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.
DEAD CROSS DEAD CROSS Ipecac Recordings Hardcore Punk, Thrash Metal. Listening Format: Digital & CD Dead Cross is a brand new "supergroup" featuring Mike Crain, Justin Pearson, Dave Lombardo and Mike Patton. So that's members of Faith No More, Slayer and Retox to say the least. This self titled debut album is packed with 10 very short and fast songs that are loud, crass and showcase a blend of Thrash and Hardcore. It very much sounds like these gentleman took a fun little vacation inbetween all their other bands and just decided to go mad and have some fun. The album is indeed a lot of fun, in fact it is an absolute breeze to listen to and probably has some replay value in there. Dave Lombardo definitely channels the kind of performance he put in for Slayer's classic 'Reign In Blood', with fast and unrelenting speed metal drumming. Even the riffs occasionally reference Slayer with a mixture of straight up Punky power chords, and twiddlier fret shredding. But in all honesty it is Mike Patton's diverse and eccentric vocal performance that really makes this album come to life. I get this nagging feeling that, without Patton on board, this would sound like a fairly generic and outdated affair instrumentally, that doesn't quite keep up to the insane standards of the newer younger Hardcore/Thrash crossover acts such as Municipal Waste, Power Trip and Havok. And although Mike Patton does pull out all of the stops, with crazy howls, chants, screams, shouts... Well you name it... What CAN'T this man do with his vocals?!?! But he doesn't quite do anything he hasn't already done better many times before in his vastly exciting discography! 'Shillelagh' is a huge standout with this weirdly catchy chanting chorus, but this kind of sounds like Dillinger Escape Plan crossed with Tomahawk only not as abstract or fleshed out. A cover of Bauhaus' classic 'Bela Lugosi's Dead' is the only true sore thumb on the album. The classic original is a slow 10 minute Goth dirge, whilst this version is two and a half stuttering minutes of nothingness. No matter how hard Mike Patton tries to be wild, abstract and straight up crazy on this album, it never seems to quite come together for Dead Cross. Instrumentally it just isn't that crazy. In fact it's pretty standard and even inoffensive at times. So no matter how barmy Patton gets here, it just seems like he is trying too hard to be eccentric and it comes off very forced and flat. Dead Cross is certainly enjoyable on some level, and an easy listen, but it feels strangely "normal" in the bizarre canon of Mike Patton. And if you are coming at this as a Slayer or Retox fan, there is even less that is going to really strike you here. Even Patton's more accessible projects like Faith No More and Peeping Tom have gone far deeper, wilder and stranger than what is presented here. 'Dead Cross' is an admirable bit of fun, but all the players efforts here are so vastly overshadowed by their previous discography highlights that this one will barely scratch the surface. 6/10.
MELVINS A WALK WITH LOVE & DEATH Ipecac Recordings. Doom Metal, Sludge Metal, Hard Rock, Sound Collage, Original Score. Listening Format: Digital.
Melvins have been incredibly prolific in the last few years. Two albums in 2013 (one was a cover album), two albums in 2014 (one was King Buzzo's solo album), two albums in 2016... Offshoot project Crystal Fairy have already released a quality album earlier this year too! At this point, Melvins announcing a double album seems like some kind of threat! 'A Walk With Love & Death' very much presents both sides of the Melvins coin in one release. The 'Death' disc is that classic Melvin's Sludge Rock sound. Whilst the 'Love' disc is a return to the experimental side of Melvins that made 'Electroretard' and collaborated with Lustmord. Truly a release for the die hard Melvins connoisseur! DEATH It's probably safe to say that Melvins have softened up their sound a little bit this decade *takes cover from a pelting of rotten fruit*. But seriously, Melvins' recent output has been closer to a Hard Rock sound, even if there are still some classy doomy riffs on show. King Buzzo hasn't quite given us a ferocious scream or a haggard, crushing deathblow of a riff that abuses stereo speakers lately, such as displayed on their seminal 1993 album 'Houdini'. But what Melvins' have done well is to keep releasing interesting stuff. Their run of albums on Ipecac hasn't always been gold, but have been full of varying sounds, line-up changes and lots of collaborative efforts. Considering they are releasing material at a yearly rate, their creative flow certainly hasn't diminished.
The 'Death' disc of this double album is such a fun and breezy listen. I wouldn't quite consider it Metal, although stand out 'Euthanasia' has a slow and heavy riff that could slay a woolly mammoth. Sounding like classic 90s Melvins (this song has been knocking around live sets for a long time now). But most of this album is much more in the Rock terrirory. Standout track 'Sober-dellic' has a Blues Rock stomp to it that seems to be challenging 70s ZZ-Top. Lead single 'What's Wrong With You?' beautifully channels their 90s Grunge/Sub Pop roots. This track sounds like the Beach Boys, Nirvana and Bubblegum Pop all mixed into a blender. The vocal harmonies sound so immediate and ear grabbing on this track. The vocal harmonies shine really well on the crunchy riff rocker 'Flaming Creature' too, another huge track. Ultimately the 'Death' disc is just so much fun. Melvins' have been trying to create more immediate, catchy and fun songs for a few years now and it sounds like they are getting better and better at it. They still totally inject them with that Melvins quirk and sense of humour. LOVE
On the tails side of the coin we have the 'Love' disc. It's been a while since the more controversial and experimental side of Melvins has been let loose but here we have it. 'Love' is an original score for a short film directed by Jesse Nieminen, also called A Walk With Love & Death. I've not seen the film yet, but judging from the score I imagine it to be a very surreal, arty collage film perhaps? The 'Love' disc is not a film score in the traditional sense. It is basically a series of noisy sound collages with field recordings, spoken word samples (presumably from the film) and little to no structure. Each track noodles about seemingly randomly, with the occasional pulsing electronics, banging drums, scatty guitars. All the tracks here sound like they are completely improvised in the studio and sound very lo-fi and barely mixed or mastered. It definitely harkens back to their 1994 sound collage album 'Prick'. I honestly really struggled to sit through this disc. It just... It's not good. The sound of Melvins messing around with instruments in their rehearsal room with no rhyme or reason might appeal to a small quota of Noise fans or Melvins die hards, but in reality, this is not enjoyable to listen to. It sounds like the band churned it out in an afternoon and barely looked back on it. It also has absolutely no connection to the impressive 'Death' disc in terms of sound, style or thematic content. I did not take away anything memorable or enjoyable from this disc, and I quickly want to forget I ever heard it. CONCLUSION These two albums really deserved to be released separately because they don't have any logical connection to each other. 'Death' is one of the best Melvins releases of this decade, and 'Love' might be the worst thing they have ever put out. If 'Love' had just been billed as a "bonus disc" I could have let it slide. But this package is not only being marketed as a double album, but priced as such too. And sadly, as much as I enjoyed the 'Death' disc, it isn't worth shelling out that extra buck (although the album packaging is superb). The 'Love' disc is something you will not want to listen to more than once... Ever! I'm going to leave this at a 6/10 (but in reality think of it as an 8/10 & a 2/10)
*Note: At least it lives up to the title. Feels like they got the 'Love' & 'Death' titles the wrong way around though?
