Revocation "The Outer Ones" (2018)

I have a strong connection to the Boston based Revocation. I caught their debut album Empire Of Obscene literately moments after it reached the blogspot scene. It was an instant connection and I regarded them as one of Metal's finest new acts, expecting them to rise to the top but it wasn't to be so. I still think they are criminally underrated but as the years stroll by and the excitement of "traditional" Metal wains I found myself becoming disinterested in them. This new chapter is a big step up from Great Is Our Sin, which in turn was a also a step up from the disappointing Deathless.

The group continue to firmly stick by their core identity of style and with that run the risk of repeating themselves. They call it diminishing returns, the first exposure always has the most impact but in the case of The Outer Ones they push the boundaries far, holding onto that distinguished character while creating a new and vividly animated universe of beastly Extreme Metal in the Revocation name. It holds up well to the ambitions conveyed by its spacial, maddening and slightly creepy album art.

The core tenants of brutality and Thrash hold true as forays into the antics of Technical Death and Progressive Metal bring about a detailed and dizzying web of indulgent music, punishing in tone but aesthetically gorgeous in delivery. Its production squeezes in the instruments with clarity and precision. As a result the bass guitar gets room to maneuver into focus with a luminous gritty texture in its select moments. David Davidson also stretches his voice down a peg with a significant amount of low, growling guttural vocals that land with a streak of menace, something he has clearly worked hard on. It gives the music many hair raising moments.

The music itself is a never ending sprawl of clever riff design and song structuring that creates a very specific atmosphere. I feel like a lot of the record gets caught up in the brutal aspect of their sound. Its the songs that offer the most respite from the slaughter that bring about the best moments, that and the guitar leads. These erupting solos evolve the songs, played with true intent and vision they time and time again mask the shifts of music and make the whole experience organic. That's frequently a tricky task for tricky music that is dexterous but often mechanical and without feeling.

This record has brought the utmost enjoyment, yet as I touched on, it is the subversion of the core tenants that bring about the magic. If Revocation where to explore directions that stray from the roots I am confident they would find gold. In a few brief instances I am reminded fondly of Opeth, a band that utilize clean vocals exceptionally well. At many times I felt the music was yearning for that but most likely that is my own taste exerting itself on a punishing and brutal record that for over half of its duration is dancing in the swamps of mean and ugly guitar playing brought to the mercy of groove and sensibilities. Its a cracking listen for any Extreme Metal fan.

Rating: 8/10

Favorite Tracks: Blood Atonement, Vanitas, Ex Nihilo, A Starless Darkness

Brockhampton "Iridescence" (2018)

The Southern American, self proclaimed boy band is back! Brockhampton are riding the hype wave after a successful 2017, releasing their trilogy Saturation I, II & III within eight months, to much critical acclaim. I liked their music in patches but this new release Iridescence brings about much needed cohesion as the album experience takes a firmer grasp on its fusion of Pop and Hip Hop. Its typically eccentric and wild but between its quirky off beat attitude, pop melodies on pianos, more singing and catchier choruses anchor down an important sense of direction for the listener.

In some senses its style is all over the place. Obnoxious Hip Hop oriented lyrical themes slam up side against soothing melodies and wooing vocal lines that seem to sway back and forth from one another. That is the charm though and it plays out both thematically and aesthetically too. Crunking dirty beats with gritty samples quickly disintegrate as harmonious sing and chorals take charge, often with luscious strings and pianos behind them too. A few tracks straddle the middle ground like the second half of Weight and Tape as Jazz Hop vibes emerge with soft boom bap grooves.

One strength this record has that didn't feel quite so on previous albums is the amount of voices. With over ten members there is quite the range of tones to be found in the music. It plays to each of their strengths, as you might expect. Those who sing find their moment in the lush instrumentals, the energetic, obnoxious hyped up raping lines over the oddball, boisterous beats. Its the ground between that excels. When transitioning, a lot of creativity and cohesion in the directional shifts comes through from the human voice and the individual quirks they posses in bulk.

Not much of the lyrical content peaked my interest. Words sometimes do that with me, I think the instrumentals overpower my focus as their is quite the stretch of style and attitude at play here and its in a constant state of flux, routinely moving back and forth yet feeling natural and fluid. Its a very creative project that I have much appraisal for but on a personal level it doesn't connect as strongly as I know it will for others. I think this group have much potential and on Iridescence its certainly coming to life.

Favorite Tracks: Where The Cash At, Weight, Tape, J'ouvert, San Marcos

Rating: 7/10

Avenged Sevenfold "Black Reign" (2018)

 

Its that time of year, the shopping season is upon us, perhaps explaining why we see an increase in bands dropping EPs in the months leading up to Christmas. Avenged have scraped the barrel for a B-Side in the instrumental Jade Helm track. Its a strange track of build ups and grooves that have these awful pauses, lasting too long to keep time of the beat and anticipate its return. Maybe vocal rhythms would of tied this space over but without them the song sounds like a bunch of sub par riffs stitched together with shuffling, over involved drum patterns, things left out from other songs.

Before it three songs play that fans may be familiar with. Turns out Avenged have been collaborating with the Call Of Duty franchise for a few years and these songs are from the successive soundtracks of the Black Ops games. The first track Mad Hatter being the most recent stands out as a firm favorite. Its their only new material since the magnificent The Stage, can barely believe its been two years already! The singing style, composition and quality of riffs really reflects the maturity of that record and so we receive a well written track with a luminous mid-tempo break in the middle. It cruises from acoustic guitars into an epic guitar solo, shredding heights and erupting back into the song main riff, riding it like a wave.

I can't speak too highly of the other two tracks, they are from further back in time when Avenged where less appealing to me. A couple of moments appease but what I like of their sound is only present in fractions. If anything the one song is a good sign that they are keeping on track and capable of continuing to write on form. As for the record itself, its simply a stitching of extra songs to promote the new single.

Favorite Track: Mad Hatter

Rating: 4/10

Dizzee Rascal "Don't Gas Me" (2018)

I really enjoyed Raskit released last year. It signaled a return to form from the UK veteran and this five track digital EP may even top it. Don't Gas Me gives off carefree vibes, artists having fun with the craft and enjoying the moment. If there was curation involved or not, these five songs are tight and precise, giving nothing but the goods. Firm instrumentals and keen rhymes let each tracks theme emerge with ease as Dizzee brings on some excellent features for the last three of five songs.

An almost cliche 90s Dance beat opens up the record with the title track. Its pumping energy, slapping claps give way to night time sirens and a dirty obnoxious synthetic base that grooves to its own accord. When Dizzee gets into his rhymes its all fun and games built on a firm flow, throwing in fun, silly rhymes about appletizer and getting his car clamped. Deeper into the track he reinforces the playful nature with goofy high pitched rhymes on the end of a string of words. Its greatly amusing while showing off his talent and ability to make great music.

Quality makes for a great follow up track as the instrumental pulls on summery 90s sounds and Dizzee gets more serious with introspective lyrics that drops into bursts of rapid rhymes. He sounds fantastic, on form. The features start with Skepta who I last heard on More Life. The two exchange verses but I think its the younger generation, P Money and especially C Cane who impress. Their youthful energy and opertunity to reach new ears plays up some fantastic flows and rhymes from the both of them.

The closing track swings things back to where it began with another 90s Dance beat and punchy synthetic base lines. Some subtle Dub vibes are brought to light as Afronaut Zu lights up the track with Reggae inflicted singing in the chorus. All in all its a fantastic but brief encounter that has a carefree Dizzee orchestrating some easily enjoyed tracks to keep fans happy until the next full length project. Wwith more songs attached this could of easily been that. These are no b-sides here.

Favorite Track: Spin Ya

Rating: 6/10

Logic "Young Sinatra: Welcome To Forever" (2013)

The Logic journey continues with this mixtape and I might just hold off from his recently YSIV until Ive made it back to the starting line, another four releases. The new record is actually continuing where this left of since Logic didn't touch the Young Sinatra name between this and that. The new record also has a track called Wu-Tang Forever with the entire Wu-Tang Clan... that is something I absolutely need to hear!

To jump straight to the point Welcome To Forever is fantastic but flawed collection of songs. This is a very "of the moment", raw, youthful and energetic record full of life. Its also rather bloated at seventy three minutes with tracks that frequently drift from the core tone, both lyrically and instrumentally. Its beats play from the 90s to the Kanye era and into the origins of auto tune and Trap style production that was coming into its own five years ago. Kicking of with snippets of KRS-One the album is loaded with bold sampling from the likes of Ice Cube, Drake, Pusha T, Kendrick Lamar, paying a firm tribute to the Hip Hop universe. Unsurprisingly Frank Sanatra turns up and so do Parliament of the samples I caught. He also uncannily mimics the Down To Erf rhyme, flow and cadence on his A Tribe Called Quest tribute, its got to be a reference!

Logic puts himself on the stage for judgement by rapping over the classic Ms Jackson beat by Outkast. Its a firm statement but becomes across with a keenness and passion for the craft, a young artists with it all to give. Its endearing and when his lyrics go into that "prove yourself" zone the music is illuminated. This record also includes many features and talks about his Rat-pack collective, a lot more than Ive heard before. His lyrics bring us into this moment where is hard work is paying off and its time to shine with his friends. I'm not sure who's who but Dizzy Wright lights up the incredible Young Jedi instrumental as the record strides into its strong final phase.

Many of the modern instrumentals are paired with the less engaging topics. It just so happens to be my favorite instrumentals that have Logic flexing his vocal prowess with impressive rhymes and flows. He paints the picture of this moment, walking us through his struggles, the deal with Def Jam and doing what he loves, working hard and putting out this mixtape with the debut album in the works too. In those tracks this is golden, its ties to Hip Hop through samples and references feel so genuine and passionate, unfortunate its patchy, caught in a haze of varied instrumentals. Trimmed down to its best there is a solid forty minute experience here.

Favorite Tracks: 925, The Come Up, Nasty, Young Jedi, Common Logic, Just A Man, Man Of The Year

Rating: 7/10

First Aid Kit "Tender Offerings" (2018)

This four track EP has me thinking I must of missed something from Ruins released earlier this year. Perhaps I wasn't in the right frame of mind? Stay Gold is such a beautiful record, one of my all time greats, maybe it set my sights to high for the follow up. Before writing this blog I was convinced Id learn at least one of these four songs are covers because they are so striking and have a classic vibe about them. Turns out they are all B-Sides from the aforementioned Ruins and bar one or two tracks from that record Id say these songs a better than most of what I remember of it.

Firstly, I've Wanted You takes a minimal approach with its soft acoustic patterns and a nearly non existent baseline. It pulls all focus to the beautiful serine singing that I believe is Klara of the Soderberg sisters. Her chorus lyrics are sung with such striking emotion and sincerity of word that I was convinced it was a cover. The yawning distant organ and gentle piano keys chime in to keep the spell rolling as the duo start to harmonize and elevate and conclude what is a bare, naked and exposed song, its direction plays so true to the words of the song and its raw emotion.

 The title track works a denser instrumental build up. Its stronger organ presence leads to country tang guitar licks that play up its rooted vibes. Ugly has a similar performance to I've Wanted You, however the instruments gradually grow and its soft guitars and buried organ give into colorful eruptions of almost psychedelic stretches as its guitars give into that fray and spacial synths sparkle like stars in a clustered climax. Its quite the natural yet experimental edge to a song I did not expect but thoroughly enjoyed. More of this could lead somewhere interesting.

All That We Get may fall victim to being the least interesting, its a nice song, calm, soothing and soulful with a charming message of warmth and introspection yet it lacks a defining moment and the vocals don't reach previous plateaus. These are four very welcome songs. I especially liked the slight, almost missable use of electronics and the opening song is an instant classic. I will continue to follow this wonderful act.

Favorite Tracks: I've Wanted You, Ugly

Rating: 5/10

Front Line Assembly "Warmech" (2018)

Fun fact, on my way to a Plini gig I arrived at the wrong venue. These Canadian Industrial veterans were playing there, I wouldn't of minded watching them too. Its been many years since I last checked in with FLA. I remember them as having the classic synthetic, Electronic, Gothic leaning Industrial sound which I grew to love through the likes of Frank Klepacki. In the 90s they flirted with Industrial Metal after Ministry laid the path, just before its commercial peak with Antichrist Superstar in 96.

Being out of the loop, I was unaware that Warmech was the soundtrack to an RTS game called AirMech Wastelands on Steam. That might explain why this record wasn't what I expected. The Industrial sounds I anticipated linger beyond a solid core of modern Electronic and EDM styles that aim to build atmospheres with music that's not in your face yet rich with synthetic instruments coercing an environmental approach that draws in the meditative vibe VGM requires to let the player drift in and out of focus from the soundtrack. At seventy three minutes its a long listening stretch clearly, better suited to its intended purpose of semi-distracted gaming sessions.

Considering these are old, experienced minds at work I did not expect to hear the sub wobbles and drops of Dubstep working angles on the music. Their seasoned selves showed as the drops refrain from being overly bombastic and obnoxious, resulting in a crafty execution of trendy techniques. With hard thudding kick and snare grooves the songs often cruise into EDM territory with some faster percussive loops leaning towards Drumstep. Like with Metal, Electronic music can so easily blur many lines and show influences. Whatever may be on display its composition holds onto that craft for detailed arrangements of instruments and industrial sounds that give the atmosphere conjured a depth of field. Better yet this detail extends into the musics progression as the songs make shifts and breaks with animated sequences of sound that often play like machines firing up their gears and getting into transitional motion.

Across its seventy plus minutes a healthy amount of variety unfolds however it does suffer a little when exclusively in focus, slow tempos and drawn out melodies show a desire to not be intrusive. The best way to enjoy these songs is when focused on a task, then it becomes meditative and helps one focus while creating vivid soundscapes. As a result of that tone its most ambitious melodies and epic synth chords get pushed back in the musics attention as that and a lack of vocals never try to steal the show from the game it was made for. If not for the soundtrack some adjustments and vocals could of made this a great traditional record too.

Rating: 6/10

Machine Gun Kelly "Binge" (2018)

Its been a while since we've had some entertaining Rap beef. I don't take it all that seriously but if it leads to good songs and gets people listening then its usually good for those involved. In the case of MGK Eminem has handed him a golden opertunity on Kamikaze where he took shots at a lot of rappers, especially the new generation. Being the first to respond, Rap Devil gave Midwest rapper Kelly over 100 million views and a lot of exposure, an opertunity to find new fans which has surely been squandered on this flimsy, hastily assembled extended play. Its trashy. Its a stinker.

The bulk of these beats are mediocre at best. Lacking their own style they come off as Trap mimics, deploying all the tropes of shuffling hi hats and sub base kicks in a variety of arrangements that lack intention beyond doing whats currently in. Its chasing the Mumble Rap sound and Kelly's voice just isn't suited to it. Unfortunately the couple of instrumentals that do have some traction and excitement in them seem to be stacked up against the worst of MGK's troubling lyrics.

And that's the hardest thing to endure on these songs. Kelly is all attitude and no substance. Its braggadocios, angry and aimless. He boasts and raves about his careless attitude and drug abuse without a measure of meaning to be extracted. The hooks are weak, the rhymes subpar and occasionally a few unintentionally hilarious lines slip in past the "quality" filter. I wonder if anyone advised him not to release these songs. There is also an awful feature on Signs, an auto-tune abusing vocal hook that sounds so lifted and uninspired, a total rip.

Rap Devil is the only song worth your time. Upon release it was obvious Eminem was a sitting duck for a diss. So much of the subject matter was born from Em's jaded, angry attitude but it brought the best out of Kelly, forced him to focus on a subject and find strings of coherent rhymes on the same track. There is none of that focus and craft to be found here, the songs barely make three minutes and the two that do, bar Rap Devil, have extra beats stitched on the end of them. Not sure what Kelly was thinking here, cash grab? Maybe he wasn't thinking at all.

Favorite Track: Rap Devil

Rating: 2/10

Jinjer "Cloud Factory" (2018)

You know how it goes, once something new roots itself in the mind you often start to see it everywhere, as if it were somehow invisible beforehand. Since Ive heard of this four piece act from Ukrane Ive spotted quite a few of their shirts worn at gigs. Their views on Youtube would also suggest they are gaining rapid popularity in the Metal community. Naturally I wanted to check them out and see what the fuss was about.

Fronted by singer Tatiana Shmailyuk, a duality is forthright as she swings from strong, powerful effeminate singing to brutal, blunt screaming. She mixes in some native Ukrainian tongue too. Behind her the band put together some very likable songs for Metal fans to gravitate towards. Strong grooving guitars play a range of classic guitar techniques from over the years that hail back to Death and Thrash at times. Its mostly situated around Groove and Metalcore while showing some flashes of Djent and Nu Metal. Its neatly structured into a healthy riff fest of revolving grooves and energetic low end shredding that packs each of its songs with a fair helping of head nodding.

Their music is well executed, its mostly rather accommodating Metal thats loaded with familiar riffs. They do little to define themselves and stand out in my mind however every other song or so seems to find a moment to leap away from the page and throw in a crushing riff, brutal scream, or in the case of Who Is Gonna Be The One, both in a memorable breakdown. I might sound somewhat harsh but this record makes me feel a bit like a "Metal Veteran". There isn't a single riff here that's unexpected or unusual. All the techniques, styles, sounds and grooves Ive heard many a time before.

They pull from Metals best and rework ideas in to their own vision, even throwing in short sections of acoustics and brief non-Metal sounds. In the case of Jinjer they straddle that region well above mediocrity but below greatness. If you're new to Metal they will probably sound rather varied, exciting and invigorating. There is a great range of influence on their sound at work but Ive heard it all before. They are clearly talent musicians though and a band worth keeping an eye on.

Favorite Tracks: A Plus Or A Minus, Who Is Gonna Be The One, Желаю Значит Получу

Rating: 6/10

Bullet For My Valentine "Gravity" (2018)

They were once a young and promising act but these days Bullet For My Valentine are drifting towards obscurity. They have never interested me that much, last time I checked them out was a decade ago with Scream Aim Fire which I remember being at least half decent. These days I am far more open to Pop Metal and these lush, clean sounds. Gravity is on one hand is an easily enjoyable record, bright, pristine aesthetics, easily digestible with warm, harmonious singing and a sprinkle of bombastic riffs between its fluffy lighter appeal.


On the other hand its lyrically atrocious, full of angsty lyrics trying to tie heightened emotional words of pain and struggle to rather hollow and shallow themes of social relationships expressed through plain and simple language. It conveys little complexity or depth and reminds me of the lyrics my teenage self would of latched onto. Packaged into simple song structures it feels all to formulaic. After a play through it dawned on me that the whole project is very much treading in the shadows of Thats The Spirit, a record that reinvigorated much of the Hybrid Theory formula, in a really positive way. Bullet deploy all the tropes Bring Me The Horizon's recent sound. The song Under Again sounds like a pure unflattering imitation.

The synth tones, gang shouts have little original going for them and once it had crossed my mind I couldn't get away from how much the vocals emulate Chester Bennington. The delivery, the notes, the inflections, Ive heard it all before.  This record sounds like its doing very little to stand on its own. Trend following and niceness daunt its ability to create any original moments. In all fairness is pretty easily enjoyed if you tune out the lyrics. Its well produced and well written Pop music but its facade is thin and a lack of authenticity will have you scrutinizing on closer inspection.

Rating: 3/10

Irreversible Mechanism "Immersion" (2018)

Over two years ago the Belarus duo Irreversible Mechanism's debut made quite the footing in the musical landscape of my mind. Their take on Symphonic Extreme Metal had many of the hallmarks similar to bands I adore, I could hear echos of Dimmu Borgir, Old Man's Child, Aeons Confer and Abigail Williams. It became a record of frequent returns and so my excitement has brewed in anticipation of this sophomore album. Although it sticks to similar classifications, Immersion is an evolution of the beast and I'm not entirely sure where I stand with it. One thing is for certain my captivation has been held over the weeks as I have strayed of from writing about it, soaking in the experience as many times as I could before now.

 This new record expands its pallet with the introduction of luscious, gleaming acoustic guitars reminiscent of Gru. They work in parallel with deep, soft, airy synths boasting an immersive spacial tone. It plays between the dynamic bursts of explosive drumming and distortion guitar onslaught that drifts keenly into angular and blunt force playing akin to Technical Death Metal. The blazing dives into pummeling intricate blast beats and maddening atonal fret scaling licks push at its harshest but also in a constant sway with the synths and ethereal guitar sounds that vastly expand the pallet with plucked chords and softer distortions to thicken the atmospheres cast.

Where they once had echos of other bands, Irreversible Mechanism have very much channeled the aspects of their sound to new places. The once typical sweep picking licks that flooded the music with melodic flushes has been channeled into a web of meaningful guitar leads and solos that organically flex with the swaying of the music, erupting to life in with the dynamic shifts in tone. Their talents as musicians has found a vision and its executed wonderfully in a set of nine songs that frequently shift, sway and unravel with its smothering of intricacies and complex song structures leading into new and marvelous frontiers that feel boundless in this form.

Its a complete package, the music is thrilling with its extremities and its aesthetics are gorgeous. These modern production techniques sound is if there is nowhere left to go. Packed into this production we hear every kick, snare, symbol and instrument with clarity as they all frequently pile into the fold with a frantic unleashing of extreme composition. The drums pack a hefty punch, slick tones on all its components let every note cut through with strength that compromises nothing. All the way down to the bass guitar, which gets its moments to rumble its texture, every sound illuminated.

And so the album cruises on by with its unending sways, exploring different degrees of parrying assault and indulgence with its two identities. Beyond has both my favorite moments and least too, its swings of gleam the most appeasing and its dive into Technical Death Metal the most grinding. Tracks like Absolution is a, mind the pun, absolute peach when the back and forth is frequent and lined with glorious, emotive guitar leads. Infact eight ninths of its whole fit that frame, constantly finds these energetic thrusts to soaring peaks of intensity and blissful color on practically every song while each one feels so unique.

Taking all this wonderful music in I do feel an ambiguity of vision. It reminds me of my experiences with Doom and Post-Metal. I can feel the electricity but it doesn't allays light the bulb. With every song here I feel the current but where is it we are? I'm not quite sure, I mostly see neon colors illuminating solar systems and bizarre, exotic alien planets with intense visuals but perhaps that was put in my mind but the fantastic album cover. Either way this will be one of the years best and one I will continue to enjoy for many years to come! Bravo Irreversible Mechanism, you have raised the bar for all within your field, this is a true accomplishment.

Favorite Tracks: Abolution, Footprints In The Sand, Limbo

Rating: 9/10

Toska "Ode To The Author" (2016)

I caught the UK based trio Toska live recently at a Plini show promoting their magnificent Sunhead album. It was an engrossing performance, there was an electricity present but I'm not so sure it translates that well to the studio. The roar of mammoth, grooving guitars hooked in the room with there vibrations, unable to escape its grasp. Ode To The Author features a couple of tracks I recognized from the show. Its an entirely guitar led meld of Post Metal soundscaping and Progressive Metal tangents, making for some distinguished moments as the range of riffing leads us into unique places.

Without a vocal presence the guitars really do make up a forward momentum as the bass does little to expand upon its tone or experience. The drums chime in with appropriate grooves and energy to create some dynamism. Even in its moments of intense inflections and intricacies it still seems to play second fiddle to the mammoth presence of Rabea Massaad who dominates the spectrum, making his lone guitar sound like an ensemble.

It has its appropriate moments of calm and acoustics, lush notes plucked with harmony but the main avenue is groove and power beyond the structured formula. Massive shapely, lunging riffs gather momentum in the expansion of tension through minor progressions. It makes for colossal moments born of a careful craft, slowly growing songs that always seem to steadily lure us into a trap of mountainous riffs, cascading with a great weight.

Its all brilliantly executed, its steady build ups and sudden shifts feel organic and natural. It flows like a river and builds an engrossing atmosphere that quickly lures one in with vision as we explore the array of riffs, of which its groove elements even steer close to Nu Metal briefly and more obviously Djent with the occasional polyrhythmic and elasticated riffage. I'm very impressed, with a new album out November I will certainly be getting myself a copy.

Favorite Tracks: Chasm, Illumo

Rating: 7/10

Danny Brown "Twitch" (2018)

The origin story of this bootleg mixtape is rather interesting! Turns out the Detroit rapper has taken up gameplay streaming on the popular twitch.tv! That's where the name of the record comes from because Danny decided to stream nine songs he has been working on during a recent livestream. These nine songs could be for a new record, perhaps unfinished. There may be more information out there but all I can do is speculate, however all is looking good from here.

Although there is room for variety these songs mostly carry a hard, urban, gritty vibe. Reinforced by a low-fidelity feel they take on a rugged street persona. That however may have more to do with the streaming quality than the recordings themselves. Loose percussive loops and sparse sequences collide with a keen ear for sampling that builds atmospheres through the aesthetics of its sources. The melodies frequently feel second fiddle to the tone conjured and so these beats become rather indulgent.

The lyrical presence has quite the boisterous, aggressive stance. Danny's navel voice and flow raises the energy but around him an arsenal of features from rappers work dark and mean angles. On Cut It Up one of his friends puts in a crazy maniacal stuttering flow to much effect. The opening Funeral Lines features has some similar enunciation with the cries of "brusa brusa brusa". Among his comrades Danny stands out the best of lines and rhymes however they all put in a shift with an abundance of style and little to fault.

For nine "leaked" songs it holds up really well as a short record, clocking in just under thirty minutes. Its gritty, gloomy and maniacal in bursts of harsh attacking rhymes. Danny and his friends go crazy on the mic, the beats step into some dark territory, the closing track especially so as a dirty grisly baseline buzzes while errie haunting vocals call like a distant ghost. There's a lot to get excited about, the production is distinct and the lyrics ripe.

Favorite Tracks: Space Trip, 8 Ball Flow

Rating: 7/10

Apex Twin "Collapse" (2018)

I'm not here to comment on the history or legacy of English musician James D Richard aka Apex Twin. There is one, however his music has always been just out of my reach. Ive never been sucked in but throughout my time I have heard nothing but praise for him. Catching wind of this new release I fancied a try given its an EP. This trend of thirty minute records is quite appeasing to me. Its the sweet duration where music never seems to outstay its welcome. That is true in the case of this album, each listen feels like another leaf upturned with much to discover in this meld of relaxing, pleasant ambient countered by dizzying jumbles of electronic percussion.

Its not all magic though. Much of these six tracks felt like an effort, enduring the drum sequencing in hopes of finding its charm. James assaults the rhythm with fast choppy waves of sampled sounds that stack, collide and trip over one another as they fall neatly into position. Its crisp and clear, clean and punchy yet the off-kilter timing and swift, rapid rolls leave me a little disoriented as flurries of glitched out sounds constantly bombard the listener. Feeling the groove and rhythm is difficult. There are glimpses of aesthetic delight and occasional strides of movement but a lot of it just isn't on a wavelength I'm able to connect with.

Behind it an arsenal of strange and wonderful inhuman sounds forges calm and yet unusual atmospheres fit for indulgence but constantly hurried along by the abrasive presence of tireless sampled percussion. The Occasional emergence of childish melodies ground the emotions from the continual roll synthetic and odd sounds. In other moments thees same oddities form cohesion to resemble something more traditional but at all times the music resists being anything but.

Tracks MT1 and Abundance gives the musical side far more credence to form a memory of the music as much of the drum sequencing feels like a continuous attempt to dismantle itself and all sound encompassing but on these tracks they give a little more room to breathe. Ultimately its a strange experience with two elements mostly opposed to one another in my mind. It does find bursts of charm and passing intrigue. My curiosity will have me continuing to expose myself to Collapse in the hopes that something unheard may click for me in the future.

Favorite Tracks: MT1 T29R2, Abundance10edit

Rating: 6/10

Between The Buried And Me "Automata II" (2018)

Automata II is the second installment of the Automata double mini-album format the band have split their music into this year. This second half clearly strides into consistency with a stronger sense of theme that their progressive nature can usually make a meal of given the array of influences these musicians share. Across its four tracks the theatrics of showmanship play out in moments of carnival festivity as horns and trumpets emphasis jovial moods emanating between the cracks of rattling drums kits and metallic groove shredding guitars. The chemistry is tuned to its apex on Voice Of Trespass as striking memories of Diabolical Swing Orchestra are conjured.

On the other three songs this particular vibe is less prominent as the slew of intensity shifts, direction changes interchanging of instruments leads it along many paths. Its thirteen minute opener The Proverbial Blow takes the cake as both records best song. Its opening riffs evolve with intricacies in replay as subtle organs and synths wade in on the melodies. Its energetic thrust eliminates the building hype as calm wades in on the storm, holding us in suspense. Singer Rogers brings a vocal performance to elevate the fine direction the song takes, the steadily rising intensity finds its moment for shouts and screams or tight distortion guitar grooves.

A distance lead guitar wails across a suspended atmosphere as the music builds its tension to release. Its fine musicianship but only on this track does it really resonate. The other songs tend to fall into the mishaps of Prog music that doesn't quite engage this listener with the direction itself. As shifts permeate and new instances arise the juggling of serine melodic harmonies and dirty aggressive hammering play somewhat jagged. That's more of a comment on the first Automata though, this is clearly the better release, the best of both could of made a swell record but instead we have two reasonable releases that are sure to keep fans happy.

Favorite Track: The Proverbial Bellow

Rating: 6/10