Brockhampton "Saturation II" (2017)

The second of three released in 2017, Saturation II is unsurprisingly very much in the same vein as its predecessor. Hip Hop collective Brockhampton from Texas hastily put together this record just a couple months after their last and in terms of production you wouldn't of guessed it. Sixteen tracks of tight hitting quirky beats and banging grooves make for a lively, energetic album that's mostly a ton of fun, with a sprinkling of illuminated instruments like "Sunny" that leaps to your attention with its glorious, luscious acoustic guitar conjuring soothing vibes counterpart to the hyped energy on the microphone.

Lyrically the large assembly of voices and styles fall wayside in patches as the commonplace cursing and excessive braggadocio dominate the premise of the groups weaker rappers. Much like the last record the album frequently drifts into streams of forgettable nonsense but luckily the gifted few wage in with substance. The track "Junky" is a milestone in terms of topics in Hip Hop, one of the group being openly gay and questioning how homophobic rappers can be. In the same track the topic turns to another progressive train of thought, questioning another trouble of the genre, misogyny, and males attitudes towards women when rhyming on the mic without a filter.

There is a lot of creativity flowing from this group. Their passion, excitement and youthful resilience leads to a freedom unleashed in fruitful ideas, not always hitting the mark but there are great hooks, rhymes and compositions that ooze with fun. Moving forward an ear for filter would suit them well, cutting out the weaker raps, rhymes and dimes this forty eight minutes could of been a killer thirty as it is a little bloated in places but certainly a big step forward from their first endeavor.

Rating: 7/10

Favorite Tracks: Queer, Jello, Junky, Fight, Sweet, Sunny, Summer

Bell Witch "Mirror Reaper" (2017)

Seattle based Doom Metal band Bell Witch have topped many lists for best Metal album of 2017. The artwork so reminiscent of Zdzislaw Beksinski and heaps of praise lured me into a record fondly familiar, its acoustic drones reminding me of Earth's Hibernaculum. Packaged as a double album it comprises of two lengthy songs totaling over eighty minutes of deathly slow and bleak Doom Metal that goes to the extremes of pace with several seconds marking the distance between the striking of snares and cymbals. It flirts with temporal timing and lets notes ring out and bellow as the distortion guitars, despite being fairly soft, drone out into a textural fuzz before the next strike is drawn. Its performance is impressive, the art of playing slow seems flawless as the group coordinate immensely slow tempos that seem organically stretch and sway but it is the lethargic nature of the music that makes these instantaneous shifts dissipate from focus.

Tempos aside, Mirror Reaper has a strong current of sorrow and sadness in its atmosphere which drifts between other worlds as the slowest moments yield little presences for melodies to pervade this somber dismay. In doing so an enticing atmosphere is illuminated by distant, sinister chants sung with a choral cleanliness. It does find its counterpart in drawn out gruesome growls, rumbling like a textural layer in the aesthetics. A few grisly howls an shrill screams erupt in one violent, conflicted moment in the music but it is mostly an instrumental affair as the sluggish drones of elongated notes crawls onwards.

For me, this album is interesting, indulgent and oddly soothing, however it never musters anything that quite hits the nerves and that is the same for most Doom and Drone music. The first track's opening twenty minutes is rather enchanting but as the song drifts inwards for grit and gusto its melodies and musters of aggression dispel that atmosphere. The second song is stripped back with faint guitars and ambient echos painting a chilling setting for a lone voice to sing a serine sadness with an almost heavenly voice. For all its beauty, the slow, spacious and minimalist approach sucks much of this away but that is a person preference. It drifts into a morbid, dirge organ solo that really drives home a current of sadness but at this length into the record my attention is a little worn out. I enjoyed checking it out and very much appreciate the brilliance on display but its not quite for me.

Rating: 5/10

Cane Hill "Gone To Far" (2018)

Labelled by some as Nu Metal, New Orleans based Cane Hill represent a handful of bands who in recent years have been resurrecting some of the principles and aesthetics from the millennium era music which has been subject to much mockery and hate within the Metal community. To my ears Cane Hill come forth on this sophomore record as a group still figuring out their identity, yet writing fun and cohesive music, wearing their influences proudly for all to see. They bring the best guitar work from Metalcore, Groove Metal and Nu Metal. It collides in a whirl of excitement with a spark of Industrial Metal in the noisy, full on wall of sound, giving these tunes a weighty clout of forceful metallic power with a dense aesthetic.

On first listen singer Elijah Witt makes a very distinctive performance with a variety of approaches to his presence that bares sometime uncanny resemblances to other Metal singers, his range can throw out fiery screams of vengeance to soaring, soft, soothing Chino alike "ohh"s on "Singing In The Swamp". The prior track "Lord Of Lies" chorus sounding like its pulled straight from the Masatdon catalog as his voice elevates the bouncy groove that rumbles and crunches away beneath. Echos of Corey Taylor can be heard but most noticeably Chad Gray of Mudvayne frequently dominating the tone of singing. The slower, crushing moody track "Erased" sounds completely akin to Cray's style in both the unleashing screams and introspective clean moments.

Its no criticism, Elijah has a wonderful talent that's perfectly complimentary to the instrumentals. Being a fan of these bands the record became immediately inviting and appealing. Behind him the chemistry is tight, shuffling bombastic grooves drive the music from the driving seat of drummer Devin Clark who has a knack for finding the right intensity to direct the atmosphere. The guitar work explores all the tropes of the aforementioned genres, slamming in with big chords, chugging gritty grooves and plenty of greasy guitar dissonance with the splicing of harmonics and squeals. The occasional break downs echo some Deathcore ideals but the eruption of racy, dexterous guitar solos keep the music feeling like it can go anywhere and not hedge itself in to one particular vision.

At thirty five minutes with a ripe pallet of ten energetic songs, Gone To Far is an impressive release that shows a ton of promise for the group. I would be somewhat critical to say there is a lack originality or something definitively new about their music but the ability to bring together the best of Metal's most criticized era and make lively music, brimming with excitement, is something to behold. Depending on what the group go on to do next, this could be seen as either a high point, or just an old record that proved they always had it. Definitely going to be keeping up with this band in the future!

Favorite Tracks: Erased, Why?, It Follows

Rating: 7/10

Dead Can Dance "Into The Labyrinth" (1993)

After a string of five records, Australian duo Dead Can Dance take a little longer to get their next effort out with a compilation released just a year after Aion. It follows a familiar construct of the two exchanging the lead roll as a sole voice over enchanting, cultural instrumentals. Two mesmerizing accapella's make an appearance in the eleven tracks mainly distinguished by an Mediterranean persuasion. First heard in slapped bongo grooves and steady tambourine alike percussion it grows with the record as the melodies feel increasingly sun soaked and the rich tapestry of instruments grows increasingly exotic and foreign with a desert sand tinge.

Its mostly Gerrard who indulges in these traveled voices. Sublime might be an understatement, her singing was under no contest but one has to be taken back by the cultural echos she inhabits with an ever expanding set of voices. Rich in texture and flawless in execution a emotional resonances illuminates her songs. Perry on the other hand often pulls the record back to the mystical, fantasy, medieval side of their sound, choosing to sing on the tracks rooted in sounds previously explored. They two are equally enjoyable but certainly fitting into whats been heard before.

Into The Labyrinth has little surprise. The excellence and inspiration this band can achieve is performed again and perhaps where they could of fully dove into new territory they have tread the lines between two strong ideas for an album most excitable when exploring the aforementioned cultural sounds of heated climates. With balanced measures of complimenting instruments, they once again muster together another set of magical songs to transform your imagination and take you on a journey through other worlds, times and beyond.

Rating: 7/10

Eminem "Soul Intent" (1995)

Although labeled here as an Eminem record, this cassette EP was a self titled release from the Detroit group known as Soul Intent, consisting of Eminem, Proof from D12, plus few others, although on the microphone it is only Em we hear rapping on the two tracks "Fuckin' backstabber" and "Biterphobia". Back in the Napster days this was a godsend to get your hands on this, the earliest recordings known at the time however doing a little research reveals now you can hear recordings of Em rapping as far back as 1988. Astonishing! I thought this was the final piece to cover on Ems roots and although there is more uncovered I will probably not return to writing about them for now...

Comprising of two sets of raps over muddy, dingy beats at cassette quality there may not be much to get excited over here and that is certainly true of the first track. Em still finding his feet shows off his pronunciations skills as he doubles up the consonants of his words in true Das EFX style. The higher pitched voice and vocal inflections are strangely distracting from the flow and strength of his rhymes as they divert attention from the songs narrative. Its a reasonable song but the low fidelity sucks the wind from its sails.

"Biterphobia" is where things get interesting, the beat musters up a lot of atmosphere and urgency in its intro before Em steps to the mic and drops in on a prolific flow. Fast swift and effortless Em breezes through a crafty assemble of tight rhymes that land like knockout blows. Its a moment where his talent comes to fruition in a raw and energetic form as Em raps about spraying spiders with aerosol and lighters. The two songs encapsulate his roots in learning to rap via imitation and where he is heading, finding a voice of his own and defining himself with a brilliant set of rhymes on the second song.

Favorite Track: Biterphobia

Rating: 3/10

First Aid Kit "Ruins" (2018)

Swedish sisters Klara and Johanna return for their fourth full length record, one I have highly anticipated as their previous release, Stay Gold, resonated with me deeply. Its such a joyous record that has provided me with much warmth in the few years since I discovered it, as much to say it would undoubtedly make a favorite albums of all time list. With the stakes set high and a familiar sound the duo show their influences boldly on a strong and unsurprisingly luscious album with a sense of era and character about it, the album cover reinforcing this concept with a striking chromatic gesture labled by its staple mark seventies font. You wouldn't blink an eyelid if you found this floating around in a box of old crinkled vinyl sleeves.

Ruins comes on strong with more Americana and Country influences the two wear on their sleeves. The slick country tang guitar accents in the opening songs set a strong southern undercurrent amidst a sweet and warm production full of rich instruments. Fleshing out the acoustic strumming, strings, country pianos, additional guitars and wholesome percussion enriches these simple heart felt folk songs. Often complimentary there is a couple of moments where it takes lead over their voices which, as we know, are soft, heavenly and the soul of the music.

Hem Of Her Dress embodies a flaw with this record. A rousing scream mid sentence feels out of place as the sentiment of the song falls misplaced. It slowly builds intensity to an eruption of group singing that lacks charm and a sense of purpose, perhaps in this moment their influences border imitation as the lyrics, in this song and others, feel recreational of the genre's known characteristics. That got me thinking about how little of the lyrics stuck in my mind. Stay Gold was like an introspective awakening, coming to embrace life's finite and ever changing experience, ever lyric offering a wealth of seniority. It felt from the heart where as Ruins references whisky, interstate highways and other topics steeped in a different familiarity.

I'm sad to say this one hasn't struck a chord with me, Its opening tracks start out strong and Fireworks has some surreal moonlight singing to tug at your heartstrings but as the record stretches on the spark fizzles out as the southern country feel outpaces the songwriting. Although a stunning sounding record, their beautiful voices only go so far to make these songs work. The lyrics don't resonate and so a very pretty sounding record dulls as it stretches on. Its unfortunate but that's just how I heard this one.

Favorite Track: Fireworks

Rating: 6/10

Summoning "As Echoes From The World Of Old" (2018)

To compliment their new full length album, With Doom We Come, the Austrian duo Summoning release a fifteen minute, two track EP from the same recording session. The first a steady burning flame of nine minutes journeying its burly guitar droning and hunching Nazgul screams through an epic landscape marked by the pounding of deep Orkish drums and continual melodic inflections on a mysterious harp like instrument. Its climaxed by a warm flute melody that rides above the music and ads a focal point for the song as it drops in and out with more accompanying instruments harmonizing like empowering trumpets each time.

It gives the song a sense of linage which the second track doesn't get close to. With a gloomier, thicker guitar dominance and the returning pounding of tribal drums its similar construct and steady pace doesn't achieve the same charm as its complimenting melodies stem from a more sorrowful, uneventful source of imagination. These two, more primitive songs, could of made the final cut but you can see why they are bonus tracks, they are rather simplistic and repetitive. A fair setting is conjured but it doesn't scale near the heights of the full length.

Favorite Track: As Echoes From The World Of Old

Rating: 2/10

Eminem "The Slim Shady EP" (1997)

My recent dive back into the roots of Rap titan Eminem has left me with one other rare release to talk about beyond this character defining EP. Its an understatement to say it was a flop, shifting only 250 copies it was another step backwards from the failed Infinite album. Thank goodness this found its way to Dr.Dre at Interscope, how this release didn't make waves in the Detroit scene seems absurd retrospectively. The tone of this record indicates it may have been his last attempt at making it in the rap game too, who would of known this struggle would take him so far!

The record name is a direct link to the Slim Shady LP, Eminem fully defining the character that would inhabit his major label debut here on this EP. One cut is identical and two others would have the instrumentals remixed for the LP. With two skits and a pair of radio edits you'll find three songs that didn't make it to the album, "No Ones Iller" a lyrical mic passing, the D12 group upping each other with dark, gritty, offensive lyrics set to shock anyone in sight. "Murder, Murder" a gloomy, downtrodden storytelling Eminem walks us through a crazed loot and murder spree with a tragic tone and vivid, violent lyricism that's got an utterly oozing flow.

And then there's "Low Down Dirty" which could essentially be the Slim Shady anthem, Em loading his smartest self depreciating lyrics and rhymes, talking of self inflicted gun wounds, molesting himself and getting convicted, his split personality having an identity crisis and the classic line, "Murder murder, red rum, brain size of a bread crumb, which drug will I end up dead from?". Its a brilliant string of rhymes with a cheeky lifted hook, Em instructs to smack anyone who sounds like him, and question the origin of the raps, precisely as Redman did with the same words. Its a brilliant song and it, like the other two, could sweetly fit into the LPs track list.

That brings us on to the production. Working with DJ Head, DJ Rec and the Bass Brothers, Em has the same tone and vibe we would here on the LP, despite being self funded and released on a small indie label there is very little between this and the breakout that would sell millions of records. Everything is essentially fully formed here, the surviving songs would get some polish and reworking on the LP but all of Em's rhymes stay intact, even the recordings are the from the same session I believe. One thing it has over that record is the birth of the Slim Shady character on the cinematic intro, an evil voice birthed into the mind of Eminem who has to confront himself in the mirror, Its a real treat, as is the whole EP.

Favorite Tracks: Low Down Dirty, Just Dont Give A Fuck, Just The Two Of Us, Murder Murder

Rating: 8/10

Danzig "V Blackacidevil" (1996)

Given the streak of four solid, successive records I was expecting a downturn at some point along the line in the Danzig legacy, however this drastic shift in style was not anticipated. With vague echos of their former identity lurking in the shadows, the group choose to reinvent their sound in a different vein. Released the same year as Antichrist Superstar, they move into the currently exploding Industrial Metal scene. Vocally this performance sounds very akin to Nine Inch Nails on one track, Danzig himself ditching the voice that made the project dazzle in favor softly sung, half spoken verses in the same fashion as Trent Reznor. Mostly though he adopts another familiar approach, the distant yet channeled shout, that of Ministry's Al Jourgensen.

Initially all of this was a bit much to stomach, a harsh and rigid tone fronts the listener as its chiseling, roaring guitars drone under a dense layers of sampled drum loops and the drummer churning out steady grooves to keep the tempo. An unsurprising compliment of machine like synths whirl and buzz out half melodies on Industrial sounding noises to thicken a lifeless texture. It all forms into a clatter of noise which mostly has little charm. A lack of groove, energy or purpose dominates the dull vibes as the songs mull through simple song structures with the odd mustering of unusual sounds within breaks. It really comes off like an imitation game of sorts, with Danzig missing the mark.

With familiarity a couple of better songs emerge but mostly for being more tolerable in a string of unexciting, tedious Industrial drones. Although the production style initially seemed a stiff and harsh it turned out the lack of melody and texture to the songwriting gave it a rough entry point. As my ears adjusted across several listens it become apparent the music itself was the real problem. Their racket of a cover of Black Sabbath's "Hand Of Doom" another low point on a record that only produced two good songs at best, their attempt to follow in the footsteps of others a disappointing one. They threw away a golden sound, I can only hope the sixth chapter gets back to what they are great at doing.

Favorite Track: Sacrifice

Rating: 3/10

Eminem "The Marshall Mathers LP" (2000)

Having crash landed into the mainstream music world, Eminem swiftly followed up on his brilliant and wildly controversial Slim Shady LP with a prolific and monumental record that would smash sales records and go to ship massive volumes of sales. Commercial success aside it was an artistic statement the world had never heard before, Em dropping his Slim Shady persona, for all but one song, and striking back hard and critics and fans alike. Em didn't take kindly to fame and the heat he came under for his lyrics, in response he mustered this firestorm of emotion lashing out in all in his path.

If the despairing self parody of Slim Shady, drenched in drug abuse and self harm, wasn't enough, Em stepping back from his character and coming from his heart proved to be an even more violent and troubled affair. His emotional expression manifested to new extremities with alarming tracks like "Kill You" about raping his mother and the wildly theatrical "Kim" where he in-acts a frightening argument between the two and eventual torturous murders of his wife. The enormity of his struggles channeled through his raw talent makes for a level of involving song writing unheard of before.

At the time it was Em's make or break record, unsure if his fate would be that of a one hit wonder, the pressures funneled into a wildly reactionary record that would fuel the flames of controversy higher than ever, to the extent that protest groups brought it federal courts to discuss if it would be banned. Of course freedom of speech protected, all this would do is aid sales as it brought more and more attention to the rapper. With memorable MTV Award performances and a duet with Elton John at the grammys Em had forever solidified his place in music history in just a couple of years after many more as a struggling artist no one would take seriously.

Controversy and sales aside, The Marshall Mathers LP is a frozen slice of time spent inside the mind of an artist thrusted to the forefront of the worlds attention. Its reactionary nature is genius and from the keenest mind with cutting edge rhyming schemes and an undeniable flow comes a slew of consciousness that crushes all in its path. Em also brings on more guests voices, the likes of RBX and D12 upping the anti with equally vile and destructive lyricism who can never have the last laugh with Em dropping classics like "When I go out, I'm a go out shooting, not when I die, when I go to the club stupid" and "We don't do drive bys, we park in front of houses and shoot", his verses crush, its pure menace.

The record has a couple of "sequels" with Dr.Dre and Snoop teaming up to reinvent Xzibit's Bitch Please. Its a masterclass production from Dre and Mel-Man who could of easily snuck it in Dre's 2001 record. Drug Ballad is admittedly a weaker song in a string of classics but one can't help but notice the similar beat and flow to "Cum On Everybody", both are the 13th track and this song feels like a bridge between the two records. While we are talking on specific tracks I couldn't pass up on "The Way I Am" and "Stan". Two dark and harrowing songs of lyrical genius, both singles that would thrust dark subject matter to the top of the charts. The first a vivid, animated, passonate response to his critics and memorably defending Marylin Manson in a couple of lines. "Stan" is a work of art, rapped from the perspective of Em and a deranged fan exchanging letters. The scribbling of pencils and cinematic sound design but wholly the back and forth story telling has solidified it forever as a truely timeless song.

Its all been said before and it will be talked about for time to come. For me It all happened at the beginning of my love for music and every time you turned on MTV this guy was killing it. Fond memories but listening to it back all these years later its as air tight as it was then. The level of profanity and alarming lyrics that went over my head as a kid is a curiosity of sorts, especially the amount of Columbine references with Em rapping of stolen trench coats and machine guns reaching kids... There is certainly more to this record than I realized at the time but its brilliance has never been in question. A must listen for anyone who's curious.

Favorite Tracks: Stan, Remember Me, Amtyvile, Bitch Please II, Criminal

Rating: 10/10

Brockhampton "Saturation" (2017)

Having heard nothing other than hype and praise of this fourteen strong Hip Hop collective from Texas, I walk away from their debut album, one of three released last year, somewhat disappointed. Brockhampton certainly have character and a style that is their own but their best comes among a mixed bag of tricks. They do however, at times, represent the traditional focus of beats and rhymes against the current trend of Mumble Rap and glossy trap beats, so It felt more at home having rhyme schemes to follow. That being said various members of the group drop in with loose flows and trendy auto-tune hooks too. Its pulled from a different angle but not always hitting the mark.

The instrumentals prop up a lot of this record with spacial textural arrangements creating a back bone of quirky flavor and depth in the sound, feeling both interesting, lasting and very synthetic. Deep growling baselines drop in and out as an assortment of instruments, vocals snippets and the like create an inviting, zany mood to indulge in as its light presence provides both the tone and interest for a keen ear picking out the various manipulations and construct of these well crafted beats ranging from soft and swooning to dark, gritty and Industrial alike grooves. Not everything pulls off well but the constant flow of luminous beats makes for a fun listen with plenty of tunes to get stuck in your mind as well as classic lines like "Ill break your neck so you can watch your back".

Diversity is the records hallmark but not its strength. With so many voices and styles one song to another could sound from different records entirely. Traditional flows mix in among some members who play the one word rhyme game, the difference in quality is obvious between sharp rhyme writers and slur sprayers clutching on curses. As the album grows pitch shifted raps pop in with chipmunk like vocal manipulations, dropping trashy rhymes. Using auto tune and the like another flavor is thrown in the mix and the vibes shift swiftly. Despite this "Fake" is a favorite songs with its fantastic "yippy yay" chorus. This vocal inconstancy make it feel like another project all together.

With a large pallet of voices the album ultimately sways from its sides as the group pull together different styles with a lack of structure or organization. In a way it gives it a looser, free flow feel, as if the music for is a playground for anyone to jump in. That notion may become endearing with more time on this record but as previously said its mixed bag of tricks, its highs parallel to its lows.

Favorite Tracks: Star, Fake, Swim, Bump, Waste
Rating: 6/10