The Chemical Brothers' production style is impressive largely on account of how quickly it ensnares you- the opener, for instance sinks its teeth into you with its booming electronics before the vocal sample makes sure you're firmly strapped in. I did end up feeling relatively bogged down, however, by just how sonically bombastic the whole enterprise was- could've definitely done with more variety

Totally wish I dug this more than I do, as it’s true beyond a shadow of a doubt that the experimentation and strides toward forging a new sound Sepultura engage in are on the shortlist of most fascinating innovations of 90s metal. When it works- it’s some of the most engaging metal ever made. When it doesn’t- it’s a commendable experiment but ultimately uneven. Enjoyable and neccesary listening for the development of Nu Metal, just something I wish I could all in rave ... read more

Sepultura pull away from their death-entrenched roots (not intended as a pun, promise) and lean further into their thrash upbringing, resulting in a full-on groove project- it's Seplutura's best for my money. The band has always had an impeccable sense of rhythm sense their debut, so the decision to slow things down and let the instrumentation truly take hold was a phenomenal choice. Likely my pick for best groove record of the 90s

Similarly to Beneath the Remains, Arise is pretty much all-killer-no-filler for the whole runtime- though I can’t help but feel as though Sepultura are treading over sonically identical terrain here in a way that leaves the thing feeling a *bit* monotonous. Eh- this is still masterful death-thrash

In many ways what I’d view as the definitive Death-Thrash record- not necessarily the ‘best’ of the sub-genre, but both the ‘Death’ and the ‘Thrash’ elements here feel like they’re really pulling equal weight. Not Sepultura’s best but nevertheless one of the better 80s Death or Thrash projects

Slick and straight to the point. It’s no Discovery, but it’s all the better- less electronic wizardry and far more emphasis on an utterly electrifying groove

GLOW ON's ability and even insistence on making post-hardcore feel just as catchy as your typical Indie Rock record is more of a strength than you'd expect going in. The record is on the whole far from 'heavy' in any traditional sense, even with the vocals and performances often being comfortably within a Hardcore pocket- it's the anthemic structure and poppish hooks and riffs that make this quite the unique Frankenstein of adjacent- but still quite different really- ... read more

Exists right in that middle ground between catchy, anthemic New Wage and the -*weird*- New Wave, the kind I tend to lean toward. A track like Just What I Needed is *so* stinkin catchy, but has such oddball production you’re almost left wondering how it caught on with so many people. A capsule of New Wave excellence

I have this strange perception that Jazz, as a general collective of sounds and adjacent genres, kind of ‘closed up’ itself in a way moving into the 70s. Not that it got any less creative, quite the opposite- Fusion blossomed the genre into heights it had only begun to reach by the time the 60s were simmering down. But in terms of sheer abrasiveness and political aptitude, it, to me, has always felt like the voodoo that was in the air to create works such as Karma, or Ascension, ... read more

Like Fishmans and The Beach Boys fused together in a radioactive sunbeam. It’s messy, but also refined and utterly assured in itself- you can’t help but enjoy how unique Cornelius’ sound here is

Killer performances across the board, making for a ‘no-frills’ EP- though it didn’t latch on to me as I’d wanted

It’s too long to maintain an atmosphere unfalteringly, but there’s nevertheless a mind-bending journey just waiting to be taken here. At points nostalgic and comforting, and others foreboding and almost panicking in its airiness, Lifeforms takes you on a trip (in several fashions of the word) with its sonic spellbindingness

Compelling instrumentation and hypnotic production keep this record afloat past the overwrought vocals, which often feel too gritty to be sincere, and too kitschy to be rough-and-tumble

Would be a perfect 100 based off of the opener- regrettably, there are eleven tracks to follow

The Twigs continue to refine their sound- notice I said *their* sound, because with every record the past few years they’ve truly evolved far beyond just a ‘pastiche’ band into a pop rock outfit with genuinely compelling and infectious lyricism and melodies, not to mention stellar instrumentation and production. It’s just so easy to enjoy, a quality I’ve come to sincerely enjoy in new music nowadays. A throwback for the contemporary

The focus this time around is crafting an atmosphere beyond a grand exaltation of any sort, and beyond the adjustment period compared to his other works, it’s deeply calming and meditative- both adjectives that can be applied to much of Sanders’ works, just usually not as explicitly as this

The first track surmises the idea of love being everywhere in such an essential, idealistic fashion- it sounds like the entire world holding hands, kind of like the cover.

The second track *sounds* like visceral hatred. It’s loud, sporadic, and at many points genuinely anxiety-inducing. This isn’t love, right?

How does that old adage go? Hate isn’t the opposite of love, it’s indifference. Dualities make up the beating heart of Sanders’ works perhaps more ... read more

Similarly to Thembi, Wisdom Through Music doesn’t feature any ‘grand-conclusion’ sort of composition (though the closer does feel close). That isn’t to say the music here isn’t absolutely enthralling, however- the version of Love Is Everywhere here is a surprisingly commendable alternative to its more renowned version on Love In Us All, and even deeper cuts like High Life and The Golden Lamp are jammed with merit

Vocalist of Karma, Leon Thomas, makes his grand return to Sanders’ compositions. It’s a welcome homecoming, though funnily enough the far-and-away highlight here, Balance, is the only of these three pieces to not feature Thomas. Still a worthwhile foray

A goliath, monolithic piece that seriously rivals The Creator Has A Master Plan in terms of sheer, unadulterated euphoria and 'oneness'. Spiritually rejuvenating