Killing Joke "Killing Joke" (2003)

 
One of our first musical journeys of old is that of Killing Joke, which remains unfinished having gotten a little tiring wading through their lengthy and varied discography. The group split after Democracy and then seven years later reunited for this second self titled record which resembles some of the excellence displayed on the most recent Pylon. I was aware of its legend, having brought Dave Grohl of Nirvana onboard to play drums. The two bands historically had a record label dispute over the resemblance of Come As You Are to Eighties. If I remember the story, that have Dave actually discovered Killing Joke, becoming a big fan and offering his services here.

This second self titled offering is a concise construct of crunching distortion guitars and battering drums led by front man Jaz Coleman's commanding presences. He shapes the musics angular, aggressive tone to fit his dystopian mold of political corruption and corporate influence leading us down a path of total control. Practically every song reaches into this topicality, criticizing institutional powers and delving into paranoid, conspiratorial takes on world events. A lot of it is agreeable and some steps a little beyond my own personal acceptance but as an artistic expression the instrumentals illuminate his stance.  Much of it has aged well but a few over reaching tracks like Implant inferring control through DNA and micro chip insertion sound outlandish. Then again we all walk around with personal portable tracking devices in our pockets and most people whimsically send of blood samples to data broker firms in the guise of learning about heritage as well as health.

This theme is one I engage with, it gets me thinking where lyrics are not usually not a key focal point for me, It was nice to have that dimension bring challenge. The instrumentals behind them vary song to song but are for the most part excellent. Blood On Your Hands out stands out as an exemplary song. Brooding Industrial drives of hypnotic force erupts into cyclical intensity as high lead guitar noise wails over looping bass lines. Its the typical affair, big slabs of crunchy sound droning in repetition with verse chorus shifts between riffs. Lots of meaty palm mute chugging rhythms counterpart to expansive guitar constructs that pivot from the mechanical drive into atmospheric plunges. Its pretty much the best of what this band have done over the years rolled up into a new package. Not entirely persuasive if not in the right mood but certainly an impressive comeback record!

Rating: 7/10

Cocteau Twins "Lullabies" (1982)

This wasn't part of the original plan but with a bunch of EP releases between albums I though we might as well do the deep dive! I am curious enough, so checking out these three leftover songs from the Garlands session was a bit of fun! Lullabies was released just a month after their debut and its three songs represent different approaches that clearly would not of fit the mold. Its production is also a little beefed up with stronger bass lines, balanced out percussion and a louder Fraiser at the front.

 

 Feathers-Oar-Blades is her moment to open up her voice, become more involved in the music, paint it with her singing. Its a brighter track that relives itself of the dreary grey much of Garlands resided within. Not particularly memorable but the following Alas Dies Laughing take the opposite direction, almost to dark for the full length. Its actually reminiscent of Gothic outfit Christian Death and their gloomy, creepy guitar leads. The bands guitarist Guthrie emulates this tone well, layering and overlapping his eerie melodies and guitar noises with subtle reverberations.

Lastly there is It's All But An Ark Lark. A lengthy eight minute crawl propped up by the perpetual pounding of its warm tom drums and higher pitched bass kicks. Its a slightly hypnotic, atmospheric affair with Fraiser's overlapping singing sounding a little contrasted to the warm bass line and general tone. Its all interesting but obviously these songs didn't quite fit the bill and as an EP simply offer some insight to where the band were at. What was most interesting where how a connection to Gothic influences is made obvious. Of course that music scene was born of Punk and Post-Punk too.

Rating: 3/10

Papa Roach "Infest" (2000)

 
In my youth, somewhere between Metallica and then Dimmu Borgir being both favorite band and attachment to my youthful identity, Papa Roach took the spotlight for a while as the classic Last Resort took the airwaves over like a virus. It was on MTV that I first heard the song. My sister insisted I should come to the living and check out Last Resort which would end up being played every hour it would seem. I was immediately hooked, heading to the record store I got my hands on a limited edition metallic case of the record! Infest then became a total and utter binge record.

Every moment and lyric of this record is engraved in my mind but it hasn't aged well. Infest is probably the embodiment of a relatively average band hitting the nerve of a trend. This is quite possibly the most cast molded, atypical Nu Metal record I can think of. Capturing the angsty tone of the times and with a few well written songs, this album simply reeks of Nu Metal, both the best and worse aspects of it. Being from a particularly difficult and depressing point in my life, it has that mental attachment to baggage I'm done with. Whats left is the same tone, mood and emotion in the music itself. Quite possibly a clear reason I bonded with it so much at the time.

Stumbling onto Vice's documentary about the hit song, it had me thinking back over this record and so I wanted to get these words of my chest. The album itself is well formed, fantastic production has the guitars popping with a dense, warm distortion that is very accessible. Drums and bass mix in well around them as a focal point for melody and rhythm. Bass lines often offer up good iterations and soft harmonization. Guitars have great dynamics with overlapping slabs of syncopated Drop D power chords and lead melodies. Its straightforward songwriting but again well formed.

Where the criticism lands is in front man Jacoby Shaddix camp. His singing and screams are pretty darn fantastic in the right stride, the Rap Metal incursions however are definitely dated and lacking lasting power. Its the depressive, angsty lyrics, a moaning of teenage growing pains that inject a dark and self defeating message into the record. Every song is downtrodden and burdensome, no light or relief comes along. This is the art of wallowing in self pity. Hard to tolerate from a matured frame of mind and personally dark for how reflective and identifiable they were at the time.

That tone is what takes the record down a couple pegs for me. Sounding like a broken record, it again comes with dated, of the era moments, particularly in the Rap Metal camp Nu Metal was adjacent to. Shaddix's raps are competent, kinda of fun but lyrically unimpressive. Listening again, weak moments in the music arrive mostly from the lyric sheet and also with these raps. Injections of turntable scratches and a couple moments where they emulate the trend in someone else's name do sour in reflection. The breakdown rap section on Revenge is a complete ripoff of Korn's lead guitar style. Somehow I never spotted it at the time.

Putting the best in the front, tracks two to six represent the best of the band, Between Angles And Insects being one fantastic song that holds up. After that the weaker tracks experiment a little, offering similar concepts not so well executed. The nine minute self loathing indulgence of Throw Away stands out for its pivot into a Reggae tinged slowdown with a line that embodies everything about the records tone. "We are the future, the twenty first century, dyslexic, glue sniffing cyber sluts, with homicidal minds and handguns". Oh how do I wish I'd found Rollins Band instead of this indulgence in self defeat. Its a bittersweet record for me, the instrumentals are wonderful, bounce, soft grooves, aggression and melody meld well, yet its angsty lyrical premise is so tired on me. This might be the last time I ever listen to it in full again.

Rating: 6/10

Clipping "There Existed An Addiction To Blood" (2019)

 
I'm struggling, yet to form a strong bond but on this outing I very much hear a conceptual angle playing out in the form of deconstruction. The picking apart of ideas, tropes and normalites become apparent on a handful of tracks that make up this seventy minute meaty slug of cold artistry. Experimental Hip Hop trio Clipping have been on my radar for a while but I've found myself unable to connect with the critical praise Ive seen heaped upon them. I have however enjoyed the challenge and appreciate the immense talent of rapper Daveed Diggs and their Avant-Garde production style, which raised eyebrows on their debut album CLPPNG, featuring a rigid yet rapid rap riffling off over the grating sound of an alarm clock.

There Existed An Addiction To Blood is the groups third, including a bunch of features which mostly emphasize what seems most obvious to me. The challenging nature of hearing highly involved lyrics over ambience and noise makes much of Diggs raps a harrowing and dark narrative to follow but his guests seem to line up with a strong through line. Rattling off typical Gangster Rap and club hooks over menacing abrasive noise and unnerving screams, Diggs flips the perceived glorification on its head. Many themes common to the gang and club music get deconstructed as both verses and juxtaposed hooks get sung in contrast to the norm. This is where the instrumentals shine, the comfort and tunefulness is voided and replaced by uncomfortable, grating hashes of Industrial and Noise. Its tone molding that paints a picture of the uncomfortable reality behind the topics and narratives shared.

This artistic stride only occurs in fractures for me, between it detours of interlude ambience and crushing noise distortion simply drone on. There is also a fair bit of convention where kick and snare snap into place to form more digestible songs, ironically in this convention they tend to loose a spark. It tends to take place when a guest steps on the beat to give the record some relief between the challenging darkness. Ultimately, the moments of genius play out not quite to my taste and I again appreciate what Clipping do but find myself struggling to create a clear picture of the record with all the chaos going on. No doubt though I will continue to follow this act and see where they go with their unique and crafty music.

Rating: 5/10

Cocteau Twins "Garlands" (1982)

 
New year, new journey. To kick of 2021 I have picked out the Cocteau Twins, a band who's legacy on Ethereal music is well known to me, they are a huge influence on one of my favorite groups Autumns Grey Solace. I'm dead keen on two of the Scottish Trio's albums but Ive never dived much deeper and that's what we will now undertake.

Starting with their dreary, cold and haunting debut Garlands, released late in 1982 on 4AD Records, they ride a wave of Post-Punk bands exploring new territory and at this stage show glimmers of whats to come. Its of the era, bold upfront baselines permeate the music with solid drives of rhythm and marching tune as wails of effect soaked guitar noise create this eerie ambience of atmosphere, pale and bleak yet densely textured from its narrow confines within the mix. Screeching chords and disjointed melodies play with a grainy quality. The fretwork loops back on itself, panning in stereo, circulating ideas without progression. The music plods on in a consistently depressing manor, monochromatic like the unending grey skies of rainfall.

It was not as I expected, I actually found its temperament most comparable to Lycia's classic Cold. It too being a shivering and dark sombre affair of nightly ambiguity and unease. Yet of course the attraction to all this is the smothering mood of dreary music that can conjure the imagination of darker meditative places. Garlands never relentless from that dreary yet oddly relaxing tone. Its best releases from the tension come with the occasional baseline or lead guitar that wanders off to a warmer state of being but only ever for a brief moment before being pulled back to the norm.

The counterbalance is singer Elizabeth Fraser. Soon to evolve into the acts crowning jewel, at this point she is still finding her voice with a somewhat timid performance that is equal too the murky tone. Soft and shy in stature and performance, she is often matched by the instrumental power but her grace is felt often with beautifully sung words and reoccurring vibrato inflection at the end of her sentences. It may be mostly in the mix as her voice does tend to bleed into the guitars with the baselines still prowling proud, unhindered as they march forever forward with a firm stride.

This is a fascinating record, for its songs tend to feel like singular ideas whirling in repetition. It is dazzling in a curious ability to lure one into its stormy arms. Despite being buddy and murky its production aids the concept well with the drum machines competently keeping pace as its reverberated snare strikes frequently with a cutting harshness occasionally thrown to pitch shifting echos. The only drawback is Fraser's vocals, they sound underutilized an quiet, knowing she will hit spectacular heights with records to come. A truly dark and spooky starting point for a band that will bring much glamour and beauty to this spellbound flavor of darkness.

Favorite Track: Garlands
Rating: 7/10

Blood Incantation "Hidden History Of The Human Race" (2019)

 
Catching wind of high praise thrown its way, Hidden History Of The Human Race is a well articulated Death Metal record for fans new and old, a bridge between styles within a sub-genre normally tired to the bone after thirty years of evolution that has stagnated in recent memory. Denver based Blood Incantation hit a fantastical stride on this sophomore album, boasting four dynamic, progressive songs, one of which is a lengthy eighteen minute epic that in all reality feels like two songs bolted together through effect soaked acoustic interludes that play up its alien, cosmic theming, both present in the music, song names and on the otherworldly album artwork.

Its Opens up with an aggressive plunge of snarling fretwork deploying pinch squeals, a battering of blast beats and the oldskool roar of Paul Riedl. The groove and bombast lasts but a minute before the atmospheric dimension opens up. Howling guitar leads, frantic drumming and alien melodies drill in its angle before chopping through a riff fest interspersed fiery bursts of guitar lead and crushing growls that permeate the music through its dense reverberations. At times it borders Doom Metal with slow, drawn out groans that brood with intensity in a menacing manor.

This shade of brutality has it all, flickers of Nile, Morbid Angel and Thrash infused era Death show their influences on the guitar work. Whats best is how these songs open up into atmospheric lunges of crawling pace, the percussion breaks down and livens up again in bursts of energy. The albums third song explores these dynamics further with a guitar tone led song, playing into Post-Metal territory as its acoustic guitars get awash in a haze of textural distortion. We even get treated to a flickering of psychedelic old school synths emerging from a foggy synth interlude on the eighteen minute juggernaut. A brief moment but one that signifies all elements have purpose.

The spur of excitement this band conjure is not a short one, every listen has been lively and fruitful. These songs hold up as its alien, cosmic inspired atmosphere holds a lasting curiosity, conjuring mysterious imaginations of what could be out there. It has been a common theme in recent years for bands to play the nostalgia card, yet pulling off truly inspired music. This is another one to add to the pile, Blood Incantation clearly derive ideas, tones and techniques from the greats that walked before them but in this instance they have pulled it altogether with a touch of class felt best in its frequent lunges into shivering atmospheres of alien unease. With great vision and a wonderful execution, the album is one for any fan of the brutal genre.

Rating: 8/10

Soley "Endless Summer" (2017)

 

Endless Summer somehow doesn't seem a fitting title, perhaps the musics charm simply engulfs the current environment. With cold, pristine, shimmering pianos, a spell of calming serenity is ushered in. All too perfect for this winter and Christmas season. Its been my recent walking music of late, making it hard to not associate it with the cold weather and anticipation of spending time with family. Most the songs blossom with strings, percussion and deeper piano notes bubbling up in the later parts of these songs. It light a warmth under its brittle high keys where the tracks start from. In these denser moments one can feel the smile of the sun, a carefree spirit of summer. For me though, its been cast as a snowy record fit for early sunsets and chilly breezes.

Icelandic musician and charming singer Soley has somehow escaped my grasp. Stunned by her debut We Sink, I've managed to folly the simple task of following her output over the years. That will have to be corrected. I remember her music having a twisted shadowy edge in moments, its not present on this outing. She forges a genuine warmth, the chemistry between these graceful serine pianos and her soft, vulnerable voice is endlessly uplifting from a place just shy of melancholy and sadness. It is most often felt in the elegant piano performances, which tend to start a song drifting, bare and lonely. Soley rescues them with human expression as her voice and accompanying instruments lift them to a safe, warm and carefree place.

The playing is wonderfully dynamic. Chords and melodies weave with quite and loud dynamics, inviting measures of reverberation and a timely sense for where the music will suddenly grow with an ushering in of synths or percussion. Not hinging on any given pace or structure, the pianos lead, playing of itself, music that blossoms of its own accord. Although there may be patterns and structures, rarely does it feel obvious or like repetition is running its rotations. All of its eight songs tend to sweep you up into its own moment and hold you there. A truly captivating listen, always as a whole.

If I turn my mind to criticism, I can only turn it to myself. Her wondrous voice holds a curious space, feeling adjacent to both happiness and sorrow, childlike innocence and reflective maturity. I should of perhaps taken time to read the lyrics as her singing is not of the discernible sorts I am usually exposed too. Somehow I always listen to the emotion of a voice, not the actual words. Here there is emotions in droves. Having been spellbound for a while now, binging this record on every walk, I am now left with that familiar sentiment of wondering how this will hold up in time to come. I'm pretty certain this ones a keeper. Great record, will have to dig up another one!

Rating: 9/10

My Top 10 Music Discoverys In 2020

 

The one thing you can count on is music! Whatever is happening in the world there never seems to be a shortage of good records, new and old. Each year I aim to discover new artists and each year I seem to reflect that I should of done more. What is becoming more prevalent here on the blog is "rediscovering" old artists, going back over there catalogs and immersing myself in music enjoyed many moons ago, often finding songs that slipped between the cracks and getting a richer sense of the musicians behind it all. That will continue this year no doubt and I've included one in the list again!

(10) Bolt Thrower

I believe it was a cover of a Bolt Thrower song that lured me onto this British Death Metal outfit. I'd heard of them plenty over the years and checking them out I loved the mid-tempo crushing and subtle sense of groove. Straight forward songs that grab you with a mighty aesthetic that steamrolls its way forward. I will throw another record of theirs on the playlist for the coming year!

 

(9) Malcolm Horne

 

Warm bright and jazzy, these Jazz Hop beats and there fusion with synth tones make for inviting music. Whats also interesting is finding him through a different medium livestreaming on Twitch. Its not the normal way I find new music but anyway Is a good way and I hear a lot of potential in the best songs on the debut record. One to keep an eye on for more music in the future!

 

(8) Clipping

Unfortunately I can't revel in the praise others have thrown on this unique group. Having enjoyed their catalog now, Ive got a good sense of what they are about. Its a different experience, one that doesn't quite click with me but undoubtedly I will follow them closely in the future, if not for intriguing music but hopefully something will snap into place and I can enjoy them on another level.

(7) The Crystal Method

Its only the one record so far but their debut Vegas instantly snapped into place with that 90s feel of Electronica and Big Beat. Its stuck with me as a record for a particular mood and can put on and fall into. Will throw another onto next years playlist.

(6) Backxwash

Already in My Top Albums Of 2020 list, Backxwash makes it to this one too for having a highly competent and interesting flow. Given how stylistically directed this project was, I can't help but feel their talents with rapping can go beyond it. As I often say, one to follow and keep an eye on for whats next.

(5) Cult Of The Damned

A random stumble on Youtube and I was immediately hooked! I must admit I'm not sure this Rap collective have the lasting power but their flavor is spicy and exciting. I've been binging them a lot and it looks like new material is on the horizon for 2021.

(4) Old Sorcery

If ever Dungeon Synth feels explored in and out, something comes along to shake things up. Not only does Old Sorcery infuse some fantastical old school synth ideas but in the process crafts some really wonderful songs. The latest turn into Black Metal doesn't yield the same excitement for me so I am hoping for a return to roots with the next project so to speak.

(3) Bathory

Of all the nostalgic dives into music from my youth, Bathory has been the best of them all. Not only did I get a fuller picture of what I already loved but found a bunch of new gems and got a real sense of the artist and their journey through some tepid times in the 90s. Although a career cut tragically short, it ended on a high with the Nordland records I had barely touched back when I discovered this massively influential artist in the world of dark and extreme music.

(2) Ocean Grove

They have my album of the year but were also a fun discovery to dive into their debut record an EPs. I actually found them right around the release of this sophomore record. Initially a rather run of the mill Metalcore outfit, their jumpy evolution seems to have blossomed into a beastly brew of sunny energy just fit for my tastes. I'm left itching for more.

(1) Grimes

 I'd heard of Grimes quite some time ago and only this year got around to her music. Art Angels sucked me in and I absolutely adore its vibes. Alongside Flip Phone Fantasy its been my must spun record of the year. Her voice is a wonder and the playful vibes are uplifting and warming. Her earlier catalog is more experimental, less charming but fun. With Miss Anthropocene she dipped toes into a darker tone in places. Not quite as killer but I hope she can hit her stride again in the future.

My Top 10 Albums Of 2020

This year has undoubtedly been one turned upside down by pandemic turmoil running amuck among the globe. Fortunately the music still flows, perhaps not as it would of been without covid. Having listened to less than usual this year, there was quite a few additional records I considered for the top list. Ordering out records is arbitrary anyways, Id say the top five here where the clear favorites that had defined some of the best music I encountered this year, although of course, this list only focuses on releases from 2020. Tomorrow I'll cover musical discoveries as is tradition.

 
(10) IGORRR "Spirituality And Distortion" link

As one of the more interesting takes on extreme music in recent memory, Spirituality And Distortion sets a landmark for once experimental ideas blossoming brightly into wonderful music. IGORRR has come a long way, evolving from a bedroom experiment into a band and now finding what ticks beyond the novel on a cracking record with little to fault.

(9) Plini "Impulse Voices" link

Its inevitable that a Plini record will end up on my top list. With such a high level of curation I will undoubtedly by engulfed by this Progressive Metal indulgence of melodic delight. Although little can surprise in terms of style and direction, Its always a masterclass in guitar and composition that I am a sucker for.

(8) Backxwash "God Has Nothing To Do With This Leave Him Out Of It" link

Fantastic discovery this year with Canadian rapper Backxwash making a fine impression. This short record is concise, to the point yet wonderfully artist and dynamic, fusing the darkness of Metal with keen Raps and trendy percussion. A fantastic take on crossover between the two genres. One to watch out for in the coming year!

(7) Haken "Virus" link

Having followed Haken for a few years now, they had yet to really strike a nerve but this record did that! Having hit a stride on their last outing, Virus arrives continues in a similar vein as these now seasoned veterans deliver a Prog Metal masterclass! Riveting record.

(6) Deftones "Ohms" link

The Deftones will always muster excitement from me. Gore was one of those records that initially seems exciting and fresh but with time tired to sound like one of their worst. I'm certain Ohms wont suffer that same fate. Their pivot in tone and inclusion of retro synths yielded something fantastic and lasting. Its amazing how this band keep reinventing themselves.

 (5) Zeal And Ardor "Wake Of A Nation" link

Zeal And Ardor have been one to keep a close eye on since their inception and this EP, despite being short, was a brilliant and fiery reflection on the racial movements spreading across the globe this year. The manifestation of anger and frustration into music darkness was simply brilliant and keeps me excited for whatever they will do next! 

(4) Code Orange "Underneath" link

A force in the world of brutality, Code Orange return with a focused vision, steering into Industrial territory and terrorizing all who listen with their manic ferocity. Infused with synths and glitched production magic, this is a real meaty slab of aggression to pick apart. The songs behind its aesthetics and design have really lasted the year well.

(3) Tame Impala "The Slow Rush" link

Loving this synthetic fusion with Psychedelic Rock, the return of Tame Impala gave me exactly what I wanted, which was more of the Currents magic! These songs felt a little sharper and the reflective tone of the recording was endearing. Over the year the songs have really held up well.

(2) Myrkur "Folkesange" link

Utterly charming from the offset, this pivot to pure nostalgic Scandinavian folk tales was stunning. I let it simmer for a while and then binged again in the winter months. Amalie Bruun's voice is sublime and together with the instrumentation they conjure a vivid sense of rural, heathen life surrounded by natural beauty. Truly endearing, Vinter was a favorite to play during Christmas. 

(1) Ocean Grove "Flip Phone Fantasy" link

Something felt special about this band right from the offset. Hailed as a Nu Metal, Rap Metal revival I had to check them out. What I found though blew me away. These guys are more 90s than the decade itself. The energy and nostalgic vibes are no tribute but a reinvention of old ideas channeled through a brimming wall of sound production that gives off endless energy. Initially it was my workout record, binging on it for months on end and since then I've been astonished at how its magic hasn't tired after so many repetitions. Even learning to play it on guitar now! Just makes it even better. Can't wait to see what they do next!

Kid Cudi "Man On The Moon III" (2020)

 

Oh boy do I wish this album had arrived earlier in the year! I can't help but feel It would of made my up and coming top albums of the year list. Right now I'm intoxicated by its particular mood, an airy mix of club and urban street vibes, subdued by its laid back pacing and dreamy, psychedelic tinge. Records like this need time to mature and given how much I loved my introduction to Kid Cudi through Kids See Ghosts, a collaboration with Kanye West, I wouldn't be surprised if this one delivers its magic for time to come. After binge listening for days on end, it still has a sparkle.

Kid Cudi's voice is a charm, soft and moody, he drifts between casual R&B singing, spoken word temperaments and monotone raps all interwoven with spacey auto-tune both flavorful and expressive. Not one to linger to much on lyrics which generally go in one ear and out the other with me, I picked up an introspective individual reflecting on a moment to pause and expresses life with a kind warmness. Anchored to reality in its uplift and happier vibes, the music comes across with a slight sense of melancholy, humanistic and soulful, a connection to the reality that all good things come to pass.

The instrumentals compliment his tone well, these beats are tight and snappy yet spaced out with a keen sense of where silence has power, Quite often do they drop entirely for bars at a time. With a modern percussion design, one might mistake these drums for subdued Trap beats. Although they share some textural similarities the patterns being sparse and complimentary tend to serve the bigger picture, rather than dictate groove and bombast through the rhythmic drive. Behind them, bass kicks articulate the occasional melody and whenever given some direct attention one can really appreciate the art of subtlety at play on pretty much all these songs.

One number that stands apart is Show Out. Teaming up with London rapper Skepta and Pop Smoke it crosses over into Grime territory with a lively kick drum rattling off and grittier raps to lean on a darker mood. It slips in well to the overall tone which is more upbeat, led by Cudi's swooning sung vocals and synthetic backdrop. Many airy synth tones create these easy going atmospheres. Soft organs, choral voicing and all flavors of osculation in between forge a setting for subtle melodies to gracefully breeze with the easiness. A variety of instruments, pianos, guitars and keys give each track its texture and perhaps acoustic guitars that struggle most on Elsie's Baby Boy.

Somehow they seem to rub up against Cudi's voice, his held notes seeming off from the brightness of plucked strings. It illuminates that for all the praise, nothing is perfect. It seems wherever the main formula, which has plenty of variety, is strayed from, things don't quite hit the same heights. In praising the subdued percussion, the rattling Trap hi-hats of Sad People sounds a little grating. As an album it loads its better tracks in the front but given tracks are short and sweet, some not even crossing the three minute mark, its meaty eighteen tracks, just shy of an hour, it gets by as its weaker cuts tend not to linger for long. Given the mellow, indulgent fragrance of Man On The Moon III, it gets by but curation could of really elevated the experience.

Rating: 8/10

Grimrik "Die Mauern Der Nacht" (2015)

 

My curiosity in Old Sorcery's use of retro synths had this artist recommend to me as a link between Dungeon Synth and old school electronica, something that I don't think bridges the divide but I see the connection. Grimrik has been one of those instantaneous connections that needs little explanation however its darkness is of a different breed in my opinion. Die Mauern Der Nacht, translated, "The Walls Of The Night" has deep and lonely astral vibes of unending exploration through the dark abyss of the night sky. The synths that make it so brood and meander on the endless mysteries of the cosmos with an undercurrent of eeriness manifesting in spooky synth tones and puzzling melodies that conjure its peculiar position.

Its slow, atmospheric, taking its time to unravel as arrangements of buzz, sine and triangle saws work in tandem. Sprawls of classic textures sweetly stitched together over airy choral synths and murmuring baselines conjure the sense of vast distances between stars, the unending voyage. In doing so the album is structured as one seamless piece of music, cut into smaller fractions. Its events are sparse as many tracks explore the bare bones through minimal layers of sound, drifting to the next movement, often given a little gusto through quiet percussion, which looks to do little beyond creating a framework for pace with simple bass kick and snare arrangements.

Its gleam and shimmer is charming but musically the record is quite uneventful and sparse. On one hand it plays into the concept, on the other it does get a little dull for this listener as its tone and temperament is one I have explored before with the likes of Oscillotron. On that note, this theme too I have heard through the likes of Arkhtinn and Darkspace. Its the same slice of sound that others have smothered with satanic aggression in the form of howling screams, shredded guitar chords and pummeling drums. In the wake of all that, I've found this flavor a little lacking.

In the opening phases recurring melodies lock it in for a slow but steady pacing but the music never crescendos and slumps in the latter half as songs take on a cinematic flavor with string led compositions brooding on a temporal rhythm. The lack of spectacular hiders it. As much as I love these star struck nebula vibes, the music never evolves beyond much of a mood setter for my taste. Great as background music but after a couple of spins it felt dull to give my full attention. Definitely a worthwhile check out but something I might not come back to until a long night time drive home under the those walls of the night sky.

Rating: 5/10

Eminem "Music To Be Murdered By Side B" (2020)

 

Another Eminem record already? Technically this is just the "deluxe edition" of Music To Be Murdered By released earlier this year. Labeled as "Side B" we are treated to sixteen cuts, the majority of which are a grade better than the original lineup. With references to Coronavirus and the global pandemic, Its obvious a portion of this was recorded after the original release. Its had me curious as to why these songs where packaged and released this way. One thing I'm sure is, I've officially brought it twice now, the second time to get my hands on these new tracks which I am happy to say a far swab of are pretty fantastic and just fun.

It doesn't need to be iterated that much of Ems topicality revolves around his stature and split from the universal adoration his fans once gave him and the peak of his popularity. Its become a dull hindrance over the years but not so much this time around. It does comes up, as well as media beef but something seems keener in these raps. Book Of Rhymes perhaps embodies this spirit, a track about getting all the words his written off the page an into the music. I remember his struggles on Revival, clearly battling with his output and listeners perception of it.

On Side B he sounds releaved and free of that stress. Much of his material breezes on with a clear concept in mind, manifesting into structure, flow and puns in a variety of ways. He goes off on many narratives with plenty of word play and crafty raps that have you checking the connections as he rattles them off. Not all of its great, one rhyme about "Channeling like the panama canal" is a stretch but this lack of filter balances out Ems talent shines in many spots with strings of fantastic links. At plenty of times he gets into it with swift raps, loading and weaving rhymes and puns together. His talent is still very much there.

The record brings with it a DJ Premier feature and Dr. Dre out from the shadows. He lays a classic piano laden beat on album closer Discombobulated but his rap is mediocre. His name will always spark excitement but the best is in the past. Its mostly Em that makes the record fun. Side B's instrumental production brings a variety of modern beats with hints of auto-tune and Trap influences on a couple song but its mostly unremarkable, run of the mill stuff. Its been a fun handful of spins, no doubt a couple songs will bring me back on occasion but the thing of note is that this material seems better than the first half. It is also fresh in the mind and hasn't have the majority of a year to fade from aswell.

Rating: 6/10

Ocean Grove "Dream" (2020)

 

Reporting on this three track release of b-sides is more so an excuse to remind you all this amazing band exists. Flip Phone Fantasy has to be my album of the year and Dream brings a little extra from that session for us to enjoy. Its title track is another 90s vibes extravagance, fulled with rich octane guitars strumming out power chords in a stride and bursting with lively drums, its cruises sweetly to the sun with mid tempo late summer vibes. Led by Dale Tanners soaring voice, it very much reminds me of Liam Gallagher in spots. The song however is rather one dimensional, with little variety and a routine crescendo to see it out with a simple melodic overtone, its easy to see why it didn't make the cut.

That's not to say its a bad song, it just doesn't reach the heights on the album. The accompanying acoustic version of Shimmer is a nice touch that holds up on the songwriting front. The glossy production with layers of airy reverberation gives it a similar wall of sound feeling even without the brimming distortion guitars. Sunny is notably labeled as a remix, its distortion guitars stripped out, a Trap drum groove thrown in too. It exposes the other layers of sound from the mix with more clarity. A nice way to enjoy the song on a new level. Again, the songwriting holds up, just affirming my love of this record I have binged hard and its magic still persists! Go check it out If you have not already.

Rating: 3/10

Bathory "Nordland II" (2003)

Nordland is a mighty double album, two hours of spirited nostalgic lore and viking aggression without a weak spot. All from the same recording session and with little distinction between its two halves, it is simply an epic musical output by an inspired musician finding new ground. That's an important point to linger on, it would be all to easy to describe this as a return to roots. Although it has the spirit of a Hammerheart, or Twilight Of The Gods, this is a rather forward thinking pair of albums, refining and rebuilding the chemistry that defines it, introducing new elements along the way too.

With keyboard synths and cultural instruments, stringed and woodwind, the symphonic aspect feels fleshed out and spirited acting as the sail for many melodies to carry the music forth alongside the swells of male heathen choirs and metallic force. Its never a glum affair, much of the atmospheres conjured have might and pride, an uplift sailing against winds and rain. The harsher realities of ancient rural life trumped by the glory of natures unforgiving beauty and human life among it.

Each song feels poignant in its narrative, gleaming melodies swell, riding into shifts of tone. Guitars, synths and choral voices interchange to hold over lengthy songs with excitement. Quorthon sings with one of his fairest performances given his authentic singing, which is challenged. He utilizes his strengths, not straining and often refraining with a spoken word temperament that electrifies the many choral arrangements that proceed him. Where songs of old were driven by fresh ideas, this collection really explores whats possible with more musical involvement on all fronts.

The metallic element is a keen one too. His rhythm guitars are initially more of a backing element but with Dragons Breath and a couple numbers or Nordland II, he delivers some bouts of cunning aggression that triumph over anything from the Trash Metal era and meld so well with otherwise melody oriented music. The lead guitars are a blessing too, not only peaking with rampant shredding solos but hitting bold with striking metallic melodies into the songs at regular intervals.

To summarize, this is undoubtedly revisiting his Viking Metal glory days but with such a refreshing attitude. These songs are given so much love and care that they come to life on a new level with deeply involved song writing. Better sound design and use of instruments outside the norm flesh out its theme well. Strides are made on all fronts however thumbing over the tracks again one by one, Ive got to say it does feel as if the more rhythm guitar driven songs end up on the second album. It has the darker charm with a more aggressive temperament. Its been a fun journey and this is one heck of a note to end on, even if it was sadly not planed as so. It will always be a curiosity to think what might of followed but great to know he found his way again after a patchy series of albums.

Rating: 7/10

Bathory "Nordland I" (2002)

Another epic journey concludes as we embark on Quorthon's final works, essentially a double album that rekindles the flames of old, having lost his footing through the nineties. Sadly we may never know where he would venture on from this high point, his untimely demise coming just over a year on from the release of Nordland II. Supposedly linked to heart conditions it is often speculated that Bathory never toured for this reason. At this stage of his career though, he was truly a one man band, not only writing but performing all the music that makes up these records. Both are of the same studio session with little distinction between its two halves. It made sense to write about them together in one single post, so that will come next and for now we will focus the journey this infamous artist has taken us on to get here.

Starting out in the mid 80s, the early records are gritty, edgy and ambitious, pushing boundaries which seem tame and cheesy by today's standards. That is precisely the legacy though! With The Return, many ideas emerge that would become staples of the Norwegian scene in the 90s. Its not until Under The Sign Of The Black Mark that something special sparks. Still hammering out the extremes, his songwriting elevates, outlasting the gimmicks and giving us a glimpse of whats to come in the next few years. The introduction of synth on Enter The Eternal Fire also a remarkable idea, a clear traceable linage to the many Symphonic Black Metal bands yet to come.

Blood Fire Death marks a true stride of genius. Clearly growing as an artist, the Nordic inspiration of his heritage and Viking roots brings fresh, original ideas to Metal. It all flourishes with a pivot to focus on this spirit alone with the mighty Hammerheat, putting Quorthon at the heart of two big musical movements set to evolve over the next decades with him practically checking out and pivoting to Thrash Metal during its decline. It is this era that highlights something forgivable in the early days, sound production. Whatever the reasons, the harsh abominable aesthetics hinder much of the output moving through the 90s. Its been a stain on much of the music, with Blood On Ice providing just a little relief along the way.

 Fortunately the Nordland saga is finely produced. Still a little harshness lingers but the two have a fair aesthetic for music we will talk about in the next post. One thing is for sure, early Bathory is essential listening for fans of Black Metal and Viking Metal, those first five records plant the seeds of so much music to come. On a personal level, it was really fun to get back to these records, rediscovering some fascinations from my youth and getting a much fuller picture of a patchy career with ups and downs, ultimately ending on a high note!

Rating: 8/10