Deftones - Gore

Never been much of a fan of Deftones to be honest, they produce drowny music that just clash in every area for my ears. I don't mind the old school song - Back To School, purely for the nostalgia. Nostalgia aside, the song itself is fucking shit. These guys from America none the less are a big hit with teenagers, in my view they are a stepping stone to better things in the musical library. Well, I hope so.

Skip track one (Prayers/Triangles), its terrible, the vocals are exactly what you are hoping Chino Moreno would avoid doing. To me, his vocals are imitations of brain dead people in mental asylums moaning. I can hear the growth in less angry music here, and more powerful full sounds. Harmonising backing vocals. Acid Hologram is the second song, the intro is something i like, high end sounding chords, over and over drowning. In fairness to Chino his voice compliments this song. Discovered a reverb, delay pedal or plug in for vocals. A little over done as we get deeper into this track. I can't put my finger on this sort of stuff. Is it meant to have no structure? Are we meant to be thrown off? The verses themselves are good. As it gets back into the second verse you start to get back into it, but once again it goes off on one. Fuck it, this track is shit too. Doomed User is a song that starts with a DJ sample, 14 year olds are going to love this aren't they? Hip as fuck. We get some doomy stoner metal sounds and suddenly full classic metal riffs come in, and the singing is literally all over the place. Chino fucked up. 

I feel this album is really rushed, a few riffs were made here and there. A lick from years ago that wasn't used have been fitted into irrelevant songs. Forget the actual sound though, what throws me off is the vocals. Too filtered with effects and backing vocals that do not compliment each other. I don't know if Im missing the bigger picture? The lyrical content is ridiculous, I love a riddle but this makes no sense. Let's listen to the song Gore... 

We have a less is more intro, something a bit different to the previous listening. And just as some nice full power chords come in, big drums too. Screaming, Chino lay off this shit. The whole album flow with the same production value's which is good but boring, this vocal channel is used the whole way through. 

Let's cut this short because I do not rate this album in the slightest, I feel bummed out for Deftones fans for this pile of disappointment. Terrible album, but if you are a kid who lives with a religious family. You only have access to cassettes of hymns and country songs about God and values, and you feel the need to rebel and paint a massive 'A' anarchy logo on your back. Grab this, you'll enjoy it. You will probably walk through town with your hood up playing this loud out from your phone. Fucking goth. 

Listen HERE... I wouldn't bother though, it's nothing original.

Jawbreaker - Dear You

Shortly after a close break up of the band which is featured, this masterpiece was recorded. A much higher production value to take into consideration, as well as throat surgery being completed on lead singer Blake Schwarzenbach. Which takes away the rough, gruff vocals. Much deeper material, where I feel they really found themselves at peak of everything. Released in 1995 through a new record label, DGC Records. Jawbreaker come under a vast list of genre's and sub genre's and what not. Summed up in three, post hardcore, punk, grunge. Let me state here, listen to this album as soon as possible if you enjoy the material in any aspects (which could be lyrical content, guitar formation and sound, all round punk) of Nirvana, Fugazi any mature style hardcore. 

Three piece band from San Francisco, bring this thirteen track album that consists of obvious signs of time and consideration to the final product. From what I can figure out, Fireman - track 4 is the only single from the album, or at least it had a music video. This was Jawbreakers only official music video. This album contains the big tracks of Jawbreakers discography apart from Kiss The Bottle and Boxcar (although featured in the 2004 release), which are their big anthems in my opinion. But as a whole, this album is their most important. After surgery, Blakes voice in my opinion, is unique and really stands out. I feel it blends well with the style and in some ways fits in better with the post hardcore scene, calm it down on the shouting. 

Dear You kick starts with Save Your Generation, no long intro's and you soon pick up on the lyrics. I don't know a Jawbreaker fan who doesn't know at least the first verse of this banger. To me, this is Jawbreakers anthem. The first few tracks really have that pre shit emo feel. Real emo mixed with a pop punk sound. I wont cover the single Fireman too much, but the content is unreal, the more you listen the more you pick up on. We move onto Accident Prone, Track 4. This is my recent favourite Jawbreaker song, at this moment in time. It's got that late night drive feel and you can sing along and feel part of it. You know, where you're thinking your part of the music video being all passionate and shit. We drop out of the emo phase to some more hardcore/punk issues. Not giving a shit type songs. Track 5 Chemistry, includes some dirty rough overdrive guitar sounds, Heavy riffs, which short palm muting between which brings a bit of feedback. You know what Im taking about, Sun Goes Down by Arctic Monkeys? That intro sorta thing, Jawbreaker got there first though. The only acoustic track is named Unlisted Track. The last song of the album, this really shows off Blakes new voice and how well its working for him. You can tell he's mastered how to hit different notes with his voice. The general feel of this album is, he's sick of boring people following a general line doing the same old shit. I hear you boys, i feel you. I DIG IT. 
  
Much more full sounding album compared to previous ones, that doesn't take anything away from any of them though. That's what makes them, enjoy progression. It's clear they were going for a wider audience with this release, but in no way have they sold out during it. Im not even going to try and guess any gear used, but I know the guitars used were Les Pauls and for Bass, a standard American Fender P Bass through the famous Ampeg set up.  

Listen HERE

Ten Foot Pole - Rev

Fancy a bit of nostalgia? Or a weird form of memories that are spruced up in a new way? If you were a skater back in the day and listened to the likes of Rise Against, NOFX and early Blink 182. I have a treat for you. American punk band Ten Foot Pole with an album I randomly gave a listen - Rev. 

Fast vocals, almost chanting and high end rough sounding guitars, almost a Guttermouth sound to it. I would presume Marshall amps and Les Pauls, maybe one foot pedal to look cool on stage stomping on it in anger when that chorus kicks in. Vocals from this LP are from (believe it or not) an american baseball player, Scott Radinsky. A very close resemblance to Fat Mike of NOFX but for an early album this is much more mature material. Less of the swear for no reason and acting bad ass. This takes me back although i've never heard this before. Best thing I can say to give you a good idea of what to expect, Tony Hawks Pro Skater soundtrack. Any song would not be out of place on a skating game. 

This album itself, starts straight in, no stupid long intros. It was a great experience for a first hearing, I wanna know what this album is about. To keep it to the point, the one song you wanna go to is Muffled. Track 9, a great riff, nice ska punk sounding drums. Plucking bouncy bass, and a bit more of a range and longer held notes rather than sharp pronounced vocals. In this track we get a downbeat, a build up and a solo that fits alright for once in a skate punk song. Admittedly through out the length of this, it gets same old. Easy 4 chord riffs mixed up with chord stabs. The material seems about hating some girl pretty much, missing her and the usual stuff. Im sure by the time the next album came around there was another girl to be upset about. Im not putting a downer on it though, these guys do it right. I just wish I had heard it from these guys before rather than a more immature punk band. 10/10 for sounding high school in California, which in fairness is pretty much what they started as. The ending of this album is some weird farm animal noises which i don't understand myself, doesn't fit really. I guess thats why the threw a few chickens on the front cover. The go kart I understand, because they have had material released on Go Kart records, although this album itself was released on Epitaph... Although even more so, their later album Subliminal Messages was released on the Go Kart label, so maybe that's what inspired the name, this album cover. Fuck knows. As for the kid smoking, who cares? It look cool as fuck. 

This band originates from 1983 under the name Scared Straight, and the typical story of playing in Battle of the Bands occurred, we've all been there... And most likely ashamed of that performance. Changing their name in 1993, this album didn't follow too far down the line after.  

Listen here...

Flatsound - Sleep

Im going to be brutally honest, i saw this (album?) come up as a suggestion on Youtube, and once again the album art gripped me. I wasn't entirely sure what to expect because recently to this date, i've been listening to a lot of random shit. Some good. Some terrible. 

I can't do too much research on Flatsound, but what I can, is all personally put up from a blog. There are various titles about, but this is the one i want to write about. Im under the impression Flatsound consists of a solo artist named Mitch from California. Very emo arty sort of guy it seems. Soft acoustic sounds are what to expect, and I really like the fusion of trumpets and background sounds you get throughout this album, they are very faint with the soft airy vocals. It works. 

The first song starts after a door creaking sound and chimes, the guitar comes in lightly. This first song is named Sleep. The voice as a first time listener is enjoyable and intriguing. I actually dig it a lot, and then the acoustics get a very slight distort sound as it gets louder, and self backing vocals come into a part of the build up. I will state this now, this is easily my favourite song of the album, it will more than likely be yours too. I can imagine this going well to summery footage of two twats in love running around. Im not knocking it, its a good thing. If You Love Me Come Clear is the next song, and the instrumental style is very much the same but lighter, but the vocals turn much softer, and it works well and is touching in its own manor. Lyrically, its very Tumblr... Very yolo statement. Predictable I guess,but the point comes across. From here on out, we get a very much same sound, and admittedly, it gets boring. But maybe this is because Im a first time listener and i want more change? Perhaps Flatsound fans like this and stay for it. Change comes around once we get to the track To See You Alive, this is nice. The vocals are much less whispered. He sings, please do this more it works very well. It's short and within the content actually sweet. It starts to pull out skits of conversations sounding something like a catfish tv show phone call. 

This album is almost in two parts, we have acoustic guitars and vocals with poetry i guess, and then the album slowly transforms into a hideously long styled outro almost shoe gaze styled... It got me bored very quick and not wanting anymore of Flatsound. the concept of this whole piece is a good idea and I get where it's going, but I feel a few changes in future releases should apply from this criticism. Have something leading us on to a song, use the anticipation card. There are some nice sounds, but I didn't expect background noise after listening to 20 odd minutes of well composed and structured songs. It does eventually lead to something towards the very end, a very fuzzy vocally sounding song with water falling in the background. This is mixed in far too loudly. This is the edgy big finale to have a note from the guitar and fade out while the water still pours horribly and loudly. 

To cut a good thing short just like this album, it's like chewing a nice flavoured chewing gum then carrying on with it although the flavour is lost. It's a shame, there is a lot of potential in these songs. 

Listen here...

Koji Kondo - The Legend Of Zelda: Majora's Mask Soundtrack

I can not stress to you how important Koji Kondo's music is to me. 
I've been making beats for around ten years now, and i'll go there and say it. Koji Kondo has influenced me majorly in all of his productions for games... BUT... We are focusing on this one here, Majora's Mask. 

Within this soundtrack, its obvious (if you're a keen Zelda player) there is a lot of melodies and chimes from Ocarina of Time, a previous Zelda game. 
But personally I think the existing sounds are mixed better, it may be that I have a high quality version of the soundtrack. This soundtrack was originally released in year 2000. It was later released in year 2015 for the 3DS, where Koji was just a supervisor, already doing the work for an earlier gen. And if you haven't guessed it by the name... Koji is Japanese. A bloke in his 50's born in the 60's.

There is a huge mix of emotion and styles in this soundtrack. You have some eerie fairground sounds with the Music Box House theme to an electro style for Ghost Attack. You have a lot of medieval sounds, with a heroic feel to it. Which is much appreciated during game play to be honest. One big criticism i have with this soundtrack is that the length of the melodies and themes aren't long enough for me to truly enjoy and take in. Scrap the ridiculous three second chimes and sounds and let me lose myself in this crazy contrasting soundtrack. Another thing i must add, is there are a lot of the same themes varied for different parts of the game... Majora Boss Battle has four of its own songs, but they fit well together in a row, which happens within the game itself. It is really hard to not enjoy hearing the same melody over and over when its changed up so much with new instruments giving layers and melodies in between the dominant melody.

Let me pick out a few must hears. Let's start with my favourite theme shall we? Astral Observatory. Pure brilliance, great depth and harmonising notes. Please bare in mind, this is all made on a midi keyboard. Deku Palace is another one that stands out, military styled drums. But admittedly, during gameplay this theme takes its toll. The Indigo-go's theme has its own sort of sleezey bluesy sound, kind of horrible really but i dig it, its different. Magic Emperor Majula Battle theme is a nice one, with a lot of effects of reverb and delay used, with the same melody you've been hearing through out the soundtrack. You've probably played the game, otherwise you wouldn't bother looking at this post. But, its only when you sit and listen to it as a piece you actually appreciate how far the music takes you through the game to enjoy the whole experience.     

Here is a link... https://www.youtube.com/watch?v=hCH6R4bPcpc

The Locust - Self Titled (Album)

I first heard The Locust when i picked up one of their CD's on a whim purely from the album art in a local charity shop. Flight Of The Wounded Locust, and fell in love on the drive home listening to it full blast in all its glory. I find each album has its own uniqueness to it. So as time has gone on, i have ventured deeper into their discography. Recently listening to their self titled album more often than any of their other stuff.

Lets kick start this in one phrase shall we? Short and sweet. Don't get this album confused with the self titled EP...
I cant express how varied each song is when you give it a concentrated listening to.
As always, the song titles are insanely imaginative and ridiculous. I recently see a comment on the youtube video, "these guys have too much time on their hands". Or in my opinion, not enough so the titles are a quick thought and that will do. Out of the 20 Tracks, here are my top 5 favourite purely on the track names...

1. Straight From The Horses Mouth 
2. Well I'll Be A Monkeys Uncle 
3. Dog Without A Collar (Run Over Dead Rover) 
4. Kill Roger Hedgecock 
5. An Extra Piece Of Dead Meat  

Of course, this album packs a punch with grindcore vocals and a lot more beefy riffs that kick in to half time often enough. Something you can actually bop your head to a bit. I can also happily say, the analogue styled Moog keyboard is in there offering a lot of short solo work as little bridges and intros. The drums of Gabe Serbian are amazing as usual keeping everything sounding insanely tight. The whole album flows and is finished within 16 minutes. It starts to get samey until around 7 minutes in on 'Straight From The Horses Mouth' where there is a nice guitar sound to it, sound very picky, and from here on out we get a lot of variance in vocal style and other sounds. Originally released in 1999 on a mini cd and vinyl. Im trying to get my hands on the mini CD, but it upsets me knowing there isn't many CD players that will support it, Im sure it wont work in a normal disc tray. Anyway, spare half hour? Give this a listen, no excuse. If you're a fan of Anal Cunt or Gay Kiss, I 100% advise you to give this one in particular your concentration.

https://www.youtube.com/watch?v=8V9i_zEm8r8