METAL
Kirk Windstein – Dream in Motion I bought Down’s NOLA and Crowbar’s Time Heals Nothing in 1995 (25 years ago!), at the age of 12, and have remained a fan of Kirk Windstein’s music ever since. Across his various projects, there hasn’t been a single album that I wouldn’t listen to more than once, so I was looking forward to checking out his first ever solo album. I am happy to report that Mr. Windstein delivers the goods, and then some.
As one would expect from a seasoned veteran of lumbering, crushing sludge and doom on his first solo venture, this album is softer and more melodic overall than his typical output; Which sounds great to me, because I have always loved the melodic elements of his writing. And without being tied to any expectations that come with Crowbar’s legacy, Windstein is much more free to stretch beyond his typical dynamic and melodic range. That said, with Windstein being the leading creative force behind Crowbar, there’s not really anything on here that couldn’t pass as potential new Crowbar material, or at the very least, Crowbar mixed with something else.
There is a lot of clean guitar, which is the main distinction between Windstein’s other output. But everything other aspect of his signature sound is fully intact. The heavier parts hit hard with their towering riffs and soaring leads, and the softer, more melodic parts have a somber, majestic doom quality that I love. I’ve always been a fan of Windstein’s melodic vocals, and they are strong as ever here, with heartfelt melodies and great harmonies. The albums penultimate track even gets to some really nice, more uplifting melodic parts than he has ever written. A superb way to close out the album. Then, as if all that wasn’t already enough to make it a fantastic album, he finishes with a killer cover of Jethro Tull‘s “Aqualung”! It stands among the best metal covers of classic rock songs that I have ever heard. Bravo! — 9/10
Blasphemer – The Sixth Hour Some good ol’ satanic death metal going on here. After a couple listens and some pondering, I’ve concluded that this sounds like the melodic sensibilities of Behemoth played with the fury of Hate Eternal. Lots of good riffs, and quality songwriting. Nothing groundbreaking or boundary pushing, but a solid effort for sure. — 7.5/10
Nero Di Marte – Immoto Nero Di Marte (Italy) have some seriously dramatic, suffocating metal going on here. The two most obvious comparisons are Gorguts and Ulcerate, due to the dissonant, abstract guitar parts, and extreme intensity. But what sets Nero Di Marte apart from the aforementioned bands, and pretty much every other dissonant death/black metal band, for that matter, is the vocals. Guitarist/vocalist Sean Worrell has a very dynamic range, and even his most aggressive vocal lines have melody to them. With such dense music going on, the fact that the vocals aren’t the typical death metal growls and barks is a great advantage to the band. Additionally, the overall compositional dynamics reach farther than most bands of this style. Not many groups can easily pull off delicate, emotional passages akin to Radiohead, and whirlwinds of sonic destruction in the same song, but Nero Di Marte is one that definitely can.
This is not an “easy” listen, by any means. It’s not really a record you put on in the background. The extreme dynamic peaks and valleys which occur across multiple songs that pass the 10 minute mark demand the listener’s full attention. Being as long (7 songs in 67 mins) and abstract as it is, it’s not a record I see myself putting on often. But I fully appreciate what the band brings to the table, furthering the scope of this corner of the metal world. —- 8/10
JAZZ
Jeff Parker – Suite for Max Brown Tortoise guitarist Jeff Parker nails it again with his latest solo album. Right out of the gate we’re met with surprising and exciting sounds. The first track, “Build a Nest”, is the only one to feature vocals, which I had not expected. The female vocals, as well as the beat supporting them, are very reminiscent of Dirty Projectors.The listener gets tossed around a bit before we land in a looping psychedelic funk groove. From there, Parker goes on to explore a variety of areas of jazz, electronic, indie rock, and funk. Everything is done so tastefully, and the album has such a great flow, always with new surprises around the corner. — 9/10
Theo Hill – Reality Check Add Theo Hill to the list of young jazz musicians blazing exciting new trails, and carrying the incredible spirit of mid-late 60’s post-bop with them. Hill is on piano, keyboards on some tracks, and composed 7 of the album’s 10 songs. Joel Ross, who put out a great album last year, plays vibraphone; Rashaan Carter on bass, and Mark Whitfield Jr. on drums. I’m not familiar with the last two, but all four deliver stellar, expressive, spirited performances.
The vibe sways back and forth a bit across the album. Things kick off swinging, with some very authentic sounding, high energy post-bop. But as soon as the next track, Hill is on keyboards and Mr. Carter picks up his electric and…oh yea, this guy is going to be a lot of fun to listen to. (AllMusic credits reveal he runs in some pretty hip circles, having recorded with Moses Sumney and Kindness). The album continues on like this varying levels of traditional and modern styles, electric and acoustic instruments (though there’s always vibes, which keeps it more grounded in the acoustic world). Some songs are rolling and impressionistic, others fiery and virtuosic. Oh, and a killin’ rendition of Stevie Wonder’s “Superwoman”! Beautiful album, front to back. — 9/10