Eminem "Relapse" (2009)

 

Returning to Rap after a short lived five year retirement, Eminem battles his issues with alcohol abuse and pain pill addiction. Using his rhymes as therapy, we venture upon topically focused tracks, lyrically animating the trajectory of his struggles with drugs. Reviving familiar grievances along the way, Em sees himself in his abusive mother, leading to the comical line, "this ain't dinner ,this is paint thinner". Medicine Ball takes more shots at a now deceased Christopher Reeves. Dark and twisted as ever, he undoubtedly courts controversy again with a slew of edgy humor insults.

Still drawing inspiration from negative sources, Em dips into unsettling imagery often, painting himself as a deranged serial killer in a murderous daze on opener 3AM. The violent, cruel imagery is a constant recurrence, leading to impressive strings of zesty rhymes and stacked rhyme schemes. Often entertaining, Insane goes over the top, taking a depraved turn. With foul stench, Em delves into disgust, painting sexual abuse stories through crude and vile wordplay. Its a rather difficult track to stomach.

Bagpipes From Baghdad blooms with fresh creativity. The squirmish Indian accent fortunately subsides into a wild rhyme ride of satisfying oddities over one of the records grooviest beats. Its an oddball and bagpipes are indeed included. Hello follows up with a cringey crush confessional, a strange divulgence of attraction that finds itself twisted into dark places, a recurring theme. After these ear catching tracks, the songs settles into an ample groove, entertaining on its way to grand finale.

With tense strings and the voice acting of medical professionals, Mr.Mathers paints an image of his overdose through the eyes of paramedics. Leading into Deja Vu, the broody instrumental tone and cinematic lyrics flips the perspective, unraveling the prior event through a deep struggle as Em lands one of his best sung chorus hooks. The subtle organ chords rising in the background gel so well with his voice. These lyrics are so open, tender and endearing, a vulnerable expression from sullen lows.

Beautiful stirs this energy further, wallowing in his pains, pulling another sung chorus that works on this inspired level. Introspective, gloomy with an air of uplift lingering, has him riffing more earnest lines off the chest. Its deep and real, however Crack A Bottle pivots to a fun rompy jive with a dull feature from 50 Cent. Things pivot again as Underground amps the intensity up for a angered ending as Em goes wiling off again.

 Relapse was slammed by critics upon release. I'm fifteen years late to what sounds like classic Eminem in his prime. Sure, many raps have a goofy streak, the crudeness can get sore. Throughout it all, rhymes and flow are sharp as ever. Its flawed but full of excellence. I can't recall the last time a seventy minute rap album held me start to end. Absent at the time of its release, Relapse has been a "what if" answered, more of an artist I adored in my youth, rapping that exuberance hes been unable to recapture.

Rating: 9/10

Fogweaver "Magelight" (2023)

Working with a typical set of Dungeon Synth keyboard tones, Its clear Fogweaver has mastery of the magic. With no surprises in wait, Magelight charms with its enchanting melodies. Located somewhere at the crossroads of soft esoteric murmurings, mystic natural beauty and joyous adventuring innocence, we arrive as a lonely wandering spirit, set to journey through these soothing sights of wonder, mystique and fantasy.

Amidst a meld of classic synths used by pioneers, familiarity paints itself within a luscious dreamlike production. Deep airy synths and apt reveb casts a mood inducing calmed atmosphere to melt into. Tranquil in spirit, yet cautiously animated, a layering of tuneful instruments and subtleties is delightful to indulge with. Arrangements feel inspired, meaningful, enriched by the visions guiding these artful compositions.

Venturing here after hearing Fogweaver on The Kingdom Is Ours, I found myself immediately persuaded and the magic persisted after numerous spins. Magelight has much to offer, from mystic melodies in scenic settings, to gloomy swells of bewitching fog. Its varying shades conclude with the ambitious Inien, pushing its keys towards noisy terror. A chilling reflection upon the same crashing waves it opened with.

Rating: 7/10

Clown Core "Van" (2020)

 

Sudden bursts of paranoid Cybergrind madness and muddled demonic screams on its opening pair of tracks may paint a crude, unhinged impression of these nightmare-fuel circus buffoons. Setting their intentional ugly, hellish jokester veneers aside, this anonymous Clown Core duo splice spicy Saxophone leads and lively, animated Jazz Fusion ideals between bizarre rhythmic renditions and comical timing antics.

Early on the pair toy with foolish bicycle horn jives, an oddity to spin in your musical favor. Progressing, stiff toned drum and snare grooves rattle out keen rhythmic wonders, driving the record along. Freakish synth machinations accompany, often in syncopation with the drums, these eerie, ghoulish tones lurch as Sax melodies take focus. A subtly unsettled soulful interludes finds home too, among its many anomalies.

Existence culminates all its elements to play a twisted descent, erupting mid-way to double down on its clownish madness for a peculiar ending. End then indulges us in smoky ambience on a roomy soft piano piece, only to pivot yet again as we embark on a cheesy, upbeat 80s daytime TV Show melodic romp. Somehow... it makes sense?

Van, possibly recorded live inside a van, is a musical outlier that just works. Twisting many strange ideas to its will, the seventeen minute ride still feels fresh after many spins. Its a gratifying experience, even if delivered through a distorted haze of strangeness, its grooves and melodies come through with magnetism, forging a unique and baffling realm to call its own, fit to entertain oneself with its odd curiosities.

Rating: 7/10

Rakim "G.O.D.'s Network Reb7rth" (2024)

 

 From the silence, a certified legend returns. One half of Hip Hop's golden duo, Its Rakim's lyrical artistry and unchained cadence on the mic that help transition those iconic stiff 80s flows into the jazzy poetic rap of the 90s. Some claim no one has contributed more to raps evolution, a compelling argument. Thirty five years on from his creative peak, there should be no surprise that Reb7rth barely makes waves. A fond, welcome return but nothings on display that will change the game again.

These seven songs mostly serve as a stage to platform a collective of talent, including fresh voices and fellow legends like Kool G Rap and members of the Wu-Tang Clan. Rakim himself offers up decent verses early on, then pivots to handle chorus hooks for the rest of the record. The mood plays a celebration of talent, his presence seemingly encourages all twenty plus guests to dig deep for their sharpest rhymes.

Instrumental construction lacks surprise, rugged grooves continue an exploration of fundamentals built in the 90s as modern production aids its sturdy tone. The backings complexity keeps loops fresh and animated. Brilliant beats to house an arsenal of cunning rhymes but nothing exceptional to break your brain. These OGs are doing whats proven to high standards, giving us a dose of what we've adored for decades.

For a fan, this is a familiar pleasure. Reb7rth plays a classy execution of fundamentals that hold up well. I would have preferred to hear more of Rakim but with so many guests you get a steady flow of unwavering excellence. I also loved B.G's feature, he seemed immensely humbled to be on the project, giving up a fantastic set of bars. That's what this record is, a celebration of the art form brought about by a legend.

Rating: 7/10

Dead Can Dance "Spiritchaser" (1993)

 
After a stunning stretch of remarkable records, the Australian duo ventured on-wards one last time before parting ways. Fortunately they would reunite nineteen years later with the well polished Anastasis. Spiritchaser is the last album I'd yet to hear, a critically well received departure I find myself indifferent too. Remaining within the tapestry of Worldbeat aesthetics, they seem to take a new approach to song writing.

 Gone are the emotive swells, gallant melodies and esoteric leanings. Instead, a focus on plain, steady tones. Allowing for simplistic instrumental notation and brief percussive grooves to drone in repetition on top of foundations. Its subdued, simplistic and supposedly aims to find a meditative atmosphere in unclutter compositions.

So to do vocal performances feel restrained, intentionally softened. The cultural roots of fresh singing avenues possibly explain why. With dialectic inflections and native languages I'd not heard prior, the pair appear to aim for a less dramatized tone and certainly achieves that. In the apt setting, it becomes soothing background music.

I've been critical, Spiritchaser is simply a different beast, lingering in the shadows of a luminosity that came before it. The record does little to offend. Its sensibilities are calm, gentle and drift upon lazy tempos on lengthy durations. Highlights reside later on, with The Snake And The Moon offering a beautiful campfire at night vibe fit for tribal chant and dance. Perry leads the first half, Gerrad the second, shifting energies.

The following Song Of The Nile plays deeply cultural and subdued but houses the albums most animated passage as bells chime and some exotic sitar alike instrument offers up a brief but striking swell of musicality. However the rest of the record failed to make much of an impression on me. Maybe more time would strengthen bonds.

Rating: 5/10

Dame Silú De Mordomoire "A World Of Shadows" (2020)

 

 Introduced via an operatic indulgence on Erang's gloomy levitation Despair, I had to seek out the French singers solo material. Dame Silú De Mordomoire is not just a powerful voice but an enthusiast of Dungeon Synth, composing vivid instrumentals, melding melodic Fantasy and weighty Neoclassical into a Medieval nostalgia. A World Of Shadows plays through diverse shades of imagination, venturing upon unique constructs shaped by deeply dramatic singing. Its a worldly experience tinged in a lightly Gothic veneer. unlike much I've heard before it. Perhaps the esoteric leaning Dead Can Dance arrangements with Lisa Gerrard may come close.

Its strengths are varied, Fantasy elements toy in the dance of bright, playful instruments exchanging melodies yet rarely a fresh delight. Its the brooding stretches of dark and empirical tunes that dazzle. Grim Banners a keen example of militant led percussion heard before yet her deep bellowing voice finds a fresh touch of magic. From heavenly and Ethereal, she descends into solemn emotions, epic, sorrowful and weighty. On occasion, even turning to ghostly apparitions and Orcish growls.

Given the albums diverse nature, moods do chop and change, pivoting between songs. Subsequently its special chemistry in voice and instrumental feel fractured upon the records flow. I'm left fascinated by the darkly compositions yet stumped with a sense that a higher grandiose lays in weight. A strange reaction to such a stroke of brilliance with a stale genre. Maybe it speaks volumes to my personal fatigue, or perhaps Erang plucked some of that yearning charm on their duo Despair.

Rating: 7/10

Labyrinthus Stellarum "Tales Of The Void" (2023)

  

Progenitor to Vortex Of The Worlds, this inaugural effort suffers the knowledge of its own infancy. In light of a stellar brilliance yet to come, this album rides high and mighty through the cosmos, somehow with the wind sucked from its sails. Lurching in the shadow of its successor, the precise mechanical rattle of stiff drum machines and shrill elongated howls paint an amateurish impression. Retroactive listening perceives blemishes to be ironed out, giving Tales Of The Void the impression of a demo.

Spending time within its galactic realm reveals a magnetic, indulging charm. Cruising song structures and epic astral melodies pull us adrift through the void without a care for reality. Leaning heavily on its exotic synth, striking me now as a xylophone drowning in reverberations, a leaner aesthetic makeup adorns these colorful songs. The crux of its magic emanates from these bright, steadily paced keyboard tunes, with the underlying rhythmic section driving intensities steady, grindy notation shifts.

With barely a peak or valley in sight, consistent mood stands a key strength. If any weakness is present, stints where synths step aside for other instruments often play dull. An impressive entry given its a narrower set of ideas playing out. The band establish their identity firmly at the offset. I can't help but feel I should of started here. As expressed, knowledge of the genius to follow tainted my view. Fortunately I've enjoyed this and have hopes the continue to evolve as musicians with a vision.

Rating: 7/10

Dead Can Dance "Anastasis" (2012)

Returning from a lengthy sixteen year hiatus, no fresh spark of light, or flash of genius awaits us. Instead, Anastasis plays as an amalgamation of the duo's best cultural aesthetics and voicings. All eight songs bestow simple, gratifying song structures. Luscious clear instrumentation enables layers of satisfying melodies to link together on introspective meditations. Mellow tempos, broody baselines and aromatic synths let an array of worldly instruments peruse on flavorful, exotic paths.

From the offset, no distinct sense of historical or societal vision for these songs emerges. The vastness of Worldbeat influence converges on unique spaces, almost fantastical in their pleasing persuasion. A steady flow of tuneful notation, funneled through the sounds of distant instrumental heritage, lets their natural songwriting strengths become a dominate force, leaving space for imagination to fill the gaps.

The duo's voices still charm a delicate delight, another dimension of worldliness mysteriously woven in. Gerrard is exceptional, her performances on Anabasis & Agape help sway a deserty Middle-Eastern mystique. Perry on the other hand, a delight yet lacking cultural unity with the instrumentation. At times it as if the modern, spotless nature of its production holds back a clear vision. Perhaps a little lower-fidelity aesthetic could of enabled some healthy nostalgia. Either way, I love this for what it is. Fantastic songs finding new spaces out of old ideals.

Rating: 7/10

Erang "The Kingdom Is Ours" (2024)

 

 Now over twenty albums deep, one might suspect familiarity to dominate first impressions. What awaits within, is quite a humbling surprise. Wonderment and novelty return as Erang unites the Dungeon Synth scene on a gallant stride to glory. The Kingdom Is Ours plays as a love letter to the shared passions among his peers. Its title reflects a unity tied into the realms of imagination led kingdom lore.

Pulling in both legends Mortiis, Depressive Silence, Jim Kirkwood and contemporaries into the fold, nine of its thirteen songs play in collaboration with a fondness, steady paced and endearing. Together, the spooky realms meander by in a stiff nostalgic peculiarity, a whimsical stroll through ancient fantasy melodies of shadow and wonder.

Acting alone, Erang's solo efforts feel expectant. Yet Heroes takes a bold stride upon a scenic frenzy of bellowing percussive strikes and gong strikes delivering warring drama. A grabbing moment, bi-polar to the luscious aquatic lullaby of Isles. Its beachy sound design and exotic steely lead synth deliver a melancholic warmth over these endearing and serine plucked acoustic guitars. Its a firm highlight of mine.

The collaborative peak is undoubtedly with Dame Silú de Mordomoire, who flips one of Erang's classically eerily bleak and emotionally morose indulgences on a dime. With her arrival... transformation, a beautifully graven gushing of sorrow unloads. Her deep operatic voice replaces the viola halfway in unleashing a brilliance held within.

Other notable indulgences include moments of scratchy low-fidelity embrace. One with Hedge Wizard, an unraveling of ghostly groans and fiendish shivering guitar leads. The other with Fief, on the albums title track. Its baroque, royal fantasy vibes so expectant yet mutated into a fierce Summoning alike Black Metal stint, lined with drums from the deep, howling screams and Tolken inspired spoken word segments.

This has felt like a special moment in Dungeon Synth, a scene which for me has become tired. As a spark of light in the dark, this union of artists birthed some much needed freshness. Mostly, it played like a love letter to craft and community, a revel in shared creative obscurity. Its been an intriguing moment to celebrate, also introducing me to a handful of new names to investigate!

Rating: 8/10

Hank Trill "Propane Pays The Bills" (2022)

 

 

Parody album? Absolutely! Swaying with chilled southern charm, the soft yet tightly wound voice of mild mannered cartoon character Hank Hill gets bastardized into a reckless drug peddling propane pimp. Flipping this 90s uptight conservative dad into a modern Trap rapper slinging braggadocios rhymes is a barrel of laughs on first exposure. In my case, bringing me to tears. As you might expect, the joke does wear off with time but its particular novelty kept me hooked for longer than expected.

 

The concept of gangster Hank saves this record, otherwise its slowed southern beats and swaggered rhymes would go passed over as mediocre, atypical of the scene. His stature lands so many otherwise weak and obvious plays. Behind the voice, a great impressionist, possibly aided by AI, seems keen on quantity over quality. With another twenty one albums proceeding this, the buck stops here for me but thanks to Spotify's shuffle, a fair hand full of tracks off other records emerge just as amusing.

Its nice to document this for myself and fans of King Of The Hill, I will definitely tune in on occasion for a laugh. Boomhower's indecipherable features are a firm highlight, as is his Rap God cover available on YouTube. My takeaway, however, is a missed opportunity to really refine and laser focus this joke into something unshakable. Instead, its been swiftly played out with a slew of low effort raps. Oh man god damn!

Rating: 6/10

Labyrinthus Stellarum "Vortex Of The Worlds" (2024)

  

Thematically esoteric with astral overtones, this stunning album art strips away any doubts to its lovecraftian cosmic horror influences. Shrill tremolo guitar leads, howling blast beats and elongated screams shrouded in reverb undoubtedly carry all the hallmarks of Atmospheric Black Metal. Tales Of The Void sounds unshakably familiar in design, yet excels with fresh excitement as a Post-Metal delivery of grand, scaling, epic melodies and an exotic symphonic component align for a very memorable listen.

Decent song writing underpins the experience, stellar melodies and a prevailing tunefulness solidifies its catchy ear worming nature. A cacophony of pummeling drums and void descending screams act as sways of intensity and tempo, the ebb and flow, stuttering between tense scenic breaks and descending cosmic eruptions. Together, among dense guitar noise, they guide the musics key component, synths.

Woven deep into the mix, their aesthetic offerings range from unusual and specular, to common and atypical for darkly space themed music. Sparks fly when delving into a mix of bell, woodwind and metallic toned virtual instruments. Foreign for this genre, an unusual fit mostly used to drive home immense cosmic melodies. The aforementioned atypical synths play the subtle role of reinforcing its atmospheric underpinnings.

Another well-earned merit goes to the heathen clean vocals that rise up underneath those howling dirty screams. Its another avenue for one to gorge upon these dazzling melodies they concoct. Initially a ghastly beast of extreme Black Metal, this prevailing tuneful charm becomes the key take-away, a keen triumph for a band in this lane.

 Its only blemish? What seems like programmed drums occasionally amplifies an repetitive drone in its rapid strikes, possibly intentional but definitely sounding stiff in patches. Tales Of The Void is a Stellar record, possibly my favorite Metal record this year? Well worth a spin for fans of extreme music with a crafty focus on melody.

Rating: 8/10

Eminem "Encore" (2004)

 

With rap retirement in mind, Encore represents a bow out from the spotlight before stepping away from the mic. Sadly, it seems the writing was already on the wall, Em returns sounding short on creativity at times, lacking his cutting edge wit, becoming a parody of himself in its patchiest moments. Perhaps this downturn in form has some relation to his decision to step away. With retrospection it would seem so.

No longer working with the Bass Brothers, a noteable shift in tone dominates Encore's beats. Sharp attacks and swift decays shape percussive hits into a minimal spacious frame. Striking on marching militant grooves, many tracks feel stylistically sluggish yet firmly driven. On its best cuts, a newish frontier for the times, yet dull when missing the mark. Split between himself and Dr.Dre, the seasoned pro is more consistent.

Big Weenie has got to be one of the best instrumentals, echoing 2001, yet Em rots the song with a goofy hook and immature lyrics. These would be my main critiques. Leaning on sung raps, sometimes hooks, at other times stretching out in verses, Em doesn't have a charming harmony to make it endearing. Equally, his lyrical substance suffers. Lacking sharpness, blunted delivery of familiar characters and topics spin up again through underwhelming rhymes, unable to bring freshness to his limelight.

The record starts strong, reasonable tracks lead to an unforgettable Like Toy Soldiers. That song always gives me goosebumps, a beautiful anthem built around a tragic story. A downturn follows as relevant topicality slides into a string of obnoxious numbers lacking some much needed intervention with the rapper. Ass Like That's crude accent seems pointlessly offensive. Having spent its capital upfront, only the heartfelt Mockingbird picks up a merit on a dragged out crawl to conclusion.

Back when this was released, I barely took notice having become obsessed with Dimmu Borgir and extreme metal. Lead single Just Loose It, was a total goof then and has aged poorly. Its a keen example of Em sliding in the wrong direction. Returning to Encore revealed some merits but clearly a sensational streak came to its end.

Rating: 5/10

Eminem "The Eminem Show" (2002)

 

At the peak of his popularity, somehow, the teenage me checked out with this record... Getting deeper into Metal and Hip-Hop, I remember being more interested in Metallica and N.W.A. than what was on MTV. The hype was palatable, Without Me was a sensation. I recall hearing it for the first time on a school holiday, kids cramming into a dorm room to hear a copy ripped from Napster. When returning home and purchasing the album, I felt disappointment, leaving it to gather dust after only a handful of spins. With The Death Of Slim Shady out, an appetite for nostalgia has been turning back to these juvenile records I missed out on, Encore and Curtain Call being the others.

White America kicks the show off with a fiery Eminem, possibly at his angriest ever? Spat with gritted teeth, a venomous anthem roars to life, stiring his teenage fans into rebellion aimed at conservative families in disarray over his influential force. The following Business is a track I remember fondly, pivoting from a moody grind to goofy upbeat fun with quirky rhymes painting the Em and Dre as Batman and Robin.

 Getting deeper in, the unfamiliar cuts, Square Dance, Soldier, When The Music Stops, Say What You Say, reveal a dark undercurrent. The records less distinguished songs lean on a savage Eminem upping the anti, finding a nasal tinted amplification of aggression, his cadence flowing vicious and unrelenting, like a Mike Tyson throwing a string of knock-out blows. Ferocious and cutting, Em's mastery of his controversies still finds ground to run on, engaging, witty and sharp yet familiar topicality by now.

Still working with the Bass Brothers, they and Dre rock these beats hard. Instruments are pushed to peaks, bold thudding percussion to rhythmically drive subtle moods and catchy melodies with clarity and space for Em and his guests to shine. Till I Collapse exemplifies this attitude, a sublime instrumental to propel a frenzied Eminem willing off, ascending on the high of his own rhymes. Its beyond impressive, an absolute gem to discover all these years later.

Housing many classics, The Eminem Show falls short of the timeless perfection that came before. Resting on the merits of its star power at times, weak concepts and recycled themes get tired in spots. Edging out at his prime, Em pushes himself hard, reaching new peaks but also a few missed targets along the way. Its a cracking listen. I wonder how attached I'd be, had it clicked in my youth. Age is mysterious like that.

Rating: 8/10

Eminem "The Death Of Slim Shady" (2024)

 

Reviving to supposedly retire his cynical alter ego Slim Shady, the aging rapper takes another stab at resurrecting the glory from his monumental output at the turn of the millennium. Exploring all approaches, Em arrives armed with fresh controversies to spark, simultaneously using Slim as a shield for his lyrical ills. On the sequel to his classic Dr.Dre collaboration Guilty Conscience, the two exchange blows, juvenile insults and even reflective thoughts in a game of passing the blame baton.

It highlights an underlying lack of cohesion. Well past the prime of his controversies, these multiple perspectives shed the record of feeling like the force of nature he once was. We are however treated to some of Em's best rhymes in decades. I'm suspicious of AI involvement. Slim Shady and Marshall Mather's era flows unravel with his youthful tone intact. Ominous at times, its like stepping into a time machine. The vicious track Antichrist unites voices from across his past on a wild ride of crude insults, snarky remarks and plenty of name calling. Impressive but also edgy.

Other highlights include Road Rage's beat switch to land his Juvenile rhyme in homage to a Southern classic. Houdini's fun, reviving his classic formula of recycling songs from the hook outwards. The South Park references and other echos feel a lot like fan service. Outrageous skit tracks, quirky backing voice snaps and uncouth spoken interludes to paint unhinged scenes. Enjoyable but the charm fades swiftly.

One track, Temporary, stands apart. Tender, endearing and vulnerable, Eminem expresses an estranged relationship with his daughter, who became somewhat of a character in the lore of his old records. Despite this sweet emotional out poor, Em's plain flow and underwhelming instrumental sours this brilliant moment, interwoven with humbling recordings between the two when Hailey was just a child. It feels like album closer Somebody Save Me tries to remedy this with a melancholic anthem.

The Death Of Slim Shady is a mixed bag that could of easily been worse. Mostly mediocre but plenty flickers of past brilliance emerge, his guests rise above Em's average bars to spice things up. Still ruminating on old topics, stirring the pot of controversy is simply past his moment in popular culture. Despite that, Em overcomes the lack of thematic relevancy with genuinely entertaining music, despite questionable lyrics at times, its a good listen with some new favorites to add to your lists.

Rating: 6/10

Knocked Loose "Laugh Tracks" (2016)

Entertained yet unimpressed by Pop Culture, this follow up debut album showcases a distinct shift in approach. Illuminating an unhinged magic to blossom fuller on You Won't Go Before You're Supposed To, the Beatdown oriented Hardcore outfit dazzle with tangents and derivatives leaning into the umbrella of Metal sub-genres. Occasionally overt but often subtle, to a seasoned Metalhead, guitar riffs shift gears with metallic thrashings between the onslaught of gritted Hardcore Punk aggression.

 

The band chew through struggling terrain, challenging music to endure. Addictive within its angered outburst, abrasive refrains, aesthetic dissonances drag one along with a touch of chaos. Wading through a swamp of discontent, each track eventually arrives with a gratifying stomp of mosh friendly groove. An awkward balance to achieve but Knocked Loose grasp it with a masterful strangulating grip.

Laugh Tracks plays in constant anticipation of whats to follow, barely lingering in any arrangement for more than four bars, its swiftly navigates non-linear writing promises a romp to follow. I think only Last Words opts out of a throw down as its final palm mute chug diverts expectations as the guitars take on an uglied Black Metal aesthetic. Its swiftly remedied as No Thanks lunges straight into the dance floor chops.

Without sensationalizing their own material, remaining grounded to the frustrated howls of Garris', Knocked Loose offer up a whole work worthy of listening front to back. I've found it hard to pick out a favorite song, This one plays complete, consistent and cunning as something vicious always lies in wait, all the way up to a sudden outburst of menacing, high society pompous laughter at its ending.

Rating: 8/10