THE 10 MOST DISAPPOINTING ALBUMS OF 2017

I AM DISAPPOINT 2017

Let me explain. This isn't quite a list of the 10 worst albums of 2017, because I don't actively go out and listen to albums I suspect I know will be terrible. For example the latest Chris Brown, Linkin Park and Nickelback albums, I already knew would be awful and if I haven't enjoyed the artists previous work, I'm not going to listen to them now.

To qualify for this list, I feel like the artists either have to have made some great works in the past, or there should be some kind of expectation that these albums wouldn't completely suck. So here are my 10 biggest disappointments of 2017.

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VIDEO LIST: THE 10 BEST ALBUM COVERS OF 2017

THE BEST ALBUM COVERS OF 2017

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VIDEO LIST: THE 10 WORST ALBUM COVERS OF 2017

THE WORST ALBUM COVERS OF 2017

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Do you agree with my picks?
Maybe you liked some of these covers?
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ALBUM REVIEW: PRURIENT - RAINBOW MIRROR

PRURIENT
RAINBOW MIRROR
Profound Lore / Hospital Productions
Drone, Dark Ambient, Noise, Electronic.
Listening Format: Digital



Prurient is just one of the recording aliases of US Noise artist Dominick Fernow. Over the past 15 years the man has put out a labyrinthine discography touching upon Noise, Power Electronics, Death Industrial, Techno, Industrial and Dark Ambient. But the one thing they mostly have in common is that Fernow's music is nails hard, aggressive, in your face and loud. His live performances often culminate in walls of suffocating harsh noise, whilst he stumbles about the stage screaming his lungs out. Prurient's own discography can roughly be navigated in two different ways. There are the self-released noise tapes that crop up frequently through his own label Hospital Productions, often his rawest and shortest in length releases. Then there are his projects on other labels such as Profound Lore, Cold Spring and Hydra Head, which tend to have a slightly higher production value and artistic scope, usually following some sort of concept. His 2015 double album 'Frozen Niagara Falls' brought a lot of attention and critical praise to Prurient. At the time this was considered to be one of the most ambitious projects attempted within the Power Electronics realm, which tends to favour shorter length releases. Little did we know Fernow had even more ambitious ideas in mind...

'Rainbow Mirror' spans 4 CDs or 7 LPs or 3 hours and 20 minutes of new music. It's safe to say that alone would test the patience of even the most hardened music fans, let alone fans of extreme underground art. Before anyone had even heard a second of this album, fans and critics were already left bemused, with one publication even claiming the album was "too long" before even hearing any of the material. Perhaps Fernow is looking to axe the stereotype that Power Electronics is only suited to short, chaotic bursts. Or perhaps it is because the 3+ hour 'Rainbow Mirror' opus isn't really Power Electronics at all. The album is made of 15 tracks or movements averaging 10 minutes in length. The press release I got for this album described it as "Doom Electronics". I'm not sure whether this was conjured by the label, the press agent or Fernow himself, but it totally hit the nail on the head. All of the pieces here are long, minimalist, sparse, bleak and very melancholic driftworks built on slow tempo pulsing electronics, lonely synths, iced with brittle layers of noise gradually seeping in. The end results have much more in common with Drone or Ambient music than Noise or Power Electronics, and should be approached by the listener as such.

If we take just disc 1 alone, over the 4 tracks here, the first two movements are the most subtle, reminiscent of Dark Ambient musician Lustmord, with the icy, alien atmospheres that made up Autechre's 'Amber' album. 'Barefoot God' and 'Walking On Dehydrated Coral' are incredibly sparse and build ever so slowly, working into a very gradual crescendo with finales approaching something noisier and more intense. These pieces of music are built on a simple, haunting and sad repeated melody that hypnotises the listener as they loop and repeat. By the time Disc 1 reaches it's climax on massive highlight 'Chaos - Sex' we have certainly reached much noisier and abrasive textures like seasoned Prurient fans would want. Except, this time around Fernow isn't interested in shocking your body or mutilating your ears with harsh, visceral blasts of noise. Here Prurient uses noise to enhance the atmosphere and intensity of these long pieces of music. Even when 'Rainbow Mirror' reaches its loudest peaks, it always remains a very solemn and downbeat journey. It is also important to note that this entire disc is entirely instrumental. In fact I only remember hearing vocals on one track across the entire project, 'Naturecum', and even these vocals were more like whispers or murmurs as opposed to his violent screams of previous releases.

The biggest talking point to address though... Is it too long? Did this album need to be over 3 hours long? Sure it demands a lot of patience and you will need to set aside a lot of spare time if you want to tackle this in one sitting, but the run time is justified. I got an advance on this album and in the space of two weeks I was more than happy to listen to the entire opus twice through. I then went back and just listened to Disc 1 a further two times. The length is justified because this project is so rewarding. What Fernow has achieved perhaps more than ever is that he has put so much emotion and raw feeling into these pieces. The addition of slightly more melody and distinct chords is a welcome addition that does wonders to enhance the mood of his music. This is a very sad and ghostly album that even has a few hummable chord phrases tucked away within it. If you take out the running time, 'Rainbow Mirror' is one of his most restrained works to date. It doesn't have that "shock factor" to it. And yet in complete juxtaposition, it is an extreme and hard going work because it so challenging, so moving and so lengthy. Prurient is making extreme and boundary pushing music still, just his methods of doing so having completely changed.

'Rainbow Mirror' is a true opus that doesn't need to be rushed or listened to in one sitting. The way the 4 discs have been broken down is very suitable and each disc feels like it's own album, each with a logical beginning, middle and end. Fernow is a very prolific musician, always writing and recording music, a lot of which is built on improv, documenting a mood probably based on what he is feeling as a musician at the time. But even though he puts out a lot of recordings very frequently, the overall quality of the end result has not been hampered. 'Rainbow Mirror' speaks as one of the most personal and heartfelt journies Fernow has ever expressed. Not only is it his masterpiece, but it stands as a late-coming album of the year contender. 9/10.

ALBUM REVIEW: MARK KOZELEK - MARK KOZELEK WITH BEN BOYE & JIM WHITE

MARK KOZELEK
MARK KOZELEK WITH BEN BOYE & JIM WHITE
Caldo Verde / Rough Trade
Folk, Jazz Rock, Spoken Word, Slowcore.
Listening Format: CD



YOU'VE GOTTA BE FREAKIN' KIDDING ME!!!!!

If you happen to be one of the two people who regularly reads Frenchie's Reviews, you'll know that I've already written in depth thoughts on the previous THREE Mark Kozelek albums released in 2017 (here is the proof), and God dammit here comes another one! That's right, this is the 4th studio album that Mark Kozelek has released this year, and the second of which is a double album. So that is 6 CDs of new music in one year with a total running time of about 4.5 hours! HOLY SHIT!

So I'm gonna do something a little different this time around. Let's play the Mark Kozelek drinking game! Every time Mark talks about any of the following*, you take a shot**:

- Mark mentions Caroline.
- Mark mentions a dead relative or pet.
- Mark name checks a famous person he has met.
- Mark mentions a show he has been watching on HBO.
- Mark mentions his age.
- Mark mentions the date and/or time.

But if I have to be serious, even though I've already had to endure (and I mean ENDURE) 4 hours of Mark Kozelek rambling already this year, I surprisingly happened to enjoy this album more than any of his prior 2017 works. As you can imagine, because Mark is putting out vast quantities of music in such a short time span, his albums have become very messy, sporadic and repeated a lot of ideas, and in some ways that is still true here. The main difference comes from his collaborative partners, Ben Boye and Jim White (who played drums in The Dirty Three). These guys are seriously talented musicians. This double album leans to more of a Jazz Rock sound, whilst still taking in Folk elements that Mark Kozelek usually revels in. Mark really rises to the challenge of telling improvised stories, ramblings and spoken word over these long off-kilter jazzy dirges. It actually makes so much sense that I wonder why his prior works in this new Spoken Word (or Folk Rap as some have dubbed it) haven't gone for a more jazzy approach before now. The three performers bounce off each other really well. Yes Mark repeats topics he has already gone over before, but he also freshens the pot. Songs about his cat, Donald Trump bashings, the death of Chris Cornell, a recalling of a dream where he spoke to Elliott Smith's ghost, and even a song about the Ariana Grande Manchester Arena terrorist attack (which happened in my hometown).

If you haven't liked any of Mark Kozelek's many recent albums of Spoken Word, then this one isn't exactly going to win you over, but musically and lyrically it is easily the most captivating of his 2017 works, and one of the overall best things he has done since his masterpiece 'Benji'. 8/10

*I can't be fuckin' assed to count... The lyric sheet is like unfolding a road map!
** I do not actually endorse this drinking game, it will most likely kill you before disc 2 is finished!

ALBUM REVIEW: AMENRA - MASS VI

AMENRA
MASS VI
Neurot Recordings
Sludge Metal, Post-Metal.
Listening Format: Digital



I saw Belgian Sludge Metal masters Amenra live at Damnation Festival a couple of years ago and it still remains one of the most emotionally charged performances I've ever witnessed. Amenra tend to stand out from a lot of their genre peers by pouring absolutely everything into their music. Previous album 'Mass V' at the time of release was their greatest to date. It felt like the album they had always been building towards. Not only is their dynamic take on Sludge and Post Metal much more refreshing than many of their peers, but listening to that album and seeing it performed live actually DRAINED me. Their music is built on so much tension, agony and intensity that it feels like enduring the most rigorous therapy session. You want to lay down and have a nap after listening to this band.

It's safe to say that there was a huge amount of hype for 'Mass VI', falling five years since their previous full length. Between this time Amenra have still been fairly active as a band, releasing a live album as well as doing something a bit different by recording acoustic songs. Outside of this, vocalist Colin H Van Eeckhout released a solo record, plus him and other band members also made some fantastic releases with their Church of Ra offshoot bands Oathbreaker, Wiegedood and Absent In Body. The Belgian collective of bands seem to be looking to take over the Extreme Metal scene, with a string of highly acclaimed projects.

Running at just over 40 minutes in total, Amenra return with an album fairly reminiscent of their masterpiece 'Mass V'. The production is a little bit more polished. In particular CHVE's vocals have really improved. He implements less spoken word and more clean singing than ever before, with a hushed voice reminiscent of Kayo Dot's Toby Driver. Of course his high pitched screams and wails are just as aggressive and visceral as ever. Clearly CHVE has made more of a focus on improving his singing voice and the overall diversity of his vocals has reached an all time high. It works especially well on album highlight 'A Solitary Reign' where his vocals have been multi-tracked combining ferocious screams and haunting clean singing of the repeated mantra "There is a distance in your eyes".

But when it comes to the rest of the band, it actually feels like Amenra are playing things a little safe here. Amenra know what kind of chords, tempos and song dynamics work for them, and 6th time around it feels a little too familiar, like I've heard it all before. Even the most passionate Amenra fan can probably admit that the riffs in 'Children of the Eye' and 'Plus Pres de Toi' have basically been used before. The album's worst track 'Spijt' feels very much like Amenra on autopilot, like they started a song and forgot to finish it, so just threw in a 2 minute snippet and left it like that. It barely even works as an interlude to break up the album, it's just a real headscratcher. Album closer 'Diaken' also left me on a cold note. At the end of it's 11 minute duration it just kind of ends, without a satisfying conclusion. A little underwhelming considering 'Mass V' had one hell of an emotional climax.

And there lays the biggest problem with 'Mass VI'... I personally just don't feel an emotional connection with most of these songs. Even though all the right ingredients have gone into the oven, this just feels all too familiar. Even though CHVE is yelling from the bottom of his heart on this album, with another highly dynamic, tour-de-force vocal performance, I'm left feeling a cold void. 'Mass V' and parts of their previous albums hit me really hard. I'd be banging my head along, clenching my fist in their air and especially with 'Mass V', I often end up playing the album straight away again once it has finished. The best cut here is 'A Solitary Reign' which I feel lived up to what I was hoping for from this album. Even Amenra mix things up a bit with a folky guitar arpeggio leading the track, but ultimately it comes to the same conclusion as many Amenra songs. I guess maybe I've been spoilt by Oathbreaker's 2016 masterpiece 'Rheia' (also featuring guitarist Lennart Bossu). Even though I thought Oathbreaker's first two records were great, 'Rheia' was a massive step up, improving the band's sound in almost every aspect, delivering a much more ambitious release than anything they have done before. In a way I was adamant that 'Mass VI' would be an even bigger beast than anything the band had done before it. When actually it not only feels like the band are holding back a little, but struggling to say anything they haven't already expressed. The guitar riffs, the ebbs and flows, and the vocal phrasings are just far too reminiscent and predictable... And I'm just not FEELING that weight, that sorrow, that anguish...

Sure I did enjoy this record, I mean it's freakin' AMENRA! A band I think every fan of Extreme Metal or even Post Rock should have on their radar, but 'Mass VI' also feels like a bit of a missed opportunity too. Even Amenra on autopilot is still pretty darn good though, so hopefully it will work for you! 7/10.

ALBUM REVIEW: TAYLOR SWIFT - REPUTATION

TAYLOR SWIFT
REPUTATION
Big Machine Records
Synth Pop, R&B, Trap.
Listening Format: CD



I'm not even going to lie, Taylor Swift's '1989' is one of my favourite and most spinned albums of this decade. Certainly the best Pop album I've heard (or been made to tolerate). Even Ryan Adams covered the entire album, so I guess it really struck a chord with people even outside the target audience. But that said, I've never really enjoyed any of Taylor Swift's prior releases (although 'Red' certainly sewed the blueprints for '1989'). Still, I've actually looked forward to hearing how she could possibly follow it up. Numerous controversial news stories didn't really put me off as I'm more interested in her music than her. 

Well... I'm now convinced that '1989' was merely a one off gem. This is just flat out bad. I liked opening track and single '...Ready For It?' The bubblegum Pop chorus definitely recaptured those '1989' vibes, but other single 'Look What You Made Me Do' is just too annoying and throwaway for me. Have we really reached a point where artists need to blatantly rip off Right Said Fred in 2017 Pop music, I mean c'mon! 

Really when it comes to analysing 'Reputation' it's actually worth talking more about producer, songwriter and collaborator Max Martin rather than Taylor Swift herself. Not a lot has really changed in terms of Taylor's voice, lyrical style and performance, but it is Max Martin's songwriting and production that really falters this album. There was absolutely no doubt in my mind that 'Reputation' would be full of Trap beats, and they have been implemented in the most predictable, cliche and lazy way possible. They are just there for the sake of being there. What is an even worse offender is that this album is littered with wobbling Dubstep breakdowns... I mean seriously? This would have been old hat in 2012, let alone 2017. It just makes the album sound incredibly dated and creatively stagnated. There is far less of that dreamy vibe that made songs like 'Blank Space' and 'Clean' such winners, and the all out Pop bangers don't bang as hard because they are dripping with stock ideas and sounds.

I genuinely feel like Max Martin has given his best productions and ideas to Katy Perry's 'Witness' and Lana Del Rey's 'Lust For Life' this year, and Taylor Swift has been given the scraps. I listened to Katy Perry's 'Witness' album it is genuinely a good, catchy, well written Pop album with very similar blueprints to 'Reputation', just better realised. And yet 'Witness' has been a bit of a flop in terms of sales, popularity and critical praise. Lana Del Rey's 'Lust For Life' dabbled into Trap and R&B sounds, but actually carried it off rather well (especially for an artist who doesn't necessarily need to be singing over Trap beats). 'Reputation' is just a lowest common denominator Pop album that lacks any real spark or creative juice. It genuinely has tried to go for a slightly darker, edgier and more adult sound, but with so much unoriginality and predictability, it just falls flat on its face. Every track sounds like it was concocted by a marketing team. Ultimately it does very little to enhance the reputation of Taylor Swift or Max Martin. 4/10.

ALBUM REVIEW: BELL WITCH - MIRROR REAPER

BELL WITCH
MIRROR REAPER
Profound Lore Records
Funeral Doom Metal
Listening Format: CD



Before I begin... LOOK AT THAT ALBUM COVER!!! GOD DAMN THAT IS FREAKIN' EPIC!!! I WANT THAT ON MY BEDTIME QUILT!!! COME ON RED BUBBLE, QUILT ME UP!!!

Sorry... 'Mirror Reaper' is the 4th full length album (and boy is it full length alright) by Seattle, Washington formed duo Bell Witch. Funeral Doom Metal is a pretty niche and cult subgenre that even some hardcore Metal fans aren't really aware of, but it has produced some absolutely fantastic bands over the decades. To sum it up, it takes Doom Metal to it's most logical extreme before it becomes pure Drone. 50bpm super slow, glacial riffs, massively downtuned guitars with super low vocals, big running times and lots of atmospheric qualities. But I digress. Depending on which format you listen to 'Mirror Reaper', we essentially have an 83 minute long song. Your average Metallica fan will probably scream in sheer terror at the thought, but for those well versed in Funeral Doom Metal, you'll probably be thinking "Meh, is that all?"

The album is presented differently depending on which format you listen to. If you have the Digital version, it's a full 83 minute piece named "As Above So Below". The CD cuts the piece in half spread over 2 discs "As Above" and "So Below", whilst the vinyl edition has to cater to 3 side breaks, "As", "Above", "So, "Below". I went for the middle ground. As a fan of physical music I'd say this is a rare case where the Digital format reigns superior, but if you buy the vinyl edition you'll get that GOD DAMN BEAUTIFUL GATEFOLD ARTWORK!!! I WANT TO WRAP IT OVER MY NAKED BODY AS MY DREAMS TRANSPORT ME TO THE MIRROR WORLD!!! RED BUBBLE!!! TAKE ME TO MY SLUMBER!!!... Sorry... But even the presentation of this album is quite forward thinking. You will genuinely get a different listening experience from each version of the album you choose to hear it on. I like that.

What makes 'Mirror Reaper' even more ambitious is it's concept. Bell Witch drummer and vocalist Adrian Guerra tragically passed away last year at just 36 years old. Bell Witch decided to continue with new drummer and vocalist Jesse Shreibman, but wrote 'Mirror Reaper' as an epitaph to Guerra. I believe that Guerra was actually present in the early stages of making this album anyway, as some of his own vocal recordings have been implemented into the album. He appears on this album more than just in spirit, and that adds a beautiful and emotional context to the music and lyrics.

'Mirror Reaper' is a very challenging listen even for well versed Funeral Doom fans. The album is very slow, sparse and repetitive. Even though the song runs at 83 minutes, don't expect much in the way of progression or variety. It's so slow that it rarely reaches a potential to progress into something. The pacing of the album ranges from standing still to lumbering incredibly slowly through quick sand. The same riff cycle might be padded out for minutes. But fortunately, what makes this song so captivating is it's strong and haunting atmosphere. Technically this is a deceptively simple and sparse album. Just 6 string bass, drums, vocals and some very subtle bassy organ notes that essentially create a low pitched ambient hum. But it is this bareness that actually speaks volumes. The way Bell Witch are able to hold on certain notes creates this teasing tension. Every riff moves like a crashing wave against the jagged rocks, holding a mesmerising power. If you've listened to the likes of Esoteric or even previous Bell Witch releases, the first half of this song isn't worlds away from what you would expect from them, only the riffs sound more drawn out and spacious. This is actually their most melodic release, with stunning use of clean vocals that almost have this ritualistic ghostly choir feel to them, made indecipherable through all of the reverb. 

It is the second half (or second disc) that really tipping me over the edge. The last 35 minute chunk of this behemoth almost leaves the Metal realm entirely. Things slow down almost to a complete halt and there are long stretches with no percussion at all. Instead gorgeous melodic bass tapping escalates every so slightly into this incredibly moving and melodic cyclic mantra that reminded me quite a lot of Boris' 'Flood' album (also one giant song). I found myself approaching 'Mirror Reaper' more like an Ambient or possibly Post Rock album (think early Sigur Ros kinds of slow). It's not too often where I go into an Extreme Metal album and come away impressed even more by the non-Metal sections of the music!

If you've had no desire to hear or enjoy Funeral Doom Metal before, 'Mirror Reaper' isn't exactly going to win you over. It still has crushing, sometimes dissonant slabs of riffs and monstrous death growling vocals, and it certainly requires extreme patience to make it through this entire album. But those up for the challenge will leave this album not only humming the melodic arpeggios heard, but feeling like you have been on an epic journey. 'Mirror Reaper' is truly a spiritual piece of music that takes Funeral Doom to it's most literal point. This music actually feels like a funeral or an epitaph, for a dear lost soul. It is packed so fiercely with sadness, heartbreak and loss, and yet is supremely life affirming rather than opting for the feel of despair and hopelessness that Funeral Doom usually delivers. 'Mirror Reaper' is not only the best Funeral Doom Metal album since Esoteric's masterpiece double album 'The Maniacal Vale', but one of the most ambitious, forward thinking and genuinely moving pieces of music you will hear in 2017. 8/10.

Shout out to my man Collier at The Decibel Addict for passionately rambling to me about how much I should hear this album. He wasn't wrong!

ALBUM REVIEW: PRIMITIVE MAN - CAUSTIC

PRIMITIVE MAN
CAUSTIC
Relapse Records.
Sludge Metal.
Listening Format: CD



'Caustic' is the second full length record from Denver, Colorado based Sludge Metal trio Primitive Man... Boy is this some HEAVY shit right here! I've listened to a lot of heavy and extreme music in my time to the point where I'm rarely surprised by sadistically abrasive music any more, but 'Caustic' really set me back. Right from the first few seconds of 'My Will', I was hit with this ultra swampy, crushing and earth shattering sound that pricked up my ears. I guess in terms of composition it is very much Sludge Metal at heart, but the presentation, sound and production here is something unique. Primitive Man have really pushed the ridiculous levels. I don't know what kind of amps and pedals they have setup on this album but DAMN!!! This just might be the heaviest record I've EVER HEARD!!!

The entire record runs for 77 minutes and never once lets up. The actual riffs and compositions aren't quite breaking new ground, but they are certainly good, with plenty of scorching riffs. I actually find that the lengthier tracks like 'Commerce' and 'Disfigured' work to the bands strengths even better, creating a savage onslaught that escalates in intensity. In a way, the riffs and chord choices are fairly repetitive and simplified, but then you shouldn't expect anything less from a band called Primitive Man. Don't expect the dynamic nuances of Neurosis. Primitive Man's strength on this album is the horrible, suffocating atmosphere they have created. I find 'Caustic' is best experienced in its entirety, on CD, with no breaks. It is genuinely a challenge to even make it to the end of the record because it is so savage. Sure a record this slow, plodding and repetitive doesn't exactly need to be 77 minutes long, but in this context it totally works in their favour. Think of this record as a sadistic psychopath who has kidnapped you and tied you to a table. Each track acts like a different deadly weapon or tool in which to torture the victim with. Does a sadistic maniac want you to have an easy 40 minute ride, or do they want to brutalise and mutilate you as slowly and painfully as they can, for as long as possible?!

Listening to 'Caustic' is like slowly being beaten to death with a sledgehammer. Starting at the kneecaps, and then inviting a larger array of sharp objects searing into delicate places. Primitive Man deliver totally nihilistic, miserable, hate fueled noisy Sludge that will end up breaking you down mentally. The insane guttural, monstrous vocals sound demonic... This CAN'T have been made my humans!!! At times the sheer weight of the riffs gets so ridiculous that I couldn't help but laugh out loud at a couple of points, if only to cleanse my own sanity. But in terms of sound and atmosphere, 'Caustic' is a huge achievement. It really does go the extra mile and rises above a lot of other recent brutal Sludge records I've heard. 'Caustic' is not only the aural equivalent of a sadistic, exploitation Horror film, but I genuinely feel like this could be a landmark release in Extreme Metal. It's the kind of album where other bands, sound engineers and producers will listen to it and think "Shit son... We gotta up our game!" 8/10.

ALBUM REVIEW: GODSPEED YOU! BLACK EMPEROR - LUCIFERIAN TOWERS

GODSPEED YOU! BLACK EMPEROR
"LUCIFERIAN TOWERS"
Constellation Records
Post Rock, Drone, Noise Rock.
Listening Format: Vinyl



Godspeed You! Black Emperor feel like they should need no introduction, but I actually forget that when I stumbled upon this band more than ten years ago, I'd never heard them mentioned by anyone. No other artists or journalists were name checking this Canadian collective and they didn't have any radio airplay. It wasn't until the Danny Boyle film 28 Days Later came out that I first heard the name, but I didn't stumble across what a legacy this band hold until falling deep down the internet forum rabbit hole. Of course nowadays, they feel like a band that need no introduction at all. Pretty much anyone who listens to alternative music or reads Pitchfork will claim to love this band. They even got name checked by Seth Rogan in the film Pineapple Express. But if you STILL haven't heard of them by now, Godspeed You! Black Emperor hold a LOT of acclaim. I frequently hear them get labelled as "The best Post Rock band EVER!", "The best band of the last 20 years!" or even "THE BEST BAND EVER!!!" And who am I to argue!? Their 4 main releases in their original incarnation between 1995-2002, I consider to be some of the most mind-blowing, groundbreaking, forward thinking, bone-chilling, awe inspiring, [INSERT GRAND HYPERBOLE HERE] EVER!!! One of THE bands whose music will sing ruthlessly in my veins 'til the day I die. They went on a large hiatus after 2002's 'Yanqui UXO' album, but came back really strong. Not everyone has favoured their "reunion" albums quite as much, but I have thoroughly enjoyed them. So here we have their third "reunion" album, Godspeed You! Black Emperor Plays "Luciferian Towers"!

Well... Once again I am floored! Following in the wake of 2014's 'Asunder, Sweet, And Other Distress!' Godspeed are making some of their most concise albums, running just over 40 minutes and single LP length. Yet I feel like they are still managing to bring an apocalyptic tour-de-force with their grand instrumental Rock. Opening with the 7 minute 'Undoing a Luciferian Towers', this track plays like an overture. An ominous drone escalates in loudness and intensity as the ensemble of guitars, drums, violins and atmospherics gradually sink their teeth in one by one. It plays like an orchestra warming up their instruments at the start of the concert. Though the track concludes on an almighty cacophony... An eerie, joyous racket... GY!BE veterans might be tempted to call this "light" or perhaps even "tame" compared to the band that devastated our ears on 'Lift Your Skinny Fists Like Antennas to Heaven's 20 minute behemoths. Fortunately, once the band have warmed up they soon deliver something much more atypical of their style. In fact 'Bosses Hang' is without a doubt one of my all time favourite GY!BE compositions. Over 14 minutes and 3 distinct movements, the ensemble chill my bones to the core with thundering drawn out guitar chords, pounding timpani drums and sweeping violins. Because GY!BE implement so many Noise, Drone and Ambient sections into their compositions, I feel like their ear for supremely catchy melodies can often be understated. But 'Bosses Hang' delivers this absolutely beautiful and glorious leading melody that often weaves in and out of the 3 movements. The first act is pretty storming, building up rather hastily (by their standards), before winding down in the second movement to an almost Celtic influenced string section that sounds eerily similar to the mid section of The Who's 'Baba O'Riley'. Typically when the third movement of 'Bosses Hang' kicks up, it cuts you like a storm in heaven, reprising the epic main melody with guitars that are screaming towards the skies. Godspeed You! Black Emperor are well known for their ear shattering climaxes (often following long teasing build ups) and here we find one of their most effective uses of this trademark. Even though it may adhere to Post Rock standards, I feel like GY!BE have more than earned the right to be doing it still in 2017, I mean they really ARE the band that have always done it better than anyone else!

The third track 'Fam/Famine' is more on the restrained side like the opener, but still glorious. GY!BE manage to work in their more introspective and mellowed out moments arguably more effectively than the previous two album's Drone interlude tracks. This track once again hangs on an understated melody, washed with tremolo strings, and noisy production, retaining such a distinct earthy and natural sound. "Luciferian Towers" ends on another 14 minute composition, 'Anthem For No State', building slowly with gloomy guitar arpeggios and mournful strings, almost having this Morricone old west kind of feel. The way this track unfolds is much more gradual, reminiscent of old school GY!BE in a way. Once again it is the third and final movement that impresses most, launching into straight up Noise Rock territory, with these loud feedback driven guitars just hanging in the air as Sophie Trudeau's violin shrieks violently and the punishing drums shatter the ground beneath. This track certainly has the most "soundtracky" feel on this album, tying nicely with the album artwork that mimics a film script.

Admittedly Godspeed You! Black Emperor's post reunion albums aren't QUITE as good as their original incarnation's legacy, but I will say with an honest heart that all of the major Post Rock bands such as Mogwai, Explosions In the Sky, Sigur Ros and Mono had a 10 year gap where they could have caught up and tried to outdo their genre foes, but none of them stepped up to the plate (don't get me wrong, I actually like those bands). A new Godspeed album doesn't come along often enough, but they are still the absolute kings of Post Rock... When Godspeed release a new album, they manage to dwarf EVERY ONE OF THEIR PEERS into complete insignificance. That is how good this band are. "Luciferian Towers" is another stunning effort, and it stands out from some of their other albums by proving just how utterly fucking good they are at writing killer melodies. Not since the opening refrains of 2000's "Storm" have I found myself humming a Godspeed song on my walk home from work. Instead of going for something, dark, apocalyptic and menacing, "Luciferian Towers" plays like a victory march after an epic, bloody battle. It's one of their most joyous, majestic and dare I say it, feel good albums in their entire discography. Utterly essential listening. It is a new Godspeed album and YOU MUST HEAR IT!!! 8/10.

ALBUM REVIEW: MOTORHEAD - UNDER COVER

MOTORHEAD
UNDER COVER
Silver Lining Music
Hard Rock, Speed Metal, NWOBHM.
Listening Format: CD



One criticism that is often thrown Motorhead's way is that all their albums sound exactly the same... Well not this time! I mean it does still have that unmistakable Motorhead sound, production style, and Lemmy's iconic vocals, but it is very refreshing to hear them take on some different sounds and styles to the norm. This compilation collects covers that have mostly appeared elsewhere in their discogaphy, so die hard fans might not have any surprises in store. Most of the tracks have been recorded after the 2000s, but 'Sympathy For the Devil', and a cover of Bowie's 'Heroes' come from the final recording sessions in 2015 before Lemmy's sad passing.

Motorhead are honouring their heroes and influences here, covering artists such as Sex Pistols, Rainbow, Rolling Stones, Ted Nugent, Ramones and more. Compared to the classic 70s Motorhead sound, things are a lot more laid back on this album. That raging, noisy blur of speed that makes iconic tracks like 'Ace of Spades' or 'Motorhead' isn't quite heard on here. 'Cat Scratch Fever' and 'Rockaway Beach' are surprisingly tame for Motorhead. Even when they tackle some of the faster songs like 'God Save the Queen', they don't manage to match the ferocity of The Sex Pistols original. 'Heroes' is an intriguing rendition, almost going for this stadium rock sound, but there is something absolutely wonderful about hearing Lemmy taking on Bowie. On 'Starstruck', Lemmy must have realised that his vocal range isn't anywhere near capable of matching Ronnie James Dio's voice, so Biff Byford from their fellow peers Saxon takes on the high notes on this one. They really stumble through this track, but in a very entertaining way. Metallica have often praised Motorhead as a big influence and even released the 'Motorheadache' EP covering their songs, so it is ace that Motorhead came full circle, covering 'Whiplash' by Metallica, and this is one of the better cuts on the album too.

This Motorhead covers album is kind of like watching the film Birdemic. It's so bad that it's good! None of these covers manage to outdo the originals, but it is so fascinating to hear them Motorheadize some classic Rock songs! 'Under Cover' is kind of terrible, yet utterly enjoyable! 6/10.

ALBUM REVIEW: DALEK - ENDANGERED PHILOSOPHIES

DALEK
ENDANGERED PHILOSOPHIES
Ipecac Recordings
Industrial Hip Hop, Illbient, Noise.
Listening Format: Digital



Dalek is a Hip Hop outfit with a twist who have been active since the late '90s. Dalek have always strived to bring something different to the sphere of Hip Hop, combining hard hitting boom bap beats and politically charged rapping with elements of Industrial, Drone, Noise and Dark Ambient. They are also considered a strong part of an obscure and short-lived subgenre "Illbient", combing elements of Ambient music and Hip Hop alongside the likes of DJ Spooky, Scorn and Techno Animal. Because Dalek is such an experimental, noisy and abrasive act, it comes as no surprise that they have actually found an even bigger following in the Metal and experimental music communities than in Hip Hop. Their long standing relationship on Mike Patton's Ipecac Recordings has also helped to cement their cult status.

'Endangered Philosophies' is Dalek's second full length album following their hiatus after 2009's 'Gutter Tactics' LP. In 2015, the legendary act began touring again, culminating in their 2016 comeback mini-LP 'Asphalt For Eden'. If their previous outting was the band testing the waters, then this one is them fully re-emerging themselves into their craft. Dalek's most critically acclaimed album, 2005's 'Absence' was by far their droniest and darkest effort, often removing itself from Hip Hop entirely. But with 'Endangered Philosophies' Dalek have made one of their most direct and cohesive albums yet. In a way it follows on from the more immediate 'Abandoned Language' album from 2007. This time around, Hip Hop has taken a much more prominent role, with all the tracks being centred around the beats and MC Dalek's politically charged rhymes. Straight from the gut punching opening track 'Echoes Of...' Dalek make their mission statement. Pounding looped beats, booming bass and shoegazy layers of noise that threaten to overwhelm MC Dalek's fiery verses. I've always really liked the way the vocals sit in the middle of the mix, sometimes making the words indecipherable, but allowing them to truly add to the atmosphere. Whilst the mix of this track definitely favours the Hip Hop parts of their sound, it is still fairly noisy, with a sample that sounds like a swarm of bees! 'Weapons' is less abrasive allowing the beats and rhymes to really lead the way. Massive standout 'Nothing Stays Permanent' feels like Dalek's attempt to make a dark and eerie Hip Hop banger, reminiscent of RZAs dark and grimy production in early Wu Tang joints. The cold and haunting piano on this track is a touch of magic. 'A Collective Cancelled Thought' is a slow building 7 minute epic that escalates in menace, finally exploding into a raging performance from MC Dalek as a droning siren threatens to swallow up the whole track. Closing track 'Numb' elevates the vocals far more prominently, leading to one of MC Dalek's most passionate performances as he raps 'This is gonna change you / This is gonna change me / This has gotta change".

Not only do Dalek feel like they have barely been away at all, but they've come back all guns blazing, continuing to make abstract, experimental, forward thinking and outside the box Industrial Hip Hop. 'Endangered Philosophies' is an inspired record and whilst it isn't the most challenging in their discography, it's sheer direct approach works really well, with enough variation and weirdness to keep it interesting. There truly would not exist bands like Death Grips if it wasn't for pioneers like Dalek. And whilst Death Grips may be more visceral and demented in approach these days, Dalek have just as much darkness, horror and weirdness in their own right. 8/10.

ALBUM REVIEW: MOGWAI - EVERY COUNTRY'S SUN

MOGWAI
EVERY COUNTRY'S SUN
Rock Action Records.
Post Rock.
Listening Format: CD



Scotland's Mogwai are considered to be one of the pioneers of the Post Rock movement, with classic, genre defining albums under their belt such as 'Young Team', 'Come On Die Young' and 'Happy Songs For Happy People'. If you claim to know anything about Post-Rock you'll probably know this band pretty well. Their '90s and early '00s output has all been very solid. In fact I even really enjoyed 2011's 'Hardcore Will Never Die, But You Will'. However that album was really the start of a slippery slope for the otherwise untouchable band. They began to put out a release every year, whether it be new full length albums, remix albums, compilations, live recordings, and a few soundtracks ('Les Revenants' actually being a sombre discography highlight). Whilst Mogwai remain a devastating live force, it would be easy to accuse them of oversaturating an already stagnant genre with too many releases. Aside from Godspeed You! Black Emperor (who really take their time between releases), Post Rock really isn't as exciting as it was 10-15 years ago. Explosions In the Sky and Mono are also retreading the same old ground, Sigur Ros are putting out good material but with large gaps between their new material, some bands like Tortoise have changed style completely. So perhaps the leaders of the genre ought to be lighting the way in 2017?

Sadly this is not the case. Other than the departure of long time guitarist John Cummings, there are absolutely no surprises or fresh ideas in store for Mogwai, following the disappointing 'Rave Tapes' and the fairly decent but nothing to ride home about 'Atomic'. Opener 'Coolverine' is enjoyable enough, but really just Mogwai by the numbers at this point. 'Party in the Dark' at least stands out with the use of lead vocals. The track especially reaches back to 2001's 'Rock Action' record which experimented with Alternative Rock and Pop songs, but even still, Mogwai have executed these ideas with a far better impact in the past ('Hunted By a Freak, 'CODY'). 'Brain Sweeties' tries to go for something epic, textured and pounding, but just sort of ends up being pretty, but lacking any real sense of weight or drama. 'Crossing the Road Material' is a particular lowlight in Mogwai's entire back catalogue. This track is so painfully by the numbers and middle of the road, that I think they were actually aware if it when they came up with the title. It's really about as generic as Post Rock gets, It could have been made by some indie YouTuber in one of those "how to make a Mogwai track" kind of videos. The rest of the album is genuinely so bland and uneventful, that I am even struggling to think of anything to say about it. Fortunately it does end on a stronger note with 'Old Poisons' belting out roaring, doomy guitars, but even this track sounds awfully reminiscent of 'Bat Cat' from 2008's awesome 'The Hawk Is Howling' album.

At its best, 'Every Country's Sun' is mildly enjoyable and sophisticated. If you have never heard Mogwai or Post Rock before then, sure, I guess it won't be a horrible listen. But honestly for those who are more than experienced in the wonders of the genre, and this very band, then this album really is struggling to say ANYTHING remotely fresh, interesting or inspired. Mogwai have sadly become The Fall of their genre. This decade they have felt it acceptable to put out a release practically every year, recycling the same ideas and sounds over and over. 'Every Country's Sun' feels like the absolute nadir in their discography. There are so many all too familiar sounds, ideas and motifs that it is starting to border on parody. This album is so generic, so limp and so uninspired that it is somewhat sad to experience. I still maintain that Mogwai are a great band, in fact a groundbreaking one at some point, but now they are going for quantity over quality with seemingly no shame. Mogwai really need to take a hiatus, take a few years out, gather some stronger ideas together and then try again. It is sad to listen to a band who clearly have so much talent and good ideas in them, content to just knock out sub B-side quality material. This is the sound of a great band batting way, way below their potential, and seemingly feeling more than happy to do so. 4/10.

VIDEO GAME REVIEW: SONIC MANIA

SONIC MANIA
Developers:  PagodaWest / Headcannon
Publisher: Sega
Platformer, Side-scroller, Adventure.
Format Played: PS4


My earliest video game memories come from playing the original Sonic the Hedgehog at home on the Sega Mega Drive. Fortunately as a child I grew up when the Sega Mega Drive was in it's prime and got to play it first time around and be amidst the explosion of a cultural icon. Unlike Sonic's main competition, Mario, Sonic did not transition so well into 3D after leaving the 16-Bit era towards the end of the '90s. Though there have been countless Sonic games from the 00s onwards, nearly all of them have been met with mixed or outright negative reviews. The apex being the downright broken and unplayable 'Sonic the Hedgehog' for X-Box 360 and PS3, also known as "Sonic '06". However in 2010 a downloadable game bravely titled Sonic 4 was made. This 2.5D adventure attempted to mimic the gameplay style and visual look of the classic Sega Mega Drive games. It mostly had that side-scrolling gameplay style with some 3D elements thrown in and was a fairly good attempt at recapturing the real Sonic spirit. Perhaps it is the success of this game that has lead us to Sonic Mania...

Let's cut the bullshit. Sonic Mania is without a doubt the best Sonic game since Sonic & Knuckles on Sega Mega Drive all the way back in 1994. The Sonic Team have tried so far to deviate and try different things since then. But it turns out going back to the well is all they needed to do. Sonic Mania is created utterly from 16-Bit components. The visuals, gameplay, sprites and music don't appear to have anything that couldn't have been made on a Sega Mega Drive. The only modern touches being the flashy menus, loading screens, auto-saves, trophies/achievements etc. In terms of how this game is built, it plays exactly like it could have come out in 95/96, directly after Sonic & Knuckles. It plays much better than the actual game that did come out after it, Sonic 3D: Flickies Island. Sonic Mania is visually stunning, pushing 16-Bit gaming to it's limit with so many background and foreground layers. It especially plays incredibly smoothly on HD formats with a flawless frame rate. In particular the second act of "Press Gardens" looks phenomenally beautiful, with so many vibrant colours. The music is pure 16-Bit too with that "Genesis Sound" in full force, and these amazing retro Synth-Funk gems. In terms of characters it just sticks to the essentials, Sonic, Tails, Knuckles and Robotnik (or Eggman).

One of the most striking things about the game is that when you begin playing, the very first level is seemingly just Green Hill Zone, looking and sounding exactly as it did back in 1991. However as you begin to play, little subtle changes start to appear. Things in slightly different places, different enemies, power boxes that didn't appear until Sonic 3... As you play on you gradually realise there are completely new areas added. In fact most of these classic levels are practically double the size of their originals, with multiple branching paths. As you keeping playing you have one of those HOLY SHIT moments, like revisiting a childhood haunt only to see how it has changed. Essentially Sonic Mania takes elements from all the 16-Bit Sonic classics (including Sonic CD) and reassembles them into one sphere. It makes for an overwhelmingly breathtaking nostalgia hit for those who played the originals to death. Sonic Mania adds lots of completely new levels built from the ground up too. So this is far from just a re-hash of old ideas, all of the new ideas work really well and stick to the spirit of the originals. There is nothing here that couldn't have been done on a Sega Mega Drive and nothing feels irksomely out of place. In particular the new "Special Stage" is amazing, ironically using early polygonal graphics that seemingly mock the much maligned Sonic R (a racing game made for Sega Saturn).

Sonic Mania has plenty of replay value. Not only are there loads of special stages to play through, but you can play the entire campaign as Sonic, Tails, Sonic & Tails, Knuckles or Sonic & Knuckles, with each character having different abilities, and unique campaigns. There is also a two player mode, time attack mode and unlockables such as debug mode! Combine this with trophies/achievements and you have a game that is even more challenging and engrossing than the originals!

If it wasn't for the retro gaming boom, I doubt Sonic Mania would even exist. The Sonic Team have constantly tried to make Sonic more modern and cutting edge, and with each attempt it has wandered further and further from its roots into something displeasing and unrecognisable. It turns out going backwards was the way to go forwards. Even Sonic newbies will find plenty to love in this game, because it plays like a dream and oozes addictive gameplay. Everything about this game has been crafted with genuine love and care. As if the developers actually listened to what the fans want (for a change)! Sonic Mania plays like an Indie game and sits alongside the likes of Axiom Verge, Shovel Knight and even Minecraft in how it honours nostalgic gaming. The sort of "remix" approach that this game has taken is also potentially boundary pushing and could be applied to other Sega Mega Drive classics. How about they take the same approach to Streets of Rage, and just make those original levels even bigger and more ambitious, yet retaining the 16-Bit limitations? I've dreamed of there being another classic 16-Bit Sonic game, just made bigger and longer, and finally that dream has become reality. Sonic Mania is not only the best game in the series since its classic heyday, but genuinely a stunning work in its own right that totally punches it's own weight. 9/10.

ALBUM REVIEW: STEVEN WILSON - TO THE BONE

STEVEN WILSON
TO THE BONE
Caroline International.
Art Pop, Alternative Rock, Progressive Rock.
Listening Format: Digital.



When it comes to modern Progressive Rock, nobody feels like more of a flag-bearer of the genre than Steven Wilson. Sure the "dinosaurs" of the 70s still hold all the acclaim. Whilst Prog has certainly influenced many artists that came after it, and latched onto other subgenres of music, there aren't as many artists in the music limelight who quite openly embrace the somewhat untrendy term. Steven Wilson is one of the brightest stars. He fully embraces all that is Prog. Wilson has even been integral in remastering classic 70s Prog albums by the likes of Hawkwind and Jethro Tull, fully immersing himself into the history of the genre. The Londoner has been making music since the late 80s in various different forms, but his most famous act is Porcupine Tree. Whilst many of the genre leaders like Yes, Genesis and ELP spent their 80s derailing into Pop music and somewhat leaving behind Prog altogether, by the end of the decade Progressive Rock started to see a resurgence with artists inspired by the likes of 'Close to the Edge', 'In the Court of the Crimson King' and 'Dark Side of the Moon' starting to surface. The likes of Dream Theater, Spock's Beard and of course Porcupine Tree. With Steven Wilson as their main songwriter and frontman, Porcupine Tree were truly a progressive band. They explored multiple styles and subgenres, never making the same album twice, always expanding their sound and making complex, thought provoking music. The band seem to be on indefinite hiatus now, but Steven Wilson has basically carried on a similar sound and ethos into his solo ventures.

Wilson's first three solo albums were as Prog as it comes. In particular 'The Raven That Refused to Sing (And Other Stories)' was full of mind-boggling complex instrumentation, different movements, long instrumental jamming and soloing, varying themes and time signature changes, analogue production and mastering. It genuinely felt like it was a lost gem from the 70s heyday of Prog. The album that followed, 'Hand. Cannot. Erase' in comparison sacrificed a lot of those things in order to make a much more cohesive and accessible album in terms of songwriting, combining catchy hooks and soaring melodies, with complex playing and Wilson's fetish for the mellotron! This album also sounded much more personal lyrically and much more modern. Sure there were touches of nostalgia, but it very much sounded like what a modern Prog album should. Not all of the Prog-heads got on board with it, but I personally found it to be his best solo album yet (amongst a mighty fine discography). In a way Wilson's fifth full length album 'To the Bone' takes this direction even further. 'To the Bone' is Steven Wilson's most accessible, catchy, hook-laden and Pop oriented album in his solo discography. There isn't even a song that breaches the 10 minute mark! Has he gone mad???

'To the Bone' sucked me right in from the start, opening with one of the strongest tracks (rightly so since it is the title track of the album). After a Morricone inspired Spaghetti Western style intro, bursts a very upbeat and stripped back sound. Production-wise it instantly feels so bright and colourful, with a slight Funk influence kicking in the chorus, complete with soulful female backing vocals. The second half of the song beautifully opens into a dreamy and uplifting ending, punctuated by floaty synth and mellotron that overwhelms the guitar. Wilson's voice cuts through magically. 'Pariah' is a huge standout on the album which sees Wilson's duet partner Ninet Tayeb return. She stirred up such a massive presence on Wilson's previous album 'Hand. Cannot. Erase', especially with her solo vocal on the outstanding downer ballad 'Routine'. They recapture that magic on 'Pariah' with their voices gelling so wonderfully together that it will be hard to imagine future Steven Wilson albums without her presence. Wilson has just got better and better and working in such strong, overwhelming melodies. Surprisingly the two minute long acoustic ballad 'Blank Tapes' is a wonderful little inclusion on the album. It's not often we hear a Steven Wilson track sounding so brittle and so short, so this was a lovely surprise.

'To the Bone' isn't a complete home-run though. 'Detonation' is the clearest attempt to do something more typically "Proggy" but falls a little short with off tangent guitar soloing and changes in direction that don't quite flow. It begins with an intriguing Electronic beat intro, and ends with funky Talking Heads inspired Funk Rock. In an album filled with more linear tunes, it's weird that the most "typical" Steven Wilson track sounds out of place and overbloated. Even still there are still interesting ideas in this track even if as a whole it doesn't quite come together. The single 'Permanating' is a track I keep going back on forth on. I felt like hearing it on it's own, with the video, it sort of worked, but placing it bang in the middle of the album, it feels so jarring. The record suddenly takes a massive sonic jolt, into something really loud and kind of obnoxious. ''Permanating' sounds like a Scissor Sisters song, and genuinely just as camp with pounding piano chords and Wilson's "oh yeah, I'm going full falsetto and you can't stop me!" vocals. It's fun, but I kind of feel like this would have been better as a non-album single. I just don't feel like it fits the flow of 'To the Bone'. 

So is 'To the Bone' a Progressive Rock record at all? Yes actually. Steven Wilson continues to prove that he is a progressive artist, and even with a discography as vast as his (if you count all his other projects), it is incredible that the man still has so many fresh ideas inside him, good ones too! Don't get me wrong, 'To the Bone' is not for the King Crimson fan, or for those that enjoy listening to Rick Wakeman make mad, violent love to his keyboards, clad in full wizard attire. Wilson has already done plenty of that kind stuff in the past. With 'To the Bone' he has taken risks and proved that he can make compelling Pop and radio friendly music, which still honours the sound, style, production, writing and ultimately the ethos of Progressive Rock. In many ways, 'To the Bone' makes me think of Arcade Fires' latest album 'Everything Now'. Arcade Fire were once a band known for thinking outside of the box, making challenging and thought provoking music. But with 'Everything Now' they decided to make a catchier, Poppier record and it just fell flat on it's face. Steven Wilson has shown us the right way to make more accessible, easy on the ear music, and yet not sacrifice artistic integrity. 'To the Bone' very much has a less is more approach, but it actually channels two of Porcupine Tree's lighter more accessible and Pop-oriented albums 'Lightbulb Sun' and 'Stupid Dream'. What the album lacks in pomposity and pretension, it more than makes up for in strong melodies, hard hitting choruses and well written songs. If anyone else made this album it would be seen as one of the most ambitious and versatile of the year, yet because STEVEN WILSON, has made this album, somehow it might come across as less ambitious and striking compared to his past discography highs. I personally feel like the tipping scale has worked in Wilson's favour. The lack of pure Prog trademarks is more than suitably made up for with the emphasis on huge melodies and strong writing. And in terms of sound and production, this is still a near immaculate effort. Wilson still manages to inject so many amazing textures, soundscapes and atmospheres, playing with a more than suitable team of collaborators. The man very much knows what he is doing and has invited his listeners into yet another unique and distinctive world full of wonders. It isn't as dark as previous outings, and perhaps it doesn't quite hit as hard as his last two records, but it very much stands on it's own merits. Like the album sleeve and title suggest, this is Steven Wilson stripped to the bone. 8/10.

ALBUM REVIEW: BRAND NEW - SCIENCE FICTION

BRAND NEW
SCIENCE FICTION
Procrastinate! Music Traitors (Self-Released)
Emo, Alternative Rock, Post-Hardcore.
Listening Format: Digital


BRAND NEW Brand New, BRAND NEW Brand New, BRAND NEW BRAND NEW!!!!! DROPPED RIGHT OUT OF THE BLUE!!! NOW IT'S TIME FOR A REVIEW...

When you think of the word Emo, it conjurers a lot of images, some of them are perhaps even derogatory or completely misguided. I remember as a teenager hearing At the Drive In, REM, Bright Eyes, Elliott Smith AND My Chemical Romance get described as "Emo"... But if there is one thing I know for sure, when referring to Emo as a music subgenre, Brand New are one of the first bands that should come to mind. This seminal New York formed band really are one of the most important Alternative Rock acts of the noughties. Their first album was released in 2001, and their previous release 'Daisy' bookended the decade in 2009. After that there were a few tours, and a few re-issues and archival releases, but just a week ago, Brand New's fifth album 'Science Fiction' dropped out of the blue, self-released by the band digitally, with physical releases due to follow. Their first album in 8 years!

So what can we expect from a BRAND NEW Brand New album in 2017? Recently their fellow peers American Football returned with a new album after a 17 year hiatus, and it was met with a very lukewarm reception from fans and critics. I personally thought it was great, but surprisingly the prospect of a more mature and grown up American Football fell on deaf ears. The Emo kids have now become Emo adults with families and houses... The natural expectation for Brand New's return would put them in a similar scenario. These guys aren't kids any more. They are all grown up and have very much matured, and this is the direction their music will move in too, right?! Their last album 'Daisy' injected more Post-Hardcore elements than ever, and was a rather visceral record, but Brand New have always shown a maturity in their writing too, with some exceptional Folk influenced ballads to their name. "Me Vs. Maradona Vs. Elvis' am'right!? Naturally 'Science Fiction' is by far their most mature and downbeat album to date. Long gone are the silly overlong song titles. Lyrically this is a very introspective record. Musically there are a lot of moments that verge on Indie Folk, with the Post-Hardcore side of the band taking much more of a backseat.

'Science Fiction' opens with a really ominous, crackling spoken word sample, as if you'd accidentally put on an old Godspeed You! Black Emperor record! It's actually a fantastic way to set the tone, as 'Lit Me Up' evolves into a slow-burning, spacey dirge filled with atmospheric reverb guitar. 'Could Never Be Heaven' is a straight up Folk ballad something (early) Sun Kil Moon might have written. Stand out 'In the Water' combines those acoustic guitar driven verses with loud, explosive guitar choruses, but has this late 70s "Ditch Trilogy" Neil Young kind of swampy feel going on. 'Science Fiction' is very much a laid back, restrained and reflective record, but the whole band still sound incredibly emotive and impassioned. As always, Jesse Lacey's vocals are show stealing, emoting so much raw feeling, and increasing versatility.

Though the overall tone of 'Science Fiction' is downbeat, sorrowful, dark and languid, there are still some bright, colourful and energetic moments on the record. 'Can't Get It Out' is a massive uplifting and anthemic song. It almost has that whiff of being a festival flag waver sing along, with this huge chorus punctuated with pounding drums and roaring guitar power chords. It's a simple, radio friendly gem of a song. 'Same Logic/Teeth' is brimming with ferocity, one of the few times where Lacey reaches for those yelping Hardcore influenced screams. Whilst 'Science Fiction' is a fantastically bold and consistent record, it isn't without the occasional stumbles in its hour long run time. "451" is a little too upbeat for it's own good, with this sort of Americana country ramble vibe going on. 'Desert''s falsetto harmonised vocal chorus comes across a little too over the top, but I guess every classic Emo album goes FULL EMO at some points, eh!? The album ends on a breathtaking finale, 'Batter Up'. A slow, dreamy, atmospheric Post-Rock track reminiscent of Mogwai's classic 'CODY'. This beautiful, softly sung gem reads like an epitaph and is such a sad, genuinely tear-jerking and powerful way for such a seminal band to bow out.

'Science Fiction' is strongly hinted to be Brand New's final album, with one last hurrah tour to follow, and not only is this a fantastic and logical way to go out, but it was totally worth that long wait too. Dropping it for free online was a neat little surprise for eagerly waiting fans. Brand New have delivered with a heavyweight album that has enough justified gold on it to be able to pull off that feat. It's no wonder why music fans are going absolutely crazy with joy at the release of this album. Some long time fans may lament the lack of the more fiery side of Brand New - There are is certainly no 'Sic Transit Gloria... Glory Fades' or 'Gasoline' on this record. But what we have hear perfectly reflects where this band are at in 2017, and the personalities of the band members nearing 40 years old. 'Science Fiction' is a deeply spun and involved record that reveals more and more colour and personality with each listen. Brand New have successfully created their most mature, sincere and introspective record in their discography, favouring sadness, beauty, texture and solitude over their more in your face moments of the past. It rings with just as much passion and true emotion as anything they have done prior, perhaps even more so. I personally can't wait to hold a physical copy in my hands. Brand New. 'Science Fiction'. A near perfect way to end a saga. 9/10.