Andrew Odd "Visions Of Red" (2017)

Wishing to "scratch the itch" from an artist who's discography is unfortunately light, I've rummaged around the mostly one track singles for Visions Of Red, comprised of three soothing space themed songs. Arcadia is a beautiful "pale blue dot" inspired piece. Leaning into the cosmic perspective, yearning string scale the epic expanse of space in a trance like state. A deep yet soft rumble of bass murmurs below, between them heavenly choral voices subtly emerge to peak the musics blissful tone.

Elysium turns a little esoteric, its fleeting voices steeped in mystery as layers of airy choral synths gradually climb an underlying tension. Piano notes smothered in a dreary reverb eventually arrive to resolve this ambiguous enigma. Tharsis leans Psybient. Embracing upfront melody, pronounced synths exchange, brooding towards a sense of eruption. I always anticipate a harder pivot but when the percussion arrives, its toned down, a distant snare kick groove, with narrow aesthetics.

 

 Visions Of Red delivers on this artists ability to cut past the mediocrity this astral music can often slip into, creating three intriguing songs to fire up the imagination. Fingers crossed for more Andrew Odd in the future, their craft is one with distinction.

Rating: 5/10

Zeal And Ardor "Grief" (2024)

 

Now a seasoned act, Zeal And Ardor's third full length has soured in lack of reverence. I'd previously been enamored with their dreary, foreboding yet somehow colored fusion of Black Metal, Chain Gang chants and Electronics. This re-imagining of the genres anti religion inspirations birthed excitement. Unique atmospheres and musical oddities emerged from this exploration, both in concept and execution. Powerful themes and striking compositions, twisting both aesthetics and melodic expectations, yet somehow packaged for consumption. This promising act delivered some amazing experiences in years but on this outing, those ideas run short.

Grief retreads familiar themes, lacking cunning for the shock and awe that surprised beforehand. Leaning on dreary atmospheres, the album routinely tries to foray into theatrical lullabies, toned down interludes with subtle instrumentation, striding for something grandiose, emotional and impacting. The vision gets broken up by the bands various shades, leaning into particulars rather than fusing them together.

Mediocrity and tone rotation seems to dispel each songs magic. Plenty of interesting aesthetics and compositions individually emerge but rarely do they converge. Clawing Out is one excellent track that does this. Dissonant guitar noise and creepy whispered chats lure us into the eerie as hastening guitar riffs jostle for impact. Increasing tensions loop over, building on prior ideas before striking us with gratifying siren synths and a thudding distorted bass drum. Its a rhythmic oddity that just works.

Une Ville Vide was another unique cut, a cozy yet mysterious keyboard piece more akin to a Dungeon Synth record. Other than those two songs, not much resonated with me. I do however appreciate the craft. This experience strikes me as being more about my own personal mood than the record itself. I expected a lot more but left sadly quite disappointed. I'm interested to look up the broader reception this received.

Rating: 5/10

Motionless In White "Scoring The End Of The World" (2022)

 

 Its time for a fresh journey! Seems I'm late to the party on this rising act. Motionless In White were a dead turn off on first impressions. The Gothic face-paint, dystopian outfits and naive grandiose word view lyrics, lacked charm. Despite these qualms, brilliant musicianship shun through. Hooky song writing, fleshed out themes, an ear for catchy melodies. Its had me enjoying this record more and more with every spin.

With obvious 90s and 00s influences apparent, originality might seem questionable. From the Industrial shock rock cunning of Marilyn Manson to the approachable pop sensibilities Linkin Park brought to Metal, one can hear a myriad of ideas from the broad Metal tapestry. However the band execute these influences with a touch of magic. Not exactly a distinct uniqueness but the music plays with its own charisma.

Utilizing keyboards, the band flesh out their Djent and Metalcore grooves with pianos, gritty electronics and string sections. Often subtle, they play a keen roll in the mix which generally pivots from guitar riffs and roaring screams to captivating outbreaks of clean vocals to drive home its keenest melodies. Of course, there are breakdowns too which strike me as the more routine and overplayed aspects of there sound.

Theme is king, although the slanted political lyrics aren't to my liking, they can really character a song. Plenty of epic woes about personal struggle cry out with angst too. These cheesy, ghoulish takes really solidify the theatrical music with an identity to ascend the routine motions of entry level Metal. Its separates them from other acts.

It all kicks off with an appetizing Doom Metal romp, occasionally returning to this aesthetic but exploring many avenues. Mick Gordan actually contributes on the final track. Echos of Thriller are heard on Werewolf, venturing near Synthwave with a nice nod to The Weeknd. Another fun cut, Red, White & Boom, blatantly copies the Marilyn Manson formula. Many tracks feel colored in their own paint, playful horror and casual cynical nihilism are common themes. It adds up to a record that thoroughly entertains.

Rating: 7/10

Thrown "Excessive Guilt" (2024)

From a fiery five minute EP, to bludgeoning twenty minute album, Thrown follow up debut Extended Pain with parallel architecture. Brief songs pummel ideas swiftly, wasting no time churning through its chops. Guitars froth with brutality, distortion brimming at the seams in gristly intensity. Syncopation reigns like a punch to the face, kick drums often aligning with the rhythmic barbarism on display for primitive groove.

 

Once again, an aesthetic romp, pushed to compressed extremes. An unsurprising concoction, given its the German Hardcore outfits niche. What may have been obvious before rears its head, striking Nu Metal influences, masked by Djent. Going a step further than slamming dropped power chords on down tuned guitars, subtle disc jockey scratches, downtrodden melodies and other characteristics are prominent.

Sprinkling in touches of trendy electronica, through dystopian synth melodies, attaching brief Trap drum machine interludes, Thrown add a little novelty to their fist pumping ferocity. It never quite makes a song but serves as the jump off point to lunge into the roaring aggression. That's what Excessive Guilt is all about, playing out like a brawl, songs turn like adrenaline shots to sprint through their arsenal of riffs.

Rating: 7/10

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Post Malone "F-1 Trillion: Long Bed" (2024)

A year on from a toned down yet catchy Austin, Post Malone returns with passion, plunging gracefully into another love of his, Country music. Surprising to no one who knows of his passions, F-1 Trillion's shock and awe lies in authenticity. Bringing on a star studded cast of heavyweight producers, seasoned musicians and huge Country artists, a bright, cheery set of songs built for southern blue collar American life.

Pulling no surprises, themes of love and heartbreak, work and drive, booze and blues play out in typical fashion. Post's unique voice croons a snug fit for these glossy instrumentals, his soft wobble breezy and charming as ever. The music flows sweetly, rich, fleshed tunes layered with steel guitar, piano, strings and occasional harmonica.

Given my casual love of the Country mood, this hour flows like an easy day traveling in the sun. Great to ease the mind and keep things simple. Practically every song features a big name, including legends Dolly Parton and Hank Williams among plenty of younger names. With a large cast of songs, only California Sober leaps of the playlist with its powerful hook and lively instrumental venturing into Southern Rock.

Disc two, the Long Bed, adds nine additional tracks with Post going at it alone. These songs simply extend the mood, feeling like there is room for additional voices yet he holds out well on his own, well worth a listen. F-1 Trillion was about bringing the best musicians together to make a stellar country album. With such brilliant composing, its hard to imagine he alone is orchestrating such warm, cozy music. Thus I'm left with a sense that Post is a guest to his own show, which has created a fantastic record.

 

Rating: 7/10

2Pac "R U Still Down? (Remember Me)" (1997)

 

Decades have passed since I last enjoyed one of 2Pac's many posthumous records. I barely remember this double album, loaded with a hundred minutes of the iconic rapper going at it alone. Released thirteen months past his death, it reeks of a rushed release. A lack of vision or focus swiftly becomes evident, Pac's raps arrive from different eras on top of demo level beats that loop at a bare minimum. Even basic techniques like dropping instruments in and out to add some variety seem missing.

Disc one houses more of his 95 era flows. Fresh outta jail on a mission to record as many raps before his impending demise, these lively verses recycle so many of the tempos, tropes and topics of his All Eyez On Me double album. More thuggish, less thoughtful, many of them recorded in one take, Pac's motto at the time. Among them, cuts like Open Fire and Nothing To Loose from my favorite era, Strictly, are a delight.

 Disc two, my favored, mostly houses outtakes from then to Me Against The World. The instrumentals seem like the demo's from that era too. Hearing his pitch shifted raps return makes it clear why those takes didn't make the original cut. Do For Love and Nothin But Love hit hard, as do some of his verses heard elsewhere among a weighty catalog of posthumous material. The original verses of Changes are here too.

Its hard to acknowledge this as much more than a collection of demos. Without Pac's creative input, it feels hands off, the producers aiming to preserve original vibes. R U Still Down does have an eerie foreshadowing of his tragic fate lingering within the lyrics, not unusual given that perspective lurched in his prior records. Besides familiar bars used elsewhere, a few novelties emerged. Beats similar to Snoop's Gzs & Hustlers and Black Moon's Buck Em Down. Given all were released in 93, I wonder if these were instrumentals Pac passed up. Credits suggest coincidence.

Rating: 6/10

Clown Core "Toilet" (2018)

 

 

Predecessor to a similarly structured Van, Toilet's waning novelty grounds its impact, having listened Van prior. Elapsing from crunching bursts of garbled Grindcore mania into esoteric Jazz and beyond, the blaring toy horn, jolted timing stunts and frenzied ghoulish growls sadly fall short. On a joke turning stale, the moments of musical magic shy from a curious wonderment achieved in its successor. The many pivots into bass drum grooves or scenic Smooth Jazz interludes have charm but lack a maturity.

Toilet, possibly recorded in a porta-loo, reeks of youthful adventure. A bold plunge into a vision, mostly realized but leaning on its own oddities too much. Jarring synth noises and unhinged blast beats drop all to frequently, the counteracting moments of gratification only mediocre. Although I have hindsight tainting my perspective, it really feels as if Van is a rework of this piece, going back to the architecture for a redo.

Rating: 4/10

Eminem "Relapse: Refill" (2009)

 

 

As expressed on the comical Steve Berman skit, a returning from retirement Eminem had enough material for two albums. Refill suggests an overstatement, its nine cuts only treading water with Relapse's weaker tracks. Forever feels like a false start, Em tacked onto one of Drake's pop rap songs. The music starts out strong but gets goofy as Elevator trades a quirky rap romp with its elongated sung chorus. Em reveling in the astonishment that his mansion has an elevator. It's likeable but shy of greatness. Music Box & Drop The Bomb On 'Em drag on, both lack a cutting edge, going through motions, feeling like exercises in creativity that didn't live up to his standards.

 

My Darling goes dark and grisly, a flawed execution of an interesting concept. Wrestling with a demonic voiced Slim Shady, he lives up to the ills of the character that brought him fame. The back and forth echos what he tried to do on The Death Of Slim Shady at length. It rolls into Careful What You Wish For, another dance with the devils of fame, commenting on the hysteria around his rise and how his records have been revisited as classics by critics. These two tracks feel like foreshadowing of an artist unable to escape that monumental moment in time. Entertaining but the last time it will feel fresh. One things for sure, Encore will never be considered an Illmatic.

Rating: 5/10

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