Youth Code : " A Skeleton Key In the Doors of Depression"

This is a collaboration with King Yosef. The question here becomes what is King Yosef offering to this. The first song suggests the bark of his coarse vocals to contrast hers , and give more of a hard core sound. This album is rougher and gritter which seems to be his contribution as well. The thicker noise sheen  makes Youth Code's drum programming sound like dense. There are sections like the more melodic moments in "Burner' where their true sound pushes through. I do like this better than the opener , which was not a shabby song but this is closer to what I want from them. I am unsure how I feel about this Yosef fellow as I do not feel like this vocals on their own merit really add much , in fact they are just your average hard core tough guy. I do think they occupy as space Sara Taylor normally fills , so this frees her up to explore more melodic musings. 

"Head Underwater" just feels like a hard core band playing around with industrial and truth be told I already have Code Orange. I really like the more groovey tone to " the World Stage:" It gets darker and more in your face. The is more hook to it and proves to me they are maturing as song writers despite the barking of Yosef. There is a broader range of dynamics employed here. The beats get more innovative in how the grooves are arranged on ".A Mother's Love" but as far as songs go pales in comparison to "Deathsafe" which is the album's best song. Taylor employs a better vocal hook at the end of this song, and comes the closest to actually singing , her cleaner vocal is more of a chant most of the time.

There is a more rock feel to to the last song "Finally Docked" you can here a touch of black metal in the buzz of what sound to be guitar in the background. T5his album does have some good moments on it, I am on the fence with that guys voice, while I think Taylor's singing has gotten better and they have written a few really great songs I would rather hear just a Youth Code album without the added influence so for that reason I am giving this one an 8.5  

 

6.2

An Autumn For Crippled Children : "As The Morning Dawns We Close Our Eyes"

 

These guys bust them out pretty quick , been a year since their last one. Their 9th album over all. Their last album saw them returning to more of a black metal sound. This one flirts with that as it is pretty aggressive, but also not as dark and angry aside from the vocals which are the most metal thing about the first song. The guitar sound blends with the synths in a way that is hard to tell them apart. A current of double bass begins to flow as the song progresses. What I like most about this is that is does not really sound like any other black metal bands aside from sharing a shoe gaze influence. The synths over power the guitars on the second song, but the movement of the song creates a very flowing groove. The bass can be heard more than your average black metal band so this furthers the cause. 

"In Winter " feels like it is a jammed out extension of the previous song. If I did not look up at my screen I would have assumed this was just the same song. So there is a uniformity beginning to reveal itself here. This is broken up when the guitar comes up in the mix on "Splendor Unnoticed" . The title track finds a darker tension drape it self over the song, though the shimmer that has become their trademark lightens things back up to their status quo before too long. I am used to their gradual change in sound , but I do seem to recall their first few albums being darker. There is a melancholy tone to the guitar melody of  "Hearts Closed" . The guitar are more metallic than some of the post rock places they have travelled. Funny enough things brighten up a little more the song "Melancholia" before the guitar gains more attack.  

The piano leading into "Last Night I Believed In You" is enough of a shift in the sonic color to provide the needed dynamic. The shimmer in many of the same colors on this album so this causes some uniformity to run through the songs.. This is some ways is also the albums strength as the are so confident in the sound they have perfected that they know how to make it work every step of the way. All songs are equal as they are totally dialed in so it doesn't feel like there is any filler. If you think Deafheaven is shit , when it comes to blending other sonic qualities these guys not only beat them to the punch with this but do it in a more honest manner with less pretense of hipster posturing. I will give this a 9.   

SEVEN DAY BICUIT Countdown Special - Kate Bush Edition Day 6

 

Over the course of our relationship I have posted on Facebook a song everyday I am 400 miles away from here to countdown the time until I see her again. Yo Now as our lives further merge to a place where the only moment is not when but now.While this is for my wife, thank you gentle reader for coming along and watching our journey together. Since we became more than friends of 20 years , I began making mixes as a way of saying this is who I am , here are the gaps of my life you were not in and now I want you to be in them. Music is our love language. It is a collections of vibrations we share , beats of heart. Now in the last countdown it is only fitting I share my top 7 artists who actually write love songs, so some of my favorites who are more into bleakness or Satan are not present , there will always be time for that but I am never getting this moment again to celebrate where we came from and where we are going . This one is an artist we share a mutual love of.

 

SEVEN DAY BICUIT Countdown Special - Taylor Swift Edition Day 7

 Over the course of our relationship I have posted on Facebook a song everyday I am 400 miles away from here to countdown the time until I see her again. Yo Now as our lives further merge to a place where the only moment is not when but now.While this is for my wife, thank you gentle reader for coming along and watching our journey together. Since we became more than friends of 20 years , I began making mixes as a way of saying this is who I am , here are the gaps of my life you were not in and now I want you to be in them. Music is our love language. It is a collections of vibrations we share , beats of heart. Now in the last countdown it is only fitting I share my top 7 artists who actually write love songs, so some of my favorties who are more into bleakness or Satan are not present , there will always be time for that but I am never getting this moment again to celebrate where we came from and where we are going Some of these songs are so sweet you are going to need to brush your teeth after listening.

 

Gojira : "Fortitude"

 I really liked the heaviness of their 2005 album "From Mars to Sirius". After that I felt like they went in more of a Machinehead direction. I have heard them from time to time since. They are hard to ignore as they have worked their way to become one of the bigger metal bands working today.  For better or worse they have changed with each album. This album is no different. It feels like they have refined their sound into a balance of hooky melodic song writing that is counter balanced by the weight of their riffs. I prefer "Amazonia" over the opener as the vocals are a little more compelling. They continue to blend the melodic elements with the crushing stomp on "Another World" though it did not hold my attention as hard as the previous song. 

When "Hold On" locks into it's main riff , the results are powerful. Where in the past they were a heavy band that crafted their songs in a progressive manner, they are now playing them in that way as well. "New Found" works off a great deal of groove, which has become their thing. The vocals on this one are bellowed in a way that do not do a great deal for me. Oddly the title track is more of an interlude than an actual song. This leads into "the Chant" which I like as it has a cool swing to it that breaks them out of a big chugging metal formula. While they return to the more standard metal chug on "Sphinx' this one grows on me as it reminds me of their earlier work. I have mentioned how I have been more drawn into songs that did not adhere to metal norms, there are exceptions to that rule , "Into the Storm" being one of them. They do metal in all the right ways with this one. 

"the Trails" employs smoothly sung vocals and a tension in the guitar , that breaks away from the normal ten ton distortion they use. It should come as no surprise that this album is well produced. Even for mainstream metal this album has a really lush mix. "Grind' closes the album in a way that might not hold any surprises but delivers the kind of heavy grooves and aggressive vocal approach fans of the band came looking for. In fact it might be one of the album's heaviest songs. The drumming on it is the album's most impressive display.  The vocals have a Mastodon like howl to them on the chorus. I will give this album a 9 , the executions is impeccable , but the straight forward radio ready approach to metal is not really my thing, but I will acknowledge how well done it is  Not an album I plan on listening to again, but fans of this band will embrace this if they are into their more recent work.  

Leaether Strip : " Back to Industry"

 This album,  Wumpscut , and Cabaret Voltaire to listen to in one weekend. Of the three this is the band I like the best. The first two songs make it clear they have kept their sound current while delivering what they have been doing for the past 30 years. I have always liked how's these guys have used samples and this album proves to be no exception in that regard. So far no guitars , but very driving synths. That seems to be a trend with some of the older industrial artists to abandon guitars and go for more in your face synths. Where these guys have the edge on Wumpscut is even when they dial it in and hope that cool beats alone make for good songs , they still have the vocals to hold your attention a little more even if it is some hoarse redundant chanting. " I Choose You" makes me think of Pokemon despite the otherwise sinister lyrics.

"Silent Sin" feels like the beat is having to do most ot the heavy lifting, and by beat it is the synth that is holding down most of the groove. The groove is less gripping on "Mistaken For Pavement" . Back in the Cleopatra days what they did would have felt darker as the over all sound was rawer. Things begin to drag a little by the time we are at "Stumble and Fall". In sorting through what is different here that keeps it from having the magic of the 90s era output. The fact the vocals could use more that the distorted filter of effects comes to mind. There is a robot effect at times, but everything is too clean sounding.  Another thing that comes to mind with " I Still Hate You" is there is less of a sex vibe. By sex I mean bdsm. Songs to beat some one to. They rekindle it with " I Still Hate You" . 

Does the bulk of the album rely on beats to get by ? Yes and some are better than others. "Elevate Me" employs the typical 90s industrial chanting. It is like a gay German pep rally. It does have more of a hook to it than some of the previous songs. "Gone But Not Forgotten " works off a similar momentum, though it clicks into place better. " When things get darker like on "Happy Days Are Here Again" , it allows the mood to bolster them. "Rush , Rush, Rush' is more aggressive, which is about as good as it is going to get without guitar. Things get darker with "Slaughter". the beat is more of an 80's retro thing without comfiting to synth wave.  When things get bouncy they do hold my attention no matter have aggressive the bounce is. Toward the album's close it begins to feel like they are dialing it in a bit , but it's better than most of their peers from this era.  "Worm is a Word" is questionable in terms of lyrics but is another song that comes closer to capturing what they are about. For what they do this is on point most of the time so I will give it an 8.5, it is good but not their best.

Wumpscut : "Fledermavs 303"

 This project is sometimes more experimental than other times, but it is always dark which is what I really appreciate about it . I will have to say this album sounds even more German than what I have heard previously . By the 3rd song it is easy to see one again the illustration laid out before our ears as to how electronic music can become more about the sounds than the song. The third song has some sounds that are very pleasing to my ears but it just kinda drones off on those .  "Squeal Like a Pig" has enough samples to create a more interesting narrative and you know what kind of mood is being created here. I think it would be a great song for any dungeon .

The best song so far is "I am the Corona" . Where they take an amusingly menacing look at Covid. It is unsettling yet soothing. Though I think anything that is this tongue in check with it's jabbing at society is great.  The beats on it are pretty solid as well. 'Nein Nien " feels more like a song as well. In fact it reminds me of My Life With the Thrill Kill Kult" .   The pitfalls of this album are really no different than what I say for rock albums where the rule is Cool riffs alone does not a good song make. With electronic music it is cool beats alone does not a good song make.  This is not the case with "Little Wartz" which is escapes this is a the added layers and melodies are well... how you write a good song. 

This last two songs are as German as the opener, though more focused on sounds and the droning pulse of melody. If I was tripping , which is what I used to do back when I listened to Wumpscut more , I had a deeper appreciation for the drone. When listening to this one the merits of songs it does not hold up as well. Super fans might get made at this , this is why I would ask, so you like a sound but not songs, what are you listening to music for ? I I will give this album an 8.5 for this reason. Granted that makes it better than your average electronic album for sure and fans should be pretty happy here.

 

the Armed ; "ULTRAPOP"

 

These guys caught my attention with an absurd music video that just happened to also rock . The title tracks is more of an atmospheric intro than a song, they kick into what they really do with the rowdy "All Futures" . It is a rowdy all out barrage that makes me think of what it might sound like if Deafheaven was jamming with Andrew WK. I appreciate the lust with which they go for it here even if it tramples the finer points of song writing. They start touching on that with " A Life So Wonderful" the vocals are buried in the din of what the rest of the band is doing causing the melody to wade through the sonic murk. If you are really into chaos then this album might appeal to you. I can say while I have liked the first two songs I am hoping they pull it together and give me songs I can sink my ears into . 

The deliver something more song focused with "An iteration" . It is kind of like the Pixies , mixed with Dinosaur Jr. There is a woozy shoe gaze like guitar tone in places. Their bass player is really melodic and able to get it here.  They go into a temper tantrum allowing the dam of chaos to burst once more. The vocals are female this time around. "Average Death" feels like more of a compromise, they have the slacker indie rock melody going with the vocals , but tempo wise keep their foot on the gas. There is more of an explosive Black Flag element to "Faith in Medication" .  It is far from straight forward punk as there are all these crazy layers of sounds going on.  The indie rock vocals offer their indifference before the storm of " Where Man Knows Want". 

"Real Folk Blues" is like if Sonic Youth had a more drastic freak out .  They shift into a more electronic mode with "Bad Selection" . The drums do not chill but still work with what's going on as the vocals create more of the mood. Mark Lanegan joins them for the last song that is much darker and what I want to hear them dip into more.  Overall I like this album, is it going to be the album of the year, well we are not at May yet , but unless we are just talking punk I think not likely since I am going to give this one a

Amigo the Devil : "Born Against"

After "Everything's Fine" the bar is pretty high going into this one. It opens with a bigger slicker production sound which along with strings and a more ballad like mood is the biggest change. The first song shifts into more of a rock dynamic when it builds. His voice has really improved here as well. There is a drunken streets of New Orleans feel to "Quiet as a Rat". Lyrically it is darker than the more reflective tone of the first song. Darker is what I want from him when it comes to the lyrics. Questioning religion is always a good topic. He does it in a very grounded manner. I really like the tension to " Murder at the Bingo Hall". He throws in a lot of new sounds on this one. The are more blatant lyrically moments that would make this fall into being murder ballads. The fact that is is grim in his tongue and cheek manner works for me really well. 

There is more of a country tone to the short ditty "Better Ways to Fry a Fish" . "Different Anymore" feels the most like it could be off the previous album . I like the slicker production. There might be some who wish it was just Danny and a banjo. The last album was more well produced than your average murder folk album.  It is clear he retains his touch when it comes to song writing. Perhaps these are told more like stories and less hooky, but whatever he is doing here works. Lyrically there are still a great deal of zingers on here.  "24k Casket" feels like it echoes the same sentiment as  "Everyone Dies" . Lyrically it returns   to the same topic. His delivery is also fairly similar. 

"Shadow" also recalls the feel of his earlier work, less so than the previous song. It has more drunken swagger to it . It is also one of this album's sonically darker songs. The album closes with "Letter From Deathrow" . Is a bitter sweet banjo ballad. It works for what he does . It is almost not fair to weigh it against "Everything is Fine" , if forced to rank them I would put this one behind "Everything's Fine" , but it is still excellent in it's own right and will likely go down as one of the year's best albums. When it comes to country and folk it really has little that comes close as competition. If it takes the number one spot depends on if Tyler Childers puts out a new one, and if Childres can deliver like last time. So I am giving this one a 10.  

Vried : " Wild North West"

I used to be a big fan of these guys, I lost touch with them and skipped out on "Lifehunger". This might play to their favor as I missed the changes of their sound evolving into the more hooky almost rock oriented sound they have now. Even clean singing crops up on the first song. Yes there are blast beats and tremolo picked guitars so this is still very much black metal. It is my favorite kind of black metal as it is the kind that cares about song writing. In the past they had a touch of thrash to them, I am not hearing that as much here, though after some moodiness going into "Wolves At Sea" the blitz back with a more Windir like burst of speed. The guitar layered over it are more melancholy that what I recall from them in the past , and it is fair to say this album feels darker. The vocals feel like there is a more wretched rawness to them.

They continue to get more melodic with "the Morning Red" , which leads off with clean singing. The thrash influence comes back big time with "Shadows of Aurora" . It is the kind of gallop that reminds you why you love metal. "Spikes of God" is a buzz of black metal that is not as impressive after the range of style and sound they have shown earlier in the album that makes this feel more obligatory. Holy shit "Dazed and Reduced" sounds like Judas Priest meets Alice Cooper. In some ways it makes me also think of In Solitude , but in the best ways possible it is a great song. "Into the Mountains " has more melodic elements not as much as the previous song and leans more into the black metal side , not as inspired but still pretty solid. They do experiment at the ending. Keyboards play a larger role on this album than I recall ever hearing before. This allows them to depart from metal altogether in places. 

The last song finds them more in Tribulations zip code, Even with the Organ intro they are not as goth tinged as Tribulation , though things like piano interludes have that feel. What I like about this album is the fact they are not being like AC/DC or Cannibal Corpse and just dialing in the predictable sound and take some risks . This album's strong point is when they do not conform to the expectations of black metal and do their own thing. I will give this album a 9. 

 

Cannibal Corpse : " Violence Unimagined"

Cannibal Corpse pretty much defines straight up death metal. When they throw themselves into the speed lusty barrage that opens the album it is no surprise. I mean what else did you expect. They are like the AC/DC of death metal. Lyrically they are not trying to out sick "Tomb of the Mutilated" and to be honest I am not sure if they can touch the Chris Barnes year in that regard. George is however a better growler. Barnes sounded pathetic on the the last Six Feet Under album , and George has not changed and that is a good thing as his growl remains strong. The riff to "Inhumane Harvest" is the first one that really grabs my ear. The first two songs are clearly well done for what they do , this one stands out on it's own  legs.

The lyrics to "Condemnation Contagian" might be more timely it just does not feel as dark of a song. It is also at this point in the album where I can begin to feel the songs taking on a uniform feel.  These guys teeter a fine line with the rule cool riffs alone do not a good song make. You see things fall apart with this on "Ritual Annihilation" has it becomes a murky mess of guitar going to fast for it's own good. This is the first song that feels like filler to me. Two minutes in they do pulls it together with a cool riff, but the rest of the song should not be a book end for it. When I play this back to back against "the Bleeding", it is clear this album is heavier due to the bigger guitar sound, which has less to do with the band itself and more about production. Granted the longer these guys have been playing the more polished they have become. 'Follow the Blood" shows they can still write a song when they set their mind to it. The guitar playing has almost caught up to Morbid Angel as far as chops go. 

 

"Bound and Burned" benefits from great guitar playing , but consumed by it's own aggression to the point of not allowing the song to breathe on it's own. With "Slowly Sawn" they prove that aggression does not have to hinder song writing. It is one of the album's better songs. "Overorture" is another a typical blast of death metal . Then the last song finds them benefitting from varied tempos rather than a dense muddy explosion. I will give this album an 8. There are some strong songs. It neveer sucks it does find Cannibal Corpse sometimes punching the clock out of obligation and not at their most inspired, 

7.3

Wolf King : "the Path of Wrath"

Today I was on a metallic hard core binge. After reviewing Bridge Burner's new one I was skeptical if this would measure up.. The first track changed my mind as aside from being extreme metal they are two different vibes. Where Bridge Burner was a death metal band with hard core influence, this band is more firmly black metal with only clues of their hard core past being, the way some of the riffs stomp. This is not uncommon with most American black metal bands, they seem to have come from a hard core background more often than not. I mean hard core stayed more underground after having it's day during the Myspace years and black metal has risen in prominence, though is not longer as trendy with the hipsters as it once was.  The only thing about this is it is easy for them to get caught up in there raging speed that it begins to form more of a uniform sound. A minute into the second song they snap out of it with a mean head banging riff. 

The more hateful black metal snarl is layered with a lower death metal growl half the time. The drummer is pretty decent as he refrains from resorting to just blast beats. The are some Slayer like fills in places. Dynamically they rely on their riffs more like a thrash or death metal band. The over all sound is dense and oppressive, but without the evil atmosphere of black leaving the vocals as the most dark sounding element at times. That is not to say they are upbeat in any way.  This is a really well produced album it manages to have a full sound to create the feel of being rawer than it perhaps is. "Triumph of the Slain" is more straight ahead, with the Lord\s Prayer stuck in the lyrics.  "Sanctuary" is more straight forward , with a 1349 like fire to it's energy.  They shift the dynamics and bring in a clean guitar tone and singing in the background. No they are not turning into Dimmu Borgir. This was a much needed change of pace. It also makes it ok for them to go on bursts of blast madness since their is something to balance it out. 

The rule here might be cool riffs alone does not a good song make, they challenge this on the title track. There is a fair touch of thrash here.  This adds the hooky edge to the riff. "Incantation" has enough nastiness and rough edges to remind me of Fistula. There are also moments that remind me of Kreator. Clean vocals join them on "Grief Portrait" to counter balance the screamed ones and the blast fest it starts off as .. "Beholder' starts off as such a speed fest, it is when it slows into a groove that I pay attention, though the verses as pretty thrashy. "Beholder' has more groove and is a more interesting song. There is more of a death metal feel on"Holy Serpent" as the album progressed the metal side eclipses the hard core influence. There are still stompy grooves.  It ends with a doomier note that works as the more deliberate pacing provides a dynamic contrast. I will give this album a 9, it was a nice surprise and more black metal than not, while not being the same ole same ole. 

Bridge Burner : "Disempath"

 

There are some bands that blend genres into something that can only be called heavy as fuck. This band from New Zealand does just that.  Many bands wield a sadistic sound bent on battering your ear drums but forget to write songs worth listening to.  I feel Converge led many a hard-core kid in the late 90s to digging up albums from At the Gates and Entombed that helped spurn this sort of infusion. These guys are not a Converge clone, in fact they are more metal, they also come up with catchy riffs on their own. "Flaying Gods Children" is not only a great song title, but the riffs are infused with haunting chords to give some melody to things. I am pretty sure this is a death metal whose lead growler listened for more hard core growing up than Morbid Angel. 

 They come at you with hyper aggression rather than trampling you with their double bass. The production is in your face and cavernous. They are angry no evil. There was a touch of black metal influence on the first song, but it mainly flows between death metal and hardcore here. They keep to the hard-core side of song writing as these are quick drive bys and now sprawling epics. Once we get to "Bodies as Graveyards we are beginning to find a more uniform energy and feel to the songs, as it is not much different from the previous song until we get into the punchy chugged section midway into the song. It is a very effective dynamic.. " Nausea..." is another song that clearly defines itself and finds the band stepping up their songwriting without giving up any of the brutality.  

Sometimes hyper aggression works better than others. The feral explosion that is "Anodyne Existence" sounds like every other band that gets caught up in death metal temper tantrums. Based on what we are hearing here I am all for hard core influenced death metal.  I love the song "Dull Knives to Deaf Ears". Shit get's dark in the way I want it. It drops down to bass and drums before they kick shit in. The first half of the song is spastic fury that builds into a melancholy riff that is very sonic. I will give this album a 9.5 , it is the best death metal album so far. 

Haunt : "Beautiful Distraction"

 

These guys continue to grow into themselves. I am still stuck on wanting this to be Beastmaker instead, they have fine tuned their hooks to make this a more radio friendly version of what this was in the 80s. The guitar harmonies are even more razor sharp , creating an almost power metal feel. The vocals are a little lower on the second song which I prefer. "Fortunes' Wheel" is tightly written. The guitars are awesome on it. Why the riff simmering under it all is cool , it does not hook me in as tightly as the first two songs . There is more of Dokken feel to " Face of Danger" .  Not as arena minded. The gallop has more in common with maybe solo Ozzy.

I do not think they are playing to their strengths when they go in more of a speed metal direction with "Sea of Dreams" . The vocals are more compact on "Keeping Watch" which feels a little heavier. The mix on this album is weird as the drums sit back further in the mix than most metal. This one grows on me more than the previous song. The go for a more Iron Maiden like take on thrash with "Imaginary Borders".  Not the most original moment on the album , but works with what they do. There are more synths on this album. Which at least offers more texture. The tempos begin to all run together so as the album progresses it starts to lose it's dynamic range and become more about a sound than a song/

The keep their feet on the gas but the vocal melody is more interesting on "Hearts on Fire" so that balances out their need for speed. Proving they can have both. There is more of a Judas Priest tone to the last song. Granted the vocals are no where near as dynamic. The vocals have improved with every release but are rather straight forward though they have more hook to them this time around.  I will give this album a 9 as it is a success. Does it sometimes get a little boring for me when they pour the speed on? Yes, but they accomplished what they set out to do and made it interesting enough for me to stay invested with multiple listens. If you are a fan this is what you want.    

Godspeedyoublackemperor! :"G_d' Pee - AT STATE'S END!

Been a minute for these guys. You can not mention post rock or any of it's sub-genre's without mentioning these guys. Sometimes they are more song oriented than others. There is always more of a cinematic quality to what they do. Considering they did the sound track for the 30 Days Later movies, it would make sense they might feel the need to score the current events of the world.  After a few minutes of  bubbling ambiance they do kick into some along the lines of Early Pink Floyd that glides along with more of a prog rock majesty than what might first come to mind when trying to gauge your expectations with this band. 

"Fire at Static Valley" is almost more of an interlude in comparison to their normally sprawling arrangements at under seven minutes. It is moodier in the sense of atmosphere. More post rock ish than what continues to go down on "Government Came" that is more like drugged out Moody Blues. I am fine with them evolving into a more progressive rock band .  I guess depending on the scope of dynamics post-rock as a genre was half way there. I think on an album like this it is easier to see the connection. Pink Floyd had stuff that could have been the earliest post rock on  "Piper At the Gates of Dawn" so really this was the sub genre for hipsters who did not want to admit to liking the bands their stoner dads were into. In the last 8 minutes of the song it drops down really minimally almost too silence. It takes them about 3 minutes to build it back up into some almost more Hendrix like. Then the pull it all together for the last 3 minutes. 

The last song is a meager six and a half minutes. The first minute is needed for them to turn their instruments to a decent volume. This kind of thing to me feels like they are checking their volume levels before actually playing. Since I do not do the kind of drugs I used to the ambient swells does not seem as much like a fully formed song. I will give this a 9. The last song sounds good but feels too much like krautrock . If you like what they do and like prog rock from the 70s then you will like this album as well, which is why it scored so well with me.