Travis Scott "Birds In The Trap Sing McKnight" (2016)

American Hip Hop producer Travis Scott's latest endeavor has been somewhat of a puzzle in my mind. Initially I disliked it, then it grew on me and a couple of gems in the track listing revealed themselves but now after plenty of spins I feel mostly disappointed. Last years "Rodeo" was a new and interesting listen for me but some of the tracks really grew on me over time and so I found myself rather excited for this release. Unfortunately my understanding of this record is that several forces are at work, a variety of ideas which on occasions add up to something fantastic but mostly fall flat. One of its biggest flaws is song structure, a lot of tracks meander and stagnate in instrumental passageways that use a lot vocal distortion and sampling between layers of synth. Without a direction the atmosphere and vibes conjured often fade into obscurity.

Lets start with the negatives. Travis likes to backup and affirm rhymes with echoing, pitch shifted "Yea" and "Straight Up" shouts. It gets tiresome quickly, they sound identical and there frequency quickly had me irritated. Secondly the rapping is rather questionable, Travis stroking his cactus? This record is loaded with bizarre lines and meaningless dribble which only for a couple of moments makes sense. The album kicks of with a feature from Andre 3000 of Outkast who really kills it. At first It was heartbreaking to hear such a talented and inspiring rapper drop into this new auto tuned sound but with each listen and familiarity with the lyrics I released he was killing it, showing how lyricism done.

With a lack of lyrical substance and cohesive direction there are moments of brilliance that spark from the experiment. Guest artist Nav kills it on "Beibs In The Trap" and makes sense of these lackadaisical rhymes styles. His overly simplistic rhymes and effortless style paint the careless attitude for the unsympathetic interactions hes expressing, its a moment where the style matches the intention. Then Travis jumps on the track and plays out these slow synthetic vocal moments, unstructured and drawn out they stretch aimlessly through this and many other songs. Oddly enough this same nuisance sounds genius on "Through The Late Night", my latest addiction. The songs chorus plays over and over and over while Kid Cudi hums a complimenting melody. Auto tuned and distorted it synthetically blends into the track like an instrument and is simply infectious. There are many other moments where these vocalized instruments jump into the tracks but rarely does it work like this.

The album experiments greatly with vocals as instruments, something Kanye pioneered in Hip Hop. Most of the time it doesn't amount to much and the core of these instrumentals seem to be washed with dense reverbs, auto tune and wavy synthetic sounds where only a few moments display genuine chemistry. In its moments of tolerance there's a barrage of shallow materialism, unemphatic attitudes and questionable morality in the lyricism that creates a rather disappointing feeling through its playtime. I'll probably tune back in from time to time but I don't think this one will grow on me.

Favorite Tracks: Through The Late Night, Beibs In The Trap, Sweet Sweet

Rating: 4/10

Navie D "Post EP" (2016)

Hailing from Toronto Canada, Navie D is a producer with a distinct, and to my ears, fresh take on Hip Hop instrumentals. "Post EP" is his second release and one with a consistent feel through the five tracks. It rolls at a slower pace with an emphasis on atmosphere and a less bombastic, more industrial take on percussion. The drum loops are programmed with a modern touch, shuffling hi hats show a subtle Trap influence but mostly the beats accommodate the surrounding music made of ambiguous sounds in a state of organic transformation. Its layered and stacked with minute details that blur the distinction between melody and rhythm as these songs progress to let singular moments of melody shine from within the dissonant shell.

Its an excellent execution of composition that has all sorts of creepy and eerie sounds drifting into the fold. You'll hear dogs barking, human voices malformed and chopped into the songs soundscape and on "NYC" a barrage of ghostly vocals pitch shifted, shuffled and thrown at the listener in a dizzying state. Some instruments and percussive noises have such an add tone I wouldn't be surprised to learn there were more voices at work in the mix. Its what gives this otherwise meaty and industrial construct an eerily organic and human vibe.

On paper it would seem like a dark and twisted experience but all that's at work is held on the lighter side of ambiguity. One feels like the observer of a strange curiosity unfolding without threat or worry. In between these peculiar unravelings moments of life occur as each track has its moment where an instrument can burst into life and illuminate the atmosphere with synthetic toned instruments playing bold melodies where the songs are normally devoid of something as distinct. On "Junkyard King" it takes the form of a ghetto whistle that manages to be as charming without playing a G-Funk vibe.

This short record really impressed me but it does make me wonder if a rapper could bring something more to it. Because the instrumentals are so distinct they are exciting and fresh but at the same time these instrumentals feel like they set the tone and leave a lot of room for something else to take the forefront. Either way this was a great listening experience.

Favorite Track: Junkyard King

Rating: 6/10

Fugazi "Repeater + 3 Songs" (1990)

One, two, three, four, Ribena! No, not the fruit drink, repeater is the word! A misheard lyric I just corrected myself on as I looked up the track listing preparing to write. "Repeater + 3 Songs" is the bundling of Fugazi's critically acclaimed debut record and a 3 track EP released months earlier in 1989. I've been meaning to get around to Ian MacKaye's music for sometime and was delighted to find something quite attuned to the Post-Punk and Hardcore sounds Ive been listening to recently. "Repeater" is fantastic for reasons I can't put my finger on. Its easy on the ears, full of life and energy with a raw authenticity that tackles the harder subject matter.

Formerly just the brainchild of guitarist, singer, MacKaye, "Repeater" is the turning point where the group decided to write music together. Its apparent they have a golden chemistry in this moment as an organic and free sound emerges that loosens the conventional song structures to allow all sorts of magic to happen between the guitars and drums with plenty of rhythm breaking and noisy atmospheric guitars to break up the repetitive riffs with expansive sounds often playing with feedback and reverbs. Much of whats hard about Hardcore remains in the moments of aggressive guitar playing as hints of Post-Punk, Rock and Grunge play into their sound but mostly its one of those records that's carved its own niche.

The records best tracks feature vibrant bass lines with a warm, bold, golden tone that the guitars play expansive riffs over, bursting Post-Rock like atmospheres into pockets of the songs. The drums join in too between conventional beats and syncopate with the instruments. MacKaye and Picciotto take turns on vocals and both of them bring a passion with light screams and emotional singing to further illuminate the energy exuding from the instrumentals. The whole chemistry is a fine thing and there is something rather momentary about this record that has been captured in a gorgeous recording that has stood the test of time, sounding fantastic to this day. Between its best songs a couple don't reach the same mark but that's simply a compliment to how excellent some of these tracks are. A deep, artful rock record with a slightly aggressive overtone addressing heavy subjects.

Favorite Tracks: Turnover, Repeater, Blueprint, Sieve-Fisted Find, Shut The Door

Rating: 8/10

The Veldt "The Shocking Fuzz Of Your Electric Fur - The Drake Equation" (2016)

I picked up this short record after reading a rave review on this records "innovation" praising its inclusion of trap influenced drumming and dreamy ethereal overtones. I didn't really feel it and learning about the bands backstory added a lot of clarity as to why I didn't see eye to eye on this record. The Veldt have been inactive for almost two decades, they formed in the late 80s and their debut was released in the mid 90s at the tail end of the Shoegazing Dream Pop era. Their reunion and this record has an old sound brought back to life with modern percussive influences and a richer sound given the fidelity of present recording techniques.

The Shocking Fuzz is quite an inviting record, calm, serine and soulful, oozing synthesizers and bleeding guitars wash together in a haze of reverb for lead singer Daniel to drift into with soft, harmonious singing that's sleepy and calming in its authenticity. The walls of ethereal sound created in a typically shoe gazing fashion are distant, dense, mysterious and layered with details that swirl around, expanding and contracting with the music. The percussion varies in style from track to track and accommodates the wall of sound that blossoms in the track, as opposed to playing a key role in its direction.

Each track is a little inconsequential with no big arks of progression but singular moments that suspend the enigmatic sound of the dissonant guitars while they create expansive soundscapes with their rich and deep tone, best heard on "An It's You" where the guitars cut in and out of the track, rapidly transforming its depth and composition. With each listen the familiarity soaks away some of the charm and the singular nature of the tracks has them stagnating with a lack of events to spice up the setting. The talk of ethereal music mixed with Trap beats drew me too this record but their union here sparks nothing special, nor does it sound out of place. Its a short and solid record but nothing to get worked up about, just a chilled record for a certain mood.

Favorite Track: Token

Rating: 6/10

Shape Of Despair "Monotony Fields" (2015)

With my recent curiosity into Doom Metal, through albums like Desire's "Infinity... A Timeless Journey Through An Emotional Dream" and Candlemass's "Nightfall" I was recommended Shape Of Despair, a Finnish Funeral Doom band who's debut has quite the reputation. After an eleven year gap between records "Monotony Fields" is another heavily praised record but unfortunately one I couldn't really enjoy or get into.

Its slow, punishing act of doom and gloom drawn out through lush textural instruments that didn't add up to more than its parts. I can however, very much appreciate what this record could do for someone else. It is aesthetically gorgeous in its own morose way but the life is sucked right out of the atmosphere by the crawling pace and stagnent progression. The guitars, synths and drums mostly feel the same from track to track, in their lethargic drifting presence the differences and subtleties fall mercy to the postponing nature of these songs.

The synths set the sombre tone for dense guitar distortions to bleed out with monstrous guttural vocals being stretched over lengthy riffs with a remarkable consistency. In its moments the lead melody can conveys some epic, or emotional context but it too falls mercy to the stagnation of slow repetition. The pallet is quite memorable but it feels uneventful beyond setting a mood. For me this record dives to far into slow gloomy atmospheres for me to stay with it. Although it has an interesting texture, their is no progression or events to keep my attention.

Rating: 3/10

Shura "Nothing's Real" (2016)

The BBC isn't my usual source of music journalism but their article raving on this Synthpop revival artists debut record caught my attention. From words to music you will loose a lot in translation and as because Shura isn't quite what I expected. This is revivalism in a rather pure form which benefits from three decades of aesthetic progression but stands firmly in the simplistic, formulaic pop roots of the genres era. Its almost a nostalgia trip and offers little new or unexpected ideas but the instrumentals and Shura's comfy, soft, easy on the ears voices caries the record over through its hour playtime.

Shura's range is quite contained, as is her delivery often staying within the safety zone of the colorful instrumentals with softly sung lines snugly fitting into the pleasant mold. Lyrically its rather cliched and atypical with a string of songs on love, what could of been and all the shades between. There's little external perspective or reflection in the lyrics so none of it really had any impact. The hooks are reasonable, nicely delivered but again lacking the depth to land a punch.

The instrumentals are fantastic. To my annoyance they reside within the verse chorus structures but otherwise there is a fantastic chemistry of layered instruments culminating a warm, vibrant and inviting atmosphere of simple pleasures. Lots of little melodic loops come from lively, colorful instruments with lavish synths adding to a continual density. Its a few steps away from being quite thick and far from being minimalist. Its a healthy helping of bright and sunny music with that classic Synthpop charm and musically is where it doesn't steer of that track but aesthetically its a little more expansive and revives the sound to much merit.

With a lack of twists or new ideas the record can be a little disappointing within the atypical pop format. At the same time its instrumentals provide such a vibrant sound that its time is welcome. The same thing apply to Shura's voice, easy and inviting but lacking any spark of uniqueness lyrically. The two add up to a record that's got looks but no brains. Its company is most welcome but doesn't leave much of a mark beyond its moment.

Favorite Tracks: What Happened To Us, Tongue Tied, The Space Tapes

Rating: 6/10

Atheist "Piece Of Time" (1989)

After reconnecting with this band of old I picked out their debut record to listen to next. Released in 89 it stands firmly with an "ahead of its time" label, although the album itself was recorded almost a year earlier in late 88. Fascinating stuff however this record doesn't translate to enjoyment at quite the same ferocity as its follow up "Unquestionable Presence" does. Putting a finger on why has been tough, it makes me ponder the impressions that other works can leave on records that are new to you. These records in one sense are two of the same breed however perhaps a seasoned maturity and flirtation with non metallic styles gives its predecessor an edge. Even then we are splitting hairs, "Piece Of Time" is a brilliant Death/Thrash Metal record, one well ahead of the crowd and worthy of praise.

Many of the remarks I could make about this one are similar to the article I wrote before so I will focus on the difference between the two and I believe it comes down to the production and tone of this record. Its still an impressive recording for the time but it feels a little less inviting, somewhere in the low to mid range is somewhat hollow and the guitars find themselves squeezed into a narrower range, leaving them rather visceral and sharp. It changes the albums complexion and the tone is rawer, a bit unchained and as a result I find it a little less comforting to sink into. The ears adjust but its always got a bit of unsettling venom about it.

With that sharper edge the music sticks to a much firmer aggressive state between the Death and Thrash with no musical breaks or odd time signatures, apart from the short album opener mixing light synths with the sounds of crashing waves and a symphonic piece for the final track. The riffs steer to a darker, aggressive posture and the groove element is toned down, many riffs feel like they are just a step away from some much needed bounce but given the overall theme that's not what the records looking for. Its another onslaught of short songs rapidly going through the motions with inspired musical ideas that culminate many fun and memorable riffs. The bass guitar holds back in comparison however the drums are as equally involved and wild through the albums course. A classic, however I find the follow up ticks more boxes for me personally.

Favorite Tracks: Room With A View, I Deny,

Rating: 8/10

Crass "Stations Of The Crass" (1979)

After being brought back to a classic record, "The Feeding Of The 5000", I thought id follow up with their second full length album released the following year. Id only heard it a handful of times before and listening to the album again it pretty much takes off where the last one left. However the albums mood is slightly more depressive, pessimistic and angry. As if the monochromatic abrashion wasn't gritty enough the tone now has a little less statement and more response to the events that unraveled between the two records. Calling out The Clash again and making defeatist statements like "Were not going to change the system". Its not just in the lyrics, its in the delivery too, their is more anger, bite and despair in the voices of Crass's various singers.

But for the most part its very similar. Instrumentally its constructed from the same ideas, lots of snare lead militant percussion, dissonant noisy distortion guitars and a bouncy baseline always in the thick of it. The vocals are again apologetically blunt and stubborn, marked by the thick Essex accent. Eve Libertine makes a return on a couple of tracks, singing on "Upright Citizen" which gives it a wave of color in a sea of grey. Aesthetically its mostly the same too, sounding as if they could of come from the same recording session, maybe with a touch more clarity.

The record plays through with less striking statements and little hooks where its predecessor had many. The last three tracks unwind slowly with moments of anger fulled Punk between more atmospheric noise led movements. Its a decent record but doesn't have quite the same orchestration is the bands first, however with it being so similar its quite possibly an example with what retreading your footprints can mean musically, less memorable and not as impacting. Still a great listen though, again with a large track listing of many short songs.

Favorite Tracks: Darling, System, Upright Citizen, Demoncrats

Rating: 7/10

Cryptic Slaughter "Speak Your Peace" (1990)

Cryptic Slaughter are an American Crossover Thrash band from the 80s who had a very young line up, in terms of age, during in their short six year life span. They released four full length records, this being their last released in the same year that they split up. Their debut was released in 86 when some of the members were only 16 years old! Young bands are more common in today's freedom of access internet driven music scenes, back then it was rather a rarity. As a crossover band Cryptic Slaughter had more of a Thrash leaning on the guitars and drums, mixing up common techniques with Hardcore sounds too, the music themes and open mindedness of the record leans more so in the other direction. As a fan of both Hardcore Punk and Thrash Metal I was keen to give this one a listen, as I have heard the bands name mentioned by many reputable artists.

"Speak Their Peace" made its mark on me through its political, social and philosophical statements. There's a lot of observation and reflection apparent in the lyrics which make thoughtful points about the environment, society, ethics and a cynical criticism of the often overlooked issues in society. On the title track the line "I'm sick of hearing there is nothing we can do, I'm sick of hearing that nothing ever changes, well change changes, what we do gets done" really truck me. Brilliant denial of pessimistic attitudes. Its a rebellious soundtrack of alternative ideas that are rooted in logic and reason with a warm dose of compassion.

The instrumentals accompanying the angry shouting voice of injustice are also rather dense with substance and ideas. The tone is heavy in mood rather than texture with many riffs walking from one to the next, interlacing discords between moments of heaviness. The baselines don't shy away from the stage playing a big warm role jumping out between the silence of the distortion guitar and climbing the fret-board for higher notes too. In general it plays rather organically with each moment unraveling into the next, never settling still and continually moving into the next orchestrated riff section, occasionally throwing in half measures and often varying on repetitions.

It adds up to thirty three minutes of energetic, to the point Crossover that makes its point firmly. Its got attitude and a guitar style that sets it apart from other bands. Although its Thrash can be thrashy, and its Hardcore commonplace too its the continual meshing of the two ideas that roots it in a unique place. The recordings production is solid for the time, nothing is especially clear or sublime but each instrument fits into the mix so well, its a very balanced construct that lets the music do all the talking.

Favorite Tracks: Insanity By The Numbers, Speak Your Peace, Killing Time

Rating: 8/10

Snoop Dogg "Coolaid" (2016)

As he states it in the opening track, Snoop Dogg's a living legend and "Coolaid" is the fourteenth record from the American superstar who solidified his name in the history of music with his iconic debut "Doggystyle" back in 93. He has never manage to reach that peak again but has remained in the limelight ever since, appearing at all sorts of cultural events and consistently releasing records every couple of years. Personally I haven't been particularly impressed with his output since 93 but every record has a few decent songs and "Coolaid" is a slick, smooth record with easy going, polished beats and steady, lush instrumentals. Snoops flow is as smooth and stylish as ever, however a lack of lyrical substance weighs down the mood as Snoop flips the same themes over. At seventy seven minutes the slick hooks and catchy versus get lost between a lot of fluff and mediocrity from Snoop. He focuses much of his words on status, image and general braggadocios themes which get tiring. Snoop has often been about his unique style and persona on the mic but when the rhymes are half baked it can fall flat.

Snoop's production choices are a little varied across the record with modernized beats intermingling with G-Funk and synthesizer instruments. It flows well, hits a high point with the summery oldskool "Oh Na Na" and a low with "My Carz" where Snoop raps over Gary Numan's classic track "Cars". It lacks charm or chemistry, the two styles feel opposed to one another. Then "Two Or More" comes in, another highlight culminating with some breezy jives and Disco like funk. The synths on this track are gorgeous and chorus really sells the track. Its a moment where Snoop and the beats are their best and for the most part you don't quite get both together. That's just how it sounded to my ears, a well produced record that's easy to enjoy but it lacks the trim to put the best moments together in a shorter run time.

Favorite Tracks: Oh Na Na, Two Or More, Kush Ups

Rating: 4/10

Forest Silence "The Eternal Winter" (2002)

This short, twenty minute, three track demo is Hungarian Black Metal duo Forest Silence's third before landing a full length record in 2006. Its part of a patchy discography where the tone, aesthetics and style shifts from each release. The previous demo is a collection of dark, weary ambient soundscapes and their one album is very clean and riff driven. This demo however carves itself a niche of sleepy, hellish, atmospheric Black Metal that I could only compare to a few bands, I Shalt Become's "The Pendle Witch Trials" comes to mind, however this release has a lot more aggression, fire and menace about it than the witch trials.

The first two tracks follow a similar structure where the same riffs and patterns play over and over, back and forth while the noisier, less coherent instruments grow the atmosphere that surrounds them. Deep nefarious, windy synths lead the tone as they resonate from behind the other instruments that stand in front. They play singular notes at a distance from one another, letting the attack of the instrument slowly expand out. The drums are rather thin and pasty, lost in the mix however a deep thudding tribal drum makes a distinctive mark on the songs like the heart of darkness pounding away. The guitars alternate between strung out chords and snaky tremolo riffs, they too are thin and buried in the muddy mix. To much effect they compliment and add a density to the synths despite being smoothed by them at times.

Its a low fidelity affair where the messy mix lets the gloomy, unsettling synths create an engrossing atmosphere. The vocals initially feel laughable, cliched weak raspy screams groan out over the instrumental with echoing reverbs. Their balance however works amazing for the music, another snarling malicious voice to strengthen the harrowing atmosphere. The two songs are equally brilliant in their longer run times and to wrap it up a somber and lonesome ambient track leads the demo out.

Its an instrumental track with sweeping synths like winds, a soft murmuring bass and lonely melody calling out over the desolate, baron landscape. It evolves with some acoustic guitar accents and bongo drums playing a soft rhythm. It doesn't aim for a climax but fades away and serves as a calm and solemn unwinding. Another memorable song and merit for a fantastic demo from this obscure Hungarian duo.

Rating: 6/10

Stellardrone "Light Years" (2013)

Ascending from the Baltics, Lithuanian musician Edgaras aka Stelladrone may have one of the best self describing names Ive come across. Stella for interstellar, space and all things beyond the cosmos. Drone for the nature of the music, lush ambient drones of textural synths that lure in the listener to deep cosmic wonder. All of Stelladrones music is available for free, an ethical approach I very much like and "Light Years" is the last release from the artist in three quiet years.

The tone of this record lands right within my expectations of the name. Its on the lighter side of ambience and Its astral drones create rich atmospheres fit for deep thought and reflection. It captures the mystery of our universe in wondrous frame of infinite beauty, we listen in awe of our experience of it. Across the 10 tracks different flavors of equally positive vibes emanate from lush, dimensional synths that sweep and a wash gently by as they move through lengthy phase shifts. They are often accompanied by a chirpy shuffling synth tune that loops itself through the infinite. Half the time some percussive elements join the fold, more often berried into the synths and a few tracks get dense in comparison to others with multiple synth tones stacking up alongside the drums.

Each track is its own but in the grander scheme the record doesn't surpass its own moment. There is nothing to fault but the soothing, slow and droning nature of the music has it molding your mood but not your memory. As enjoyable as each listen is, not to much about it sticks around. The drones are singular and uneventful, fantastic for focusing on another task. It succeeds as background music but in the foreground is simply pleasant but doesn't make itself remembered. Solid record with fantastic production, great sounding synths for calming compositions.

Favorite Tracks: Red Giant, Light Years

Rating: 6/10

Killing Joke "Brighter Than A Thousand Suns" (1986)

Ive been chipping away at the Killing Joke discography for some time, their first two records "Killing Joke" and "Whats THIS for...!" were really something but the rest of what Ive heard hasn't been quite as unique or interesting. I last listened to "Outside The Gate", their most poorly received record but one I thought wasn't all to terrible, it had a couple of memorable, catchy songs on it. I actually skipped a beat there, missing this record which ironically feels more like a solo effort from front man Jaz Coleman who's face dominates the albums cover. The negativity surrounding the band at the time seems to revolve around the shifts in style but listening thirty years later its seemingly irrelevant.

Guitar distortions and aggression are almost non existent, the guitars, mostly overdriven, are jamming away in the distance, drifting through melancholy riffs in a wash of hazy reverb that vibes with the synths. Jaz's electronics are eerie keys with an astral quality about them, they take much of the melodic lead and usually the guitars are following them, adding texture and density to the simple synth lines. The drums are rather punchy and active with solid tones however in the mix the are rightly quiet and keep pace rather than make a big impact on the songs. The bass lines are a key component of groove, big and bold the rest in the forefront jamming to their own tune that ties the drums to the guitars and keys. Rising above it all is Jaz's voice who flexes the soft yet powerful side of his range. The instrumental sets the tone, building the atmosphere for Jaz to take the stage. With some soft reverb he shows his talent however as always the lyrics generally pass me by. Its an agreeable chemistry but as it stretches on through its hour run time a limitation arises without a flexibility to his approach on each song. The songs two are rather simple and their is no grandiose ideas at work, just variations on the same aesthetic.

Its still got that distinct Killing Joke vibe, but far more New Wave, and with a tinge of Gothic residing in its moody, slightly gloomy exterior. Two tracks in the middle stick out, breaking the established formula and stripping back the guitars for the synths to take lead. "A Southern Sky" has a memorable hook "Death on the hills, into the forest" and "Victory" has a much perkier, upbeat feel with a jovial base making itself known. They feel different and slightly more pop than the rest of the record, at one hour it probably could of dropped these songs off but that's just my opinion since they feel so out of place to me. Overall its a reasonable record, enjoyable in its moment but not much sticks in the mind about it. Its something for a particular mood, just a mood I'm rarely in.

Rating: 5/10

Vinterriket "Der Letzte Winter - Der Ewigkeit Entgegen" (2005)

Multi-instrumentalist Christoph Ziegler is the man behind the German Black Metal project known as Vinterriket, Swedish for "winter realm". Recommended to me by a friend it was something I already had in my collection from the days where Black Metal was all I would listen too. I didn't remember it particularly well and it hasn't suited my mood of late but I can appreciate the bleak workings of this lengthy record. At one hour its a pale, grim and gloomy affair that drones on with a calming, slightly dreading persuasion, as if being sucked into the grasp of ill fate. With short Dungeon Synth like intro and outros their is little respite from the dreary atmosphere, bar one interlude track and moments where the synth escapes the grisly guitar.

Its dimension is narrow and insular, fuzzy brittle guitars hiss away into the wall of sound engulfed by the deep and encompassing synths that conjure the shadowy atmosphere. The drums peter away smothered by the instrumentation, the vocals cut through the setting like a knife, Christoph's approach is much to my dissatisfaction. Dense, sharp screams are muzzled in distortion from peaking the microphone, they sound loud but are lowered greatly in the mix however their harsh abrasive nature and lack of any reverb has them sticking out like a sore thumb and dispelling the mood for me.

The songs are led through their moments by the synths, with the guitars descending into a drone much of what they do is compliment the synths through tone rather than composition. As a result these songs are very singular, linear, they follow the chord or note the synth lead. Occasionally a second line drops in or distant bells but its mostly constructed from one instance. The tone and pallet of the synths are ancient, nostalgic and mysterious, ripe for inspiring your imagination of what dark secrets lurk beyond its keep.

My enjoyment of this record was mixed, couldn't stand the vocals and the compositions were rather mediocre, the aesthetic wasn't especially fantastic either although it did feel unique and inspired. It isn't until the "Winternacht" tracks that my ears perked up and a couple of eerie melodies creep through on the organ like keys. I've not much else today, this one simply didn't click with me.

Rating: 4/10

Crass "The Feeding Of The 5000" (1978)

Here's another record that the miracle of shuffle brought me back to. Reading and exploring the world of Punk music many years back Crass stood out as one of the most interesting bands, pioneers of the Anarcho Punk sound, Crass were artists who met their words with actual activism and action, true anarchists who expressed their anti establishment and authoritarian views through their DIY music. Feminists, animal rights activists and anti-war they stood for a lot of things I agree with while pointing out the hypocritical nature of punk ideology in the mainstream, calling out The Clash directly on one particular song. The bands story is fascinating, their influence on political culture and activism during their short tenure is unique and quite unheard of in the world of music today... or at any time really.

Punk can be unapologetically raw and crass, pun intended, but not quite like Crass are, with spoken word and dissonant guitar distortions, scratchy and dingy in tone, the band border on Art Punk with a continual exploration of feedback noise through their songs where you might of expected simple power chord riffs. When they do resemble more traditional styles they are buried, distant, quiet and second fiddle to the chemistry between bass guitar and drums. The core "melody" comes from the bouncy bass guitar, lining the direction of each track with a chromatic charm. The drums sound narrow but rattle away with a militant industrial vibe, keeping rhythm with snare rolls and marching rhythms between kick and snare. The symbols are quiet and often hit at the same time as a drum, rarely heard in the moments between.

They create quite the gloomy, nihilistic atmosphere, taking on the weight of the urgency they feel for their world views. Vocalist Steve Ignorant as the lead voice has quite the stark and blunt approach to his performance, almost spoken word, or shouted word as his thick London accent dominates the listeners attention. Its again unapologetic and straight to the point, a brilliant union of art and intention, you can feel the passion and fire for their beleifs. The album is also littered with creativity in the form of sampling, artsy spoken word interludes from Eve Libertine and interesting song ideas. The anti nuclear "They've Got A Bomb" sets a grim tone with crackling guitar noise and as Steve says "twenty odd years now waiting for a flash" it goes silent, as if the bomb has gone of. Fantastic. After its opening track the music starts and ends with two renditions of "Do They Owe Us A living", solidifying one of its main themes.

At thirty two minutes its fast, direct and loaded with short tracks, eighteen in total but they play like a singular experience in moments, often rolling from one into the next, sometimes with the shifts in tempo being transitioned through the drums which steadily increase or decrease in speed. The records DIY production doesn't hold it back, its a low fidelity affair and the reality and genuine nature of its construction makes complete sense given the circumstances, its part of its charm. I love this record for its character, conviction and substance, the music is grounded in reality. The people, ideas are real and meaningful, a much more intelligent form of Punk with a strong, harsh, unforgiving aesthetic.

Favorite Tracks: Do They Owe Us A Living, They've Got A Bomb, Punk Is Dead, Banned From The Roxy, Fight Wars Not War, Securior, You Pay, What A Shame

Rating: 8/10