drone / ambient / jazz / krautrock

drone / krautrock / experimental

singer-songwriter

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doom / dark ambient

metal / metalcore

thrash metal / hardcore

doom / sludge

metal / metalcore 

doom / sludge / black metal

doom

sludge / doom

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shoegaze / dreampop

stoner rock

electronic / ambient

Avian

post rock

black metal / hardcore

heavy jazz / noise rock

alternative rock

doom metal

heavy metal

power metal / heavy metal

hardcore / progressive

symphonic meal / gothic meal

techno

alternative / singer-songwriter

death metal / thrash metal

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rock / pop / singer-songwriter

We remain in the realm of singers-songwriters a little longer, this time with Finnish artist Anthony Rausku. According to the accompanying biography, the seven songs on this album were recently rediscovered on a tape. Originally recorded in 1984, Rausky forgot about them for over thirty years. For this album, he re-recorded them, this time including a new alto saxophone. The result is a rock album that is just as relevant today as it was back in those days.

As you might recall, in 1984 was a year of fear as new nuclear missile technologies entered Europe. Tensions greatly increased between the major world powers with both sides becoming more militaristic. In fact, there isn't that much difference between that "second cold war" era and the one we are living in today. Tensions still are high today. Allover the globe, many people still live in fear of war and terror. 

So in a way, the seven songs on this album are equally relevant today, and so is the music. With a blend of blues, folk rock and grunge, Rausky knows how to create compelling songs which remind me of people like Bowie, Cave, Dylan or Waits. The whole is quite rough and gritty, somehow perfectly illustrating the mood, or Zeitgeist, the artist was in while writing the songs. I guess protest-songs are a timeless thing.

It's hard to pick out a favorite track on this album, but if you make me, I think I'll pick the rocking 'Lipstick Vaccine' or maybe the gloomy 'Sparkling Vision'. Yet, all songs show excellent songwriting skills and a flair for writing timeless protest songs. Although I do recommend this album to all fans of singer songwriter and decent rock music, I hope Rausku doesn't have to release these again in thirty years. I hope by then the world is a better place...


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indie / alternative / pop / singer-songwriter

Well, I guess it's time to get this review online. In the past month or so, I've spent several hours listening to the album and rewriting the whole article, only to have it end up in the drafts, waiting to be published. Why so? Well, this simply is a difficult album to describe. For starters, the album reminds me a lot of one particular act but I can't remember which one and that is bloody frustrating. Second, this takes a dig into my entire non-metal musical knowledge, especially the alternative corners of the pop music industry.

First things first, Klein is German multi-instrumentalist Lutz Nikolaus Kratzer. According to the biography, he loves all the instruments in the world, except panpipes. 'Bengal Sparks' is his third album under this moniker, one on which he surely comes up with a heap of instrumentation and electronics. He throws all of those instruments into nifty pop songs, here and there aided by either Mr Vast or Kuoko. 

Throughout this album, an massive load of bands come to mind, from Massive Attack over Ween to Sonic Youth. There are elements from shoegaze, from noise, from trip-hop and even some grunge licks. Yet, all of those elements have been blend into uplifting songs. It's not hard to start shaking your ass to 'Lowride', 'Parking Lot' or 'Nicotine Princess'. Speaking about 'Lowrider', this song is the indie rock version of an electro clash song. You know, Ween plays Goldfrapp, or something like that.

Come to think of it, I'm starting to believe that my little problem is solved. The band I couldn't remember, which is described in the opening paragraph, is probably Ween. The blatant disregard towards genre boundaries, the cheek-in-tongue approach, the joyful yet often gritty sound, this might have well been a Ween album. That also explains why I wasn't very fond of the album at first but love it now. It's the same with everything recorded by Dean & Gene, it needs to grow and gradually show its true brilliance.

So yes, I've grown quite fond of this one. It has become an excellent companion for my daily chores. The trippy 'Silly You' is one of my favorites and 'Ghosttown' definitely deserves a mention because both Massive Attack and Tricky completely forgot to write this beauty. Or how about 'Neon Fog', an americana tune, interlaced with soundscapes and shoegaze and I don't know what else. This is too good to be ignored, this whole album is. 


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classical / singer/songwriter

There comes a time in everybody's life when a person has to do things differently, tone down and take a step back from the bustle and racket from everyday life.  Over the years I've seen many musicians suddenly take on a different approach, usually minimalistic and serene.  Like the death metal drummer who suddenly rediscovered the piano at his grandmother's house and started playing it.  That man is now widely successful and praised for his work.  That man's name is Olafur Arnalds.

There's quite a similar story to be found on this album.  Exec is Troels Abrahamsen, most notable for being the vocalist for Danish electro-rock band Veto.  He too rediscovered the piano, a instrument he knew very well as a child.  Fascinated by the warm, analog sound of this instrument, he started working on new songs, featuring nothing but the piano and his distinct voice.  The result is this splendid album, a solo performance in the best possible way.

There's another Olafur Arnalds reference.  The songs on this album remind me a lot of some of the ones on 'For Now I Am Winter', more specifically the ones with vocals.  Both excel in creating an atmosphere of solittude and often complete loneliness.  But not necessarily in a bad way. It feels a bit like sitting near an open fire in the heart of winter, cozy and soothing.  It's both modest and emotional.

My advice? Well, fact is that Mr. Abrahamsen has a distinct voice which might take some getting used to at first.  However, it still is a strong voice with plenty of timbre and dynamics to carry this album to a high level.  I do recommend this album to any fan of his work in Veto and as a vocalist in Kölsch and Audion.  The album shows a different style, one that I like a lot.  I wouldn't be surprised if Exec shows up on some of Europe's jazz-festival stages this summer, or in large theater venues. 


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dark folk / dark ambient

Several months ago I had the chance to review 'Arsenal' by French folk noir singer/songwriter Kentin Jivek (read).  Now he returns with a surprising album. Surprising because of the professional approach to this usually quite bedroom-sounding genre.  Surprising also because of certain elements that remind me of totally unexpected bands.  Yes, this might be one of the most professional and mature sounding folk noir albums I've ever heard, and possibly also the most approachable one.

Dressed down, you can see the songs on this album as dark ambient soundscapes and drones on which a number of folk songs are being sung.  At first, it takes some getting used to the distinct voice of Kentin but gradually it starts growing and references start coming above.  These references aren't the least. Andrew King and Current 93 come first, soon after followed by Anathema and Pink Floyd.  At one point in opener 'Last Light', I feel a similar atmosphere as I felt while listening 'The Wall' by Pink Floyd, that growing insanity, remember?

Besides drones and soundscapes, there seems to be some place for experimental electronics as well, but only if they can enhance the strange atmosphere of the music. Another important instrument is the acoustic guitar, hence possibly the folk-edge.  It's hard not to get immersed in this strange atmosphere, which feels a bit like sitting around an open fire during a camping trip in a haunted forest.

By the end of my previous review for Kentin Jivek, I mentioned that his 'Arsenal' album could use some more instrumentals to be complete.  Kentin didn't do that but still managed to come up with something that exceeds the previous album.  There are some awe-inspiring pearls on this album, highlighting in 'The Forbidden Truth' and the dark and eerie 'Qop'.  So if I recommended the previous album, I certainly recommend this one.  This act is getting better and better...


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pop rock / singer-songwriter

Singer-songwriters seem to appear more often on this website, and with good reason.  There's some interesting stuff to find in that genre, especially when it's combined with a number of other musical influences.  I've always admired people who dare to climb on stage without a backing band, even if they use electronics to complete the music.  At least, when you're in a band, you always have someone to blame when things go wrong.  Luckily, there's no one to blame on this album since it's pretty damn good.

Hackmonocut hails from Linz, Austria and has been a solo-act since its inception in 2012.  Basically, it's a man and his guitar but there are other instruments used on this album as well. The basics of guitars, drums, bass, piano and orchestral arrangements are all present, making this a decent piece of music.  Lyrics include dark humour, love stories and social criticism.  When I read that, I got interested immediately and I was right to do so.  This is a splendid rock noir album, but let's go over the songs.

The album opens with 'We Better Look Away', a strong rocker which reminds me a bit of bands like The Pixies or Sonic Youth.  This recipe is often repeated, mainly in great songs like 'Used Love' and 'Leech'.  Yet, Hackmonocut combines those elements with a strong story writing ability, a bit similar to people like Nick Cave.  Especially the vocal lines remind me of the God of rock noir, making them a very welcome addition to my music collection.

If we're talking about Nick Cave, we have to talk about ballads as well.  And that's where Hackmonocut is at his best.  'Now' shows a bit of that quality but it's in songs like 'The Ripper', loaded with strings, and the piano driven 'Scarlet' that the album reaches highlights.  These are beautiful songs, filled with emotion and the deep, raspy vocals which add a lot of melancholy to the whole.   Finally, 'Love Letter' quickly becomes the strongest ballad on this record, definitely inspired by mr. Cave.

'Dead Born Sister' differs a bit from the other songs by incorporating what seems like electronic percussion and nudging a bit toward the trip-hop scene.  You know, Johnny Cash meets Massive Attack or something like that.  The album closes with the dubby country song 'Days Of Roses' which also has a dark rock edge, a strange combination that works quite well, I might add.  

I'm not sure how Hachmonocut does this thing live, perhaps with a band of friends.  However, I do know that I really want to see this on stage.  This could make up for a solid performance, often causing a dark grin on the faces of the audience members but always in this gloomy atmosphere.  In all, this really is an interesting album, highly recommended for every melancholic, raw pop-rock fan out there. 


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singer / songwriter / soul

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In my opinion, there's two different kinds of music: music that irritates me and good music.  I really do not care about genres, techniques or other points of discussion.  When the music doesn't annoy me, it has the potential to be played often in this household.  Besides, usually I look beyond the music, I listen to the heart, mind and soul of the artist and try to capture the story he or she is trying to tell me.  

Today I found a gem that will probably find the way to the media player a lot from now on.  It's way different from most things you can find on this website but it has a lot of heart and certainly a lot of soul.  The artist's is named Angéline. She hails from France but studied music in England.  This record was initially composed from sounds from everyday activities, like tapping on desks and such.  From their she recorded the demos and eventually the e.p. was gradually being born.

The e.p. opens with the beautiful song 'Black Butterflies'.  This song fits perfectly in the current wave of female electronic artists like Banks, Austra or Emika.  However, as I mentioned before, there's a lot of soul in here and names like Lauren Hill or Mary J. Blige aren't far away.  'Si J'avais La Choix' repeats that quality, be it in a darker, eighties electronic fashion.  Mainly because of the French vocals in this song, I'm reminded of Lara Fabian.

'Aama' is a beautiful song, seemingly borrowing from trip-hop or at least perfectly fitting in that genre.  The song was initially recorded for a Nepal relieve charity fund and features a lengthy ocarina solo.  Well, I think it's an ocarina, it reminds me of an ancient tape I bought for my father decades ago.  'Ghost Dance' then takes things down to a calm, intimate level and quickly becomes one of my favorite electronic ballads in a while.  'Kohly' is a strange intermission, consisting of recorded bird sounds.  

Closer 'While I Was Away' returns the earlier soul-feeling with very strong vocals and a dubby bass line.  It feels even more organic than the previous songs and shows hints of traditional African and Caribbean music along with the droning electronics.  This is the stuff heard on world music festivals around the world and I'll be sure to keep an eye out for when Angéline appears on one of those places.  This is beautiful music with the heart in the right place.  Respect!


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singer / songwriter / country

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Years ago, I visited one of the biggest festivals in Belgium, named Rock Werchter.  In fact, I was a frequent audience member in my teens and twenties.  One of the most memorable concerts over there was Luka Bloom, who was armed with an acoustic guitar and his voice in front of a heavy rock minded army of fifty thousand people.  His gig was so intimate and so beautiful that I immediately bought some albums when I was back home.  Since then, I've always had an admiration for singer/songwriters who dared to do their thing completely alone.

These days, things are a bit easier for these people.  Drum machines and computers have been able to add a lot to live music, lowering the intimite feel.  But then again, sometimes it sticks.  If you ever witnessed a Bain Wolfkind gig, you'll know what I mean.  And I have a feeling that Ric Gordon is another one of those solo performers who are able to get stuck in your head on a very, very personal level.  The EP is his homage to a summer he spent busking out on the streets with his old guitar.  It includes three new songs and several reworks, and it sounds so great I think it's time for another song-by-song thing.

'The Death of Queen Jane' is an acoustic folk rock songs that combines the vocals qualities of Luka Bloom with the storytelling abilities of Nick Cave.  At this point, the camp fire is lit and the marshmellows are being impaled.  Yes, impaled, that's what you people do when you eat marshmellows at a camp fire.  'You Always Stayed' adds a bit of background percussion to the intimate sound and becomes a bit of a happy punk rock song that way.  Here, the people around the fire are clicking their fingers.  This is becoming a great night.

'Never Wanted You' turns the whole thing into a soft rock parade.  Somehow a name like Fleedwood Mac suddenly comes to mind but I'm not sure why.  Maybe because this is an excellent piece of songwriting and simply a damn good pop rock song.  Another sudden reference is The Cure, also because this is just a very, very good song.  'I You Two' drives on a dubby bassline, which is quite entertaining while also returning the intimacy that makes this music so pleasurable.  Yet, after a while it become clear that Gordon doesn't shun the effect pedals but that only adds to the fun.  People are dancing now.

And they continue to dance to the classic pop rock sounding 'Find Your Way Home'.  This is a bit of a tearjerker, influenced by both classic rock and nineties grunge and, of course, with this music the ghost of Johnny Cash is never far away.  Neither is Conway Twitty, who we all know from Family Guy and is quite possible the only country singer most of us know.  Closer 'For You' comes closer to Bain Wolfkind by mixing clean guitars with electronic, almost industrial drums.  That amount of variation rare in singer/songwriter albums so I welcome it very much.  This just a great piece of work for a talented artist.



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