Thirstin Howl The 3rd "Skilligan's Island" (2002)

 

Named after a Gilligan's Island character, this Brooklyn rapper has quite a rugged, playful appeal. Hitting hard rhymes with aggressive enthusiasm, a variety of verses occasionally plunge into impressive strings of mischievous wordplay. Often comical, routinely absurd, Thirstin grabs attention but lacks lyrical depth and flow to bring one back. Unfortunately, Skilligan's Island is as inconsistent too. Plowing through punchy 90s inspired beats, mediocrity compounds as short chorus hooks come obnoxiously repeated, grinding my enjoyment to a halt. A stylistic choice I am totally at odds with.

In stints, the lyrical content gets deplorable too but not to dwell on negatives, what kept me around for a couple of spins was the curious recycling of memorable Hip Hop beats, including one from fellow Brownsville veterans M.O.P. The best of Thirstin's rhymes come out The Polo Rican, yet the show is unsurprisingly stolen by Eminem on Watch Deez. Its how I discovered the record, a classic Slim Shady flow telling tales of deranged individual collecting prescription drugs with a severed limb. How I wish for more of that era. Sadly there isn't much else to take away from this flawed record. I was entertained along the way but that's about it. Thirstin has potential but this ain't it.

Rating: 4/10

 

Conquer Divide "Slow Burn" (2023)

 

Churning the Pop Metal formula through a dense wall of sound, American rockers Conquer Divide caught my ear with their empowered effeminate vocals sailing over meaty melodic Metal that's far from original, trendy for the times yet endearing. Overt influences present themselves through the likes of Spiritbox akin breakdowns and Bring Me The Horizon's in vogue glitchy electronics. Arriving at obvious intervals, between these blushes emerges a kind beast exercising personal demons. The usual themes of mental struggle and emotional short comings get channeled into cathartic screams and firm singing that spins a tune better than most of their contemporaries.

Slow Burn is far from perfect. A strong succession of bangers dissipates into a mediocre indulgence where cracks start to emerge. Wincing lyrics and underwhelming riffs crop up between an otherwise enjoyable atmosphere. Driven by soft distortion guitars woven with synth, dense floods of brooding, powerful sound wash by. There best moments play purely aesthetic, Castillo's vocal tune often defining its impact. Its a far cry from a captivating opening stint. Songwriting falls of a cliff, much of the preceding music rests on the albums excellent production. Instruments shy from the limelight, leaving the charm to linger on lyrical themes that are hit and miss.

There is clearly a lot of potential here. The opening songs offer much more musically. Although the backing instrumentation on verses mostly paints a blank slate for Castillo, they swell together with big upheavals in the catchy choruses and breaks. This is where Conquer Divide excel every time. A dynamic momentum emerges, propelling the themes of internal battle and personal woe into something antidotal and soothing. Its a very familiar formula yet well executed in their better stride.

Rating: 5/10

Ulver "Locusts" (2024)

 

With a strident return to form, Ulver delivers again on his intelligent renditions of matured Synthpop. After a couple of shaky releases, Locusts rediscovers balance. Steeped in dusky atmospheres, classy compositions layer up dreamy instrumentation for his voice to shine like a light guiding the way forward. Steady baselines peruse and pristine keyboard tones shimmer in a dense dance, lush and brim. Melodies play fractured, subdued, diverse, allowing emotion to amass from its parts, without steeling focus from our front man who steps into the stage light, suited up and proper.

Its a smart, intelligent set of songs with a soft city nightlife vibe reminiscent of an older generation. Accents of New Wave, Art Pop and Dance music show distinctive influences, perfectly reworked to suit this breezy pace. The record stars slow and withheld, a minimal take on the formulae to come. The opening title track lunges into its big synth kicks towards its conclusion but the proceeding Nocturne #2 reminded me of Peter Gabriel, a Worldbeat influenced tangent slow and meandering. Its a great conjuring of softly esoteric mood yet halts the show from starting somewhat.

The other installment of Nocturne interjects between these snugly paired songs with a broody rendition of droning synths. Powerful, dark and dreary yet adrift from the records overall tone. The rest of its songs play an effortless pleasure, dazzling and soulful in their own way. Very enjoyable yet feels a little light in variety. What detours it does offer drift from its solid foundations. Curation is possibly its culprit.

Rating: 6/10

Motionless In White "Disguise" (2019)

 

Proceeding their latest effort Scoring The End Of The World, Disguise plays through similar rebellious dystopian motifs. Downtrodden and disconcerted, these self loathing lyrics vent social frustrations and systemic critiques. Emerging in a mangled messed, this personal emotional darkness gets tuned up to a feverous anthemic pitch.

Continuing the legacy of key 90s and 00s bands, another energized romp of animated Metal bangers play off Chris' hooky infectious singing. Tuneful synths and stomping guitars set the stage for ghoulish themes teetering on Gothic at times. Its essentially the same architecture, possibly less impressive now familiar with the bands construct.

Early on the band show their Nu and Industrial Metal influences a touch more directly, however the amalgamation holds strong. On the flip side, Broadcasting From Beyond The Grave and following Brand New Numb play like a shameless Marilyn Manson covers. Fun but a stint lacking originality from a band that usually mix themselves in.

Disguise has entertained but failed to impact. Now lacking a novelty, Motionless In White play with a comforting familiarity, flying the flag with a bold stride that's difficult to critique. My teenage self would adore this punchy angered energy yet I've found it hard to pick favorites among its consistent tone barely hitting a peak or valley either.

Rating: 6/10

Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Eminem "The Marshall Mathers LP 2" (2013)

 

Sequel to his notorious Marshall Mathers LP, this lengthy, convoluted follow up strikes me as a turning point. Passing beyond the woes of his return to the game, Em no longer embodies the moment his iconic guile. Arguably one of his most impressive lyrical bouts, no ambitious rhyme scheme or dexterous flow can save it from circling back on the past. Loaded with witty wordplay, call backs and ferocious energy, his topicality spins a tired trend. Forever locked horns with his usual cast of demons, the latest wrestles bestow entertaining reflections but lack a lasting impression.

Picking up where Recovery left off, the inclusion of Pop stars Rihanna, Sia & Skylar Gray sit among a mix of ideas. Arena Rock kicks, tributes to classic 80s era Hip Hop, lightly "experimental" leaning beats and throw backs to the original record. It makes for an unsettled listen, shifting tone frequently, while perusing across the spectrum of his prior work. There's a track for each record but sadly no Slim Shady resurrection.

 Rap God is an obvious highlight, a moment where concept, execution and substance align for an impressive, if not slightly repetitive song, culminating in a status affirming technical feat. Early on, a handful of beats charm alongside crafty lyricism. There is plenty more in patches to be heard, with Em frequently verging on fiery shout raps delivering his cheeky quips. Although his passionate energy is always present, its as if Eminem is pushing himself more so for the art form than led by his emotions.

That reactionary dynamic once fueled his genius in the past. This shift away started with Recovery. Familiar with the rest of his discography, it ended here. MMLP2 is one mighty swing for the ropes but leaves me impressed rather than connected, as Em circles the usual themes with a lack of freshness to drive a point home. True for much of the record, yet of course he does the complete opposite on his victory lap Rap God.

Rating: 6/10

Oscillotron "Oblivion" (2024)

This artist made quite an impression on me! Their crafty approach to dark atmosphere through delicate, minimal synths has been a delight to return to over the years. Now trading in the stellar visions of astral tension and alien mystique, Oscillotron returns eight years on to abandon inspired compositions in favor of a dull monotonous drone.

 

Oblivion is unrecognizable, a reeking fuzz of noise to drown too. A blurry haze of hellish bass distortion, muddling through the cracks within its own distortions. The wall of sound makes for brooding, ominous tension, until a few minutes in you realize this is the entire hour, offering rumbles and blemishes as its only discernible distinctions.

 

Drone Metal isn't my cup of tea and the bleak aesthetic on offer does little to impress as a lone offering. Although crafting this particular growl might have been a feat to accomplish, its enduring stay is not. Unlike some other spacey drones I have enjoyed, this pale vibe feels hollow an empty in comparison, a drab rot to rid oneself of.

Rating: 0/10

Sabrina Carpenter "Short N' Sweet" (2024)

 

Currently topping the streaming charts, this former Disney star charms with her strong soft voice dynamic. Backed by a seasoned production team, who have handled many big names, the instrumentals of Short N' Sweet croon. Pulling from Country, Soul and Rock, one half of its runtime paints a earnest singer on stage, armed with acoustic guitar and small town Americana charm. The other half gracefully pivots from emotive expressions with energetic bursts of Dance, Disco and Synthpop, armed with sharp wit and knack for hooks. Its fondly reminiscent of Jessie Ware's nostalgic revival.

Sabrina has a wonderful voice, easily slipping between temperaments seamlessly, she colors many a song with subtle shifts that elevate the chemistry. For me, its her sweet falsetto's that perk my ears. The lyrics however, mostly play a hormonal mess of youthful love and relations channeled into cute, quirky expressions, often juxtaposing the warm delivery tone against lyrical content. Its charm is flirtatious, playful, teenage. Fun, mostly harmless but nothing much to latch onto for this listener.

The record is solid from front to back, a breezy, warm, uplifting thirty six minutes that finds a fantastic stride with Bad Chem, Espresso and Dumb & Poetic. The vocal hook on Bad Chem, descending in a dance from breathy high notes is an utter joy. The closer Don't Smile might be joining this list too, another highlight on a solid record that indicates Pop Music is in much better shape than the boy/girl band tripe of my youth.

Rating: 7/10

Eminem "Recovery" (2010)

Reading between the lines of his bars, its obvious the unsavory critical response to Relapse greatly shaped this followup record's direction. Full of enthusiasm for the craft, a scraped sequel has Em questioning himself. The poor reception causes metal turmoils, grappling with his relationship to fame, stature as an artist and the departure of his best friend. This distress makes for tender moments of vulnerability between the usual spats of foul mouthed provocative profanity. Of course, its all channeled through his classic energetic flow and knack for wordplay, which is occasionally rather juvenile.

Recovery's main distinction is the tone of its production. Doubting the direction of his planned sequel, Em parts ways with Dr. Dre, teaming up with the hot producers of this era. For me, they fail to craft grabbing instrumentals, deploying trendy soft-Trance synths and stiff drum patterns. In my opinion, they don't compliment Em yet don't hold him back either. His lyrics carry the usual dynamism one would expect. It's no surprise my favorite beat Ridaz, a bonus track, was produced by Dre. His style is timeless.

His story telling, introspection untangling verses are the records staying power. Featured guests barely make a mark, working with big names of the time, Em casts them in his shadow. A couple of odd interpolations crop up. No Love resurrects Haddaway's 93 classic, transforming the tuneful hit into a peculiar Dance-Rap hybrid. The sung hooks are a touch wild, an aspect that occasionally gets grinding as Em lacks restraint on the limits of his vocal range.Going Through Changes is another, using Ozzy Osbourne's classic voice and yearning strings from the original.

 

Definitely the smoother of the two. Overall, Recovery is a solid listen but I walk away from it lacking the sticky songs that keep you coming back for more. Sticking to the original Relapse 2 plan would of have been mile better. Em is firmly in form on this one, its the pieces around it that are not quite to my preference sadly.

 

Rating: 6/10

Childish Gambino "Bando Stone And The New World" (2024)

What a glorious return for Donald Glover! Bando Stone plays a treat, a wild ride through a tapestry of sonic sound. Seemingly defying labels and convention whilst being pallet-able and poppy. Its refreshing, delivering unique fusions of aesthetic and composition from start to end. This feels like a passion project, birthed from free form jam sessions, capturing the snippets of magic and fleshing them out into exotic songs.

Opening with glitches, aggression and zany vocal manipulations, a bold tone is set yet swiftly we pivot into a heartbreak ballad, gracefully fusing the odd coupling of Soul and 90s Alternative Rock. Survive toys with Dream Pop vibes, Steps Beach croons into an acoustic lullaby, then we swivel again into a dark crunking Trap beat. Unsurprisingly energies shift once more with a lively The Prodigy interpolation of Breathe. A classic!

 

 This tone switching rarely relents, keeping listeners on their tones. Its a refreshing experience, full of unusual surprises and great songwriting. Layers of voicings natural and manipulated seem to be the recurring theme, lots of joyous harmonies permeate many a song on the record. Another through line are these brief interludes painting a picture of modern man stranded in the wild. Without the tools and skills to survive, the dialogs become rather comical, birthing amusing moments between the varied music.

The New World is a hard one to summarize with words. Put simply, it needs to be experienced. The music ventures into so many avenues, siring up striking aesthetics with charm. Donald's apt lyricism delights too, littered with social commentaries and cunning observations he delivers food for thought on rap verses and entertains with creative, expressive singing, frequently shifting into the higher registers, something I don't usually tolerate well. Here I adored the exchanges with his many guests.

 

Rating: 7/10

Last Wishes "Organized Hate" (2022)

 

 

Conjuring echos vague echos of 80s Crossover Thrash and 90s Alternative Metal, Last Wishes play classic beat-down Hardcore with a familiar flare. I'd avoid baiting nostalgia but all my points of reference reach back to bygone eras. This production packages the music convincingly, feeling as if it would fit snugly into a glorious 90s.

 

Armed with throaty shouts, softened guitar distortions and plenty of percussive groove, the aesthetics achieved greatly compliment the music. Gang shouts, two steps rhythms and routinely dropping into half-time all accompany on this feisty ride of channeled anger. The usual topics of loyalty, self empowering attitude and social frustrations get vented through the unchanging scream of front man Corin.

All these tropes may sound antiquated but Last Wishes execute this vision with an arsenal of competent riffs fit for purpose. Its an endearing record, reaching for a specific inspiration and finding it. No remarkable peaks are summited yet it holds its tone firmly for the twenty six minute stint. I happen to be quite keen on this arrangement, it routinely reminded me fondly of classic records from my youth.

 

Rating: 6/10

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