Annihilation Of Self "First Orbit" (2021)

 

In search of more meditative astral ambiences, Annihilation Of Self caught my ear with an eerie, uncanny familiarity. The culprit? Song two, Condensate, one of Spotify's algorithmically inserted tracks. It had weaved itself into the unconscious musical map. A curious encounter with this new venture into unintentional listening behaviors. Either way, the full album merited a go, yet didn't yield quite the magic I was hoping for.

First Orbit checks all the spacey boxes. Airy, atmosphere dawning synths and a whirling array of buzz saw VSTs are present. They build a dark, technologically inhabited environment, on cosmic scales. A dynamic flow of intensities weaves the glittering melodies of stars between harsher tones of endless void. Its scales against itself, keeping moderate tempos and ushering a songs feel through many apt shifts.

Its darker moments felt more captivating. The buzzing oscillations brooded a tense yet distant distress. Brighter melodies and upbeat motifs felt off in comparison. One notable balance between the two sung personal inspirations. Emma weaves in a bright yet mournful piano melody to ascend the stars with a beautiful sorrow. It seemed deeply personal to me, perhaps the name hinting at a story behind the tune.

Despite a plentiful amount of listens, I've found myself lukewarm on the record yet writing up a "review" of my experience has highlighted its merits with greater intensity. The issue feels like a lack of distinct melodies or moments to cling too, yet the overall tone has the spacey drifting feel I adore. Perhaps I needed more time with it. First Orbit has been placed on my "temporal focus" playlist. Maybe it will grow on me.

Rating: 6/10

Killer Mike "Michael" (2023)

 

 One half of Run The Jewels, Mike's solo career has been on hiatus for eleven years since his almighty R.A.P. Music. That fruitful four album collaboration with E-LP left no questions as to "what could have been", their natural chemistry yielding best of both.

Continuing that stride of form, Mike returns as a solo artist with urgent expression, a beating heart of pains, aching through lifes reflections as the passing of his mother shakes up foundations. Through his often firm and feisty articulation, these matured narratives cut deep into personal emotions and perspectives. The moody gospel groovings of the albums most striking cut, Motherless, amplifies a universal sombre grief of aging and the inescapable sufferings life bestows, besides all its beauty.

A common theme of Michael is a southern one. The distinctive vibes of the scene emerging through nostalgic lyrical reminiscing and choice select samples. Given the heaviness of Motherless, it struck me as a youthful yearning of years gone by. Equally, it could simply be a result of those in proximity. Bringing out many guests and legends like Andre 3000, Mike offers a lot of variety and flavor across its lengthy fifty minutes.

Despite my many spins, its most apt moments dissipate into luke-warm tone as instrumentals and guests are never the records best aspects. When Mike is locked into an expression, its an utter joy, a force forged from decades on the mic. The spaces between lack his sparkle, that glistening passion from where hes at. As voices jump on and off the record with a different focus, the distance from that greatness shows. I really wanted to love this one however It just didn't resolve right in my ears.

Rating: 6/10

Potatohead People "Mellow Fantasy" (2020)

Mellow Fantasy, a breezy affair of performative Jazz Hop. Slick in design and execution, the Jazz Fusion adjacent instrumental artistry of this dynamic duo indulges in soft affable tunefulness. One can "tune in and tune out", an effortless listen. A feathery glow blows in the winds of every track, a cushy soothing groove, infusing dauntless jives within an airy carefree stride, letting its plentiful good vibes flow forth.

Hidden Levels breaks its relaxed stride. Injecting a quirky baseline, its harder bass kick thump gets rocking with the arrival of infectious claps. Forrest Mortifee illuminates this track with a colorful timid tenderness in voice, swaying on the songs texture with a breathy performance reminiscent of Hiatus Kaiyote's Nal Palm. The theme returns twice with both Bunnie and Kendra Dias bringing 90s R&B voices to the fold.

This highlights the albums structure, alternating collaborations with rapers and singers between shorter instrumental cuts. This time, less emphasis is placed on lead instruments, serving more as a slice of cool atmosphere between its voiced chops. Although I missed this dexterous dazzle of melodic manifestation, the bigger picture is a consistent vibe, nailed exquisitely. All pieces present fit this pleasant puzzle.

Rating: 7/10

Frank Klepacki "Initiative" (2023)

 Frank Klepacki is back! Not the first post-Remaster release, but one that caught my eye! Picking up his battle axe and throwing down stompy thrash grooves alongside dystopian synths, Frank revives classic Command & Conquer vibes and aesthetics for another metallic romp of his janky Electronic Industrual funk! This outing comes steady, lean and refined, a consistent burn with anything in the way of experimental or out of the ordinary arriving through his guests Glenn Kachulis & Connor Engstrom.

 Gunslinger mashes his cyberpunk Disco thump with slick Mexican guitar licks. An unusual union that somehow persuades despite its dramatic shift in tone. The following Dark Assault showcases Connor's flashy lead guitar talents, a dazzle of steely blazing melodies to act as a voice. Unfortunately it spells missed opportunity, as Frank ditches his unique Industrial sound design for a high speed metallic fodder. The result is a rather generic splash of pacey fire and fury. Slick but again shifting tone.

The rest of the music finds familiar face, an unravel of detached melodies, woven through a web of hard hitting instruments. Arrangements whirl with sequenced mechanical activity as pulses, zaps and industrial clank rub and rattle against its organic tones. The contrast can be enjoyed with little effort. Flushes of Prog Rock leads and Metal guitar accompany its varying temperaments. A solid listen to stir up a colorful dystopian vision of futuristic proportions but lacks anything truly special.

Rating: 6/10

Bal-Sagoth "The Power Cosmic" (1999)

 

Scouring the web for more unturned stones within Symphonic Black Metal, I found my way to fellow Brits Bal-Sagoth. Although not akin to my favored Dimmu Borgir incarnation, The Power Cosmic has been a lively listen! It possibly representing the band in their best stride, with an aesthetic production scaling a welcoming clarity.

Far from the dark depths of Black Metal's reach, its extreme nature, felt through bombarding drums, bombastic orchestration and howling screams, would feel unfitting elsewhere. The musics core characteristics are Fantasy and Epic in nature, weaving big symphonic adventures akin to the likes of recent discovery Fairyland.

Bal-Sagoth's identity lacks a distinction beyond the merits of its various textures and intensities, sticking firmly inline with much of the Fantasy music I've heard before. Its array of synthesized instruments emulate triumphant trumpets and battle horns in aggressive strides. Harps and stringed sounds deliver the swashbuckling adventurous melodies. Behind it all, a soft, ever present glow of choral airy synths.

The rhythm section mostly acts as a sturdy foundation. Lead guitars erupt into the music frequently with squeals and creative arrangements to add an expression less rigid than its symphonic counterparts. Its all stitched together with touches of Progressive Rock influence as the band shake up their own blueprints on occasion.

Overall the experience rarely transcends a sense of expectancy dark fantasy styling offers. Great as an album to serve a mood but lacking stand out moments. Its mostly a pleasant dazzle of upbeat, gleaming instruments sounding off battle-cries. At forty minutes, The Power Cosmic is a lean and concise offering, shy of true glory.

Rating: 6/10

Lauryn Hill "The Miseducation Of Lauryn Hill" (1998)

 

As thee lone solo release by rapper slash actress Lauryn Hill, Miseducation's reputation has been cemented by time as a remarkable mic drop. After life in movies and The Fugees, this smash record solidified her reputation. Subsequently withdrawing from the limelight, this remains as her lasting legacy and a record I've been criminally slow to get around too. Doo Wop & Everything Is Everything still stir feelings and memories fresh from my preteen years, a period before the roots of what I adore today was established. Similar to my experience of Puff Daddy's No Way Out, this was an opportunity to step into an alternate past had I gravitated to it at the time.

My nostalgia could have set high expectations but I took this one at face value, for how it felt today. This may explain my lack of affinity with the critical acclaim bestowed upon its meaty eight minutes. Most songs hit the five minute mark with solid Hip Hop beats, embellished by Jazz, Funk & Soul alike instrumental performances to liven up its loops. Sadly, a fair portion of tracks leaned into a dreary sombre tones, reflecting on life's struggles with gospel hardship vibrating on moody expressions. That's not to say these R&B grooves aren't beautiful or stunning in their heavy presence, just a personal mismatch I failed to indulge upon, despite Lauryn's exquisite singing voice.

Early on in the record, we get a few harder cuts. Rugged beats, record scratches and Lauryn pivoting to her raw rapping persona. Delivering tight rhymes with lyrical depth on a firm masculine cadence. Her narratives are mightily written, holding attention for a whole song on her own. That substantive depth is present throughout. Something about her raps cuts the mood, putting them front and center, unable to avert.

Miseducation is also interwoven with two other aspects. Love and a musical tapestry. With interludes between songs, seemingly a teacher talking to a classroom about love, Lauryn seems to grappling with a personal story through this externalization as the students discuss various aspects of the four letter word. The musical tapestry comes with some welcome Wu-Tang samples but also timely lifts of samples, grooves and chorused from well known songs. It gives the whole expression a sense of roots into other artists works. A nice sentiment she pulls of a touch of class.

In conclusion, my many repetitions did not warm me up to the majority of its R&B moods. They dominated its tone despite a healthy variety of textures stretching from Spanish guitar to Gospel church organs. Lauryn herself an impressive creative force, both in the musical arrangements and as a performer, showing off much tenderness in her voice with a strong philosophy of mind backing her personal direction. Well worth the time but not quite a classic for me sadly. Maybe if discovered back in the nineties at an impressionable time, this could have been quite different.

Rating: 7/10

Potatohead People "Nick & Astro's Guide To The Galaxy" (2018)

 

 Reveling in the merits of predecessor Big Luxury, the Potatohead People duo, Nick Wisdom and Astrological, return with another Jazz Hop indulgence. Again, the quality of compositions on display set it apart from expectant groovy indulgences of the genre. Sung choruses, guest rap verses and instrument solos break up the looped foundations. The beats are class, slick jazzy moods frequently leaning into G-Funk and dreamy detours as spurts of soft instrumentation and reverb ups the indulgence.

Last outing, guest verses and lyrics illuminated the runtime. This time, its instrumental cuts grab attention as the songs drift with non linear feeling. The core rhythms stand firm but around them breezy Sax solos, dreamy acoustic guitar licks and Jazz Fusion keyboard tones wrap the groove in organic expression. Especially captivating is the closer Rituals. Its eclectic pull of glitched vocals, gritty saw bass and House pianos acts as a closing novelty you could imagine fitting snugly on a 90s Trip Hop record.

Ultimately, its not too dissimilar a project with a similar flow. The pair lean into a more diverse source of inspirations which they wield to fit their mold. The result tips the scales as its interesting assembly of sounds gets to flourish in the spotlight. The beats built for rhymes come rigid and stiff in contrast. The raps contributed by guests Illa J and the like, have less of an impact than before. Either way, its another quality Jazz Hop craft to pluck out some personal favorites from, that I'm sure will last with time.

Rating: 7/10

Post Malone "Austin" (2023)

 

Returning swiftly from the lukewarm reception of Twelve Carat Toothache, Post Malone returns with a notable progression in his persona and musical identity. Austin, named after himself, is a traditional leaning Pop record that initially disappoints with its generic withdrawal from what made him standout as an artist. Flushing out percussive Trap influences and stepping back from the embellishment auto-tune offered, this new direction withdraws into pleasing practices and sensibilities established for years now.

With a lack of aesthetic novelty to draw one in, Its with repetitions that one gets to know these songs. Humble and sincere, Post revels in his emotions with an authenticity complimented by his voice. Ditching auto-tune for the most part, merits emerge in his singing that prove this talent is beyond gimmicks. The melodic lines and catchy lyrics are illuminating when they land. Backed by subtle swooning instrumentals, the union lands songs sweetly when the stars align.

With less hands involved in the records production, the trio emerge with a cohesive vision pulling on a little kick clap of coffee shop Rock, the shimmer 80s Synthpop and dreamy touch of modern Pop. Compositions are apt, purpose built, across a range of tones all lavished in gorgeous aesthetics. Its builds a summery indulgence of warmth and good times masking an underbelly of sunset reflections on masked pains.

Brushing aside the false start of the self-pity opener Don't Understand and yearning Gospel cries of Something Real, an arc emerges from upbeat to introspective. Early on the best tracks arrive on pacey percussion tempos and cool breezes. As the record matures, the calmer acoustic leaning expressions steadily shift its focus. Its a decent trajectory but given only a handful of songs really pulled this listener in.

I found Austin's lulls to highlight how well its uplifting choruses landed. Early on, every other song croons and grooves on its slick impressions. As moodier acoustics roll in, mediocrity rises. Curation is often a pitfall on lengthy records. At an hour long, its clear a concise expression of Post's warmth would have rocked strong. The reveling on melancholic vibes didn't land with the same infectiousness. This could of been something special but its retained to a handful of songs that stand apart.

Rating: 6/10

Nas "Magic 2" (2023)

 

I'll make a prediction, like King's Disease, Magic will become a trilogy too. The enthusiasm for this career rejuvenating partnership with producer Hit-Boy gets stated at intervals among these eleven songs. Like its predecessor, Magic runs lean at a thirty minute mark, breezing through cuts slicing 90s vibes with current styles in Hip Hop. A competent record, ticking all boxes of the duo's recent, remarkable, success.

Sticking in their lane ultimately leads to a lack of novelty for returning listeners. Topics circle a familiar stance affirmation, confirming this revival once again. Wedged between, a fair dose of nostalgic reflection on Hip Hop's greats from Rae & Ghost to Eric B & Rakim as well as referencing the rags to riches story frequently. After several spins one can't deny the lyrical ability on display but its mostly felt in Nas's flow. At times, his rhyme schemes feel built around puns and references over the narrative.

 The magic, pun intended, has somewhat dulled. Perhaps a case of listener fatigue, or artistically exhausting the source. No doubt the duo have more to offer but at this pace the chemistry has yet to evolve and despite its potency, I found the dose has become to large to leave one watering for more. Magic 3 will be a must listen but I'll expect simply more of the same. Fun for a while but the astonishment has faded.

Rating: 6/10

Potatohead People "Big Luxury" (2015)

 

 Cut from the cloth of its era, here lies a Jazz Hop record with distinction. Big Luxury stands apart among a then blossoming scene. Although only catching it recently, an ear is turned for this favored niche. With uplifted spirit and endearing warmth, the duo behind these snappy beats conjure classic feel-good vibes reminiscent of Summer Time and other Hip Hop party hits. Its pacing and staying power arrives through the aid of soulful vocals and conscious Raps, complimenting these infectious grooves.

With a sensible touch, the assembly of percussion, samples and fine instrumentation simplifies in the presence of human voices. On the flip-side, these instrumentals lean into Jazz Fusion ideals with grooving lead melodies to dazzle and delight. Blue Charms echos charisma heard before with Plini, high praise no doubt. This layer of personality above the well executed beats is where the magic lies as a unique Jazz Hop adventure is forged through gorgeous instrument aesthetics crooning on the vibe.

There it is in a nutshell, a brief twenty eight minutes journeying through the traditions of rhyme and rhythm, gracefully detouring to an adjacent sound and doing it with class. Jazzy samples over drum arrangements has been saturated with time but this duo had something deeper to bring to the table. Further exploration is required!

Rating: 7/10

Godflesh "Purge" (2023)

 

Six years on from the remarkable inspirations of Post-Self, the Industrial duo return lacking a refresh in creativity. Purge echos their early 90s output. Harsh bounce oriented drum samples loop incessant. With a thud, thump and hammer, simple kick snare patterns drone in repetition. Over top, burly shouts ripple into the void and dissonant guitars toy with distressing chords wedged between chunks of dense meaty groove. Its forty four minutes explore these ideas rigidly, with little to break the norm.

This gives Purge a keen sense of self. A moody, downtrodden, alienated and grim tone to wallow within. Highly repetitious, barely shifting tempo or switching gears, each song grinds out its point. The later tracks delve into atmosphere with expansive reverb casting shadowy spells and offering respite from its aggressive counterparts. Its a subtle diversity yet never leaves this deeply troubled musical space.

Army Of Non raises an eyebrow for its inclusion of a classic Hip Hop sample "Check it out yall". Its nestled quietly in there, a throwback to Pure and Let The Rhythm Hit Em. Broadrick's affinity for Hip Hop never quite manifesting into something radical, remaining a warm peculiarity for fans like myself. This moment gave a glimmer of what might follow but as laid out its a consistently dark and dismal record retreading old ideas competently but leaving one with an appetite for revived freshness.

Rating: 6/10

Carbon Based Lifeforms "Seeker" (2023)

 

 Thirteen years on from Interloper, now a classic in my collection, I wanted to hear if Seeker retains the infectious charm this breed of spacey downtempo ambient offers. With many consecutive spins, the dazzling repetition of whirling melancholic melodies did not meld to an intensity felt once before. Perhaps the familiarity dulled its impact. Seeker is loaded with wondrous music to inspire awe and astonishment, its astral evoking leading many compositions on a similar trajectory. Humble beginnings gradually bloom into emotional swells contemplating our mysterious universe and the roll we take within in. Far from existential, these emotive arrangements arouse a glorious curiosity, sparking the imagination on a galactic perspective whilst also reflecting inwards, as such incomprehensible scales often stir introspection.

Its aesthetic design and arrangement of electronic instruments is a web of details and intricacies one can get lost in. Timely reverberations and lofty tonalities feed into the themes tapestry. Human voices weave in on rare occasions, often with breathy wordless interpretations and an occasional hint of lyrics. The driving forces are its emergent key melodies and swells of percussion that amass intensity as peaks are summited in a songs climactic pass. Much of this could be applied to previous records yet despite similarity and familiarity birthed from my many spins, Seeker didn't resonate on that deeper level. Its a high bar to reach for and shouldn't deter from the soothing spiritual moods the music stirs. Definitely one for the Temporal Focus playlist!

Rating: 7/10

Mega Drive "Arc Ascension" (2023)

With a brief chance to catch my attention, distinct dazzling synths with a certain glossy sparkle about them allured me in. Also present in other tracks, a few of its various VST tones come polished with ludicrous cleanliness. It increases a familiar sense of high octane production within the Synthwave niche. This approach steps up game again, refining aesthetic edges but in conclusion probably not offering anything new.

Typical themes and moods evoking the glow of neon lit cities, thrill seeking vehicle speeds and the underworld night life are stirred competently among dense compositing. Jostling among a dense web of busy synths, each track offers up a smothering plunge of pulsing sounds. I ended up falling to its cruising atmosphere as a ceaseless energy drives the music along, best felt on title track Arc Ascension.

It offers a few slower tempo cuts too, often home to big bass and thumping kicks as the mood turns to a darker leaning. Shadow Dancer stood out for its tropical synth selection and unusual percussive drive. A welcome change of pace but stirs little beyond its initial mood as these compositions tend to rotate and interchange its assembly of melodies, lacking progression or sense of destination beyond identity.

Rating: 6/10

Lil Uzi Vert "Pink Tape" (2023)

Dense, sporadic, unstructured and certainly zany, Lil Uzi Vert drops a lengthy lovable mess suffering its own madness. Pink Tape feels built for the streaming era, these ninety minutes, twenty six tracks, hint at playing the numbers game. Curation and focus set aside, a loose thematic grip lets this manic music meander in all sorts of directions. Uzi himself often plays second fiddle to instrumentals as his erratic performances flips from rhymes, to auto tune blurbs and feisty shouts. With a waving presence, vibeing and vocal aesthetics often seem central to his restless expressions.

The production leans into spacey Trap vibes, embracing its digital incarnation, thumb printing a synthetic style leaning heavily on auto tune. Suicide Doors embraces the dark side with mean distortion guitars complimenting its gristly atmosphere. Uzi can't stay on track however, it becomes evident quickly as inspirations jump between a handful of tones. Endless Fashion raises an eyebrow, borrowing the Blue melody to great effect, a smash hit in the late 90s by Italian DJ duo Effile 65.

A few of the following songs also seem to borrow elements from pop culture and music too with familiar sounds and lyrics cropping up. The wildness reaches new heights when suddenly a karaoke cover of Chop Suey! erupts. You can feel the passion for the Metal classic yet Uzi's style has such an odd resonance. I think my enjoyment mostly lies with the original. The following Werewolf is an absolute banger, a collaboration with Bring Me The Horizon. Its clear who handled the song writing, with the band and Oli dominating. Uzi offers just a handful of words to compliment the brief bass guitar sections that arise. A shy guest on his own record.

A similar affair unravels again with Babymetal at the records conclusion. The hints of Metal reflects my issue with the whole record, a lack of focus. It goes in many directions without settling on a key idea. It typically appeals to the emotive artistic expressions of Uzi, lacking conceived depth and meaning, instead simply reveling in the vibes. Thus its lengthy style levels it to the curation of a few favorite cuts I will return for. Without offering a key distinction the whole thing feels like a hot bloated dump of new studio material. Uzi is still one to keep a close eye on of course, when hitting a spark these songs do hit hard! Just not to often.

Rating: 5/10

A Perfect Circle "Mer De Noms" (2000)

 

Having let this one simmer for months now, Its clear that direct comparisons to Tool are somewhat of a disservice. Although a mellower draft of the Alternative slash Progressive Metal they conjured in the 90s, Keenan's A Perfect Circle has its own defining character, a textural feast of broody subconscious fixations boiling up to the surface. Many of these songs define themselves in the gradual intensities that fester from steely acoustic guitars and calmer passages. Keenan guides through the storms, illuminating an emotion connection as the clouds bring rain and thunder.

Its brilliantly orchestrated, a cascade of groaning guitars wail unyielding melodies that cry out like wounded voices. Occasionally a keen groove or sharp rhythm take hold through the power of the riff but more often does the music revel on its expansive lead guitars that howl emotional pains. In contrast, its soothing passages play adorned by sunset melodies and Ethereal reverberations. Its a beautiful relationship, a sombre melancholy stews beneath, lurching into the raw beast of visceral hurt that created it.

This manifests wonderfully in the albums best songs yet with the rest of the lineup following suit, most songs are not quite as grabbing outside the album experience. With a few brief moments the pallet opens up, like on Sleeping Beauty, an electronic tone dreamily chimes in towards its closing. It would of been nice to hear more of that expansion as the records pallet gets worn a little thin with the cyclical approach to each song. A more consistent record and fitting conclusion to this journey for now.

Rating: 6/10