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ugr.geo@yahoo.com |
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Alkhemia_-_HÄXEN
Buzz was building for the new Alkhemia a few months before I got this promo kit. Which give us not only the band slamming their way through an albums's worth at seven songs, but a presence of powerful imagery extending the band's mastery of their craft. The music takes on technical runs no problem incorporating barrages of blast beats and well timed progressive cutting. Above the top vocals as transitional force often bring on dark sentences while the music churns and burns. This lends to peak engagement during listening, seemingly something new always right around the next break. Usually through each of the band's 6-7 minute songs you will be treated to at least a couple of harder styles placed uniquely. While this could seem distracting, and at times you might want the passages extended a bit, the band does a good job at stopping right at the point of doing too much. It's hard to point at any songs being better than the others. The compositions for the most part are arranged well, even if the band may stumble on clarity a few times throughout. What I like is that they generally get back into the battle with faster stuff if there seems to be any need for a change-up. Which there often is in longer songs. Again they fulfill any agendas, pulling such things off seemingly with. All that being said the album's longest song shows it all as full package. Prekonition gives you everything. Being positioned right in the middle of the album it sets up a final half which may overall be better than the first half. Which is saying alot since the first three songs offer no slouches. |
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Warhog_-_Ethereal_Journey
From the band name you'd expect bombast & death but we have not drawing of blood nor violence. Instead we have the program title, a styled, celestial Ethereal Journey to take the listener on their way. This spaceship rocks on utilizing very strong, intricate when needing to be, and done with above grade precision, fantastic drumming paired with solid bass lines to create a strong push. In good progressive rock that combination is often a blessing above necessity. Then the songs themselves, at least the two originals in this three song set, engage by arrangement. The band executes movements which flow, taking you on trips into the mind, as the listener hones in on the lock tight presentation of the music with it's ability to go beyond generalized genre cliches. In the more experimental days of lore, you used to get high quality hard rock like this. Kinda cool to be reminded. The title cut in all its 22 minute glory moves in the above description by solid execution with showcases at every corner for the drums just to tear things up while the band uses space via powerchord & riffs to gear passages towards melodic expression. This method of not overdoing what doesn't need it anyway is effective throughout the EP. In fact, the leads, by whatever instrument steps up to take them, never attempt to over power by extended jam. The key here is taste, not showboat So be it, works well. Continuing themes of science via space exploration hold strong on single Starlight as does the heavy overtones, this time driving hard instead of exploring more technical situations like on the epic title cut. The boys head out with guitars cutting hard, heralding this time around a blazing lead break coming out of the big grind of the atomic engines. Boys are rockin' hard! It all brings a smile, even the cover of UFO's Doctor Doctor gets the band's trademark treatments, thankfully not trying to do an exact cover and not even starting to try and clash with Schenker's nuances. I always kinda cringe whenever any band attempts to do any UFO, this song in particular, because the original UFO songs are hard for any band to even come close to, rcordings or live. I've heard this song covered hundreds of times, even by huge bands, which almost always fail to make the grade. Here though by being a bit more laid back though, and slightly more metal than the original, they do the legends justice. Aye Warhog, rock on, rock on..... |
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Vinyl Floor - The Swan of Eileen Lake
This came on in the background and the first verse in I said that sounds like McCartney. It was then I remembered I had a Vinyl Floor single set to go this round review wise. Besides that first verse there's not as much of the fab four showing. Sounding someone writing either an apology or perhaps offering flattery in a very english way. Could be in the veins of a letter to a spouse, then too it could be to one's child. Really hard to know. It's a cool song anyways. Been hearing cuts from these guys for quite some time now. Good to hear them carry on as this. It's always been of quality. Good some things never change. Now just who is Eileen Lake, that I am not sure. |
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Rivers_Ablaze_-_Inexternal_Dread
That Dread is in the title to an album from this band is fitting in a direct un-pretentious way. Their music has tension in it the same way much of dark metal often does. Yet Rivers Ablaze excel in where they are able to go from that into an almost catharic release of that tensive energy. It's like being inside a roaring whirl wind then in a split second transversing golden fields of an autumn harvest Sometimes they will pull an ass whooping out on you with blasting molten lead. Or perhaps a progressive melody where they show off some chops. With Rivers Ablaze you get all that. And more. Silent Orbit which opens the album shows that dramatic flair which melts into a classic era metal style of melody which is like a devil's face turning into a thing of beauty smiling at you. They don't let you off the hook though, because the words are about endless darkness, the void. So it's still a devil indeed. In every number Rivers Ablaze unleash transposition upon you. Their musicianship shines every time. With cuts like Enemy Within containing almost classical music call and response overtures using voice as a primary instrument. It all sounds like a horror movie set on mars, like a heavy metal greek tragedy on overdrive. Careful kids because they might unleash the hardcore on you at any moment! It's smooth when they do, then follow up that passage with some progressive tech smoothed over even further with melodic quarter note lead guitar! Rivers Ablaze sound like they like to put in the work. Striving for quality, working long on the pieces until the bridges fit the puzzle together. You almost have to, to get this kind of music. Loose jams may come but they'll be forged into shape long before any of it makes the masses. Or maybe, I fool myself. Whichever be the way as a writer of sound who can recognize work ethic, it is doubtful any of this are one offs. Often we go to darker places, like Born From Flame. It can't stay long in that land, like all Rivers Ablaze it has to go somewhere related yet unbound. From Amospheric death metal to a slough. Yeah that's the ticket. Soon you're back on that rockship running arpegios right into hell. Ending this 8 minute epic building, building, then bam, silence. Rest up because that doesn't last long. You get thrown right into the next number. If this were opera, which it's honestly not that far from, I'd say we're at the scene where the demons dance around the fire, offering their sacrifices up on Carrion Throne. When they break it down you get to see some other things in the toolkit. But don't get too comfortable because chgange will always come. As we close out the program, you hear just a tad of sabbathian glory with even the spirit of Ozzy makng an appearance via Death On Impact. Whoa man, trip out! Like the below picture shows, these boys are true breed cutters of stone! RIVERS ABLAZE! |
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Elijah Blake - THE GEMINI
Elijah Blake has made his name in music fusing modern R&B, Jazz, Hip-Hop and Pop. It's all, laid thick, except for the hip hop, on this record, and in basically every song you get a combo or better style wise. I find the jazz angles one of the things that makes Blake stand out in a field crowded with the less capable. On Open Spaces he uses his voice as instrument with a clean sublety not easily done without excellent breath control. The Gemini acts as a showcase for Elijah's singing throughout. Right off the bat it's impressive. The commercial strengths of this record include throwback call outs like on Never Gonna Love Like This. Giving nods to Motown singles across the boards when Hitsville was more than a memory. Stuff like that is all over, melding soul, rhythm & blues with attention catching basslines and fantastic prose. As a packge it flirts with hit record status, never missing the mark if it does get sparse past the half-way point. The thing I'd add would be a couple more uptempo numbers. Things like the generic Fools Gold or the orchestra stylings of Bubble don't add much in the overall mix. Maybe at times too the romatic overtones could be traded for some funk. Yet it's hard not to imagine enthusiastic screaming crowds eating it all up. |
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GoGo Morrow - SET
Great EP spinning up tight rhythm & blues with tons of old soul credibility. The female lead vocal is top echelon backed by music mostly styled in a minimalist unobtrusive way. The arrangements get out of the way for the singing to shine. Music and bass lines especially live to support vocal phrasings. Of course you have to be able to fill those spaces. All through this album it's done better than well. What makes it work too is though you hear a lot of hip hop, it's based more on afro-rythmic styles than the urban streets. Someone writing this stuff has some roots in not only the motherland but the lands far beyond. It'll make ya nod yer head and bring a smile. No Questions is another standout where the vocal acts as lead while strings underneath carry the melody line for a bit before electronic percussion kicks in propelling the entire kit as sweeps of keys build the final offering. Very nice. Another thing I liked about the songs is they don't try and wear you out or drone on. They're just the right mix of time and nuance. They get to the point and are clear in demeanor. A listen through sets you up hoping for more to come down the pike. |
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Jeff_Clarke_-_Movie_Star_Junkies
Skip pony intrusions dance around the ring. Hinged on rockabilly, glancing as punks want to but staying back to watch the mayhem from the sidelines on this Split. I'm not sure if The Void is more satisfying than the Give Everything Up but I don't think Movie Star Junkies really gives a fuck. They cowpunk till the bulls come home. B-sides are just called Jeff in the promo so I guess that's his side, Jeff, Jeff Clarke in a nutshell. He directs it all. Still, you need to look at the artwork, art being at the fore here, to know wtf is really going on. And maybe still not know! From the pretty pictures like a snake in the grass to the gumball machine we don't have as much a riot here as a night at the drive-in out past the closed textile mill. No car at the show of course just sitting in the seats in front of the refreshemnt stand. Leering, yet generally harmless unless you pull a blade. |
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Nailah Blackman x Blaka Dan - Las Las
This one had me dancing with Bruno at 7:am. His fur covered feet moving in slides to the scatter beat swing high upon yonder mountain. That's always a good sign for a record. When it ended I had to run it though one more time. By then Bruno was wanting a treat. Settling down to give me the eye not carring that we, again, had experienced this cool new single. Nailah Blackman continues to be a fave. |
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Big Money Blitz - Big Booty (Dirty)
Classic club track with an 808 pattern stabbing the call of the title with MBM weavin' tales of the tail. It's right there in the song. It's done up right tight and just long enough. Dj's do y'alls thing. |
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Sick Shooters - Super Sonic Rock Opera
Three chord barrages pick up beats sounding something out of Beachparty Massacre. You know, fast cars, chicks & go-go. They somehow manage to do this without the party scene ever being mentioned, which is a feat in itself. They do mention the chicks a time or two, and the vile thing that lonliness creates. Without any hint of desperation they bash out the pain with powerchords and rave ups. All this and cut time represented via Daisy. After they've come at you with a couple burners and a song same name as the band. Pretty much cookin' the first half of the album. The band slows a tad with Sweet Telephone but get back on the show ponies with Supersonic Lovin'. One thing you can't saddle Sick Shooters with is being demur. Their punk rock anthems taking the piss to the half hearted. This is music makes you wanna press the gas pedal. < The time or two they do fuck off they can almost be forgiven. They end strong with Great Escape (On The Run) givin' you a good 8 out of 11 cuts. Nothing slack about that. |
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Bleona - Ride it remix
Cool package of remixes for this techno house hit. You get the video featuring baja desert action for a song which is all about action. Especially the kind nuanced by visual expression. It along with 20-some minutes of remix about half instrumentals the floor is kept hot by one big electronic wave. In each you'll get references to the riding of it. Mood music for discos and bedrooms. You'll like the way she rides it. |
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Nils Van Zandt - Stuck In My Head
Massive hit in both the clubs and on the airwaves. It's ongoing coming out in full just a couple of months ago to the press. It has a sample of another sing in there, one I know but I can't recall off the top of my head. As simple relatory things go that commonality is probably one of the reasons the song definitely stays stuck in your head. Other than that it's a rather simple ditty using the time honored system of the yeah yeahs and the ai-ohs in leau of words. It's got whistling in there too so you get recall on everything from lounge sounds to Andy Griffifh. The official video has gotten a lot of slag because it's AI but thats honestly where too many things are at right now. Still can't hardly ruin a good pop song. |
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Papoose - Agent Provocateur
Papoose cuts loose on his nemesis 50 Cent on this diss track stemming from a multiyear at this point beef between the two. Some say it goes much longer and deeper. Yet however it started it's long and deep now. Shit goes hard for five minutes and nothing is held back. Hell what's a good beef without vicious spits anyways? No complaints about lack of subtles here. |
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Danny L Harle feat Dua Lipa - Two Hearts
Synths bring up the phrasing so Dua can sing as the beat kicks in. This shifts at around 45 seconds to classic electronic dance music. Some used to call this house but more would probably call it techno today. Back when I first come along it was disco. Pick your choice it is a dance floor burner. |
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Jada Kingdom - Just A Girl in a Money Man's World
Jada Ashanti Murphy is a superstar who has moved from her modeling days to be a reigning queen of jamacian dancehall fused R&B. She has a sassy but very sensuous voice, able to croon & talk smack with the best of 'em. This album has quite a bit of hip hop flavors and hints of funk in both traditional unexpected places. Don't Talk to Me has a bit of it all, including a darker pop feel which moves nice in between the beats N skittles. G.A.D. throws in a smooth guitar riff that ties it all together set off in a descending gear Jada plays along with perfectly. She pumps it up back on the funk a bit with Ntn but Pumpum before closing out in the running order I got with a couple more traditional downbeat R&B numbers. Jada continues building her Kingdom. |
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Leto Grand - Lovely Walk
Sly slip along perched on the edge of something english, a bit of ska and working man's rabble. Talking about the movements of a goddess while a bass snakes through the proceedings, at time giving way to some horn accents calling out a bit of pop danceability in the shuffling beat. No masterpiece but a cool debut single nonethless. Click either pic for the promo PDF. |
