Beyond Creation – The Aura

April 4, 2011 • PRC Music

I've been listening to a lot of death metal lately. Don't ask me why; I guess it's just one of those phases (though I might have to blame Inanimate Existence). Beyond Creation is one of the many new modern-tech-death bands I've been pumping into my ears, and I have to say they're probably one of the better ones—and further evidence that Quebec has some of the best extreme metal out there.

It's tough to point to a specific thing that Beyond Creation does well, but I guess when it comes to death metal it's all about the riffs, isn't it? and this album has them in spades. The band does a great job of setting up nice groovy parts left and right while fitting all the parts together just right, and everything sounds very clean and meticulously-composed. Even the breakdowns are good—death metal breakdowns are all too often hamfisted and cheesy, but on The Aura they're actually done tastefully and don't overstay their welcome. There are also some nice pseudo-progressive, pseudo-jazzy clean parts to break up the intensity, and they're also done very well. All in all the band does a great job of not dawdling on one thing too long; they'll jump from crunchy headbanging riffs to furiously-paced wheedly guitar to energetic blasting, all at exactly the right moments. (Also, some fantastic bass work throughout—which I'm happy to say isn't rare in this kind of music, but it really shines here. They even have bass solos.)

Of course, like many other similar albums it does seem like it drags on a bit long, even at just fifty-two minutes. Maybe I'm noticing it now when listening a bit more closely instead of just jamming along while doing other stuff at work. Then again, I don't really notice much of a drop in quality anywhere—it's pretty consistent the whole way through—and that's always a good thing.

I won't say this album (or this band) will ever go down as some kind of classic. But after listening to what may be dozens of similar 2000s–10s death metal albums over the last few months, this one has managed to stay near the top of my list, so that's gotta be a good thing.

Red Sparowes – At the Soundless Dawn

February 22, 2005 • Neurot Recordings

Ah, post-rock with Isis members. It's like this band was tailor-made for me back in 2005. I listened to this album quite a lot back then but it's been years since I listened to this band at all, to the point where I have pretty much forgotten what this album was like. It actually sounds a lot like what I described: instrumental post-rock structures and aesthetics with a heavier, more distorted tone; kind of like the softer Isis interludes from their later albums with a bit of a faster tempo.

As far as compared to other "heavy post-rock" bands like Russian Circles or whatnot, and even the non-heavy ones, it's relatively generic. Maybe that's just me, since I really did overdo it on this kind of thing back then, but even in 2005 when this came out it was pretty well played-out by then. There are a few true "riffs" in the album that slowly get developed and expanded on, but all too frequently the band feels kind of unfocused. I think the problem is a lack of the dynamic range that makes most post-rock good; they start off at a pretty high level and just stay there most of the time, which isn't very engaging.

But somehow I still find myself more or less enjoying this album. At the least, it's very listenable. Sometimes there will be a bass line or unison riff or a piece of atmospherics that clicks with me in just the right way. Despite my detractions above, I still think it's an album worth listening to, if not at least to learn a bit more about where post-rock was in the mid-2000s.

Thus concludes Nostalgia Week! It mostly sucked. I probably won't do it again.

Chumbawamba – Tubthumper

September 23, 1997 • Universal Music

This is totally going to date me, but anyway: As you may remember, "Tubthumping" was a huge radio hit in 1997 in the US. I was eight years old and thought (for some reason) that it was the greatest thing that I had ever heard; my parents then bought this album, which was the first CD I ever personally owned. (In a disgustingly-romantic coincidence, it's also the first CD my girlfriend ever owned.) And, like most of the one-hit-wonders of the '90s, the album is unfortunately mostly forgettable—but not for me, as a nice little slice of my childhood.

What most people probably wouldn't guess is that the album isn't full of cheesy dance-pop anthems. Sure, there are a couple other ones and they are equally silly and kind of dumb. But buried in the middle of the album there are some actually-good songs, notably "The Good Ship Lifestyle" (by far my favorite) and "I Want More". And just about every other track, while certainly flawed, have a few little bits and pieces that are worth listening to. Many songs have little intros or outros of wildly different genres or with neat samples, which go a surprisingly long way to keeping the listening experience more interesting.

Unfortunately, most of the songs really aren't very good. Maybe I'm too acclimated to all of it, but just about every track has some aspect (if not the whole thing) which is just a bit too cloying or silly. Maybe it's something you have to be in the right mood for; generally I'm not in the mood for this kind of dance-pop.

I won't say this is necessarily a good album, or one that people should listen to even if they were into "Tubthumping" back in the day. On the whole, it's not particularly noteworthy or even listenable. I'll still take two or three tracks, but that's not a very good percentage.

Tool – Ænima

October 1, 1996 • Volcano Records

I'm a bit surprised I actually haven't talked about Tool at all yet. They were my absolute favorite band for an embarrassingly long amount of time, although after 10,000 Days came out I got a bit disillusioned and have barely listened to them much since. Lateralus was always my favorite album and by far the one I listened to the most, though this one got its fair share in the rotation back then. Hearing it now, I'm not entirely sure what to make of it, though I know exactly why I don't listen to them anymore.

It's tough to reevaluate an album that you basically have memorized, but even so it's obvious that they aren't nearly as good as I gave them credit for. I (and tons of other people) had always thought of Tool as being some sort of ultra-progressive intellectual band, but most of these songs are pretty straightforward post-grungy rock (they did get a lot of radio play, after all). They do get actually progressive from time to time (e.g. closing track "Third Eye" which is actually pretty darn good, aside from the Bill Hicks samples), but this results in a very inconsistent experience. Sometimes they're serious and introspective, sometimes they're jokey and dumb. The jokey and dumb parts are, by far, the most obnoxious; I did use to think "Hooker with a Penis" (ugh) and "Die Eier von Satan" were fun tracks but they're embarrassing to listen to now.

I wasn't actually able to make it through the full album when writing this review. Half of it is not fun to listen to, and the other half doesn't interest me anyway since I've already heard it a million times. Oh well. Neat jewel case art, though; gotta give them credit for that.

Soilwork – Natural Born Chaos

March 25, 2002 • Nuclear Blast

Time for another trip down memory lane, this time all the way back to high school in 2004 or maybe 2005. I was finally starting to expand my metal horizons besides whatever garbage was on the radio (okay, yes, it was a slow process) and I had a friend or two who were into some good stuff (what passed for good stuff at the time). Natural Born Chaos blew my little mind at the time—or maybe that was just because of how loud my friend played it in his car.

Anyway.

Like every melodic death metal band who was around in the mid-2000s, Soilwork was a very silly band and this is some pretty silly music. The melodic-ness is laid on really thick for the most part—lots of harmonized vocal hooks, cheesy synths, relatively cliché chord progressions and such. That said, they do manage to write a few good riffs and when they decide to get actually heavy (e.g. "Follow the Hollow") it's actually some pretty good material. Maybe not enough actually-good material to fill ten songs, but it gets close. And even I have to admit that the technical aspect of this album is pretty good. The drumming is satisfying, the mix is nice and punchy—heck, even the guitar solos are pretty good and I usually don't care much about guitar solos.

Then again, there's a big nostalgia factor here. When I first heard this album, it was when I actually had time to read and remember the lyrics, and quite a few of these songs I still know how to play on bass. These melodies and riffs are etched in my brain forever. Had I first heard of this album today, I probably would be entertained for a while and then forget it shortly after, but as it stands I can't not enjoy it.

Black Dice – Beaches & Canyons

It's Nostalgia Week! I haven't heard any good new stuff lately so it's time to revisit some albums from my past and see if they're still any good.

September 2002 • DFA Records

I owe this album a lot. As I mentioned way back in my Mr. Impossible review, this album was an enormous factor in my understanding of more avant-garde and unusual music. I remember listening to it for the fist time and being entranced by the realization that yes, you can make good music that doesn't involve traditional instrumentation.

It's kind of a naïve thought, looking back, but spinning this album even today is a great experience. Tribal drumming under a lush, summery soundscape of glitchy synth sounds, looped guitar samples, and shimmering noise. "Things Will Never Be the Same" is the stand-out track and the one that really sold me, with a Boredoms-esque psychedelic juxtaposition of grinding noise, melodic samples, and drumming that ramps up from subtle to engaging in a very satisfying way. It's not an album that demands attention, but when given it does make for engaging listening.

The album does have plenty of flaws and I won't say it holds up quite as well as it did for me eight years ago. There is a bit of a quality control issue, and with five long tracks it's apparent that there are many cases where they ran out of ideas of where to take the music and let something boring just kind of loop along. Trimming each song down to the actually-interesting parts would make for a fantastic album of maybe thirty-five or forty minutes. Fortunately, there's still at least something in every song that I still enjoy.

Since hearing this album for the fist time, there's so much more weird noise stuff I've heard that easily trumps this one. But as far as Black Dice go, this is still definitely the best in their catalog and one that deserves a listen by anyone. It's unfortunate that they never came close to the same quality as presented here, and after a lot more experience with this kind of music it doesn't quite hold up the same as it used to. But it's good to revisit it now and again.

Godspeed You! Black Emperor – 'Asunder, Sweet and Other Distress'

March 31, 2015 • Constellation Records

It feels like everything about this album that was going to be said has already been said, and it's barely out—but here you go anyway. It's fine. It's not anywhere near their best, but it'll do. Hell, it's Godspeed.

'Asunder, Sweet and Other Distress' sees the band continuing the trajectory of their previous album and moving towards a more cohesive rock sound: lots of in-unison playing, a more standard drumming style, more melody than usual—also, more drone than usual, with two harsh and dissonant drone pieces breaking up the first and last songs. Having heard this piece a couple times before in its live iteration on a few bootlegs, nothing here is surprising to me, and for anyone who's heard 'Allelujah! Don't Bend! Ascend! nothing should be surprising to them, either. And like 'Allelujah it feels a bit short, a bit like a long EP—not quite as satisfying as one might hope. (Then again, the riff that comes in around the six-minute mark of "Piss Crowns Are Trebled" makes all that buildup totally worth it.)

But it's still a decent enough release. Yes, so it could have done all sorts of things. It could have been longer. It could have had more interesting drones. It could have had more samples and field recordings. It could have had multi-suite arrangements. It could have been the next F♯A♯∞. It could have cured cancer. But it didn't do any of those things, and that's okay. It does what it set out to do, and it does a good job at it.

For anyone who's never heard Godspeed before, this is a decent enough place to start. 'Allalujah might be a better one. But it's streaming, so go for it.

Set Fire to Flames – Sings Reign Rebuilder

October 9, 2001 • Alien8 Recordings

Since I've been on a Godspeed kick lately (in preparation for their new LP, obviously) I decided to pull out the album that has been in my collection the longest and I haven't rated it yet, despite getting a vinyl copy and being a fan of the group for so long. I've actually always had trouble wrapping my head around Set Fire to Flames. Their two albums are each sprawling, dense works of post-rock and field recordings and sound art that come and go too quickly to really wrap your head around and get immersed in.

One one hand (and maybe because I listen to this so infrequently) every time I spin this album it seems pretty fresh and I find a lot of different things to pick out and explore. The full-band post-rock sections are really quite good; not up to Godspeed standards, unfortunately, but they do the emotive climactic buildup thing well. The sound clips and samples that helped make F♯A♯∞ so incredible are here as well, though a bit hard to find. The album's strongest element is probably the viola-violin duets (such as that which opens the fantastic "Omaha"); I always love those on Godspeed's records and they have a bit more room on this album to breathe and expand.

On the other hand Sings Reign Rebuilder can be a chore to listen to. It's incredibly long at over seventy-three minutes and a good chunk of those minutes are really not that interesting. On just the second track we're subjected to a grating ten-minute section of noisy droning that, while it does eventually reach a nice climax, takes absolutely forever to get anywhere—and when it does, the ending is disappointingly short. I mean yeah, I'm not much of a patient listener anymore, not as much as I was when I started listening to this type of music. So your mileage may (will) vary.

On the other hand (in this exercise I have at least three hands) the noise and drone and general messing about is really an essential part of what makes this album work (and it does work, despite my complaints), and if one were to take one half of the album and somehow separate it from the other it would all fall apart into a giant mess and then nobody would be happy and where would we be? And in the end it's just an album, one that's ugly, and beautiful, and boring, and fascinating, and after all this I still don't know if I like it or not. Definitely some bits I do, and definitely some bits I don't, so on the whole yeah it's not bad.

Death Fortress – Among the Ranks of the Unconquerable

November 15, 2014 • Fallen Empire Records

With that title and band name, this album just screams "generic". And maybe it is, a little bit. Maybe everything feels somewhat generic when you get to as much random black metal on Bandcamp as I do. Regardless, I wanted to put this one in particular out there because I've been having a good time with it.

True, Death Fortress unashamedly apes old-school Darkthrone-slash-Hate-Forest-if-they-were-good-style metal but I'll be damned if they don't do a good job at it. It's black metal at some of its most aggressive without being impenetrable—the drums and guitar all sound hateful and destructive but still retain a nice musical edge to them that keeps the album nicely grounded. The drumming is actually surprisingly interesting; sure there's a lot of typical double-kick grooving and blasting but the fills are plentiful and the way everything is played just really does it for me for some reason.

I'm not going to pretend that Death Fortress does anything new or that there isn't anything in this album you haven't heard before if you're already into black metal whatsoever. But what it does bring to the table is a top-notch way of throwing out some aggression and energy in an incredibly satisfying way—and sometimes that's just what I need, and sometimes all an album needs to give me.

Have Mercy – A Place of Our Own

October 27, 2014 • Hopeless Records

I've put off reviewing this one for so long, and I was never really sure why until now—I think I didn't want to admit to myself that I really don't like it all that much. It's odd considering that their first album is pretty good (albeit kind of a guilty pleasure) and this one is basically more of the same, but maybe that's why it doesn't click with me in the same way.

If you've listened to any song from The Earth Pushed Back—no, seriously, any one, they're all the same—you've heard this album. I didn't really have a problem with every song being the same before (even using a lot of the same exact chord progressions and the like) because they play them with a lot of energy and passion and yeah, the songs are pretty good. But this time around it just feels kind of recycled and so there really isn't anything interesting to talk about. It does have some decent songs, I'll admit, but not enough to hook me like anything on the debut did.

I dunno. Maybe I'm just not in the same mood anymore and the mopey-aggressive dichotomy and excessive melodrama hasn't doing anything for me on the particular days I've chosen to give this album a try. Maybe it'll grow on me. I don't know.

Callisto – Secret Youth

January 30, 2015 • Svart Records

I really don't know how to approach Callisto anymore. True Nature Unfolds has been an essential favorite of mine for ages, and Noir is almost equally spectacular. The band really shifted with Providence into softer, more melodic territory with clean vocals and a less-than-standard sludge-lite sound. I tried to like it, but I don't think it ever truly clicked for me. It seems like Secret Youth is more of the same—and equally confusing.

One one level, somewhere deep down, it's still the same Callisto I've loved since I first heard them in 2006. The slow, plodding, melancholy riffs and textures are still there, and occasionally an echo of the gritty Noir production leaks through (e.g. the intros to "Backbone" or "Beasts of Mothers"). And there are a lot of sections I really do like, sections where they might get especially heavy and rhythmic and that remind me a little bit of what they used to sound like.

But I still can't bring myself to get excited about this album, and no matter how many times I sit through it, it just doesn't do anything for me; it still feels kind of cliché. Not that their first two albums were that innovative, but they at least had this really special quality to the songwriting that made them stand apart, and it's gone now. The songs feel more like they're just trying to support the vocals rather than do something neat with the music itself. Callisto used to be the kind of band that put the music first—maybe that's what's changed them: being so vocal-centric.

I guess it's just time to throw in the towel and finally admit it to myself: Callisto just isn't really a good band anymore. And that sucks a lot, because they're such a huge reason of why I listen to a lot of what I do. It's good that they gave us two great albums when they did; I just won't really be looking forward to their next album quite so much.

Crash of Rhinos – Distal

April 1, 2011 • Brave or Invincible Records

I know, I know. It's too late to talk about this band. They broke up almost exactly one year ago, but it is only just recently that I discovered them and I can't stop listening to this album.

Back in 2010 I first heard Cap'n Jazz and got absolutely hooked on emo (as anyone who reads the blog can attest to; I've been posting more emo reviews than anyone ought). But after all that time I couldn't really find a band that brought the same kind of thing that made Cap'n Jazz so good—that same kind of raw intensity without being too heavy, the same intricate approach without being too mathy, the perfect balance of everything that makes this kind of music worth listening to.

Well, Crash of Rhinos has it. (Had it, I guess.) I've heard both of their albums but I think Distal barely ekes out as being the better one, and I don't say that lightly. There is not a single wasted moment here, not a single drum hit or guitar note or vocalization that isn't overflowing with passion and meaning and value and beauty. There is not a single song that doesn't make me stop whatever else I'm doing and take it in. This review took far too long to write because I had to keep stopping and just let myself listen.

A couple choice moments:

• The huge gang vocal section closing out "Big Sea", an excellent callback to the beginning of the song while showing just how grand they're capable of getting.
• The last half of "Stiltwalker", which takes on this elegant legato Bear vs. Shark feel that is absolutely entrancing.
• The seamless shift of the same riff into triple-feel halfway through "Gold on Red". I don't even know why it works so brilliantly.
• "Asleep" ending the album not with a bang, but by quietly slinking off into the distance, leaving the listener in a puddle on the floor.
• Me, needing to immediately listen to the whole thing again after the first time. That has happened maybe only three or four times that I can remember, ever.

This band is essential listening for anyone with even the remotest possibility of having interest in emo. And it came out in 2011—during emo's revival, when there don't seem to be many albums like this, and right when I needed it. It's criminal that it doesn't seem to have gotten as much exposure as it deserves. Maybe one day.

Sarin – Burial Dream

January 17, 2015 • self-released

I haven't really been listening to a ton of sludge metal lately. I still love the genre but it seems like there's less and less coming out each year that really piques my interest. But now and again I'll stumble on a band that rekindles my faith a little and reminds me why I love the genre so much. Recently it's been Sarin, whose 2013 EP House of Leaves I really enjoyed (but never covered). Their first full-length is finally out and I couldn't be happier.

There's a pretty blatant debt owed to early–mid Isis, and maybe Pelican and Godflesh, on a lot of these tracks—at points I feel like the music could have been ripped straight from Isis' Oceanic—although I bring this up in the most positive light possible. Sarin pulls off a similar combination of slow, churning, clean-guitar buildups and huge, heavy, crunchy, pounding riffs; even the vocalists sound very similar. Maybe it's just my personal love for the atmospheric sludge style (and the fact that I do miss Isis somewhat) but the band knows what they're doing and they've gotten fantastic at it.

Take, for instance, the intro to "Monograph". Slow—plodding, almost—drums, echoing clean guitars, pretty typical stuff. But it has this really nice melodic aspect to it (probably has something to do with the major key) that lulls you in, so when the heavy guitars kick on two minutes in, still with the excellent melody and emotional resonance, it's just an awesome experience. They take the genre's natural tendency towards repetition and make it work in their favor really well; the song shifts into a more sinister minor key by the end but you barely notice as it goes. "Reverse Mirror" does something kind of similar, but uses that kind of interplay and buildup to conclude the album in a very satisfying way.

I suppose the fact that this album does feel a bit derivative will probably keep it from being as appealing as it could to some people. I love this album anyway, so I don't really care; Sarin has more than proven themselves to me what they're capable of. Great, great stuff.

Mare Cognitum – Phobos Monolith

November 3, 2014 • I, Voidhanger Records

Taking atmospheric black metal to another level—the cosmos. Okay, so black metal bands have been doing the whole super-atmospheric space thing for decades already so there's really nothing new going on here. But I have to say that Phobos Monolith is quite a pleasant surprise.

Its one flaw out of the way first: Albums like this, with a few overlong tracks, sometimes tend to have a bit of filler. The beginning of this album in particular does have a bit too much ramp-up—one huge overlong intro where we're noodling around with slow rhythms and melodic clean-ish guitar lines that don't really go anywhere. I'm just sitting here waiting for the actual music to kick in instead. I guess I should have expected it, but it still always disappoints me just a little bit when this happens.

However, when the music does get going it's quite good, and surprisingly the middle two tracks don't hold back at all. It's not just plug-and-play generic blasting, either—there is plenty of that, but there's enough actual musical proficiency and embellishments in the songwriting that keep things interesting. Just the occasional chugging riff, progressive drum line, a little ambient background sound to fill things out. Or perhaps some toned-down shoegazey type stuff in "Noumenon". Or the sheer no-holds-barred intensity at some places, like how "Entropic Hallucinations" starts off with just the most intense riff ever. There's a lot going on, though it may take some time to unearth it all.

But this being one of my favorite kinds of music lately, I'll call myself a fan right off the bat. The genre may have been in a slump lately, but for fans this might be one to actually pay attention to.

Dikembe – Mediumship

July 22, 2014 • Tiny Engines

For some reason I keep forgetting this band exists—even though they're easily one of my favorites of the new wave of midwest emo (despite being from Florida). I loved Chicago Bowls, and Broad Shoulders was just as good. But something happened after that and this, their second album, just isn't cutting it for me whatsoever.

The midwest emo sound is actually disappearing, being replaced with a bit more straightforward indie rock style (or even alternative rock, somehow). A few of the tracks on are a bit more on the soft, plodding, post-rock-ish side as well. Nothing atypical for this style of music, I suppose.

But going back and comparing this to Broad Shoulders, just two years earlier, it almost feels like a different band—or at least like something special has been lost. No more silly audio clips, everything feels a bit slower and flatter, and a little bit more generic; even the vocalist (when he doesn't sound like a different person entirely) sounds like he's falling asleep most of the time, when on previous songs he was quite energetic. It took until the eighth song, "Donuts in a Six Speed", to finally hear something like the band I was expecting.

I dunno; I guess the songs are still decent, but I can't help but feel massively disappointed. Hardly anything in ten whole tracks got me excited; I really wonder what happened to this once-great band. At least they still have one great EP and one great album to listen to regardless.

Steady Lean – Here's Something

October 21, 2014 • self-released

So New Weird America isn't dead after all? Maybe? Not sure where else Steady Lean fits in my headspace. But they do write some enjoyable songs, anyway.

I usually don't really like this kind of lo-fi basement recording, but some bands pull it off well, and these guys do alright. A combination of jangly acoustic guitars, electric leads, muted background drumming (if it's even there), vocals that are mumbly and optimistic at the same time. I guess it's some kind of country rock, or maybe post-punk, or garage rock? I have no idea.

It's not entirely the style of music I would normally care about, I have to admit, especially with the kind of country-esque flair a lot of the songs have. But Steady Lean are definitely good at their songwriting: every song is chock-full of really good and catchy melodies, with just the right amount of somberness to top it off.

I don't know how much I'll ever be going back to it, simply because the overall aesthetic isn't totally to my taste. But it's a strong album, and I can tell anyway that these guys are good, and they know what they're doing, and they have a lot of potential appeal. And I have to say this album grew on me a lot after the handful of spins I gave it, so I guess you never know.

Fleshworld / Gazers / Viscera/// – Split

October 14, 2014 • Unquiet Records

Reviewing promotional split albums always feels a bit weird, but sometimes the material really is good enough that I have to share it. Today's edition is three metal bands from all over Europe: Fleshworld from Poland, Gazers from France, and Viscera/// (slashes included, please) from Italy.

Fleshworld gets the split off to a great start—I'm really enjoying their tracks. Their style of sludge metal manages to be both a little atmospheric and very driving at the same time, a bit Cult-of-Luna-esque without as much grandeur. The rhythmic patterns going on here are great—the hard-hitting drum grooves are especially irresistible, and there are lots of really nice crunchy guitar lines holding it together. They occasionally launch into some more intense punkish-blastbeating, quiet clean bridges (naturally), and even a little bit of psychedelic noodling, which are all nice enough—but man am I digging the standard sludge. I haven't heard many new bands lately doing it as well as they do. I only wish the first two songs were a little longer, as the nine-minute "Rezygnacja" is, to give me a bit more to sink my teeth into.

Gazers sounds nothing like their name implies—this is some raw and harsh screamo, chaotic riffing, blasting, some slower chugging sections, the occasional breakdown, and all. Maybe it's that Fleshworld is a hard act to follow but I'm not as thrilled about this band—though they are still pretty decent. The songwriting is a bit disjointed and hard to follow at times, but they definitely have the texture and mood down well. Admittedly I've never been a huge fan of this style of post-hardcore/screamo so I'm probably not the right person to take Gazers on, but you could certainly do a lot worse.

Viscera/// brings us back around to the sludge metal side of things, but in a much different way from Fleshworld. The promo kit calls them "psychedelic" but I don't think I'd agree whatsoever; they're definitely way too clean and heavy for that (blastbeating isn't psychedelic, and flanger pedals don't automatically make you so, no matter what anyone says). But they do have nice big riffs aplenty, and bigger riffs you rarely have seen. Their style is all over the place, though—they swerve from crunching rhythmic lines to almost-black-metal tremolo blasting to upbeat stoner metal, and it's a bit weird. The poppy clean singing in "Nobody's Diary" feels wildly out of place and the band can get a bit too repetitive at times, but the majority of what they've put down here is pretty great.

In short—one split, plenty of great brutality to be had, and I'm off to see if there's any more from these bands to check out, because my interest is definitely piqued.

Run the Jewels – Run the Jewels 2

October 27, 2014 • Mass Appeal

We ran the jewels once last year, and now it's time for round two—and I'd be lying if I said I haven't been pumped for this release. El-P has been on fire lately, and he still shows no signs of stopping with this album.

Run the Jewels 2 is about as perfect of a sequel as you could ask for, if you wanted more of the same. It's basically the same album as the original—the same production style, the same crazy sampling, the same great beats that are impossible not to jam along to. It doesn't feel like a collection of leftovers from the original sessions or B-sides or anything like that, and the first four tracks are about as perfect as things get. I love the sparse, bass-heavy, aggressive beats like on "Oh My Darling Don't Cry" or "Close Your Eyes". The album on the whole does feel a little heavier than the debut, which I like a lot.

The momentum does slow down a little bit on the second half, as things slow down and get less intense and violent and a little more introspective (for some godforsaken reason) (except "All Due Respect" which is appropriately bangin'). The low point arrives at "Love Again", in no small part thanks to the overly-sexually-charged lyrics. I've never like that kind of thing, particularly when it's as dumb as it is here. (It doesn't help that the guest rapper herself isn't really very good at all. But on that note, I love Zach de la Rocha's appearance on "Close Your Eyes"—where has that guy been??)

But this is definitely a worthy follow-up, debatable as good as or maybe even a touch better than the first album. Necessary listening for anyone who even remotely liked the first one—especially since they've released both for free. Now: time to look forward to Meow the Jewels.

Keeper – MMXIV

July 5, 2014 • PlasticSkull Records

Keeper delivers some excruciating, pounding doom metal that's some of the filthiest I've heard. The grimy distortion on downtuned-to-hell guitars (that low bass string must not even be remotely taut at this point), sputtering vocals, and echoing production make the album almost uncomfortable to listen to—although that's kind of a good thing in this case.

The songs are all quite long and sprawling without a whole lot of real structure to them, so the music can be a bit hard to follow, especially in the slower parts. It's not my preferred way to do doom; I like having some organization and clarity to the songwriting, but MMXIV goes off in all sorts of directions, losing me easily. Sometimes, when things pick up speed, it's not quite so bad and I can get into the rhythmic grooving they do in some parts, like "Perception/Prescription".

On the whole, it's really not a bad album. It's not something I'll put on often, as I simply don't get into doom much and this album doesn't do it quite to my tastes anyway. But I still feel like there's something worth looking into here, at least for established doom fans.

Cestine – Other Half / Bright Encounter

August 13, 2014 • Rok Lok Records

Cestine is another minimalist ambient drone project—but I don't want to sound dismissive because this kind of music is something I can really never get enough of—especially when it's as beautiful and relaxing as Other Half / Bright Encounter is. Simple washes of looping synths and distant glitches off in the background remind me a bit of Basinski's tape works (without the orchestration). There's also some voice sampling and I think some field recordings mixed in to keep things interesting.

Like most drone, it's very slow-burning music (understandable for two big fifteen-minute tracks), but I don't think it ever really goes on longer than it should and the pacing is pretty good. "Bright Encounter" has an especially good structure, with a great fade-in and transition from somber piano to some kind of synthetic-beach aesthetic, back to atmospheric droning.

Maybe I'm just a sucker for this genre but I can't recommend Cestine enough. Well-produced zone-out ambient, that's all there is to it.