexing on autotune.

This leaves its final songs in the lurch as The Diner explores unease and tension through quirky bursts of melody and echoing vocals arranged for a fever dream. Bittersuite meanders through exotic, dreamy tunes never quite settling on its own intention. Blue acts to conclude, dropping in one of the albums best vocal hooks. Billie's backing track sways back and forth under her singing, I love it! Its a dramatic two minutes but again, shuffles and meanders through a handful of other arrangement ideas as the records intensity unwinds, never resolving back to that classy stride.

 Hit Me Hard And Soft is a subtle record on first impressions, seeming like a collection of decent ideas resting on the pairs merits. Repetition yields its depth, as Billie's voice comes into focus and the tracks beneath them endear. My qualm has been laid out, a sense of balance lost as its classy side doesn't quite flow with the creativity this duo were initially known. All of the music is fantastic but the arrangement locks you in for a ride that cant resolve its destination on conclusion as those final songs loose pace.

Rating: 8/10

Knocked Loose "You Won't Go Before You're Supposed To" (2024)

 

With frantic demeanor, pointed jittery bombardments unleash bottled up agitations. Furious spurts of frenzied anger erupt, spewing forth a fierce menace, rattling the cage, as unwavering intensity decimates structure. Brevity carries a weighty burden, form flees as directionless lashes of hurt strike impulsively. From this wounded posture, dissonance reigns supreme, splicing aesthetic discomfort and rhythmic assault into an uglied abomination, dizzying in its relentless pursuit of filth.

In other words, the record plays like a sporadic riff-fest, somehow satisfying in where this formless chain of spiteful distortions lands. Currently embracing increasing attention, Knocked Loose capitalize on their Coachella exposure, dropping ten cuts across a brief twenty seven minute stint that barely repeats itself with any semblance of comfortably. Their breed of adrenaline soaked Metallic Hardcore loosens its beat-down shackles, expanding texture and craft as disgruntled horizons expand.

The often gratifying loop of obvious throw-downs gets challenged, the group elongate sludgy thuds of rhythm guitar into unpredictable sleuths descending into depravity. A clear victory, aided by intriguing arrangements between that suffer from an attention deficit disorder. One moment collapses into the next, exploring ranges of aggression and leveraging moments of respite with creepy shadowed melodic dissonance.

All that said, a couple of songs do conform. Suffocate lands a digestible punch, featuring an evolving Poppy. Her screams are mustering more intensity. This still dazzles after many spins. Its sporadic nature wrestles successfully with predictability, unhinged yet effective. I'm left with a sense that time will tell if these songs stick. Despite knowing these numbers well, that unstructured charm has kept it fresh.

The only blemish is Garris' shrieking howl. Resembling a crows dying squawk, its likely a love hate sound I simply have to tune out. The rest of the aesthetic is fantastic. In this era of music production, bands can load depth into the clarity which may go overlooked as the romps of metallic fight music will likely take center stage.

Rating: 7/10

Potatohead People "Eat Your Heart Out" (2024)

 

A snug fit for rising temperatures hitting us here in England, Eat Your Heart Out has been the soundtrack to my morning walks drenched in glorious summer sun. Jazz Hop duo Potatohead People, refine their tone with a focus on soulful moods and mellow croons, a classy vibe elevated greatly by subtle Funk baselines. They often bustle and bruise with character, bolstering rather subdued Hip Hop beats. Steady tempos arrange cushy kicks, snappy claps and reverberated snares with a breezy softness, grooving rhythms that shy away from becoming the focal point.

 Unlike prior records, only two of its eleven cuts are instrumentals. On both, the lead tones down any individual charisma, a step away from the expressive Jazz Fusion solos like heard before. This puts a notable emphasis on its expanded array of guests, who drop raps and rhymes along with some smooth singing in apt spots. Familiar names return, along with a surprise big hitter from the 90s, Redman.

None of them define the record with any remarkable lyrics, nor do any instrumentals drop illuminating melodies. Without peaks or valleys, the whole records demeanor is a mellow, tranquil vibe. An endearing warmth to relax to, that puts all troubles aside. That's to say, despite having a stellar resonance, nothing deviated from its baseline.

Only Paradise stood apart. With a dreamy shift in tone and sly tropical flavor, shimmering guitars and glistening synths give it a special touch when washed in this glossy reverb. The whole track feels plucked from an 80s fever dream, with Diamond Cafe's vocal performance reminiscent of Michael Jackson's classic high tenor. All in all a warm spin from start to end, full of good vibes but lacking a spark to make it special.

Rating: 6/10

Sithu Aye "Kindness" (2024)

 

After a few years absence, our dexterous dazzling guitarist Sithu Aye returns on a charmed spirit. Armed with the cultured croon of slick melodic licks and lively rhythmic grooves, a matured venture into Jazz Rock unravels through Zero Sum Groove and Obsidian. Intensities unravel and acoustic aesthetics intervene, as subtle strings and mellow pianos guide his expressions into classy swells of thoughtful instrumentation.

Akin to the highly disciplined curation of fellow shredder Plini, Kindess delivers five fine stellar cuts with a compositional complexity that has each contributing sound seeming meaningful. The drums are livelier, full of shuffles and creative fills. Metallic tones transition into acoustics with soft atmospheres to let the creativity flow like a gushing river. Its effortless, as are frequent springs into guitar solos yearning to sing.

The thrashes of Metal are still present on its other three cuts. Sounding rigid in comparison, slabs of meaty low end noise bust out stiff chops. Occasionally the two gel but it leaves blemishes of an old style rearing its head among fresh ideals. Familiar Anime theme song inspired melodies linger too. Shining bold and bright with their catchy tunefulness, a welcome reminder of the Senpai series is captured. All in all, Kindess is a bright spark for a seasoned musician aspiring to new heights!

Rating: 6/10

Bayonet Dismemberment "Carnage Of War" (2024)

 

Randomly stumbling into the smothering arms of Brutal Slam Death Metal again, I'm transported back to the scene days of 2008. That was among my first ventures into a filthy underworld of extremity blossoming alongside Deathcore. Here we are sixteen years later and I discover the scene is lively as ever, attracting a new generation of kids to swing their arms and legs in the most pits, as well as the musicians too.

Unsurprisingly topicality is grim. Through undecipherable grunts and guttural growls, an ever shining light on humanities worse focuses on the Iraq war as its flavor of critique. In texture and rhythm, these biting blunted howls land snug into a polished aesthetic that has barely aged in principle design. The production is warm, almost inviting as opposed to the ear abusing rattles some early records would deploy.

The angered music behind cosmetics is decent, exchanging drum blasts and guitar grinds of dissonance with apt erupts of groove and halftimes for the dance-floor too. Competently creativity within constraints, its as if a day hasn't passed, deploying all the same old tropes again for three sharp cuts of savage stomping brutality.

Rating: 3/10

Arcanist "Avero​í​gne" (2024)

 

An unshakable grin emerged upon arrival of this record. Sadly, a single listen shattered that excitement and its not returned since. Avero​í​gne is a drastic departure from Poseidonis and Hyperborea. Gone is the Berlin School 70s electronic mystique. That esoteric tension has been dissipated, replace by Fantasy melodies and Folk instrumentation evoking ancient cultural charms. In brief stints it find charisma and conjures vivid visions. With other strides, an absence. The occasional clumsy folly of odd ideas spew in bursts, breaking up what spells it briefly builds anticipation for.

The first four songs feels separate. The acoustic guitars, akin to the Diablo soundtrack at its conclusion, define its new direction yet rarely does the music stirs much emotion. Its a meandering mess of ideas that lacks the grip on me to express its own purpose.

With the arpeggio rumble of old school synth, the two part Colossus Of Ylourgne feels like a bridge between the new direction and old. Its dramatic opening upends a monster of tension as fiery choral voices cry with demonic intent. Sadly, this dissipates swiftly, never to return as the music again meanders in many directions, even into a blast beat led Black Metal stint, reminiscent of Blut Aus Nord's Saturnian Poetry.

I've struggled to enjoy this one. Its has its moments but they are disconnected by a slew of ideas that to my memory feel less fleshed out and layered that what came before. You could tell me Avero​í​gne was made by a different artist and id believe it!

Rating: 4/10

Caldon Glover "Metrophagy" (2024)

Here's one from the Dark Ambient vaults, a cinematic venture that's clearly driven by world building through its devastating atmospheres. This is no musical affair but a craft of sound design terror. Devoid of melody and rhythm, a textured layering of sounds brood unsettled tensions that tremor and quake with abandon. Hellishly cold and unforgiving, gentle swells of airy synths breed ambiguity over the creeks, groans and aches of its many murmuring lifeless voices. These are forlorn ghosts, desolate noises wandering an urban graveyard. Visions of an apocalyptic nightmare manifest in a post-life state, a technological nihilism of self-annihilation that's stripped this world of its habitability, leaving behind a scared wasteland of concrete, metal and electronics.

At least, that is the vision that arises for me, perhaps its cover art planted the seed of suggestion for a such a vision to manifest. I see a futuristic cyberpunk metropolis laid to ruins, with the sense of something evil lurking within but the evil is the place itself, like a densely radiated city-scape hostile to life itself, where a gush of wind could yield fatality. This one is hard to assess, enjoyment depends a lot on mood, Accelerated Decay and Liber Spiralis where the most powerful cuts. Paired with a visual movie matching this theme would be utterly intense! One can only dream of such shuddering cinematics.

Rating: 7/10

Moutain Realm "Frostfall" (2024)

 

A soft, recent fondness for Greyshadow Ruins had initial excitements lulled by the subdued nature of this tempered beast. Mountain Realm caught my ear for a shapely craft of Dungeon Synth venturing into the darker leanings of Fantasy themes with a meditative quality. Frostfall aptly achieves this again, yet to less fanfare with familiarity taking hold. This similarly structured set of short synth pieces is the quieter of the pair. Routinely drifting into glacial strides devoid of any urgency, a glum dankness steadies as its main thematic feeling, fit for the damp dark dungeon realms it clearly aspires to.

Stripped out are the moments of reprieve from a gloomy yet meditative nature. On the prior record, sparkly melodies would flux from ambiguities into focus, creating a sense of spectacle among these sullen tones. Here they are suppressed, present but drawn further into retreat. We trudge through fuzzy murmuring of ambling bass. Organ like synths drone with sombreness, even choral chants seems burdensome and lonely.

The whole record dials into its own shadow. Seemingly a negative, yet only when trying to focus on its present merits. Leave this on in the background and calmly, without notice, will it delicately transcend your surroundings, ascending to somewhere sequestered, cloudy and dead yet spiritually soothing and serine. Its an odd record to enjoy, brilliant in its own peculiar way, yet tired on these old ears for now.

Rating: 4/10

Aaron Cherof, Kumi Tanioka & Lena Raine "Minecraft: Tricky Trials (Original Game Soundtrack)" (2024)

 

As the Minecraft soundtrack series expands, its ability to have an impact on its own identity diminishes too. Three of our post-C418 musicians return for the lengthiest offering yet, delivering familiar tones and temperaments to their collective prior efforts. All new additions are welcome, yet only two tracks land with impact, meriting talking points. One fairly positive, the other dubiously negative. Both are record discs.

Aaron Cherof's contribution's are inline with the smooth sailing of Trails & Tails' breezy charisma. Once again we ride gentle currents, as lush instrumentation swells from lulls like subtle gusts of wind amassing from stillness. Featherfall's endearing bedtime warmth comes birthed from inconsequential melodies, gently rising into a nocturnal cradle-song illuminated by shimmering bells. Clearly the favorite of his for me.

Kumi Tanioka treads her line too, offering chilly, atmosphere minimalism through lonely piano pieces that unite with gentle murmuring synths. They carry an airy bass presence, enriching what little came before into an emotive ambiguity with a lack of boldness to latch onto. As such they pass by without keen distinction, fit for the games background but feeling quite inconsequential as melodies land without memorability.

Lena's bag is varied. Deeper throws back to the lurching menace of the Nether. Its distorted synth melody lurches between threatening percussive rattles and illusive melodies, rotating around its tense atmospheric swell. Eld Unkown swings from mystique to drama as its pacy baseline musters a sense of urgency. Endless dulls in its own aimless duration. A stiff, nostalgic dusty piano piece, plays into itself as meandering through the cobwebs of a sullen, empty, former home yield little. Its almost good but clearly lacking a sense of gratification from its own empty oddness.

The music disc Creator is a bop. Bolder and bruising with an ensemble of classic, non electronic instruments, Lena forges cheeky melodies with a splash of Rock and foreign piazzas that is hard to deny. Lively and jiving, its perhaps not "minecrafty" but the Music Box counterpart version shapes its main melody into that blocky frame.

Precipice is also a bop. Feels like Mojang were after two lively animated songs to amp up the variety in record discs. This one however felt too little overproduced, a heavy assemble of noisy instruments bordering on the electricity Ive heard in modern Progressive Metal bands like Plini and Sithu Aye. A wildly colorful and adventurous song but lacking the guile and identity to tie it back to Minecraft in a meaningful way.

With artists now making second and third contributions, the games vast music could be accused of becoming bloated. The soundtrack doesn't hone in on something new and distinct to offer the game like the Nether Update soundtrack did. Its an extension of prior compositions which has been enjoyable yet doesn't say much about the Tricky Trials and interestingly none of the music plays specifically for the Trials Chambers, perhaps a missed opportunity for some Minecraft battle music, all tho goes completely against the philosophy of its incidental, disassociated sound design to being with.

Rating: 6/10

Paths Of The Eternal "Quest For The Sacred Blade" (2022)

 

Following up on Search Of True Ascendance, this next installment amends prior folly as a cohesive set of songs maintains an enchanting, spellbinding atmosphere throughout its stay. Steeped in mystique, a graceful venture through nostalgic realms teeters on spirituality as many melodies find moments of playful warmth intersecting with an Ethereal breeze. At its core, journey and adventure emote strongest, befitting of toned down VGM music, yet the Dungeon aesthetic and instrumental swells of curios composition lead these innocent tunes to grandiose themes.

Opening with A Light From A World Far From Ours opens, swiftly grabs ones attention. Its bold upright baseline takes a commanding presence among a brilliant thud and clatter of percussion. Mixed in sudden reverb, it illuminates the peculiar design. Icy cold drums that offer a familiar yet distinctive crumbling castle timbre. It sets a fine tone for the music to come. Songs explore with the same instrumentation, often venturing into swells of melodies guided by this charmed percussive force.

Only a touch of eeriness presides in this magical place. The Final Trial Of Will takes a strident plunge into the shadows as for one track the albums spirit is flipped to the dark side. Starting out on foreboding plains, the song pivots at the middle into a funeral gloom, turning occult as ritualistic chants elevate its darkness. Its a fantastic counterpoint to root its ancient sorcery in classic Dungeon Synth motifs.

Rating: 7/10

Justice "Hyperdrama" (2024)

Still lingering in the shadows cast by Woman, an eight year wait hasn't yielded much excitement. The Disco-Funk inspired French duo return crisp and clear with a tight production to dazzle with stunning aesthetic clarity. The record sounds utterly gorgeous, rich in texture and smoothness. Its samples croon and instruments strike with fidelity and groove. A sweet indulgence but that can only take it so far.

Front loading the album with its best leaves a mediocre trail of songs experimenting with overt influences. Thumping dancefloor Disco sensibility, jolting Funk grooves, flushes of Progressive Rock melody, Classical frameworks and 70s Electonic music intersect with modern synth tones just short of the finish line. Every song feels unique, charactered and interesting but lacks the claws to sink their grip in.

Hyperdrama's Merits lay in the voices that illuminate a handful of collaborations. They add a dimension sorely needed on its instrumental counterparts. Two unions with Tame Impala strikes chemistry perfection! Kevin Parker's cloud sailing voice a snug fit for their tone. He, Rimon, The Flints and Miguel are classy fits that finish off these fine instrumentals, sounding utterly fantastic with an array of tender performances.

I have no complaints, perhaps my taste right now wasn't apt for this nostalgia tinted offering. Enjoyable, yet lacking a deeper connection after a fair few spins. One instrumental that struck gold was Generator, a Dubstep reminiscent nightly assault of unhinged jagged synths colliding with a dramatic string section. Reminded me of Carpenter Brut. I find myself desiring to enjoy these tracks more than I do. Strange.

Rating: 6/10