James Holden & The Animal Spirits - The Animal Spirits

James Holden is an electronic artist that I wasn't too blown away by at first.  The first time I checked out his stuff was on his "The Idiots are Winning" album back in 2006.  This album was alright, with great atmospheric electronic tunes like "Flute" and "Lump".  And I did to an extent enjoy just how adventurous this album was. But I just felt like in a lot of ways, James didn't push his sound far enough.  However, James's 2013 album "The Inheritors" was so much more compelling.  This album showed James following through with his ideas so much more fully, and showed him willing to get his ideas across.  It's not exactly perfect, with some tracks sort of falling a little short.  But still, I was at least interested to see what would happen next.  Now, I didn't expect to hear much from this new James Holden project with his new band The Animal Spirits.  But hey, these opening singles have actually been seriously very adventurous and beautiful electronic tunes.  So yea, I'm totally feeling this, so let's dive deeper.

This album starts off with “Incantation For Inanimate Object”.  It’s actually sort of a dark intro, but I feel like more than anything it’s spiritual.  It’s also on the experimental side.  We’re only a few seconds in, and this is already vastly different than everything else James has touched. The synths are just so ominous and the chanted vocals are very unsettling.  But I was also sort of just hoping they would dive right into this album.  So this intro is sort of just alright, and it’s certainly weird to say the least.  On the other hand, “Spinning Dance” is pretty far out and experimental in the best way.  This track is just so wide-sounding and continues to show James experimenting with a much bigger atmosphere.  There’s a lot of very sweet instrumentals, which are obviously much more vast  than anything James has even come close to.   I mean, up until this point James has simply been a DJ and electronic artist, which is fine.  But I’ve always thought James has much bigger ideas, and that’s what we’re seeing with “Spinning Dance”.   This track is just so colorful and playful on the ears.  It’s almost got a jazzy tone in a lot of those woodwinds.  But it never really completely loses sight of its electronic base.  It’s colorful and sweet, and it also continues to come off very spiritual for James.  But there’s also a ton of Progressive influences as well.  It’s a really wild turn of events for James, but so far, I’m really into this and I can’t wait to hear more.  Then we have “Pass Through The Fire”.  This continues on with a whole lot of the same vibes, and I’m impressed with how sweet and playful a lot of this comes off as.  Nonetheless, it’s often the more electronic elements that come off as the most ear-grabbing, which isn’t too shocking.  Now, this one is a little repetitive at first, but I really love the way this one builds constantly and adds in each instrumental slowly.  The synths here are just so powerful, and not to mention the Jazz influences have completely taken over, mostly in those intense saxophones.  This has a very free-form feel to it, sounding almost like a lot of this was improved.   But it makes this album seriously exciting.  As “Pass Through The Fire” goes on and the instrumentals keep piling up, it just gets wilder and wilder.  Honestly, this album is a very exciting turn for James. 

    Now, “Each Moment Like The First” has a very icy intro that shows James has yet to truly leave behind his electronic routes.  But let’s be honest, this is much more adventurous and forward thinking than anything he had been doing in the past.  I love just how progressive this comes off and just how much this one builds constantly into something much bigger.  The layers to this one just make it oddly beautiful, and I really can’t say no to any of this.  It remains very vibrant and lush, and while the sort of spiritual vibe has wained, I still feel like this is very personal for James.  I’m just so into how many of his ideas are coming into light, and how beautiful they really are.  “Each Moment Like The First” is all gravy for me.  Then we have “The Beginning & End Of The World”, which is easily the most experimental track here.  It’ really pretty far out there and not nearly as inviting.  But it works really well for James still for the most part, and once it gets going it gets pretty damn warm.  Now, while I do like the low-key groove on this and just how smokey some of the horns come off, this one does end up being a little one-dimensional for me.  It drags on a bit and doesn’t really go anywhere too interesting.  There are some certainly very cool moments, and the instrumentals that are solid are breathtaking.  But this needed to mix up a little for me, and it really doesn’t.   However, the very spiritual vibe of this album comes back with a bang on “Thunder Moon Gathering”.  It’s also seriously mysterious, which I really love.  I don’t really mind the fact that James is taking his sweet time getting going on this one because this atmosphere is just so cool.  I love how lush these instrumentals continue to come off as well.  Like, there is just so much color to these very sporadic synths, and in this case seriously wild saxophones.  This is vast, exciting, and once again very spontaneous sounding.  The atmosphere on “Thunder Moon Gathering” just gets bigger and bigger with these gorgeous blasts of synths and horns.  It does continue to come off very spiritual and very close to the heart of James.  In a way, this is a real coming out party for James, and he’s watching all of his vibrant ideas take shape. 

    Then we have this album’s title track, which is so much more of an intense Electronic piece filled with so many more in-your-face synths and even wilder experimentation.  But it’s dazzling really.  I love James’s focus on the saxophone here and just how wild it comes off in this flurry of sounds.  “The Animal Spirits” is a bizarre one, but it continues to really stick with you.  For classic fans of James Holden’s early material, this is going to be the closest thing to a sound you’re familiar with.  However, it remains just as adventurous and much more intense as the rest of this album.  Then we have “The Neverending”, which is pretty much the most straightforward and melodic tune here.  Which at first, I thought like sounded like something I would be ready for about this point in the album.  But compared to the rest of the tunes here, this track isn’t nearly s entertaining or interesting.  The synths here just seem so stuff, and the horns and woodwinds that pop in are lifeless.  “The Neverending” is an alright track, but this is just such a big backtrack for James here, and is easily the safest.  This track ends off with “Go Gladly Into The Earth”.  Now with this one, at the very least it’s the sort of playful and fun track I’ve heard here.  I feel like of all of the tracks here, this is the least spiritual, and James just sort of sounds like he’s having a blast putting this one together.  The instrumentals here are some of the easiest on the ears, to be honest.  But at the same time, they’re just so warm and likable throughout.  “Go Gladly To Earth” is also seriously sunny and easy to digest, and is a really pleasant ending to this very adventurous album. 

Rating: 7.5/10

Give A Listen To: "Spinning Dance", "Each Moment Like The First", "Thunder Moon Gathering", "Go Gladly Into The Earth"

Genre: Electronica / Experimental

Overall Thoughts:  Overall I'm surprised but just how decent this album is.  There are a few tracks here and there which I sort of wish were a little more drawn out or switched it up a little bit more.  But this is still a decent electronica album, a very forward-thinking one at that.  Plus, I can't remember a time where James Holden's ideas came off fuller.  

Shamir - "Revelations"

Shamir, AKA Shamir Bailey, has been at it for years bringing quirky Electronic bangers to the indie world.  From his first EP, "Northtown", I just loved Shamir's character in his music.  These tracks were gigantic and had a slight Disco tinge to it.  But outside of that, the production was left field, but also big enough to get you on the dancefloor.  Now, this EP was actually pretty solid, with tracks like "If It Wasn't True" and "Sometimes a Man" being major standouts.  But it quickly made me seriously interested in what Shamir was going to do next.  On Shamir's next album "Ratchet", Shamir brought in some seriously banging singles, like the infectious "Call It Off" and "On The Regular".  But I felt like way too many of the album's deep cuts just fell so short of the whole Shamir dug them into.  So it's been a few years since we've heard from Shamir.  These new singles though caught me a little off guard honestly.  They show Shamir going for much more of a Singer/Songwriter direction, which certainly could work for him.  Let's talk about this album, shall we?

    This album starts off with “Games”, and it’s certainly a very playful and sweet intro.  But right off the bat, I just really get the feeling that Shamir is a little too far out of his comfort zone.  Some of his high notes here just come off as awkward and sounded so much better among the hustling Electro-Disco of his “Ratchet” album.  I do think that Shamir is on to something going for more of this personal sound because as far as that goes there certainly is a charm to this that’s undeniable.  But this very bare, low-fi instrumental is just not flattering for Shamir. There are just one too many moments on “Games” that just come off so damn awkward, I was really hoping for more from this intro.  “You Have A Song” is up next, and as far as an instrumental goes, I actually don’t mind this one at all.  This certainly isn’t nearly as bare-bones as the intro to this album.  And that’s totally fine, I can actually get behind this lumbering bass and anthemic guitars.  Still, I feel like Shamir isn’t completely comfortable in this atmosphere.  I think that lyrically, he’s still on to something with these lyrics, they’re actually seriously captivating.  Some of Shamir’s metaphors and imagery is actually gorgeous.  But I still feel like he’s just not nearly as comfortable as he usually is, making “You Have A Song” just OK.  On the other hand, I actually really love “90’s Kids” on every level.  Shamir sounds so much more comfortable on this one and willing to mesh with this new style of music.  His vocals sound so much more free on this one, and this very quaint Piano-Pop instrumental is sweet as well.  Lyrically, I’ll be honest, I’m not as into this one.  But I can’t help but get swept up in everything else about this one.  The atmosphere is whimsical, and I can’t help but feel like Shamir just sounds so free and happy, even though this is far from the happiest of tunes. As a matter of fact, it’s one of the most serious here, talking about anxiety.  But Shamir at the very least does sound positive.  So if he’s going to continue down this route, “90’s Kids” hits on all of the aspects he should focus on. 

    Now, as soon as I feel like Shamir is getting some real momentum going, “Her Story” shows up.  Instrumentally, this track is ridiculously cheesy.  It’s sort of retro sounding, coming off as almost some Psych Pop from the 60’s.  But Shamir is back to sort of wallowing in the background not knowing what to do within this atmosphere.  That’s fine and all, in a way this track actually could have been really charming.  But no, not in the slightest.  Shamir’s singing on “Her Story” is absolutely painful, soaring over the instrumental and not sounding remotely good.  It’s not charming, and lyrically this is a complete low point for the album.  Not to say this is lyrically bad, but the other tracks here have been just so much more likable and charming.  This album has barely taken off, and it’s flopping harder by the minute.  On the other hand, “Blooming” actually really stands out to me.  It’s moments like this that the Low-Fi vibe to this album really takes off and comes off as seriously charming.  Once again, a lot of elements to this come off like a retro Pop tune that the world forgot about, which is fine.  But I feel like the lyrics here are the real star being seriously adorable.  Not to mention, Shamir’s very heartfelt and sweet performance really backs it up nicely.  I actually really wish this track was a little longer. Now, obviously this still isn’t nearly as punch or lovable as some of his more dance-oriented stuff.  But if he’s going to give us more of this sound, this is a good route to go down.  Up next we have “Cloudy”, which continues to have a very strong retro vibe.  But in moments like this, Shamir is seriously losing me more and more by the minute.   These instrumentals are quaint, and Shamir’s very personal lyrics are more than commendable, don’t get me wrong.  But the total package on some of these tracks is just so awkward.  There’s almost a constant disconnect from the very whimsical instrumentals and Shamir’s vocals that just come off as so far South of what Shamir was going for.  However, I do continue to enjoy the lyrics, and I’m happy Shamir took the time to bring them to us.  

https://www.youtube.com/watch?v=l8bNSpaJxA8

    “Float” is up next”, and instrumentally I do really like how focused this one comes off.  When these instrumentals get their heads out of the clouds, there’s actually some really solid stuff here.  Overall, “Float” just works so much more for Shamir.  While I still think the production is questionable even by Low-Fi standards, this one is very charming.  I love the more hopeful verses and Shamir’s very sweet vocals.  Not to mention, this one just comes off so determined.  It’s one of the “heavier” tunes on here as well, which doesn’t mean much, but it does give this a little extra oomph.  Then we have “Astral Plane” which is sort of a slow jam with some of the better production we’ve heard here.  Honestly, these are some of the most punctuated instrumentals we’ve heard here so far, which I love.  And lyrically, I still think this is commendable.  But I don’t know why, but Shamir’s performance on this one just does nothing for me.  Some of these spacey lyrics are a little bizarre, especially with just how personal every other track has been.  Not to mention, the sort of almost Reggae grooves here are just so awkward.  Some of y’all may dig “Astral Plane”, but I really don’t get it.  Thankfully, we do get a very good finale in the form of “Straight Boy”.  Lyrically, I feel like this track and this album overall has been so important for Shamir, and we have to commend him for that.  The instrumental on “Straight Boy” may not be my favorite, but it gives Shamir a real chance to shine and finish off this album properly. 

Rating: 6.6/10

Give A Listen To: “90’s Kids”, “Blooming”, “Float”, “Straight Boy”

Genre: Low-Fi / Indie Pop / Indie Rock

Overall Thoughts:  Quite frankly, this album isn’t very pretty.  Most of this album has Shamir trying desperately to get his footing among this new style of music for him.  Which actually isn’t that bad of a thing on paper, everyone needs to really take their time to get used to new styles of music.  But sadly, there are a lot of moments on here that are simply really freaking awkward for Shamir.  Lyrically though, this is a sweet profile of Shamir that we haven’t really seen yet, which is commendable and may be something you love.  But for me, Shamir still has a lot to do within this style of music. 

Converge - "The Dusk In Us"

OK, so I've always been a big fan of the whole Metalcore genre.  But Boston legends Converge took me a while to get in, mostly because quite frankly I have the same issue with their early work as many Metal bands at this time.  I loved the intensity of their early album's like "Petitioning the Empty Sky", and some of the band's playing was flawless.  But the production at this time was just a little too raw for me.  It just to me ended up making the band sound more flaky than they actually were.  So hell YES when I heard the more crisp production of 1998's "When Forever Comes Crashing" I fell in love.  The more intense tunes on here like the album's title track and "Conduit" were explosive and grizzly.  But the most interesting element to this album is the dynamic Converge showed off.  For example, slower tunes like "Ten Cents" really came off so much better than they actually should have.  In 2001, Converge released their first true classic as far as I'm concerned, "Jane Doe".  This album was explosive from the word go.  But more than just that, the playing was intense, and the production was damn near suffocating with these brutal tracks being shoved down your throat.  But with Converge, I literally feel like they've just continued to get better and better.  2004's "You Fail Me" was their slickest album yet.  But while it did come off as a bit cleaned up, it was still immensely heavy and disgusting.  Tracks like "Black Cloud" and "Heartless' continued to be so in your face, and I loved it all.  Converge's sound continued to just get sludgier and muddier with 2006's "No Heroes".  The tracks here were just as tough and explosive, but some of the instrumentals I thought were just so much punchier.  Also, some of the slower tunes they were dealing with, like the gigantic "Grim Heart/Black Rose" were done so well.  By the time 2009 rolled around, it was pretty obvious that Converge were on top of their game.  Their "Axe To Fall" album, is quite frankly one of my favorites of theirs.  It's just so damn beefy and in your face.  It's not nearly as a muddy and devilish album as some of their early works, and it just brings in so many other influences.  Tracks like "Losing Battle" and the title track are still a little hit and miss for me.  But explosive tracks like "Damages" and "Worms Will Feed/ Rats Will Feast" are brutal in all the best ways.   So we're looking at almost 20 years that the band has been together by the time they released their "All We Love We Leave Behind" album.  But from the sound of it, you really wouldn't know that.  This album was one of the freshest and most inventive album Converge had done in years.  They sounded more energetic than ever and more eager to toy with other genres outside of their own.  The result is a seriously compelling album, and ironically a really great album to check out if you're new to the Metalcore genre.  Now, it may have been a few years since we've heard from Converge.  But let's be honest, they sound absolutely as ferocious as ever from these opening singles.  Let's chat about this new Converge album.

        This album starts off with “A Single Tear”, and what do you know, it’s a very intense and throttling start.  But at the same time, I’ve certainly heard Converge perform heavier tracks than this.  So in their own way, the band is sort of easing us into this album.  I love how melodic some of these guitars are in between just how angry and pissed off these vocals sound.  But I think what brings me to love Converge after all of these years, is their playing.  The guitar solos constantly whirling through this track as well as some of these intense breakdowns are just fantastic.  I love frontman Jacob Bannon’s performance because his vocals here truly sound tortured.  Yet, he still ends up coming off as human enough to connect with his fans.  The result is an emotional, and intense Metalcore track that I absolutely love.  But as emotionally tuned this is, this track will absolutely still kick your ass, don’t take it lightly.  “Eye of the Quarrel” is up next, and at this point, Converge are done easing us into anything.  This is right up their very destructive alley, with a much more off-the-rails and in-your-face feel.  Not to mention, Jacob is back to sounding like an absolute monster.  It’s intense, it’s off-the-rails and ridiculously performed.  I mean, listening to these vocals and how they just sear through everything this late in the band’s career is quite frankly, insane.  I love just how intense the drums are and these seemingly relentless guitars.  “Eye of the Quarrel” is absolutely brutal to hear, int he best way.  Obviously, if you haven’t been a fan of Converge up to this point, this probably isn’t going to win you over.  But still, this rules.  Now, I actually really love the approach to “Under Duress”.  There are some pretty strong grooves on this one, and the breakdowns are just so intense.  As far as a slow burner goes, this is probably the slowest and most tension-filled we’re going to get here.  But Jacob’s performance really sells this one by sounding absolutely hellish.  Outside of the semi-chorus, the vocal performances here are heart-wrenching and brutal.  I still love some of the more human aspects that we’re getting ins one of these lyrics which, quite frankly, is just something I’ve come to expect from Converge.  And the later moments when these breakdowns get more hulking and the vocals get more explosive are absolutely brilliant.  Converge haven’t let anything slide as far as intensity goes.  Now, “Arkhipov Calm” is by far the most hardcore track that we’ve gotten yet.  But it honestly doesn’t do that much for me sadly.  I feel like it’s almost a little too on-the-rails sounding.  As a matter of fact, I feel like this comes off like Converge had every twist and turn planned out within their performance here, which is exactly what I don’t want to hear when I’m listening to Metalcore.  It’s still brutal, and the playing is still spot on.  But for this sort of Balls-Out track coming from Converge, I would have liked this to come off as more spontaneous. Now at the very least, “I Can Tell You About Pain” sounds much more in the moments and is much more exciting.  I love just how vicious Jacob continues to sound, and for the most part how easy it is to read into some of his lyrics.  But the playing continues to be the real star.  Listening to the drum work of Ben Koller as well as the guitar work of Kurt Ballou is quite frankly overwhelming.  Then we have the breakdowns here, which are just so hulking and gigantic. And of course, I have to talk about the production.  On tracks like this, the production has become so beefy that Converge have simply become a wall of sound, and it’s wonderful. 

    This album trudges along with another slow-burner in the form of “The Dusk In Us”.  Right off the bat, I love how moody some of the play is.  And, while Jacob’s vocals here are much more toned down obviously, they still come off so damn tortured.  His lyrics remain so twisted, and even when they get to their higher register and the instrumental picks up, there are a few moments where he comes off sounding hopeful almost.  But the pacing on “The Dusk In Us” really gets under your skin.  That, alongside the atmosphere, really gets you into this mindset that Converge can, and will attack at any moment.  Now, this one really never gets too heavy.  On the contrary, this one remains a slow-burner throughout its entirety.  But it’s emotional, gripping, and even a little thematic.  It’s something I really didn’t expect to hear here, but man is it ever likable.   “Wildlife” however throws us right back into the fire VERY quickly.  It’s intense and truly wild, but outside of that, it comes off very technical.  So if you like your metal very rigid and finely tuned, this continues to be an album you’re going to want to check out.  I love also just how melodic this all is beyond the hell-screams and solos.  Which of course, takes up quite a bit of the track.  But there are certainly enough strangely melodic moments to make this a little more digestible. Outside of that, it’s just as intense and throttling as ever so don’t you worry.  But of the heavier tunes here, “Murk & Marrow” sort of underwhelms me.  When it comes to some of the atmospheres here, it’s a little on the cheesy side which I really didn’t think I would have to say here.  To me, this just doesn’t come off as a Converge tune.  It’s still very tightly wound and all, and some of the playing is still top-notch.  But the verses on this one just seem to be so fragile and thrown together sloppily, which is so far south of everything else on this album.  On the other hand, I do sort of like the very grimy groove of “Trigger” which is something we heard a little bit of earlier.  It gives this track such a dirty feel to it, and it once again is on the slower side.  But with “Trigger”, it just comes off like so much bottled up anger and aggression. I wouldn’t say this is the best of the slower tunes here, but it’s got a ton of great moments.  I love the very tense breakdowns and some of the more sung vocals which are a nice addition every once in a while.  But I think what really drives this one home is the atmosphere and the tension, which really save this from becoming boring.  But “Trigger” ends up coming off as a constant release of aggression, and that’s all I could ask for.  Up next is “Broken By Light”, and I don’t know what it is about that opening twangy guitar but, my lord is that ever cool.  And most of that twangy guitar tone follows through most of this track, and that’s something totally fresh that we really haven’t heard from Converge here.  It’s intense, it’s brutal, short, and sweet.  Plus, these vocals are easily some of Jacob’s most hellish.  So hell yea, “Broken by Light” works amazingly for Converge, as does most of this album.  

https://www.youtube.com/watch?v=NdBc6J4tT4M

    Sadly though, “Cannibals” is just sort of alright.  I mean, I dig Converge when they’re at their most aggressive and doing these small blasts of anger.  But I would so much rather hear their more technical side, but that’s just me.  But, I still do really enjoy some of the playing here and the absolutely gruesome vocals.  On the other hand, “Thousands of Miles Between Us” gives me the chills.  Converge are so good at choosing when to come out with their more explosive material, and how to make their slow burners just as interesting.  The instrumentals on this one are so patient, and Jacob’s vocals here are just so human.  But never once does it come off as sappy it just comes off like a really hardened, emotional tune.  There’s almost a weird Southern flair to this which baffles me, but it does work in their favor.  The result is tension-filled track, feeling like it could break at any moment.  The playing is heartbroken, and the solos are powerful, and I quite frankly have nothing bad to say.  Also, there’s a ton of Post Hardcore influence in there as well, which is always welcomed.  This album ends off with “Reptilian”.  Now, all of these slow tracks are doing a hell of a job of keeping me on the edge of my seat.  The playing here continues to be so fueled by some serious tension that it feels like it could explode at any second.  “Reptilian” is just such a hulking finale and much more intense and heavy than the other slow tunes here.  The riffs are certainly much more muscular, and the playing is much more in-your-face.  I feel like the Post Hardcore influence is still very real, but this one is all Metalcore at the end of the day.  Jacob’s vocals continue to be wretched.  Now, I may wish that this one was maybe just a little more melodic but this is still a brilliant ending to one of the year’s best Metal releases.  

https://www.youtube.com/watch?v=QYuAuLMX1FQ

Rating: 8.4/10

Give A Listen To: “A Single Tear”, “Under Duress”, “The Dusk In Us”, "Broken by Light"

Genre: Metalcore / Hardcore Punk / Post Hardcore

Overall Thoughts:  This is easily one of the most intense and brilliant Metal album's I've heard all year.  Converge seemingly never age or seem stale, as a matter of fact, they sound more intense than ever.  Some of the more wild and Hardcore tracks didn't do as much for me as they usually would.  But some of the longer tunes here are absolutely expertly put together.  I wouldn't say this album is anything radically different for one of Metalcore's finest, but it's more of what they've done amazingly for over 20 years. 

John Maus - "Screen Memories"

Ok, so you guys have probably realized by now that I'm a big fan of Ariel Pink.  Even moreso, I'm usually really into that whole Low-Fi Psychedelic Pop scene.  So when people started talking to me about John Maus, I was really excited to check out his stuff.  Then I heard his 2006 debut "Songs", and boy is this ever a hard album to sit through.  Most of the album, I get what John was going for, I really do.  He was aiming for a whole lot of the same quirky, bizarre, yet really catchy Low-Fi Pop that artists like Ariel Pink constantly nailed.  But John missed the mark so hard.  The off-kilter humor on this album often came off as painfully awkward, and John almost constantly seemed seriously uncomfortable.  But most of all, this album was almost completely directionless, often having casual detours out of nowhere that made things really confusing.  But there were moments here that I feel like John was on to something, like "Just Wait Til' Next Year" and "That Night".  Maus quickly found that purpose on "Love Is Real".  This album was so much more engaging and interesting, and the production was light years better/  Whimsical tracks like "Navy Seals" and "My Whole World's Coming Apart" may not have been absolutely perfect, but were the sort of Psych Pop tracks I got crazy for.  Instantly, John Maus didn't sound nearly as much like an outsider to an outsider music genre.  In 2011, Maus released his most concrete work yet, "We Must Become the Pitiless Censors of ourselves.  Instantly, Maus seemed like a respected elder of the Low-Fi genre than someone who just dabbled in it.  Tracks like "Believer" and "Hey Moon" didn't come off as experiments, they came off as sweet alternatives to modern Pop songs.  While there were still a few really bizarre tracks that flew by me, I was still really impressed with this album.  Now, it's been quite a few years since we've heard from John.   These new singles have been bizarre, some good and some sort of underwhelming.  But overall, I'm excited to talk about this.

This album starts off with "The Combine".  Now, a lot of Maus fans are instantly going to grab on to this.  It has a whole lot of the same strong, Gothic undertones, which may do something for you or not.  But for me, it's always made the music of John Maus a little more fun.  The synths are strong as always, and his very mysterious performance is as always, completely bizarre.  Maus almost never really gives away too much in whatever track he's working on.  But there's still so much to really love about this track.  I love just how grand this all comes out, with these soaring synths and backing horns ushering in the return of one of Low-Fi's true eccentrics.  I will give this to John though, he's so good at making these Low-Fi tunes very cinematic, and that's where he stands out and always will.  But for me, honestly "Teenage Witch" is the complete antithesis of that.  The instrumentals here are much more amateur sounding, even though they do have sweet elements like those horns floating through the background.  But even more than that, this just sounds so basic for John.  He's always been so very secretive and mysterious in music.  But there's a strong difference between that and throwing a tune together really quickly and calling it complete.  "Teenage Witch" practically has nothing to it, even though it is sort of catchy.  Some may totally dig this, but I personally need more from John.  But call me nuts, but I absolutely love the very low-key, darkly tinged funk of "Touchdown".  It's a bizarre tune, but so much of this album is truly weird.  Maus's vocals in moments like this are just so haunting and other-worldly.  And while you can argue this is just as simple-minded as the last track, this is easily much more compelling with its whimsical atmosphere.  But John actually ends up building a ton of unexpected tension in this, as playful as "Touchdown" is.  It's a strange tune, but it certainly sticks with you.  John really throws a curveball at us next with "Walls Of Silence", which actually has an early 200's Garage vibe to it.  In a really weird way, this almost comes off like a Strokes track.  This one is much easier to digest as far as John Maus tunes go, and it's not nearly as much of a novelty as some of his other tracks have been.  It's still quirky though and has tons of personality, but I love how dedicated John sounds in his performance.  Also, John's Post Punk influences are shining wonderfully on this one, which is always welcome.

    This album does have a few really nice surprises from John, like "Find Out".  This is a much more punchy and upbeat, almost Post-Punk track. I've never really heard him in this much of an intense atmosphere, and honestly, I really love it.  it still has a lot of Gothic undertones, and this is still very bizarre and hard to place.  But Maus here comes off as such an interesting force.  He's always been so shadowy and is almost constantly toying with darkness, but here he embraces it completely, and the result is fantastic.  I'd honestly love to hear John in this more upbeat realm more often. But then we have moments like "Decide Decide" which quite frankly confuse me.  This is a bizarre tune that just has John moaning within this hazy, Psychedelic mess.  I think the atmosphere is still solid, and I know a lot of people are going to love this.  But I'm just not into this.  Especially after hearing a few tracks in a row of John being a little more accessible which is a nice change of pace.  "Decide Decide" sadly just doesn't do anything for me. On the other hand, "Edge Of Forever" is right off the bat so much more in line with what I usually love to hear from John Maus.  I love his low-key vocals here and how grim the instrumentals are.  But on top of that, this one shows John going for much more of an accessible and catchy tune.  There are still a ton of very quirky sound effects and bizarre themes.  But I still think tunes like this are a serious blast and make me just want to hear more and more from John.  Then we have "The People Are Missing" which shows John going for more of a straightforward Synth pop tune.  And I do really like the very intense and playful instrumental which just works so well for John.  But it's in moments like this that lyrically I feel like he's really lacking what a lot of other artists in this genre excel in.  The result is just sort of OK.  It's a track that could have been wonderful with this very adventurous instrumental. 

    I continue, however, to be completely blown away by these much more upfront and determined tracks like "Pets".  I love the driving beat here and just how retro this one comes off.  John always has had a sort of retro vibe to his music, but this track is next level.  Then we have the lyrics, which John here is showing off his incredibly in-your-face, tongue-in-cheek humor.  It's almost rivaling just how crass and immature Ariel Pink can be from time to time.  But this overall just works very well for John and gives this album just enough personality.  On the other hand, "Sensitive Recollections" is loaded with low-key funks and grooves that are right up John's alley.  But this one overall, just really doesn't work for me.  Instrumentally this one is fine, and I mean that.  But John's performance on tracks like this is just sucking the life out of me.  It's beyond boring, and I honestly feel like he really didn't put any effort at all into this.  "Sensitive Recollections" does have a nice atmosphere, I'll give it that, but that's really all.  But once again, I really have to give a shout out to John with these much more direct tunes like "Over Phantom".  These very intense Synth-Pop tunes are really fantastic and bring out his bizarre character even further.  In cases like this, it's not nearly as noticeable just how simple a lot of John's tunes are.  "Over Phantom" is adventurous and wild, and totally right up John's eccentric alley.  But outside of that, it's not really that far away from his usual formula.   Now, I do like how vast "Bombs Away" is as a finale, and it's certainly one of the more animated and technical tracks here.  But I just can't get over John's more low-key performances.  His vocals often are on the very tight border of gloomy and bored, but it's so close that he comes off bored on a few tracks here.  On "Bombs Away", he just doesn't seem like he's into this.  But outside of that, I feel like this is still a solid tune, and I do love the very wild instrumentals. 

Rating: 7.7/10

Give A Listen To: "The Combine", "Touchdown", "Find Out", "Edge of Forever"

Genre: Low-Fi / Psychedelic Pop / Indie Pop

Overall Thoughts: This is a pretty decent collection of tracks from John.  A lot of the instrumentals have that same great retro tinge to it that really brings out a lot of the great characteristics of John's performances.  He just really needs to keep these instrumentals more upbeat and his performances out of the clouds. 

Julien Baker - "Turn Out The Lights"

Julien Baker has been around for a few years now, stringing together very dreamy Indie Folk ballads.  Now, at first, I really wasn't sure what to make of some of the opening singles from her 2015 debut "Sprained Ankle".  I thought some of the softer and sweeter track's like "Sprained Ankle" were certainly pleasant.  But it was some of Julien's more fiery and powerful performances like "Rejoice" and "Everyone Does" that really sold this album for me.  I wouldn't say a lot of this album is too genre-defying, but it's certainly one of the more emotional Indie records I've heard in a while.  But I really didn't know just how far Julien could take her sound.  But man, these new singles have been passionate and quite frankly gigantic, so I'm pumped to talk about this new album.

Now, I haven’t heard too many seriously great instrumental intros this year.  But “Over” is actually one of the better ones I’ve heard.  It’s just so dramatic and emotional, and it really sets up nicely for Julien’s performance when it does eventually roll in on the next track.  So no, this intro isn’t unbelievably necessary, but it’s all really sweet and certainly interesting.  Now, if you’re familiar with Julien’s usual sound, “Appointments” isn’t that far off.  It’s very soft and sort of whimsical, with her usual elements of Dream Pop, tossed in nicely.  But man, this is seriously deep, with Julien going into these major feelings of rejection and loneliness that are just so damn gripping.  Very quickly, you can tell you’re dealing with a songwriter whose going to throw everything she has at you, and quickly too.  Julien doesn’t hold anything back lyrically, and her very gripping vocal performance is just as jaw-dropping.  It’s just so sweet and tender, and you can tell that one line after the next is just so deep and personal.  But as sweet and tender as this is, it doesn’t take anything away from how overwhelmingly powerful this is.  “Appointments” is one hell of an indie tune, and is one of the most striking performances I’ve heard all year.  The very light and dreamy feel of this album continue to be overwhelming with “Turn Out The Lights”.  But Julien’s performances are all so piercing and dominant that it breaks through all of that.  As far as a personable Singer/Songwriter tune goes, this one really stops you in your tracks.  Actually, a lot of these tracks do.  But I think this one’s power comes from its seriously unreal pacing.  Julien gets you into this false sense that this whole track is going to be all dreamy and sweet, to the point where when the more electric guitars pop in and her absolutely stunning vocals boom forward, it’s actually jaw-dropping.  What an unbelievable tune “Turn Out The Lights” really is, I actually really wish it was longer.  I continue to seriously love the atmosphere of this album with “Shadowboxing”, as well as incredibly whimsical a lot of this is.  The very delicate piano playing is very nice, but Julien’s performance remains the star.  Here, Julien goes deep into these thoughts of being at war with yourself, mostly with fears, and it’s actually quite stunning.  The amount of personality young Julien has is seriously commendable, and just how comfortable she is with going into detail about who she is, is truly incredible.  This one’s pacing, however, is the real key.  It continues to really help Julien’s performance, with the instrumentals that come int saves and Julien’s gigantic vocals that continue to blow my mind.  So far, you’re damn right this is a great Singer/Songwriter project.

https://www.youtube.com/watch?v=xV1dMqeb4_U

    “Sour Breath” is up next.  Now, by this point I have to say if you’re in the mood for a more in-your-face album instrumentally, this obviously isn’t for you.  This album is just so delicate and comes off almost like a series of Diary entries from Julien.  But as comfortable Julien is with herself and chatting with us on a personal level practically, she certainly does have a lot of issues with herself still.  On “Sour Breath”, she dives into drug use and alcoholism.  With her smaller performance this one she comes off so much more vulnerable.  It’s a rough song to stomach, but Julien’s deeply personal lyrics and heartfelt performance continues to make this album one of the best I’ve heard this year.  Now, I actually love hearing Julien al alone with her Piano, which is exactly what we get on “Televangelist”.  It honestly ends up making her performance already more sincere than they are.  This one is once again truly gripping, with Julien’s lyrics truly getting to the point of being their most lonely.  But this isn’t just another “woe-is-me” Folk tune.  No, “Televangelist” shows Julien feeling truly alone in the world.  That, alongside this incredibly bare and fragile instrumental, makes this one certainly one you’re going to want a tissue or two for.  Not to mention, some of the imagery Julien comes up with is truly incredible.  “Everything That Helps You Sleep” is up next, and I honestly feel like this may be the weakest track here.  I feel like of all the tunes here, this one really doesn’t bring anything new to the table.  I still really dig Julien’s performance, but for me, there’s almost a little bit of a disconnect between her and the instrumentals.  The pacing that was really helping her sell the earlier tunes here is completely gone on this one, and the instrumental isn’t nearly as powerful.  “Everything That Helps You Sleep” just sort of blends in too much with a lot of the other tracks here.  It’s still certainly pleasant to listen to and all.  But in an album filled with incredibly memorable Singer/Songwriter tunes, this one just really isn’t cutting it for me.  Then we have “Happy to Be Here”, which instantly is so much more memorable.  I love these very slow burning instrumentals that Julien works with, they always just seem to make her performance that much bigger.  This really is an album all about the wars that go on within ourselves, and learning to love who we are no matter what.  The lyrics on this one are just incredible, with Julien screaming “Cause I miss you the way that I miss nicotine.  If it makes me feel better, how bad could it be? Well, I heard there’s a fix for everything.  Then why not me?”.  Whether we know it or not, no matter where you are or whatever your situation is, it’s something we’ve all felt.  Julien, this performance, and this album are commendable. 

https://www.youtube.com/watch?v=kK9m_5XDRCU

    As this album rolls on with “Hurt Less”, I feel like Julien’s lyrics just get deeper and deeper.  This one is just heartbreaking with Julien going into all of these sorts of suicidal/uncaring thoughts she once had, and it’s heart-wrenching.  The backing vocals on this one do add just enough dimension to this one that sets this track apart.  And actually, it would have been nice to hear a little more of it from time to time.  But still, this is just another breathtaking tune from Julien, and I’m impressed with how she really hasn’t run out of things to say.  Now, “Even” is just about the most straightforward folk tune here.  But instrumentally, this really falls flat.  In an album that’s really been fueled by unbelievable pacing and strong arrangements to back up Julien, it just sorts of falls flat.  I think as far as her performance goes, it’s decent, but it’s far from her best here.  It’s sweet and all, and there are some incredible lines. But when I say that this is really sort of a low point, it really is.  Like I said, “Even” is certainly pleasant, but this one doesn’t hold a candle to all of the other incredible tunes here.  Thankfully this one ends off with “Claws In Your Back”.  This one is the sort of dramatic, Piano Pop tune that Julien does so well up against.  She sounds so much more emotionally invested in this tune, and so much more down to earth.  It’s moments like this where once again Julien comes off sounding like she’s performing her diary for a one on one audience.  It’s really the finale I was hoping we would et here, and it’s wonderful. 

Rating: 8.5/10

Give A Listen To: “Appointments”, “Turn Out The Lights”, “Televangelist”, “Happy To Be Here”

Genre: Indie Rock / Indie Folk / Singer Songwriter / Slowcore / Dream Pop

Overall Thoughts: You know I really wanted an incredibly emotional and direct Singer/Songwriter album to really dive into this year.  And Julien Baker delivered with an incredibly personal and introspective Indie Folk album that really makes you think.  Julien really lets you into her life time and time again, and her incredibly delicate delivery makes you feel like you're catching up with an old friend and letting him/her vent.  It's a heartbreaking album that's often truly emotional, but the rewards are incredible.  

Fever Ray - "Plunge"

Huh. Well, this absolutely caught me off guard.  Fever Ray AKA Karin Dreijer of The Knife fame out of freakin' nowhere decided to release more material under the Fever Ray name.  Now, I certainly have enjoyed some of The Knife's work over the years.  And when Karin broke off as Fever Ray in 2009 and released her self-titled debut with this project.  The album was actually really well done, filled with artsy production and interesting performances, all based around very dark and moody Synth-Pop.  But that was 8 years ago!  And out of nowhere, Karin has a whole new Fever Ray album for us.  But even more bizarre, is this new single.  It's certainly very quirky and hard to place, and it's absolutely dark.  And I have fun listening to it, but it's certainly bizarre.  OK no more screwing around, let's chat about this new Fever Ray album.

This album starts off with “Wanna Sip”, which certainly has the very uneasy feeling of Fever Ray’s first album.  That’s what always drove me to enjoy that album, it was just so dangerous sounding.  But I feel like Karin just doesn’t like herself within this atmosphere.  This certainly is far from the most solid vocal performance of hers, it’s actually a little awkward.  Thankfully, some of the production and the instrumentals are wild and fresh enough to sort of make this a little more passable.  But overall, I don’t know why, but I feel like Karin is reaching so hard with “Wanna Sip”.  And it certainly doesn’t give me that same feeling I got with the original Fever Ray’s recordings, and that’s a real shame.  Thankfully “Mustn’t Hurry” is up next, and it’s exactly where I want to hear Karin.  This instrumental is just so uneasy, with these very bizarre synths that sound both retro and futuristic.  But overall I just love this very icy and cold feeling in this atmosphere.  But the real star here remains Karin, as it should be.  She sounds a thousand times more comfortable on this beat.  Her performance is still tightly wound and very artsy.  But it also just feels like Karin is just being herself, which is something that this album’s intro lacked.  And while “Mustn’t Hurry” is still confusing and hard to dive into, it’s catchy enough to stick with you.  Also, I love just how haunting these synths are and how pained they come off.  But still, it remains catchy, and this is one hell of a tune.  Then we have “A Part Of Us”, which is so much more of an accessible track as far as the instrumental goes.  It’s still got tons of dark undertones, but this isn’t nearly as artsy or hard to place.  The production on this one is a real standout for me, I just love how intense this beat is and how wild the instrumentals come off.  Now, if you’re more of a fan of The Knife this is a track you want to hear because it’s certainly the most comparable to The Knife’s work.  Karin’s very far out and bizarre performance remains strangely charming though.  I really can’t say no to “A Part Of Us” at all.  There’s almost an old-school Crystal Castles feel in this very abrasive production.   As this album rolls on, Karin continues to sound more and more like herself, and I love to hear it.  But I feel like it’s the minimal beats on tracks like “Falling” which really steal the show.  It’s in these moments that Karin comes off at her weirdest, but it’s also where she’s most comfortable.  I love how intense the production is here and how far out these beats are.  But you have to hand it to Karin because these instrumentals are gigantic and a really great example of how great a mind Karin has for this.   I’d much rather hear her in this sort of atmosphere, but that’s just me.  I just love how alone she sounds and how tiny she comes off within these instrumentals.  Not to mention, her vocals come off so much more accessible and easy to analyze in this case.  And that isn’t always the case throughout this album, so we have to appreciate that.  There are also some seriously personal lyrics from Karin, which is always welcome.  So far, this is solid. 

    Now, while I do enjoy the much more intense and aggressive beat on “IDK About You”, this is where this album begins to falter a little for me.  This album continues to be a very kinky album that’s totally comfortable with its sexuality and exploring it.  But as much as I think that works with Karin’s music and as intense as these instrumentals get, I really can’t stand her vocal performance here.  I mean, I’ve been a fan of Karin’s music for a while, but I can’t remember her vocals ever coming off this obnoxious.  The instrumentals and the production do save this one, but not nearly as much as I would have liked.  So year, “IDK About You” still works and is far from boring, but Karin really has to watch these vocals.   “This Country” is up next, and once again I do really like the much more abrasive production.  On the other hand, there’s just too much of this track that I really am not feeling at all.  Once again, Karin’s vocals are seriously bizarre, even for her standards.  Not to mention, those backing vocals don’t do anyone any favors.  Once again there’s a whole lot of kinkiness to this, which Karin is usually very good at handling.  But on “This Country it comes off as a little too ridiculous.  Not to mention, it just goes on seemingly forever, even though it’s only 3-Minutes long.  Sadly, “This Country” goes nowhere and just isn’t a good tune.   Thankfully, Karin turns it around with “Plunge” which sounds fantastic right from its intro.  I love the very low-key electronic beat being buried by all of these very mysterious and dark instrumentals.  It’s got such a decent groove that I really don’t mind that it takes over a minute to get going.  When “Plunge” eventually does get going though, man is it good.  It has a real groove to it, which is something we haven’t seen that much of here.  While this track is completely an instrumental, this is actually one of my favorite tunes here.  I love the tight playing on this track and the strong grooves, as well as Karin’s ability to make things very uneasy even though she isn’t present vocally.  Then we have “To The Moon And Back”, which is actually one of the most playful tunes here by far.  It’s not nearly as dread-inducing, and almost sounds like any plain Indie Pop or Synth Pop tune.  But once again, I’m really not feeling Karin’s performance.  For me, this one just doesn’t seem as wild or unhinged.  It remains really fueled by Sex, and it is pretty damn kinky.  But this isn’t as artsy or experimental, and I’ve listened to it tons since it’s release. 

    Thankfully, Karin really nails the finale of this album with a series of great tunes.  “Red Trails” on the other hand is instantly much more bizarre and seriously fascinating.  Also, right from its intro this one really gets under your skin, and Karin sounds so dangerous.  I love some of the Low-Key World Music elements underneath all of this, and I’d love to hear Karin do more with that.  But I think what makes this one stand out is the pacing.  It creeps along so slowly and you really never know what you’re going to hear next.  That, alongside Karin’s piercing performance, makes “Red Trails” a seriously wild track that comes off so primal.  Honestly, this track is everything I loved about her debut with the Fever Ray project, and this is one hell of a tune.  Then we have “An Itch”, which once again is a little more lively and certainly a little more playful.  But I think Karin’s very tortured and seriously twisted performance on this one takes it down from a casual sort of Synth Pop tune.  It’s bizarre and totally out there, but Karin has such a knack for taking things so simple as “a touch” and turning it into something sinister.  And that my friends, is what makes a Fever Ray project stand out.  You literally get the feeling here that Karin is in grave danger, and you end up fearing for her safety.  It’s a wild track, but it really works well for Karin.  And if these last few tracks have been unnerving, that goes double for “Mama’s Hand”, which comes off as just plain dark.  The beat here is so low-key and hard to place, but it’s incredibly cool and hip.  It once again almost has some weird Tribal elements, which is totally refreshing and interesting especially this late in the album.  Then we have Karin’s performance here, which is constantly growing and getting more and wilder.  It’s an incredibly mysterious track that really makes me just want more of what Karin’s been doing here, and that’s what makes a truly great finale. 

Rating: 7.8/10

Give A Listen To: "Mustn't Hurry", "A Part Of Us", "Mama's Hand", "Red Trails"

Genre: Synth Pop / Art Pop / DarkWave / Experimental Pop

Overall Thoughts:  This is a pretty solid release from Karin under the Fever Ray name.  There are a few moments where I feel like her sound has gotten a little too far out there for me and is a little too hard to place.  But for the most part, the material here is very unnerving and twisted.  Lyrically, it's an album that refuses to let go of kinky sex stories and Karin's personal life, which works really well for Karen.  And while no, I don't think this is as good as her original project under the Fever Ray name, this is still a reminder of just how forward thinking and wild Karin is. 

All Pigs Must Die - "Hostage Animal"

Now, this may not come as a shock, but I'm very iffy when it comes to Hardcore Punk.  But when I aw the lineup for All Pigs Must Die, I couldn't help but investigate.  Being made up of members of Converge, Bloodhorse, and other legends, this Group sounded great on paper.  And their 2010 debut EP "All Pigs Must Die" delivered on every level. This EP, while it was only 20 minutes, was a brutal blast of Metalcore and Hardcore Punk.  But it was more than just an all-out assault of anger and brutality.  The instrumentals and the playing on this album were completely above everything else that was going on in this scene right now, and I couldn't get enough.   All Pigs Must Die returned in 2013 with "Nothing Violates This Nature", sounding beefier and better than ever.  There were plenty of slick grooves and breakneck verses that were absolutely bombastic.  Plus the performances were just so "in your face", I needed more right away.  But quite frankly, it's been a while since we've heard from them.  Now, I haven't had the chance to check out any teaser tracks, so we're diving in headfirst on this one!

This album starts off with a huge bang in the form of “Hostage Animal”.  This is just as explosive and pummeling as I was hoping it would be right off the bat, with elements of Grindcore and Powerviolence sprinkled in not-so-gingerly throughout.  The instrumentals are just as technical though as I’ve always loved.  This may be just the blast of death and destruction that people want to hear.  But holy hell, the instrumentals are just so finely tuned and technical.  Some of those later guitar solos are just so refreshing to hear, and all of the instrumentals are on a one-way-trip to pummel everything in their path.  But that doesn’t take anything away from this one.  “Hostage Animal” is a brutal hardcore track at heard, and this is one hell of a way to start an album.  “A Caustic Vision” is up next, and trust me it’s even heavier with much more short blasts of violence piled up with their usually very grimy verses.  I just love how grizzly and beefy this production is, making these thick bass lines and relentless riffs just encapsulate everything in their path.  Not to mention, I just love how monstrous and explosive vocalist Kevin Baker sounds on vocals.  I mean, he’s always sounded like a damn near monster, but here he sounds like he’s about to leap out and rip your throat out, and I love it.  Now, you really have to give it to All Pigs Must Die, because this is a collection of some of their most explosive tracks yet.  “Meditation of Violence” up next is fierce.  It’s a little more straightforward for the band, but it’s still just as violent and throttling.  It’s 52 seconds long, but it works for me.  Now, “Slave Morality” is up next and it’s the first track here that’s taking a little time getting going.  It’s also easily the most atmospheric track here by far.   But for me, this comes off a little out of place.  Like, I’m all for All Pigs Must Die taking a slower pace and working the sludgier route.  Hell, it ends up working out for them later in the album.  But “Slave Morality” sort of takes the wind out of this album.  I still think the playing here is commendable and truly explosive.  Not to mention, the anger and deeply tortured vibe is out in full effect.  But I just think this takes a little too long in getting where it’s going.  I mean, if you’re in for a slow burner this early in the album, “Slave Mortality” isn’t bad.  But for me, it’s not what I’m here for.  However, when it DOES get where it’s going eventually, things do get quite a bit better. 

https://youtu.be/1X3tqVuN-P0

    Now overall, spoiler alert, I’m really digging this album.  But sadly, “End Without End” is a bit of a down point for me as well.  I like parts of it, like Kevin’s continued absolutely bloodcurdling performances that are just so massive and brutal.  But these sluggish instrumentals really don’t pump me up as much as I wish they would.  They’re still heavy hitting and fine examples of slow-burning metal, but I like All Pigs Must Die at their most “in your face”.  Plus, it’s almost 6 minutes long.  In an album fueled by minute long bursts of power, “End Without End” just seems out of place.  I do have to say though, I rather like the last minute of this one where that big ol’ instrumental sludges it’s way through.  On the other hand, “Blood Wet Teeth” gets All Pigs Must Die going back in the direction they should be going and fast.  This one is just so determined, and easily the most in your face sounding track here.  The riffs need up having a seriousness grandness to them, and there’s certainly a very epic feel within the instrumentals.  But don’t let that fool you, “Blood Wet Teeth” is about as subtle as a punch in the face.  It’s intense, with some of the most brutal instrumentals this album has to offer.  And Baker remains a pure, animalistic frontman who just seems dangerous.   Then we have “Moral Purge” which is easily the most off the rails track here.  Overall this has certainly been a pretty intense album, but for the most part, it’s all seemed very calculated.  On the other hand “Moral Purge” sounds like an absolute all-out-assault on everything in its path.  But it’s also one of the most exciting, and easily the one that’s going to cause the most Pit action.  But not an instant of this is taken for granted, as the playing remains just as intense and well crafted.  Now like I said earlier, All Pigs Must Die haven’t exactly nailed any of their longer and slower tunes here.  But “Cruelty Incarnate” changes that.  I love how dreary and apocalyptic this one is.  Each somber instrumental comes off so weary here, and just so exhausted emotionally.  Unlike the earlier slow burners, this one has some serious heart.  That heart is obviously black as anything, but it’s there nonetheless.  “Cruelty Incarnate” eventually picks up though and really ends up being one of the most soaring and intense tunes here.  The instrumentals have gotten so far out of control by this point that they’re honestly hard to follow.  Not to mention, Baker’s performance here is just so gigantic.  As far as slow burners go, this one really takes the cake. 

https://youtu.be/dcVWgR_Rp9E

    Obviously though, with two tracks left All Pigs Must Die are far from done with us.  “The Whip” is just as wild and explosive as anything else we’ve heard on here.  The instrumentals are a little wary on this one and aren’t nearly as technical. But that’s fine because, for a blast of booming hardcore, this works just wonderfully.   It’s angry, it’s rebellious, and while I feel like it falls a little flat by the end, it’s still really solid.  “Heathen Reign” ends off this album in a BIG way, starting off with a wonderful opening riff incorporating more technical elements.  But it actually ends up working unbelievably for All Pigs Must Die.  This is the sort of hulking, slower tune that I feel like works with them so well.  Baker just sounds so tortured in his performance, and every instrumental just blasts right through you.  And while yes, it’s still a more patient tune, it’s almost constantly gratifying.

Rating: 8.2/10

Give A Listen To: "Hostage Animal", "A Caustic Vision", "Blood Wet Teeth", "Cruelty Incarnate"

Genre: Metalcore / Grindcore

Overall Thoughts: Oh boy, this is the Grindcore album that I’ve needed to hear for quite some time.  All Pigs Must Die sound honestly better than ever, in just about every way.  Their instrumentals continue to be a real standout, being much more than just some blast of anger.  No, All Pigs Must Die live up to their supergroup status, and blast through 10 tracks in a little over 30 minutes and it is BRUTAL.  Some of the slower tracks halfway through still don’t hit me completely.  But still, certainly one of the better metal releases of the year.