Len "You Can't Stop The Bum Rush" (1999)

If mid 80's Hip Hop with its clunky grooves, fun but dated rhyming tropes is your niche, then You Can't Stop The Bum Rush might just float your boat. I'm quite partial to the era, however Canadian group Len's millennium offering has little to add aesthetically, essentially a stiff nostalgic resurrection. Its bizarre his how eclectic and interwoven with other genres this record is, however the music isn't all as fluent.

Echo's of classic 70s Electronic music to the likes of Kraftwerk emerge, as a string of songs foray into crossover with Hip Hop the likes of Afrika Bambaataa once flirted with. Loaded with body popping vibes and vibrant 808s, the authenticity should be sky high with legends Biz Markie and Kurtis Blow hopping onboard to lend their voices. Despite this, the lack of reach to new territory has a stale energy about it.

After Cold Chillin the flow looses pace, ditching the Hip Hip beats to explore Rock, Punk Rock, Pop and Jazzy vibes to see the record out. Although its nice to hear such diversity, only June Bug swoons with its easy flow and gentle singing. Of course, the albums star is Steal My Sunshine, a massive hit known the world over. An oddity, considering how little of its charm gets echoed elsewhere. Worth a listen but quite mediocre.

Rating: 4/10

King Geedorah "Take Me To Your Leader" (2003)

 

Operating under the alias of Godzilla's three headed nemesis, the beast King Ghidorah, prolific hip hop entrepreneur, rapper, producer, MF Doom puts his talents to work. Take Me To Your Leader is an oddity, an album standing apart from the norm with its quirky thematic charm. Emerging from the ashes of old Godzilla flicks and Ishirō Honda's "Invasion Of Astro Monster", vocal and action snippets revive a unique vision to life. Monster Zero runs by as a keenly cinematic track, unloading its samples front to back without a verse, as does title track too later on in its thirteen tracks.

Between the instrumental passages of crafty world building, a diverse range of voices drop onto the mic. Mostly rhyme riddled and intricate in nature, lyrical games play out on the bars, adept with flow, woven with tricksy word play and verbal acrobatics, the focus shifts as the album matures. With such talents strutting, the subject material often slips into bombast and prowess as these emcees rhyme hard. In its transitions, the spectacle remains, suiting this novel packaging for a memorable listen.

The beats rapped over are relatively straightforward. Its the source material and obscure movie dialog sampling that gives this production an undeniable charm. The firm mix of Soul and Jazz gets obscured by a string section focus. The occasional Sci-Fi theme's spice up the overall vibe and tend to find themselves paired with stints of sampling as the guest verses end up on the Jazz Hop leaning cuts. Although capable of dissecting its composition, the elements are gripping throughout, making for a record difficult to critique on its own merits. If this suits your preferences, you'll adore!

Rating: 7/10

Skinny Puppy "Rabies" (1989)

 

Where this journey ends, others shall begin. Having occupied a fair portion of my auditory real estate, I've come conclude there is little left for these Canadian Industrial pioneers to offer. Despite legendary status among the Industrial Metal I adore, the unearthing of the disjointed musical ideas that informed them has become a dull drone. On this fifth outing, Skinny Puppy recycle their dissident formula for dystopian soundscapes again. Lined with malfeasant movie snippet samples, inhuman percussion and jolting baselines, Rabies oddly offers the most accessible incarnation yet. Even so, its mediocrity has songs failing to favor themselves with memorability beyond brief surges of unsettling noise and claustrophobic vocal distortions.

A few songs are distinguished with a new dimension for the group. A metallic drive, as Al Jourgensen of Ministry lends his guitar craft to his musical idols. Thrusts of enthused yet blunt distortion riffs grind in repetition to lend a familiar aesthetic. Sadly the meld is a dull one, perhaps peaking with Facist Jock Itch, although its rampant snare drum abuse is a grating one. Other than this chemistry of note, the records aesthetic and atmosphere echos so much I've adored of their influence yet again fails to connect. Warlock manages a special moment, its alien vocals emoting deep pains with fascinating guile. As its concludes, the rising synths birth something unique. It reminds me fondly of Dysmorphik. There are more records in the catalog but currently the exploration seems futile and thus another journey concludes itself.

Rating: 4/10

The Ruins Of Beverast "The Thule Grimoires" (2021)

 

Fancying a dip into darker realms again, a name from years gone by caught my eye, the German one man band known as The Ruins Of Beverast. This sixth installment, The Thule Grimoires, is softens its blow by the crisp sweetness modern productions offer. Its a blessing, an alluring warmness emanates from once shrill guitars and howling blast beats that pave a familiar path, cushioned for an attentive focus on its unruly surroundings. As the musical intensity unravels, oddities emerge at frequent intervals. An intentional alien darkness manifests, with esoteric rumblings ushering in the dusky realms of nefarious deity worship and pagan hardships.

Toying with slanted choral chants, hazy descending guitars awash in reverb and demonic gutturals, convention breaks into hellish limbos of ambiguity. These occult atmospheres come drenched with unease and tensions not aimed at the listener. Its quite pleasant to experience such crafted balance. This peering into demonic depravity plays like an observer watching mystic rituals from a distance.

Although most of the length record resides in this creative space, with a healthy range of compositions, on occasion the music gets tangled in bright melodic leads that don't quite express their purpose to this listener. A small blemish on a solid record I just haven't been in the mood for. The dark arts are not as charming with age.

Rating: 6/10

Gunship "Gunship" (2015)

 

A gratifying sense of inspiration and class washes over with first impressions. Oozing out the gates with its glossy retro-aesthetic and twinkling melodic might intact, this British duo Gunship stands apart from other Synthwave projects. This is mostly due to its revolving cast of guest vocalists who fill a void the genre's instrumental approaches often leave unsatisfied. Performances conjure the 80s greats. Some more unabashed than others, Peter Gabriel seeming a keen influence. The stylings of Chino Moreno rears itself too. It makes perfect sense upon learning Charlie Simpson is on the record. Turns out, the aforementioned duo are his former band mates from Fightstar.

Behind some fine vocal performances, the pair find wondrous compositions of meaty bass synths churning pulsing grooves alongside competent percussion that leans into the cheesy synth toms of the era with an apt touch. Its a solid foundation, conjuring those nightlife neon-light highway speeding fantasies. Its forward synths crash in with dazzling flushes of tunefulness, overlapping and taking turns as atmospheric layers build cohesion. Sometimes, its care and attention to subtle details in the cracks. More often, the lead notations, carrying the 80s attitude, are its strongest focal point.

Either way, every song defines itself, leaning into the various Synth-Pop styles and song formats of the era. With straightforward structures, verse and choruses swoon with an easy persuasion one will be familiar with. The nostalgia tinted, glossy re-imagination of that decade is approached with such care, this debut Gunship simply turns out songs that last. Carpenter Brut seems a keen influence here, his presence co-insiding with my personal favorites, the chunkier, harder hitting songs of the record.

Rating: 7/10

Kid Cudi "Entergalatic" (2022)

 

Having adored a collaborative Kids See Ghosts and the psychedelic tinged Cloud Rap of Man On The Moon III, time with the American rapper slash producer seemed overdue. Lured in by the infectious hypnotic mellow sways of Do What I Want, exploring this newest record seemed like the next logical step. Entergalatic plays like a river of vibes. Its a series of Ethereal moods drifting by, mostly pronounced by its dreamy instrumentals and Kid Cudi's ability to converge on a gratifying hook.

Most the lyrical verse seem like casual commentaries on life's unfolding events. Passing observations and emotive expressions suit the conjured atmosphere. Cudi arrives calmed, smooth and chill. The beats touch on tensions and introspective degrees, never veering to far from its soothing allure. Occasionally the percussive attachment drifts into restful, relaxing states as atmospheric ambiences take hold.

A track featuring 2 Chainz, Can't Believe It, arrives with apt timing, breaking up the mid point with a nightly low key banger. Cudi's deepened flow, mostly the hook, has an uncanny resemblance to Rich Brian. Its a welcome change of pace among a river of catchy hooks and ambiguous melodies that swoon sweetly to its own rhythm. Its Kudi alone who builds much of this rapport, his guests don't bring much to the table.

Despite such good graces, little emerges beyond the sway of its tantalizing yet mellow vibes. A selection of favorites will rear their heads among the variety but the album mostly slides into mediocrity. Fertile ground for embracing the mood but never commanding the listener to yield. Could of been much more despite easy enjoyment.

Rating: 6/10

The Meters "The Meters" (1969)

 

What a blast from the past! American instrumental Funk outfit The Meters debuted with timeless swagger and groove, an attitude still holding up till this day. Kicking off with Cissy Strut, the stage for jiving licks and crafty rhythmic grooves to swoon and croon is set. Boisterous percussion bangs out easy strides for aged guitars and warm bass to bounce off one another with stabs of intricate Funk melody over strutting baselines. Organ keys shimmer and chime in on occasion, with this unshakable 60s psychedelia aesthetic. The influences of Jazz and Rock from the decades past converge here with attitude to form an unshakable Funk sound.

Its instrumental nature leaves much space for guitars and organs to step up into and lead, expressing human instincts like vocals would. The whole affair feels like a loose jam session. The percussive arrangements tend to loop over endlessly as the rest of the band groove around its firm beat. This leads to many moments of magical chemistry but also detracts musically into moods without direction. A fun experience, yet plays without any overarching theme or sense of arrival beyond favorite tracks.

The Meters starts high and ends with another strident show of swagger on Sing A Simple Song. Whats in between is a mixed bag of goodies tiring somewhat with repetitions. The audio fidelity shows its age too. Guitars and drums peak often, tones blemished and of the age but all with a charm to gives it some edge, a punch that makes it stand out. Being mostly ignorant to this era, its legacy and place within the formation of Funk is unknown to me but I love how embryonic it sounds to my ears. Curiously poised for a new decade it sounds like the emergence of fresh ideas.

Rating: 6/10

Ziggurath "Jungle Majesty" (2023)

 

From Desert Synth, to Jungle Synth, Ziggurath's exotic inspirations turn wet and tropical on this humble second outing. With this friendly incarnation of simple synth arrangements, the music barely resembles Dungeon Synth anymore. Jungle Majesty feels more like a homage to 90s video game soundtracks. With an "at your leisure" pace and ever pleasant mood, the atmosphere conjured is ripe for scene setting.

Further embellishing this era defined soundtrack design inspiration, the simplistic MIDI compositions run stiff with precise timing. Despite this "flaw", a selection of rich virtual instruments, cared for with soft space filling reverbs, somehow washes away that sharp digital precision. Even in its slower paced cuts, of which many have a tortoise like crawl, the aesthetic charm of its gorgeous tonality wins one over.

The song titles are fantastically suggestive, both complimenting imagined events within the game and finding a fun temperament to match. It doesn't lean to heavily into the dark, keeping its light hearted tone throughout. A couple of moments muster more musical layers into compositions with more visual gravitas on occasion. Again its a vague yet fond reminiscence of the worldly Dead Can Dance that can be felt.

The recurring use of some distinctive instruments further highlights the fantastic chemistry at work. Bongo percussion, lone tambourines and voicey choral synth conjure charm again, yet aptly repurposed to this new jungle setting. These new claims to Synth genres are somewhat futile. Jungle Majesty doesn't create new ground but certainly evokes a nostalgic presence fit for enjoyment once again.

Rating: 6/10

Ziggurath "Tales From Southern Realms" (2022)

 

As Dungeon Synth ages, the potential for its maturity and new avenues of evolution is exciting. Despite the possibilities, many branches Ive heard seem a step in front of themselves. The notion and presentation exotic yet execution lacks musical vision. Ziggurath, and the notion of Desert Synth, initially seemed doomed to the latter.

Minimal use of rich tonal virtual instruments, sleepy tambourine and bongo led percussion, the unshakable humanistic choral synths. All too simplistic. My first impressions were as dull and lifeless, as the windswept dunes it was trying to sell.

There are still tracks who's spell seems absent on me. The incessant bird tweet on Assassins In The Courtyard an annoyance. It pulls me from the nightly Ethereal magic, brooding around the saw wave melody, which blossoms into an exotic mystery.

As familiarity settled in, the ancient dusky dune civilizations came to life. Steeped in cultural mystery, lost to the ages, the world building flourished with spurs of foreign instrumental chemistry akin to the delights offered by legends Dead Can Dance.

With ebb and flow, temperaments lull, then pick up pace. A sense of cycle emerges, the lively activity of daytime markets and trade, descending into night as the dangers of moonlit dunes sit softly in the backdrop, awaiting risky adventurous who tempt fate.

The brighter instruments highlight its potent melodies, forging a focal point for the records apt chemistry on this Desert Synth notion. In its calmer spells the minimalism feels lenient on the suggestion but its best sell are the bold, throaty, voicey synths.

They weave in a sense of ritual and spiritual tradition that illuminates a fantasy Egyptian alike culture with esoteric mythology at its core. This is where the record excels, a most gratifying component among a set of songs that work mostly for mood setting. The immersion doesn't quite grab you by the throat but the sell is strong.

Rating: 6/10

Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Rune Realms "The Fate Of Atlantis" (2016)

 

Seeking a record for the next step in our Rune Realms journey, The Fate Of Atlantis caught my eye with its soft pastel colors and suggestion of thematic departure from nature driven inspirations. The title too resonated, sharing name with a classic MS-Dos Indiana Jones game from my childhood. Had I payed closer attention to the attributions given bottom of its album art, I would of known the echos of that timeless, classic movie theme song, were not my own impositions on the music itself.

Upon learning this, the sparkle of adventure waned, as research revealed most, if not all, of the music here is built upon the MIDI soundtrack for the 1992 computer game. I was curious to see how this artist would handle myth and legend through the lens of a cultural, human setting. Instead, what was experienced was that of another. One I had technically enjoyed as a child, however, no dusty memories were unearthed.

The project, however conceived, has been a pleasant companion. Its shifts in temperament stir the spirits of adventure as moseying lulls and cautious tensions seem to hold over the mythical curiosity. Soft, luscious instruments gently guide one from mundane to mystical as its individual songs cut into moments of discovery and intrigue. The pacing is apt, a smooth, subtle journey conjuring great wonders.

Horns, strings, bells, harps and trumpets all have their moments, yet meld with a warm cohesion, giving the record an easy flow through its impressions both suited for ones attention and the background. The mystique isn't overt or over powering and perhaps suggestion has its power over where the imagination goes but overall its a fine experience for intended theme. A record worth returning to on occasion!

Rating: 7/10

Maurice Brown "The Mood" (2017)

The Mood, an apt name for a record that can impose its own upon one so snugly. This forth outing of veteran Maurice Brown, composer, voice and Trumpeter, bestows itself so elegantly. The soft swaying swagger of Smooth Jazz. Extended aesthetic pallets akin to Jazz Fusion. A subtle rhythmic groove fond of Jazz Hop. Maurice creates a modern, relaxing take on the classics. Fleshed out with occasional vibrant verses by himself and guest rappers, they somehow cut the instrumental flow perfectly with the sudden arrival of deep, thought provoking lyrics. The silence between barely yearns for more, despite the expressive words and chemistry they adorn.

Past its warm welcoming open cuts that set a firm groundwork, the album moves into a couple of Avant-Garde leaning songs. Its percussion busying and with dexterous, dissonant leaning leads emerging, it end up rustling the feathers of its slick persona. Upon finding a way back with Capricorn Rising, the musical themes and key melodies seem to lack the initial dazzle that captivated ones attention. Despite still possessing an easy charm, loungy vibes and full of good mood, It seems a step lower in energy.

Destination Hope, the album closer, rekindles that early magic. Bringing on a fine R&B singer, the Jazz hybrid template finds another soothing chemistry as Chris Turner swoons in to the forefront. Returning again with an epic, softly reverberated chorus. The message is strong and sweet, the melodies croon again and then a spoken word, half rap cadence, from J Ivy blossoms briefly as a fond unity is achieved. The Mood is a hard record to knock. Despite delivering such delightful magic upon the way, it falls short of a classic album experience despite its remarkable impressions.

Rating: 7/10

Ryo Fukui "Scenery" (1976)

Always one to be drawn in by the calming allure of Jazzy sophistication and lounge atmosphere, sadly I did not find a depth here beyond its smooth surfaces. Scenery is self taught Jazz pianist Ryo Fukui's debut, accompanied by ponderous bass guitar and drums, the trio only became appreciated by enthusiasts outside Japan years later.

 

The pleasantries of its soft, observational presence has a few strides of gusto, riling up energy with its thematic seasonal shifts. This is where percussionist Yoshinori Fukui shines, the intricate rolls and shuffles bustle with excitement. Yet in its dizzying sprints, Ryo Fukui comes off stiff and constrained as a soloist. His pacey piano strikes rotating notes with a mechanical lack of imagination for a listener to read between the lines. These particular leads played more like Heavy Metal guitar solos than Jazz.

In its less enthused drives the music melds into a comfortable rhythm, the slowest of tunes seeming to posses the most charm as the space between notes croons with smokey allure. Sadly though, I was looking for a spark I could not find. I've always been a sucker for Jazz, yet it seems only the most appraised of the genres works resonate deeply. I found myself with little to take away, despite enjoying my stay.

 

Rating: 5/10

Rune Realms "The Snowforest" (2015)

 

Noticing a purposeful theming in both presentation and naming, I decided to pick out this frosty, earlier incarnation by Rune Realms. The Snowforest suffers the shadows of its successors on first impression. Virtual instruments run stiff and seemingly lacking subtleties that eventually blossom as its theme sets in. The embrace is surprisingly calm, summery with a soft stillness. A stoic beauty of awe, a snapshot in time. Setting aside commonly encountered tropes of mother natures harsh cruelties, one observes the timeless majesty of snow blanketed landscapes, dense woods and white fields, forever unchanged in their shiver. Deathly cold, yet here we observe its genuine charm, free from the chains of mortal perils in such severe conditions.

On occasion, the albums steers itself into extended lulls. Deliberate and minimalist it again focuses on noninvasive melodies and chords deliberate in world painting and atmosphere, the strength that Rune Realms offers beyond its counterparts. On this occasion the frosty stillness can be particularly dreary in pace, despite a touch of jollity in its charming aesthetics. This changes with Snow Waltz, a lively piece conjuring gusto to sweep one up into its natural dance. More of this type of tangent on the theme would of been welcome as it explores more possibilities. Despite lacking a curious variety, the record serves its purpose in transforming the minds eye of this listener to vast and awe inspiring landscapes gleaming in the sun, despite the cold.

Rating: 6/10

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