This is the pop artist's second full-length. She combines a catchy blend of rapping and singing. The wheel is not being re-invented, but what she doe ha a smart streak of creativity and perhaps more attitude now than when I first heard her. For someone from Nebraska, her approach is rather racially ambiguous, which plays to her favor when it comes to the more hip-hop elements. Her approach to rapping is fresh as she has plenty of hooks and an effective voice and lyrics that are almsot equal parts ghetto and whimsical. One of the lead singles, "The Fool" features Thot Squad, which helped pique my interest, though this is not the first time she has been reviewed here.
The more sexual elements do not feel like she is exploiting it any more than any other female rapper. But image-wise, she is not flaunting it, and her look is fairly conservative for rap. Almost more of a refined Lady GaGa thing going on. Why am I talking about her look rather than her music, ok go ahead and complain how if it wa a male artist, I wouldn ot do the same thing, which I would then refer you to reviews of bands like Ghost, Sleep Token, and President, who are selling image in equal proportion.
By the time we get to "High Priestess," it feels like the formula is well in place, even though it leans in a more melodic direction. "Medicine Woman" feels more like a song Shanin Blake would do. "Hacky Sack" is more in her wheelhouse, but this syncopated style of singing she employs is less varied than the first half of the album, so it kind of sounds like something we have heard from her already. I will give this a 9 as she understood the assignment and made a fun pop album that grooveswith enough hooks.
Portugal's GAEREA have been fairly consistent in their previous sonic assaults despite confusing pedestrians with their Sleep Token garb. This album is less black metal than the first two, as things slow into epic, sung choruses with more anthemic ambition. Even with these changes, it's hard to complain about them, as what they have captured here is very well done and sounds great. "Submerged" finds them leaning back into some of the more atmospheric dynamics to contrast the more hammering sections. It evolves into one of the more deliberate sections yet.
"Hellbound" is a more overt pounding with the melodic elements in the periphery. By the time we get to "UNCONTROLLED," there is some tremolo-picked guitar that flirts with their more black-metal-leaning sound, but the blunt-force Behemoth-style bludgeoning begins to fidns the songs running together a bit when we get into the meat of the album. It is the vocal hook in "Phoenix" that makes me pay more attention. "Cyclone" finds both the atmosphere and melody being dialed up. When the more forceful vocals come in, they are on the more mainstream side of metal, but overall, the song works.
This more mainstream approach to modern metal haunts the last two songs. "Nomad' carrying a more pummelling attack. The hook of the chorus does not snag me as strongly as moments earlier in the album. Technicallyu the last song is a modern metal power ballad, though more progressive in feel than say Sleep Token. Well produced and sounds good, it's a little blander than average, so I will give it an 8.5. This is consistent with their previous albums.
The band's 6th album actually hit the Billboard charts, which opened doors for the genre. Much to the chagrin of cvltists. This pushed black metal into more mainstream audiences and grew beyond the confines of the genre, earning disdain from purists, but here we are. I like the fact that there are industrial sounds creeping into things right from the opening track. The line-up from the previous returns, and there is a more tangible chemistry that plays into how everything flows so well, though Shagrath has a heavier hand in the songwriting. His vocals, being more articulated than those of your average black metal band, also aided them.
Listening back to this album now yopu can hear how the melodic nature of ICS Vortex's bass playing is also a key factor. Despite Shagrath being a more consistent songwriter this time around, it is Mustis, who penned the biggest song on this album, "Progenies of the Great Apocalypse," that is driven by a catchy gallop. For black metal, it is one of the best vocal production mixes ever. Much of the criticism exists regarding the increased use of symphonic elements, which is misguided, as they are used in a manner that makes things catchier. "Lepers Among Us" is one of my favorite songs from the album, thanks to the hooky guitar groove. This offsets the blast beat to come. They prove you don't have to throw out the blast beats, just don't rely on them.
There are a couple of songs like "Vredesbyrd' that check off the sonic boxes but do not grab me as strongly as other songs. "For the World to Dictate Our Death" has more purpose than the previous song, with the vocal carrying greater intent. "Blood Hunger Doctrine" collects creepy sounds and uses them wisely. While not offering symphonic grandiosity, 'Catacylsm Children" is one of the album's more dynamic songs. Thought the orchestra fires back up for "Eradication Instincts Defined". It is a song best played loudly that throws a great deal at your ears in the long and winding arrangement.
Epic is a word that gets tossed around a great deal with metal, but the last couple of songs capture a cinematic quality that is deserving of that description. They even refine what they are doing here in a tighter manner on their next album, but what happens here is stunning enough and impressive for a black metal band to achieve that. This album deserves a 10.
It's been over ten years since their last album. Now we are getting a three-song EP, which is something. They pick up where they left off with the rapid-fire thrash-influenced riffing that still puts hooks at the forefront, balanced out with aggression. The hateful sneer of the vocals is the most black metal part of their sound, though at times they remind me of Children of Bodom. Thankfully, there is less wanking than that band. In fact, musical excess is not indulged in here in any flavor.
"In Shadows In Light" finds a more rock n roll element possessing the heart of the song, as the vocal lashes out again, it's almost more like a feral version of Accept. The vocals have purpose and are not just a cathartic outpouring of hate as the screams are articulated in a manner that the lyrics can be deciphered. Lower sung vocals also surface in this song and offer a dynamic respite from jsut being screamed at.
If these guys came out in the 80s, they would have been a speed metal band, as that is the sonic weapon they hit you with on "Raptors of Anzu," the third and final song on this ep. Lyrically, it seems this is where the concept of this album really comes together. It is hard to sell the idea of a concept album when it's a three song ep, but maybe this is what was needed to get the band back in motion. I will give this an 8.5, it's good to have this project back on the scene, and hopeful to hear more from them, this will give their fans the taste they have been waiting for.
Austrailia's Karnivool have been around for almost 30 years, but this is their fourth album, meaning they are very calculated and meticulous when writing and producing music. Which can be heard on this album. They are not prog in the sense that there is a ton of guitar solos, but subtly shifting arrangements with djent like times changes bubbling up under anthemic rock songs that are also very moody and melodic. The second song has a little more groove. They are obviously influenced by Tool to some extent, and thankfully not trying to be Dream Theater.
The nuanced tenor of their vocalist is supple and slides gracefully up into its higher register on the chorus. The guitars carry enough punch to appeal to metal fans, but I would not call these guys a metal band unless something takes a dramatic shift midway into the album. They seem less metal-adjacent than Porcupine Tree, who had the Opeth connection to draw on. There are some formulas in place when it comes to their songwriting, but it works well, so I won't complain about them. "Animation" is the catchiest song thus far, which says alot as they write in a very hooky fashion for a prog band. "Conversations " blends pop vocals with what A Perfect Circle does in an effective manner.
"Reanimation" feels like the aftermath of " Animation", more nuanced with room to show off the singer's voice to a greater extent. There is a grittier groove that drives "All it Takes". In many ways, these guys also remind me of Pain of Salvation. But on a song like "Remote Self Control," you can hear the Rush influence. Lyrically, there seems to be a similar theme of self-control, mental health, and perhaps a struggle with addiction that is revisited on the ballad "Opal." The last song finds the bass line getting it moving. These guys are making this kind of prog mental relevant in a thoughtful manner that doesn't rely on shred. I will round it up to a 10.
This Canadian band proves you do not have to jsut be an intense blast of blasting to be black metal. They flirt with the shoe-gazing zip-codes that their genre finds itself being built against without conforming to any of the tropes. The vocals are anguished to the point of placing them closer to depressive black metal, while the atmosphere created is organic and kind of jams along. The second song unloads a cavernous chaos in a less structured fashion until the breakdown comes and adds melody three minutes into this 11-minute song. Maybe this is where the song should have opened to begin with.
"Aux bras..." drops everything down to a haunting piano line. Their vocalist makes it clear that he has no intentions of cheering up and is going to bathe in anguish; this time, he does it over a more cinematic post-rock sound. The range of dynamics is a cathartic explosion for the mental breakdown that is being heard on a level that might remind you of Sweden's Shining, before they added cock rock to their depressive cocktail. The 14-minute "À la douleur..." is more deliberate when it comes out of the gates with its grim heaviness. There is a great deal of effective dynamic ebb and flow to the song. A compelling song, not a catchy one. They do release a more metallic aggression here, which some might be a fan of.
The last thing finds things changing, namely the vocals coming out of the swirl of sound as a low, death metal-like growl. It's more of an echoing bellow than the type of punchy accents most bands of this kind use. It is interesting how such a shift of vocals can change the tone. As a song, it becomes more of a raging swathe of sound. I will give this a 9, as it sounds great and takes things in a new and original manner while being true to the genre or at least one corner of it.Out Marach 6th on Debemur Morti Productions.
Not a typical Charli XCX album, as she is making a soundtrack for the movie 'Wurthering Heights". It is more experimental than you might expect from John Cale on the first song, which was also a lead single from the album. It feels more like an intro than a song, so for the purpose of this review, I am using "Wall of Sound" as the first song. It's more atmospheric for sure, and the club classics don't kick in until "Dyning For You." String sounds are coloring the sounds to stick with the tone of the movie.
"Always Everywhere" is a light ballad that just floats off without the benefits of experimentation and dynamics like 'Chains of Love" which pits 80s sounds against a modern approach to pop. You are also reminded that she can actually sing. "Out of Myself" sounds the most like what we are used to from her.
"Seeing Things" is more likea quirky ballad that gives a different slant to what we have heard from her before. "Altars" is another ballad that has a dramatic build. Some of the vocal colors she employs here have more of a rock edge to them. Sky Ferreira joins her for "Eyes of the World". Her lower indie rock indifference provides a fitting contrast. "My Reminder" has an urgency that recalls the more new wave-minded pop of the 80s. The last song is "Funny Mouth," which is almost like an ambient Björk-style ballad. I will give this a 9.5 for taking chances and being what it is. Her voice sounds great, so that is a bonus.
