And we’re back. It’s been great having a break for these last few weeks but it’s time to lock back in and get writing. I’d like to thank everyone again for reading, I had more people view my end of year roundup than any other entry I’ve published. So thank you.
This time we have a round up of December and January, which delivered some fantastic music. So let’s go.
December
Ryan Davis
Through the Mirror Glass
Ambient
Ambient music is something that I never had time for until recently, but with acts like Davis, I’m finally beginning to come around.
This is slow, thoughtful music that reminds me of acts like Kisamos and John Hopkins at his most gentle.
Through the Mirror Glass is built around a soothing piano, so light of touch that at some points it seems like it might just drift away, but the beats slowly come into focus and anchor the album down before it becomes too abstract.
This is beautiful music for looking out at cold, frosty days. I hope it will be beautiful music for summer evenings as well.
Leftfield
This Is What We Do
Electronica
The least prolific of the 90’s dance acts returns with an album designed to put a smile on your face. Neil Barnes recovered from cancer and decided that he needed to get back to making music and wanted to spread some feel good vibes. Luckily, he managed it and This is What We Do sparkles with energy.
That’s not to say that the album is full of dance floor fillers, there’s some very Kraftwerk-esque tracks and that dread bass that made Leftfield stand out from their peers is still there, waiting to rattle people’s rib cages when played loud enough.
It wouldn’t be a Leftfield album without some guests though. Rapture 16 sees the return of Earl 16 whose voice can still raise goosebumps every time. Grian Chatten, from Fontaines D.C. turns up, but somehow his vocals work perfectly here, whereas he’s the reason I don’t like his band.
But all this review is a bit pointless, it’s 2023. You know if you’re going to want a new Leftfield album in your life or not. If you’re somehow still on the fence, jump in. This is well worth it.
Other Half
Soft Action
Alt Rock / Noise Rock
When your band’s motto is “nasty music for nice people”, Peaceful isn’t really the something you’re going to expect and Other Half play a noisy alt rock with more than a dash of 90’s music in the mix. The album is loud and abrasive but it’s still catchy, if you’re into loud and abrasive music, which I am. So that’s ok.
In My Wires, was the track on the album to win me over, the bass player goes full Kim Deal with her backing vocals and melted the heart of this once hardcore Pixies fan. And from there I was hooked.
It’s the interplay between the two vocalists that make this album stand out. There’s a lot of bands walking this aggressive, noisy rock but the male, female dynamic elevates this record. It’s not even the aforementioned Kim Deal like vocals, bassist Sophie Porter, can scream bloody murder when she wants to, and it’s a thrilling combination when mixed with guitarist Cal Hudson’s throat damaging yell.
But it’s not all chaos and shouting, songs like In My Wires and If You Write Like You Talk give the listener a chance to catch their breath, to enjoy melody and some straight up catch songs amid all the noisy rock action.
This isn’t the easiest album to crack but it really rewards the time you put into it, soon enough you’ll be dreaming of running into the pit as it plays.
Sublime Sound
Closer
Electronica
Sublime Sound’s debut EP was one of my releases of the year last year and his follow up single lives up to my expectations.
The title track is a bass heavy dance floor filler that lives in the same spaces as acts like Bicep or maybe Halcyon by Orbital but Sublime Sound is starting to make his own voice heard among his influences, and delivers a gorgeous dance floor track.
The second track Wolly, is a slower number, breaks heavy, with a light IDM feel. It’s very different from Sublime Sound’s last release but may point to an interesting new direction.
Either way, I’m excited for more from one of the most promising new artists I’ve heard in ages.
I couldn’t find a youtube video so I’ve added a Bandcamp link.
https://loosefitrecords.bandcamp.com/album/closer-2
January
(shit gets heavy)
Obituary
Dying of Everything
Death Metal
Nostalgia is an odd beast. It’s something I’ve always tried to avoid with music but some things will always just take you back to your youth and John Tardy’s growling vocals will always remind me of being a teenager. Now, I haven’t listened to Obituary since the 90’s but all the great reviews that Dying was getting I had to give them a listen.
The first thing to strike me is just how fast the first song is. Barely Alive clocks in at about 200 bmp, which is way faster than their old slow death speeds (Most house music is 120 bmp to give you a comparison) but this is a bit of an outlier. This album is still about the slow, crushing groove. The filthy riffing that makes you feel dirty in the best possible way.
Dying of Everything is another example of a band who shouldn’t be able to make music this good, this far into their career, but Obituary have dropped an album to remind the world just how great they can be.
Raum Kingdom
Monarch
Post Metal
At this stage in post metal, you can explain a band’s sound by their biggest influence. Raum Kingdom’s is Amenra, so straight out the gates you’ll know this is pretty intense stuff.
Now the band have been through a lot between albums, including the death of a band member, so it’s easy to hear this album as catharsis.
The open track hits hard but two minutes in, things slow down and the singer switches to his clean voice and sounds quite like Maynard from Tool. This really helps the band stand out in a genre where the vocalists can all sound the same. And it’s this dynamic that Raum Kingdom use so well. While they never go into post rock territory, there’s no long twinkling passages of delay pedal, Dave Lee’s voice lifts the lighter passages and gives them a rich character.
So what you get here is crunchy riffs, huge bass and enough intensity to blow plaster off the walls. If you can’t take a recommendation like that? Well, what’s the point?
Boots & Kats
People’s Dance
Electronica
People’s Dance does not mess about. From the first bar, it hits hard with its driving bass as it unfolds into a fantastic Acid House track. It’s dance floor catnip and will hopefully be setting clubs on fire over the coming months.
With a lot of acts you’d get a few more similar tracks and that would be that, but not B&K, they’ve a lot of different styles they want to cover and they’re going to drag you with them.
The second track, Knox, is Synthwave, firmly aimed for some 80’s style vibes. Nobody Else increases the BMPs and brings us another banger swathed in vintage synths, and maybe a little Bicep flavour.
The closer, Push Pull, moves from house to techno and gives the title track a run for best track. It’s more heads down dance number, darker and harder than the previous tracks ending the ep on a banger. It’s impressive that these styles can sit together without it ever becoming jarring, but Boots & Kats make this sound easy.
If this is how dance music is going to start my year I can’t wait for what’s next.
Death Engine
Ocean
Post Metal
Following up what I said about influence in Post Metal, Death Engine’s main influence seems to be Neurosis. They’re not direct clones however, there’s more than enough of the band’s own personality coming through, but there’s just something about the riffs and huge drums, especially on Lack, that reminds me of Oakland’s finest.
These songs are shuddering, noisy beasts, just huge songs that crush all before them. A song like Pulled Down has a chorus that’s almost alt rock, and the closer, Empire, may have a lighter outro but Ocean is a relentless album in the best way.
If you’re looking for some face melting post metal, congratulations, you’ve found a gem right here.
The ways of exile 