ALBUM REVIEW: JLIN - BLACK ORIGAMI

JLIN
BLACK ORIGAMI
Electronic, IDM, Footwork.
Planet Mu.
Listening Format: CD & Digital.














Jlin is the recording alias of Jerrilynn Patton, an Electronic producer from Indiana, USA and signed to British label Planet Mu. 'Black Origami' is her second full length album that expresses a near continuous stream of tracks that rarely take a break. Her sound is very fast, choppy and bass heavy. She plays with lots of percussion, combining wonky techno beats with samples of tribal percussion, often overlapping each other in the same track. Her productions are very loud, packed full of chopped and screwed vocal samples that often become the motif of the song. For example 'Enigma' consists of a vocal sample that sounds like it is repeating "yah ting" for the whole duration.

In terms of composition, her music and the way it is presented is quite crass and very in your face. If you are looking for something subtle, moody or atmospheric, you've come to the wrong place. All of the songs here are quite joyous and a lot of fun. There is a lot of bounce to the production. If you happened to be at a warehouse rave or a Boiler Room set and a DJ dropped any one of these tracks into the mix, I guarantee the whole place would be dancing and getting their groove on.

Sure there is a lot to enjoy on this album and plenty to admire in the overall sound pallet. But there are some shortcomings too. 'Black Origami' is pretty much a one track minded album. It doesn't take long to really get what Jlin is going for here, and by the time you get to track three, you've basically heard everything this album has to offer. The same rhythms and ideas are repeated all over the album, which means if you listen from start to finish, everything starts to blur into one. In the way the tracks are sequenced, it isn't even that easy to tell when one song ends and the next begins. With the occasional exception, the tracks begin and end rather abruptly, and then she'll move on to the next track which will sound just as familiar. This means that by the time you get two thirds of the way through this album, it actually becomes rather tedious and grating. If ever an album was begging for some kind of interlude, or just some kind of variation away from the set formula, it is this one. I feel like Jlin forgets to throw in any real surprises.

On the surface, 'Black Origami' is cosmetically similar to the Death Grips 'Steroids' EP I recently reviewed and rated an 8/10. I also described that release as playful, crass, as being packed with dense and layered, fast moving sounds. However Death Grips had the foresight to keep it to just 22 minutes, and even then it not only had more variation and ideas on display, but also a real fire and urgency to it. Sometimes I feel like Jlin isn't letting her imagination run as wild as the choppy drums and fast shifting beats are. Some of the samples here of whistles, phone dial tones and stock answer machine messages just feel like old hat in 2017. This is something I would expect to hear on an 80s Acid Techno compilation, and even though some of this distinctive samples become some of the more memorable moments in the second half of the record, they stick out as sounding cheap and obnoxious. 

Jlin is clearly good at arranging her productions and compositions. Her use of bouncing, bass heavy beats, and her infusions of tribal percussive sounds are all admirable. But I feel like this album just needed more. It's like she had two or three really solid ideas, and that was it, she crafted an entire album out of just that. 'Black Origami' doesn't get boring, but it does get tedious. And yes there is a difference between the two. You can easily get down and dance your ass off to any of the tracks here, but you'll soon be begging for some kind of variation or new idea to be introduced as you start to get worn out by this record. And once you come away from it, you realise there hasn't been enough substance behind it to really come away with a meaningful impression. But it will make you sweat... 5/10.

ALBUM REVIEW: FOREST SWORDS - COMPASSION

FOREST SWORDS
COMPASSION
Electronic, Ambient, Dub.
Ninja Tune.
Listening Format: Vinyl














Forest Swords is the alias of Matthew Barnes, hailing from Liverpool, England. He has become one of the most critically respected Electronic producers of the decade ever since his first album 'Engravings' dropped in 2013. He has since composed a score for a ballet, and worked on music and sound design for the Assassin's Creed video game series. 'Compassion' is his second proper full length.

One of the most striking things about this record is that Forest Swords certainly knows how to arrange different sounds to create haunting and compelling atmospheres. 'Compassion' isn't quite as dark and melancholic as his debut album, and weaves in a lot of tribal and ethnic sounds. 'Panic' is a highlight with a middle-eastern groove running through it as distorted and chopped up vocal samples are painted wildly across the canvas. Many of the beats try to stray from his contemporaries adding in more varied percussive sounds. Standout track 'Raw Language' has a Dubby bass and a Trip Hop influenced beat reminiscent of Massive Attack's 'Inertia Creeps'. 'Compassion' creates sounds that are relatively abstract and very atmospheric throughout, feeling like it could easily be a score to a Dystopian Sci-Fi film set in a desert.

I've had 'Compassion' on heavy rotation for the last couple of weeks now, and whilst I really enjoy it when I'm actually listening to it, every time I come away from it I don't actually remember much of what I've heard. Forest Swords is an excellent producer, arranger and sound crafter, undeniably, but I feel like he is still lacking a distinctive voice. Even though I've heard this album ten times now, if I happened to switch on the radio and one of the album's tracks came on, I genuinely don't think I would clock that it was Forest Swords. 'Compassion' is just lacking in that extra wow factor and that hint of true originality. When the album is actually playing it is difficult to fault, but there isn't really a strong lasting impression once the ten tracks are over. The reason I have listened to it ten times is because I really wanted to try and get under its skin for the purposes of reviewing the album, and not because I was really compelled to go back and listen for sheer pleasure. Forest Swords is certainly heading in the right direction and could potentially strike gold in the future, but now that this review is written, I don't think I'll be desperate to put on this album again any time soon. 7/10.

ALBUM REVIEW: GAS - NARKOPOP

GAS
NARKOPOP
Ambient, Minimal Techno, Electronic.
Kompakt.
Listening Format: CD














Gas is the performing name of Wolfgang Voigt, producing his signature style of Ambient music. He is also the founder of Kompakt, one of the most well respected Electronic music labels and often considered a showcase of the "Berlin Minimal Techno" style. 'Narkopop' is the first release of brand new Gas studio material in 17 years now, and this comeback wasn't even really an anticipated thing, as it pretty much appeared relatively out of the blue earlier this year. The last Gas album 'Pop' came out in 2000 and the project went silent ever since. This isn't to say that Voigt himself has been silent, as he has continued to create music in different styles, including frequent releases under his own name and other pseudonyms. However Gas still remains his most popular and critically acclaimed body of work.

For those not familiar with Gas, his music very much takes many of the blueprints of Ambient music as pioneered by Brian Eno, but he puts his own signature spin on it. He often manipulates samples from orchestral works, particularly favouring dissonant and long drawn out chords, that he combines with synthesizers. The result is usually a slow moving, eerie and pulsating hum reminiscent of artists such as Angelo Badalamenti, the frequent David Lynch collaborator nicknamed the "master of the suspended chord". Gas often showcases a mixture of purely beatless Ambient washes, and tracks that feature a very minimal four-to-the-floor kickdrum often found in Minimal Techno. However this kickdrum is usually always drowned in reverb and pushed so far to the back of the mix that it sometimes passes through the awareness of the listener completely, like a ghost haunting the composition.

After 17 years away, Gas brings back those signatures in full force. The title 'Narkopop' suggests to me that this album has a direct connection to his previous album 'Pop'. Whilst 'Pop' could be considered a relatively sunnier and more uplifting album in the Gas discography, 'Narkopop' is very much the darker sister album. The album sleeves seem to correlate this, with 'Pop' having a bright, sunlit image of a tree branch, and 'Narkopop' in contrast looking like a walk through an eerie forest at night.

Essentially nothing has changed in Voigt's approach to making Gas music. We have another ten untitled pieces of music represented by numbers, using those trademark drawn out synths and sparse kickdrums. The pieces float between four and seventeen minutes, but the way they are sequenced makes it hard to pinpoint the exact moment where one track finishes and the next begins. It is very much an album experience that should be heard from start to finish. 'Narkopop' has a timeless feel to it because you can't really distinguish if this was recorded in 2017, 1997 or anywhere in between. This isn't to say that 'Narkopop' sounds exactly like his previous releases though, but it is very similar in concept, approach and performance.

What I love the most about 'Narkopop' is how genuinely dark, moody and melodramatic it sounds. The synths or samples are really dominant throughout this album. Whilst there are plenty of droning, drawn out sections that leave the listener feeling hypnotised, when the string and synth sounds do start to express themselves it sounds so doomy, almost angry even. Although Gas is German, I can't help but think of dark Scandinavian mystery dramas like The Killing, or perhaps the works of Lars Von Trier or Thomas Vinterberg when I hear this album. It has that stark, moonlit, winterry feel that I just adore. Everything sounds melancholic, isolated, and at times really chilling. Whilst it doesn't quite verge into Horror or Industrial territory, you could argue that this record verges on Dark Ambient at times. For an Ambient recording, I feel like 'Narkopop' expertly walks that difficult line where it keeps the details of composition and production relatively simple and sparse, yet manages to be completely enthralling and interesting the whole way through.

I feel like the only possible way a Gas fan could possibly be disappointed in this "comeback" record is in the fact that it doesn't do anything new. Even after 17 years, Gas sounds EXACTLY like Gas should. He hasn't changed his winning formula one bit. But that is a good thing too. Maybe fans would have still been disappointed had he gone out and changed things up too drastically. I think it is just a great treat for Gas fans to finally hear another record, that is really good and fits very comfortably among his already well established discography. In a time where Ambient music is still very much cutting edge, and where soundtracks new and old are being highly praised in the vinyl market, the return of Gas just feels very well fitting. 8/10.

ALBUM REVIEW: ARCA - ARCA

ARCA
ARCA
Electronic, Glitch, Art Pop.
XL Recordings.
Listening Format: Vinyl















Arca is the identity of Venezuelan Electronic musician and producer Alejandro Ghersi. He has risen to prominence rather quickly over the decade, transitioning from underground artist, to a high profile producer who has already collaborated with FKA Twigz and Bjork as well as releasing his own solo material. His first two records 'Xen' and 'Mutant' were very abstract and glitchy works favouring experimental and avant garde touches. Arca is also known for his very striking and somewhat disturbing visual imagery that accompanies not only his album artwork, but his public attire. He is often seen in videos and live performance dressed in androgynous attire, sometimes completely nude and wearing his trademark stilts. Arca has carefully thought out every aspect of his art, but will a move to a more conventional sound on a bigger label possibly dampen his craft?

If you've picked up a physical copy of this album then just opening the gatefold or CD case will confirm any fears that Arca may have softened up. The vinyl gatefold presents you with a close up of his bare ass, with something ominous and obscured emerging from the crack, leaving the mind to wonder... This image seems to be taken from his equally mind shattering music video for 'Reverie'. This self titled 3rd opus is by no means commercial or contemporary though. However, unlike his first two releases, it does include what feels like actual songs this time around!

Perhaps it comes from working with Bjork and FKA Twigz, but Arca successfully makes the transition from sound crafter and producer, to songwriter. 'Arca' includes for the first time, his own voice as he sings in Spanish language across a good chunk of the album. In fact the very first sound you hear on the record is his voice in the subtle and spectacular opener 'Piel', as dramatic and moody synths glide under his excellent and distinct voice. Fans of his earlier works shouldn't be worried, as the record soon transitions from dark, Lynchian voids into the glitchy and formless wonky electronic sounds he is known for. Single 'Desafio' comes close to sounding like a Pop song, but has enough menace in the air raid like sirens and stabbing synth sounds to keep it within realms of nightmares.

The fact this third full length is a self titled release starts to make sense because it feels like the point where an artist has truly found themselves. Arca successfully manages to merge well written vocal pieces into abstract and head scratching jagged soundscapes that go as deep as some of Aphex Twin and Autechre's more out there works. The way he manages to pull it altogether into a cohesive 43 minute journey is pretty magical. 'Arca' very rarely misses a beat and is a rewarding and wholesome listening experience that proves definitively that we have a new heavyweight contender in Electronic music and production on our hands. 8/10.

ALBUM REVIEW: KENDRICK LAMAR - DAMN.

KENDRICK LAMAR
DAMN.
Hip Hop, R&B, Trap.
Aftermath Entertainment/Top Dawg.
Listening Format: CD
















DAAAAAAAAAAAAAAAAAMN!!! It's a brand new album from Kendrick Lamar and it pretty much dropped out of the blue, first on digital format and then the CD followed a week or so after. Hip Hop used to revel in hyping up a big release through singles, radio play and underground mixtapes, but times have shifted and big artists such as KanYe West, Jay Z, Frank Ocean, Drake and Beyonce just seem to drop their new albums out of the blue these days! Not that I am complaining right now, as hype ravages through social media like fire.

So... Kendrick Lamar... Easily THE most critically acclaimed and popular Hip Hop artist of the current decade. He has this incredible ability to appeal to a wide audience. He has not only earned respect from underground Hip Hop heads, but is popular among more casual Pop and radio listeners, and even people who aren't fans of the genre have approved of his music. He has already dropped two albums in the last five years that are already considered masterpieces and modern classics, 'Good Kid, m.A.A.d. City' and 'To Pimp a Butterfly' respectively. Kendrick Lamar represents the very best in modern Hip Hop production, and delivers conscious, poignant and aggressive lyrics with a diverse flow of rapping styles making him a talented chameleon on the mic. These two modern masterpieces displayed a diverse cinematic production, with all the tracks being part of a story, like a film for the ears. Can he possibly strike gold for a third time, even with such pressure to follow up two incredible albums?!

The most important thing you will notice about 'DAMN.' that is blatantly obvious from the first listen is that it actually sounds almost nothing like his previous two albums. It doesn't quite go for that cinematic, storytelling aspect quite as hard as its predecessors. That doesn't mean that it isn't as deep or diverse, but it doesn't have that feel of being a unifying concept album this time around. The biggest change in sound is that the majority of tracks on 'DAMN.' very much exploit the current "Trap Rap" sound. For those not familiar with what a Trap beat sounds like, you might have to do a little digging on YouTube or Wikipedia, but this type of beat very much stands out from the traditional Boom Bap old school style Hip Hop beat. This isn't to say that Lamar has been a stranger to the Trap beat, as 'Bitch Don't Kill My Vibe' (taken from his 2012 opus) is a great example of that sound, with those massive drum fills in the chorus. But 'DAMN.' goes all out for those Trap beats. This is a bit of a double-edged sword because, yes it makes the album sound very current and modern, but in a few years time Trap might die out and be remembered as a fad. Will this album still hold the timeless quality that its predecessors have? I think it is less likely as even old school Hip Hoppers who have got on board with Lamar's music will find this 55 minute record a harder pill to swallow.

Whether you like Trap beats or not, it is hard to deny some of the absolute talent displayed on this album. When second track 'DNA.' kicks in, the listener is thrown into a swamp of thumping bass and hard hitting snare runs, as Kendrick Lamar absolutely tears into the microphone with a similar intensity to the way Nas kicks it on 'NY State of Mind' over 20 years prior. The following track 'YAH.' continues on a very high note, but flips the mood to a more downbeat and slower one, with a lovely dusty and atmospheric production. Songs in the latter half such as 'FEAR.' get closer to the old cinematic feel, and 'PRIDE.' is a highlight which actually does have more of an old school Hip Hop beat and vibe.

However, there are some total sore spots on this album. As good as Kendrick Lamar's album cuts usually are, he does have a tendency to crop on some rather Poppy tracks such as his collab with Taylor Swift and I think when he does this it isn't living up to the immense talents he has, perhaps making him look like a sell out. Lead single 'HUMBLE.' is just horrendous... The beat sounds like lowest common denominator Hip Hop... Remember Chuggo's hilarious (for all the wrong reasons) viral hit 'Come On Fucking Guy'?!... Yeah... As if the verses weren't awful enough, the chorus hook of "Holla, Holla, Bitch, Bitch" is just as excruciating as it sounds! 'LOYALTY.' is equally as crass, sounding like a dated mid-00s "hey we just discovered autotune for the first time!" Akon or Nelly kind of track. Why something like this has a place on a Kendrick Lamar album is beyond me. These tracks in particular stick out like sore thumbs in the tracklisting.

'DAMN.' is just a pretty good album with some great moments here and there. And whilst most people would kill to make an album with that description, because it is Kendrick Lamar it almost feels like a shortcoming for him to just put out an album that is "pretty good". His previous two albums really were near perfect. Every single track on them works, the production was cutting edge and Kendrick had something vital and urgent to express. In particular, previous album 'To Pimp a Butterfly' went beyond Hip Hop. It had some genuinely brilliant Jazz, Soul and Funk which is pretty much all gone on this album. "DAMN." feels like a one track minded affair and much smaller in comparison. I do admire that Kendrick Lamar has managed to reinvent his style in such a short time, and make a completely different sounding album in comparison. But 'DAMN.' sorely lacks that timeless quality that he is capable of. I still listen to his previous two albums frequently, and I listen to them from start to finish every time. But with 'DAMN.' it's already starting to wear off on me after just a month, to the point where I'd rather just stick on one of his other albums instead. 7/10.

ALBUM REVIEW: CLARK - DEATH PEAK

CLARK
DEATH PEAK
Electronic, Ambient Techno.
Warp Records.
Listening Format: Vinyl (mostly) also CD and Digital.














When you think about Warp Records you instantly picture Aphex Twin, Autechre, Boards of Canada and Squarepusher... Boundary pushing Electronic musicians who not only defined Warp, but the entire genre in the 1990s. But once Warp moved into the 00s, some excellent new blood took the forward thinking label to the next level, including Bibio, Battles, Flying Lotus and of course, Christopher Stephen Clark.

Since the start of this century, Clark has been very prolific, releasing an album every two years at least, with many EPs and singles in between. Clark is blessed by not only being a distinctive and innovative composer and producer, but each of his albums are rather different in approach and concept, yet still have that unifying Clark feel and sound.

[SOLILOQUY!] Before I go any further I have a slight gripe that I have with Warp Records. I have been listening to 'Death Peak' on vinyl. Clark's previous record 'The Last Panthers' was about 46 minutes long and perfectly fit onto a single vinyl disc. 'Death Peak' runs at only 43 minutes long, yet has been stretched out over 4 sides of wax! Not only is this so unnecessary, breaking the flow of the album, but they didn't even have the courtesy to make it run at 45RPM for superior sound quality!!! Come on Warp... Why you gotta play me like that??!! [END SOLILOQUY]

Clark's ninth full length 'Death Peak' once again feels like it has a unifying concept running through it. The sounds and ideas try to tell a story without using words or lyrics. It certainly sounds nothing like his underrated previous album, 'The Last Panthers', which delved into Ambient music and live instrumentation, being a score for the BBC TV series of the same name (CHECK IT OUT!) 'Death Peak' is very much drawing back to a synthetic sound, with squelching synthesizers and wonky beats. Though Clark does implement (mostly) female vocals, adding an ethereal, indecipherable sound to many of these tracks. 'Catastrophe Anthem' even adds what sounds like a children's choir between the choppy synth leads. These use of vocals feel like a new tool that Clark is playing with and for the most part they are used in interesting ways and don't detract from the listening experience.

The main problem with 'Death Peak' is that whilst it is full of plenty of varying ideas, it suffers from a lack of interesting cohesion, structural development and most importantly, memorable melodies and hooks. The record really kicks into gear with, 'Butterfly Prowler', lead by this swirling, detuned synth loop that sounds like the listener is being spun around on a waltzer ride. Conceptually very interesting, but on repeat listens the lack of a decent melody in this track actually makes it become more annoying each time I spin this record (which has been about 15 times now on various formats). The two winning tracks for me come directly after. 'Peak Magnetic' is a rollercoaster of peaks and troughs, where the synths and hard beats actually compliment one another, riding in tandem. 'Hoova' is a straight up techno banger which builds into hard arpeggiated synths where the beats wrap around it.

Unfortunately the second half of the record enters less riveting territories. It feels like Clark is really trying to do something innovative, but if also feels like he is throwing paint at the canvas just to see what sticks. Even after many, many listens, very little other than 'Catastrophe Anthem' seems to be remotely memorable to me on this second half of the record (and I don't particularly dig this track). It just feels like an awkward mess with no clear direction. The album concludes on a ten minute long "side length" 'Un U.K.' which is literally ten minutes of nothingness... It feels like scraps of leftover ideas just stuck together with no rhyme or reason, eventually drifting off into a vague hum.

I've honestly enjoyed every single Clark album til now. Even his "Folktronica" effort 'Iradelphic' is an album of his I frequently come back to, despite critics and fans generally considering it his worst effort. Unfortunately for me, 'Death Peak' is the first major disappointment in Clark's wonderful discography. Even though some of his best signatures and trademarks are present, it feels like Clark is actually trying too hard this time around, desperately trying to grab the listener or say something bold, but actually saying very little at all. Ultimately 'Death Peak' is an album that screams in the face of the listener, but what it is trying to scream at me is totally garbled and indecipherable... 6/10.

ALBUM REVIEW: FULL OF HELL - TRUMPETING ECSTACY

FULL OF HELL
TRUMPETING ECSTASY
Grindcore/Deathgrind.
Profound Lore Records.
Listening Format: Digital.












Full of Hell are an American Grindcore band still in their early twenties.
It's very hard for a Grindcore band to do something fresh this far down the line, but this band manages to combine the fastest and slowest of extreme music genres. I first heard them live opening for The Body and they blew my mind. They would transition from tight and intense Grindcore and out of nowhere cut into piercing, agonisingly slow electronic drones, and then out of nowhere they'd kick back into furious grind again. Their live performance was not only insanely tight and full of chemistry, but they really left the audience on edge with this disturbing and overwhelming air of tension. I'd never really seen or heard anything like it, except possibly for Powerviolence band Man Is the Bastard.

Full of Hell proved with their debut album 'Roots of Earth Are Consuming My Home' that they could transfer that live intensity onto the records and since then they've pushed further into experimenting with noise and drone music, with a slew of full on Noise EPs and collaborations with Merzbow and The Body that often left the Grindcore realm completely. It's safe to say that there was a lot of hype for their next full length 'Trumpeting Ecstasy', and perhaps an expectation that they could push those experimental boundaries even more.

What we have here though, feels very much like a step backwards into what is mostly a pure Grindcore assault. The record is 23 minutes long and ten of those minutes are taken up by the last two of the eleven tracks. The first nine tracks are pretty much just a relentless barrage of lightning fast grind action, but if I am honest the intensity is rather lacking throughout, and there is very little to make them stand out amongst other run of the mill Grindcore releases.

The album has been recorded at GOD City and produced by Kurt Ballou of Converge. If you listened to the rather good Code Orange album 'Forever' released earlier this year, you'll recognise quite a few similarities in the production. The sound Full of Hell are going for here is much more guttural and full of low end. Most of the tracks also include low gargling vocals, very much borrowed from the Death Metal or Deathgrind playbook. Whilst this bowel crushing low end sound worked really well on the Code Orange album, for me it is actually detracting from Full of Hell's performance here. I think their previous offerings sounded much more vital and urgent. This could be a personal preference of mine, as I tend to prefer Grindcore to have a lot of high end. In particular some of my favourite Grind acts Discordance Axis, Gridlink, Wormrot, Pig Destroyer and Evisorax don't use a bassist and tend to go for a noisy, fast, discordant blur of sound. But even compared to previous Full of Hell records, this record does not make me wanna go apeshit, smash up my room and punch an old lady in the face...!!!

For me the best part of the record is those last two tracks. The title track has these eerie, clean female vocals and a slow, churning industrial beat, with layers of electronics and droning noise and it is wonderful, by far standing out from everything that came before it. Also when those crushing and raw as fuck vocals kick into full force, I start to feel that intensity that was sorely lacking on beforehand! The way the vocals switch between clean, dreamy female vocals into Godflesh style aggression is a touch of magic. Yet despite it being my favourite track, it sounds exactly like something that could have easily been on The Body's latest album 'No One Deserves Happiness', and that can't be a coincidence since the two bands released a collaborative album last year.

The album ends with another droning and noisy track that switches between furious Grindcore blasts and slow pounding Industrial, with even a few spots of eerie Dark Ambient over a six and a half minute run time. and it kind of makes me feel like finally! Why did they wait 'til right at the end of the record to give me that hit?

Full of Hell are a very exciting band to watch, but I'm honestly feeling a disconnect with this record. A real shame as I was pretty hyped for this one. I just can't dodge the feeling that the nine Grindcore or Deathgrind tracks that open this album just feel really phoned in. Even a guest vocal from Aaron Turner of Isis and Sumac fame on 'Crawling Back to God' doesn't really add much to the break the monotony. 

Full of Hell's move to a more Deathgrind oriented sound on this album actually feels like their Achilles heel. I feel like the band have lost their identity and their uniqueness a little bit and although I am usually a big fan of Kurt Ballou's production work, this affair sounds strangely OVERproduced to the point where all the urgency and fire that this band are capable of gets sucked out the window. But it isn't just the production that lets this album down, but just a sheer lack of experimentation. I feel like Full of Hell have played things a little safe, especially when they've proven that they can go the extra mile and create some really out of the box sounds that their peers in the genre just aren't doing. 'Trumpeting Ecstasy' not only feels like a slog to listen to, but a missed opportunity also. 5/10.

Let me know whether you agree or disagree, whether you enjoyed this album more than I did. And if you want to hear some of similar sounds done better, check out the latest Code Orange album 'Forever' released earlier this year.

FRENCHIE'S LISTENING POST - MAY

FRENCHIE'S LISTENING POST

Because I don't get time to review all the new music I hear in depth, I have decided to start doing some smaller reviews, rounding up the best (and worst) releases of each month!

ALBUM OF THE MONTH:

KATATONIA - THE FALL OF HEARTS
Gothic Metal, Doom Metal. Peaceville Records.

Since their 1993 debut album, Sweden's Katatonia (not to be confused with the Welsh Catatonia) have been one of the most consistent Metal bands of the past 20 years. Like their close friends Opeth, the quality of their studio works rarely takes a dip, despite not changing the core mechanics of their sound too drastically. So baring this in mind, it's pretty fucking incredible that Katatonia's 11th studio album might just be their grandest and most impressive statement yet!!!

From the very first moment, "The Fall of Hearts" will have you gripped, enthralled and overwhelmed. Katatonia have finally found that perfect balance between heaviness and utter beauty. The album is full of roaring guitars and chuggy Tool-esque riffs, with double pass pedalling drums interspersed. Yet despite this, the overall mood of the record is quite chilled out. This comes after their recent decision to do an acoustic tour. What remains is an album that is packed full of incredible riffs and talented musicianship, but the feelings and the emotions of the music cut through even sharper. The use of haunting keyboards, and Jonas Renke's passionate clean vocals are utterly compelling and will stir powerful emotions within you. It's honestly hard to pick stand out tracks because the whole album flows so flawlessly, but "Serein" not only packs a heavy, energetic punch but has a sweeping melodic chorus that just might reduce the hardest Metalheads to tears. If you want your Metal to be violent and unforgiving, this could get lost on you, but if you want to hear something truly moving, yet still Metal as fuck, then "The Fall of Hearts" is truly a modern Metal masterpiece in the realms of Tool's "Lateralus" and Neurosis' "Times of Grace". 9/10.

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LONE - LEVITATE

Electronica, Breakcore. R&S Records.

Lone's previous album "Reality Testing" was one of my favourite albums of 2014, which combined dreamy Boards of Canada-esque synthesisers with funky Dilla-esque Hip Hop beats. For this follow up "Levitate", Lone has crafted a rather different sound. The funky Hip Hop beats are out in place of fast Breakcore beats reminiscent of 90s The Prodigy. "Backtail Was Heavy" is a fantastic lead single that has a strong hit of 90s nostalgia, whilst closing track "Hiraeth" shows he can still compose some great Ambient and atmospheric soundscapes. I have to say that I preferred his previous "Reality Testing" album, which sounded more futuristic and colourful, but "Levitate" is still a fine album and a step into a different direction. 7/10.

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GOLD PANDA - GOOD LUCK & DO YOUR BEST

Electronic, IDM. City Slang.

Gold Panda's debut album "Lucky Shiner" was an absolute gem, but I felt his anticipated follow up "Half of Where You Live" was too straight forward and a little bland. With that, his 3rd album could go in any direction here, but as predicted it is somewhere between the two. Yes I enjoyed it more than his previous album, but it didn't give me the immediate hit of joy that his debut album did. Still playing things a little too safe. The music here sounds like a second rate Four Tet, with chilled out, melodic Electronica played out over an array of different IDM tinged beats. It is obvious Gold Panda is trying out different sounds and styles across the album, but it feels like he hasn't found the confidence to make a single unifying sound. The lowest point is the acoustic guitar track "I Am Real Punk" (wtf?) featuring Luke Abbott, which kills the pacing of the record and goes absolutely nowhere. There are a few lovely moments and a few that will get your feet tapping, but as a whole it feels like a muddled experience with only brief flashes of the greatness shown on his debut album. It very much sounds like Gold Panda was muttering the album's title to himself all the way through making this record! 6/10.

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MARK KOZELEK - SINGS FAVORITES

Folk. Caldo Verde Records.

Mark Kozelek is one of my favourite musicians of all time and I consider him to be the greatest Folk musician alive today. He has been highly prolific over the last few years and this is the second album he has put out this year so far, following the album of the year contender Sun Kil Moon / Jesu collaborative album. For "Sings Favorites", Mark Kozelek has decided to cover a bunch of his favorite songs, and invited some of his famous friends to join him, including Mike Patton, Rachel Goswell, Will Oldham and more, though you wouldn't necessarily notice them on first inspection. 

There are two very big glaring problems with this album though. One of the greatest Folk guitarists of all time has decided not to play guitar across the entire album. Instead all of these songs are built on bland and generic piano playing as Mark croons away. The whole album has a kind of Christmas Carol sound to it or perhaps music that could be used in Hallmark adverts. The other big problem is that some of these songs have already been covered before on some of his previous albums and live recordings. Die hard fans would have already heard much better guitar renditions of "O Holy Night", "Send In the Clowns" and "Get Along Home Cindy" on previous releases. Plus Sun Kil Moon has already put out a much better Modest Mouse covers album, leaving the poor "Float On" rendition in the dust. I just don't know why Mark Kozelek needed to make this album. It sounds half assed and more like something that should be given away free, not sold in shops. Ignore this album and listen to the vastly superior Sun Kil Moon / Jesu album instead! 4/10.

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BRIAN ENO - THE SHIP
Ambient, Electronic. Warp Records.

Brian Eno is a very fascinating man and it will take too long for me to explain why here. He has one of the largest discographies of any musician, making music since the early 70s, but his work can largely be split into 3 categories: His vocal work, his Ambient work and his production work. But if there is one album in that vast discography that manages to draw from all 3 brains of Brian, it's "The Ship". After the incredible two albums working with Underworld's Karl Hyde, Eno performed vocals properly for the first time since the late 70s. In an interview he said he likes the sound of his voice more now since he has aged! "The Ship" is very much rooted in Ambient territory, reminiscent of his works "On Land" and "Thursday Afternoon". Gloomy, piano laden chords drift at a glacial pace as an array of Electronic textures and atmospheres gradually build. But for the first time in a long time, Eno has added his lovely vocals into the mix, finding a ghostly and soothing way to make them sound like Ambient and Minimalist instrumentation in their own right. These two 20 minute pieces are best heard whilst engaged in other activities around the house. The subtle beauty will reveal itself in its own time. However the final 6 minutes features a heartbreaking tribute to the late Lou Reed. A majestic cover of The Velvet Underground's "I'm Free" makes for a powerful finale where Eno's vocals are a dominant force, backed by sweeping strings, epic keyboards and swirling guitars. It's like Eno's separate Ambient and Vocal worlds have crash landed into each other! 8/10.
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THRICE - TO BE EVERYWHERE IS TO BE NOWHERE

Alternative Rock, Hard Rock, Post Hardcore. Vagrant Records.

Growing up, Thrice were one of my favourite bands and many will consider them one of the true pioneers of the modern Post-Hardcore/Metalcore sound, alongside the likes of At the Drive In and Drive Like Jehu. Thrice haven't been active as a band in about 4 years now and I didn't even hear that they had got back together to make a new album, so this was a nice surprise when I saw it on the record store shelves. Unfortunately though, this album very much completes Thrice's journey from exciting and innovating Post Hardcore/Metalcore into bland mainstream radio rock that lies somewhere between Foo Fighters and early Coldplay. This was hinted at by the previous two albums that were much softer and straight forward, but still had interesting textures and songwriting. Listening to this album I hear almost nothing that really grabs me. The band feel slow, tired and like they are just going through the motions here. I've listened to it twice but I shall not be listening to it Thrice! 5/10.

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EAGULLS - ULLAGES

Post Punk, Gothic Rock, Alternative Rock. Partisan Records.

Eagulls will have to go down as the least original band I have heard this year. Even their name sounds like another band. The album title is just an anagram of their band name. But worst yet, they have tried to sound so desperately like The Cure's early 80s sound that it borders on sheer imitation. Unlike The Cure though, none of Eagulls songs grabbed me or made a memorable impression. It sounded so much like The Cure that it just made me want to listen to The Cure and forget about this band. Maybe they should become a tribute band instead? 4/10.

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TWIN PEAKS - DOWN IN HEAVEN

Blues Rock, Garage Rock. Grand Jury Records.

Following on from the wholly unoriginal Eagulls record I listened to was yet another album that lacked a unique sound. My first impression listening to Twin Peaks is that these guys really like The Rolling Stones. It sound like a second rate impression of Rolling Stones classic late 60s sound. That said though, the production had a raw(ish) garage sound, and there was some splashes of modern Indie Rock, so I wouldn't say it is a complete imitation. Though what was more annoying than the lack of originality on this album was the fact that this band have named themselves after one of the greatest cult TV shows of all time. You'd think a band named Twin Peaks would sound dark, mysterious and other-worldly? I feel like these guys should denounce their band name and let another more deserving band use that name! 5/10.

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JAMES BLAKE - THE COLOUR IN ANYTHING
Electronic, Future Garage, R&B. Polydor Records.

I absolutely adored James Blake's first two albums. There was something different about him, and he successfully combined innovative Electronic production with soulful singer/songwriter. His voice is absolutely lovely and I like the way he has always experimented with different moods and tones. Since winning the Mercury Prize for his 2nd album "Overgrown", James Blake has become a surprisingly big name, working with Frank Ocean and even collaborating with Beyonce on her new album "Lemonade". When this 3rd album was announced, part of me feared that he might become too big and commercial.

In a way, "The Colour In Anything" isn't much of a departure from his first two albums. His confidence as a songwriter has certainly continued to grow and develop. I can't help but feel that this record isn't too much of a leap forward. In fact the productions and experimentation of his sound seem a little calmer and safer here, like he had a more commercial album in mind. The biggest problem though is that is is 80 minutes long, making it nearly twice the length of each of his previous albums. Also James Blake sounds very depressed and miserable across the whole record. 80 minutes of music in this style, I found was far too much to take. Though there are 5 or 6 really strong tracks on this record, as a whole I found the experience of listening to it all the way through very draining and a real chore to get through. James Blake is still a talented soul, but he simply hasn't played to his strengths on this 3rd outing. He didn't need to bombard us with 80 minutes of a record that stays in the same mood and tone. He could have easily stripped this down to a 40 minute record and it would have been much more consistent. Seems like an easy mistake to avoid, but sadly this is an album I am not fussed about revisiting any time soon. 6/10.

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PERTURBATOR - THE UNCANNY VALLEY
Electronic, Synthwave. Blood Music.

The 4th album from French musician James Kent, who has become one of the most popular artists of the "Synthwave" movement. He composes imaginary soundscapes to Sci-Fi dystopian films that only exist in his head, and through the graphic novel inspired album artwork. Perturbator takes the influences of Horror and Sci-Fi composers such as John Carpenter, Goblin and Vangelis, but fuses their creepy and melodic synthesiser sounds with modern Electronic production. "The Uncanny Valley" kicks in immediately with Industrial thumping beats existing somewhere between Nine Inch Nails and Blanck Mass on standout track "Neo Tokyo", but it is actually the calmer, more Ambient leaning tracks that made the biggest impact for me. Whilst Perturbator is one of the most exciting Electronic producers of recent times, I can't help but feel that a lot of the sounds and melodies used on this album tread very similar grounds to his 3 previous albums, and at 67 minutes, this can be an overwhelming journey. But if you are a newcomer to this sound, you will probably hear some of the most exciting compositions in Electronic music right now! 7/10.

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MUDCRUTCH - 2
Americana, Country Rock. Reprise Records.

The second album from Mudcrutch, Tom Petty's other band away from his more established body of work with The Heartbreakers. Though to be honest, musically it isn't much of a departure, so even casual Tom Petty fans will find something to enjoy here. The same charismatic voice and American heartland based lyrics ring true across this album. There is a strong Country Rock vibe with touches of Blues and Folk around every corner. Whilst it is a sound that has been attempted many times before, Petty still manages to conjure up some truly catchy, memorable and down right brilliant tunes across the whole album. The best of them being "Beautiful Blue", that oozes a heartfelt chorus that'll get stuck in your head for days. "Victim of Circumstance" is another highlight that revisits a "Highway 61" era Dylan sound. Not exactly an album that will bring any surprises, but a very solid and worthy effort. 7/10.

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MARK PRITCHARD - UNDER THE SUN
Electronic, Ambient, Progressive Electronic. Warp Records.

The last time I heard from Mark Pritchard, he released the 2009 album "When Machines Exceed Human Intelligence" under the alias Harmonic 313, which turned out to be one of the most funky, upbeat and danceable records in the entire Warp catalogue, fusing Funky Hip Hop with wonky IDM rhythms. Baring this in mind, I was very taken aback when I popped in this new album "Under the Sun", to find it was the exact opposite of the Harmonic 313 record. The album begins with "?" (bizarrely this was released as a single in 2009 too), a beatless drone that takes about 5 minutes to even make a slight variation in sound. "Under the Sun" is a record that is incredibly slow paced, lethargic and has next to no resemblance to this man's Funky Hip Hop alter ego. That said though, if you give this record time to unfold, you will hopefully be overwhelmed by a truly beautiful, spacey and textured array of sounds that gradually grow and evolve like a flower slowly coming into bloom.

"Under the Sun" makes heavy use of the modulated analogue synthesiser, often with pulsing arpeggios and drawn out synthesiser chords. Mark Pritchard has obviously drawn from the influence of Tangerine Dream, but it also reaches out to the gloomy atmospheres of Boards of Canada, and the alien landscapes of Autechre's "Amber" record. The use of guest vocalists helps to improve the pacing, with brilliant singing parts from label mate Bibio, Radiohead's Thom Yorke, and a foreboding spoken word piece from Beans. Though the album is slow to unfold, Mark Pritchard has proven that he is a master of restrained and controlled sounds that will ultimately win you over. 8/10.

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J DILLA - THE DIARY
Hip Hop, Rap. Mass Appeal Records.

The late J Dilla is best known as one of the most highly praised Hip Hop producers of the 90s and 00s that just about any great Rapper would have killed to have worked with. He produced music for A Tribe Called Quest, De La Soul, The Roots, Common, Ghostface Killah, The Pharcyde and many more legends, as well as making some brilliant instrumental solo albums. Before "The Shining", "The Diary" would have been his very first vocal album, with J Dilla trying out his rap skills and guest spots from Snoop Dogg and Bilal. For some bizarre reason this album was shelved indefinitely in 2002, with only the "Fuck the Police" single breaking into the daylight. Finally the album has been released and it only highlights that this would have probably been a good hit record if it had actually been released. For the first time on a J Dilla record, he has allowed other producers to include beats for him to rap over, such as friends Madlib and Hi-Tek, who are great producers in their own right. But in all honesty, the tracks that Dilla produced himself stand out much stronger, making the ones that aren't sounding a little weaker as a whole. J Dilla isn't the most technically gifted rapper (especially compared to the quality of his beats), but he has a strong charisma and can occasionally steal the show (as heard on "Fuck the Police"). As a whole, "The Diary" takes a few tracks to really make an impression, but once Dilla's beats start to dominate, you'll start to wonder how on earth this record was not deemed suitable for a release until now! 7/10.
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JESSY LANZA - OH NO
Electronic, R&B. Hyperdub.

The second album from the Canadian vocalist and Electronic musician. In 2014, FKA Twigs' debut album took the critics by storm, praised at having a very original and unique sound, though the largely ignored debut album by Jessy Lanza a year beforehand not only showcased a very similar sound, but in my opinion was a much superior album. Jessy Lanza at last turned critics heads with her fantastic duet with Caribou, "Second Chance", taken from his brilliant album "Our Love". Thankfully Lanza's second album was met with a well deserved buzz and it stands as a very worthy follow up album. Lanza has grown more confident in almost every aspect, with a more dynamic range of vocals, and carrying on her brilliant bass heavy tones that take in the influence of 80s R&B, fused with modern Electronic production. "Oh No" is much cuter and more uptempo than her debut which had a slightly trippier and mysterious sound to it. But the songs are very much still there and Jessy Lanza's more playful approaches on "VV Violence" and "It Means I Love You" are very much welcome. Highlight "Going Somewhere" is a slower, dreamier song reminiscent of her first album. On "Oh No" it sounds like she has been watching Anime and cartoons, but it is a very fun album with a gripping vocal range. Certainly one for fans of FKA Twigs and Grimes. 8/10.

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SE DELAN - DRIFTER
Dream Pop, Prog Rock, Post Punk. K-Scope.

Se Delan is a new project from multi-instrumentalist Justin Grieves (Electric Wizard, Crippled Black Phoenix) who plays all the instruments on this 3rd studio album. Belinda Kordic takes the front stage with her fantastic gloomy vocals reminiscent of Kim Gordon or Courtney Love. The album has a strong 90s nostalgia, with that reverbed 4AD sound similar to Pixies and Cocteau Twins. In some parts the music is very textured and dreamy, yet can easily switch into dirty bass heavy riffs at any point. Released on Steven Wilson's Prog label, it isn't quite as complex as Prog, and isn't quite as Metal as Grieves' past works, but the whole album is captivating enough to impress any open minded fans of Prog or Metal or Indie Rock. This album sounds like it could easily have came out fifteen years ago, but either way it's likely to be one of 2016's overlooked gems. 8/10.

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LUH - SPIRITUAL SONGS FOR LOVERS TO SING
Art Rock, Singer-Songwriter, Electronic. Mute Records.

If you remember Manchester's short lived mysterious Indie Rockers WU LYF from a few years back then you might recognise Lights Under Heaven (or LUH). LUH is a new project from WU LYF's vocalist, a project he has started with his girlfriend. Producing the album is Dark Ambient/Electronic producer Haxan Cloak (fresh off working with Bjork). Being a fan of Haxan Cloak's horrifying soundscapes, and WU LYF's cavernous Rock music, I was pretty excited by this collaboration. Unfortunately "Spiritual Songs..." is a total mess that does not highlight either artist's true talents. Ellery James Roberts' cookie monster vocal style worked well over the backdrop of WU LYF's dense chiming guitars, but this album has a lot of softer, acoustic material and the vocals are far too over the top compared to the music, sometimes coming off as unintentionally comical. Tom Waits he is not! As for Haxan Cloak, he is one of my favourite Electronic producers of the time, but his contributions to this album sound very timid and muted. On Bjork's "Vulnicura" he managed to bring some of his haunting and eerie sounds, but here he feels lost in the mix. Also the album takes a terrible turn into auto-tune and obnoxious Pendulum sounding Drum 'n' Bass in the middle of the record that had be reaching for the skip button. I failed to find any kind of coherent direction or inspired ideas here. A real mess! 4/10.

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ANDY STOTT - TOO MANY VOICES

Electronic. Modern Love.

Manchester resident Andy Stott's 4th full length album is perhaps his best yet. His previous album "Faith In Strangers" hinted at how diverse an aural pallet he could cook up, but in places the pacing felt lost. "Too Many Voices" is a much more immediate and complete sounding record, perfecting those sounds. Stott not only showcases his bass heavy, wonky beat driven Electronics, but finds a growing fondness for 80s style synthesisers, sounding somewhere between classic Prince and Dam Funk. "Butterflies" is a dreamy affair with hazy vocals chopping in and out. Each of the 9 tracks have a distinct voice and style of their own. The album gets progressively more warped and frantic as it goes on, with Stott's expert use of pitch-bending rhythms making it feel like the dreamy synth chords are being sucked into a vortex. But the ultimate highlight is "New Romantic", which could well end up being the catchiest Electronic track of the year! All in all "Too Many Voices" is a seriously impressive journey that is likely to stay in my car stereo all year long! 8/10.

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AUTECHRE - ELSEQ 1-5
Electronic, Drone. Warp Records.

Since 2008's "Quaristice" album, Autechre have been in their most prolific stage, with 2 hour long EPs, 12 hour long DJ sets and 9 hours of live sets being released. After their 2 hour long 2013 double album "Exai" boggled minds, out of the blue one evening in May, Autechre decided to drop their most ambitious release yet! "Elseq 1-5" is a 4.5 hour long new studio album that would have covered 5 CDs, though Warp and Autechre have clearly stated that this will be a Digital only release (sad for a band who have such amazing artwork on their releases). There are plenty of tracks that surpass the 20 minute mark here, built on heavy improvised rhythmic sections that almost recall a Krautrock ethos where bands such as Can would jam out a repeated groove for about 20 minutes. A similar ethos was present on The Knife's final album "Shaking the Habitual". It's noisy, droning, Jazzy and impossibly complex, and I've only made it onto the 2nd disc. No rating here, ask me again in 3 years time and I just might have got my head around the whole record. This could easily turn out to be the most exciting Electronic release of the decade, but either way Autechre stand as one of the most unique, exciting, ambitious and hard to process bands in the entire spectrum of music. ???/10.

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