Sunset Mission by Bohren & Der Club Of Gore

Sunset Mission is a cult album by one of the greatest jazz groups ever created, Bohren & Der Club of Gore. They spawned this genre of Darkjazz/Doomjazz in 1994’. Sunset Mission is the first album by the band that was to include a saxophone and it’s clearly the best playing by the saxophone in the band yet. 

The sound of the album is exactly what the cover shows you – The midnight down town area in a rainstorm. All songs have this powerful atmospheric feel that brings this dark noir sound to it and mixes it with the feel of comfort. It’s complicated to explain but when you listen to it, you feel yourself exactly in the mind of what they wanted.

“Prowler” is that track that starts off the album and defines what Sunset Mission is. It’s this laid back soundtrack to a warm night watching rain hit the windows. “On Demon Wings” has this heartache felt and the saxophone sounds so beautiful if you blast this as high as you can on your speakers. I do feel like I’m in the middle of a David Lynch film listening to “Midnight Walker” with its more upbeat and progressive ambience. 

“Street Tattoo” is a song I had on repeat allot during this drought that happened in Texas a while ago. It really had a rainy feel to the song and I would play it at night thinking that it was raining. Jesus fucking Christ on a stick this song is so atmospheric it’s like an out of body experience. 

“Painless Steal Angels” is the most ambient track and experimental. It doesn't quite fit with most of the tracks, but it is the center point of the album.

“Darkstalker” feels like a never ending deep jam of relaxation and chaos in one. The saxophone makes me think of echoes down streets and the piano gives me this feeling of bleakness. It does allot like “Nightwolf”, the longest track on the album. The track really features on this dramatic saxophone telling some type of story. Well, at least that’s what I hear.

“Black City Skyline” is sublime and strange. It’s not really relaxing, but more exotic, sensual, but at the same time frightening. 

The album ends with “Dead End Angels”. And that’s exactly what this track leads you to, the dead end in some rainy alley way of darkness. It’s probably the spookier track on the album and perfect being the final one on it.

Trust me; this is an album you’ll want to fuck if it were a person. I listen to it almost every fucking day because it calms me. But don’t think this album is just to calm you. This album fits all moods. It’s an open book and an album you can put on repeat for a while. This album is for everyone. Even If you’re some big Metal head, you’ll like this. 

Infinity by Jesu

Justin Broadrick is the man behind this experimental group, Jesu. They have released three albums that all seem to be different from each other. This one is on one single song that lasts fifty minutes.

The song contains a mixture of Ambient, Slude Metal, Guitar Droning, Shoegaze, and Electronic effects. The song itself begins with a kind of poppy feel, but it doesn't take long for the smashing guitars to kick in. Justin's vocals on the track are emotionally charged especially once the song reaches the twenty five minute part. It has a tragic, but yet beautiful feel to all of it. The ambience and electronics are dreamy, but they don't let you back away from the violent crunching chords.

Many people have tried to do what Jesu has done and seem to not do it correctly. He holds a talent of creating music that is way farther out there then where most people can go. Let's just say that Infinity takes a step out of the comfort zone and smashes it to fucking pieces. I find that idea brilliant.

Get this shit. 

Doll Doll Doll by Venetian Snares

Doll Doll Doll is the cult favorite album by Venetian Snares which created a large spark in the breakcore genre. It inspired many other genre's in the electronic genre. Not only is this album haunting and strange, but it's strangely fun and exciting. 

"Pygmalion" starts the example of what breakcore is very quick. High BPM with industrial based kicks. "Remi" is another nonstop breakcore track that can be described as a seizure. 

What I really like about breakcore is how open it is to experimentation, as seen in, "I Rent The Ocean". It has a dark feeling with saxophones, piano's and horns along with really eerie distorted drums. The choir kicks in around 2:20 along with strange vocal sounds. It's a really fucked up strange track that makes me want to a worm dance while being stabbed in the back by a pitchfork.

"Dollmaker" is the centerpoint of the album and contains violins, crazy fucking jazz drumming solo with some violent vocals saying, "I'll fucking murder you young style like JonBenet Ramsey!" It's just fucking hilarious.

Then you reach "Befriend A Child Killer". It's atmospherically disturbing and not something you'd want to try and fall asleep to. It contains allot of similarities to "All The Children Are Dead". These two tracks are scary breakbeats mixed with classical and violent drone noises. 

"Pressure Torture" is the strongest and craziest spastic breakcore track on the album. It's never ending and the samples are horrifying. "Macerate And Petrify" is Venetian Snares' strangest track yet. 

I can say this album is one hell of a trip. It's strange and fucking awesome. If you like electronic, don't play this thinking it's something you've heard before. This will make your ears bleed from exploding beats and ejaculate semen from enjoyment at the same time.

The Narcotic Story by Oxbow

The Narcotic Story by Oxbow has to be one of the strangest things your ears will come in contact to in your entire life. Their style is something you won't ever see by anyone else. Why? Because nobody makes sick vocals like Eugene Robinson. The vocals are part of the noise in these tracks and are like an instrument. His voice almost sounds like someone groaning while taking a dump, crying in a corner, speaking nonsense in a stray jacket and it's fucking awesome.

"The Geometry Of Business" has the same creepy chords going through the whole song as Robinson moans and says things like, "Agabungada!" The piano also helps give it that eerie effect.

"Down A Stair Backward" at first sounds like some crazy noise rock chant, but has a very light part in it with a symphonic sound. Tracks like "Frankly Frank" and "Franks Frolic" have the same type of off centered guitar style and funny voice grumblings.

But you can tell that this band isn't focused on noise rock as there genre in the song, "She's A Find." This jazzy, slow, and dark song fits up to the albums title. Robinson's vocals are one part of the piece that show he does know how to sing, but also the instruments together give it a very tragic sound. Possibly the track on the album I would call the must listen. It's experimental and hard for interpretation.

"A Winner Every Time" is just fucking insane. Robinson talking about dropping his car keys and yelling fuck through every part of the song; it just doesn't get any better then that.

The ending track, "It's The Giving, Not The Taking" puts you back into the brain of Oxbow - The chaotic hell of crack smoking noise and slow jazz in one. This is a must recommend album for anyone who's been looking for something weird and/or anyone who wants a new taste of music they'll never see from anyone.

Angels of Darkness, Demons Of Light 1 - Earth

I was going to write this review about a month ago and rembered to do it when I saw one of the people I watch already have this album reviewed, so now it's my turn to give my opinions on this beast of an album.

Earth started out making some of the loudest and longest metal songs with intense guitar droning, which inspired the whole drone doom genre. Now there's handfulls of artists making that music, but after a few releases, they decided to take there music in a different direction.

The past three albums have revolved around this kind of westernized sound of stoner metal, but laid out and relaxed to give it a nice psychedelic feel. While Hex was still quite dark, Bees Made Honey In The Lion's Skull moved away from the doom-like sound and into a more rythmaticly beautiful place. In this album, Angels Of Darkness, you'll find a cello played out on the tracks. Now personally the cello doesn't stick out as much as I think they wanted to on most tracks, but once you hit that self titled track, that's when the cello really sucks you in. 

'Old Black' immediatly sets the mood for this album right from the start. Allot of people have a way of saying, "this is the type of music you get stoned to without having to even use a drug". It's pretty much that. I mean the stoner riffs on this album really flow together when droned and seem relaxing in a sense of euphoria. If you aren't relaxed by that track, then I think the track "Father Midnight" might do the trick. 

'Descent To The Zenith' continues this nice trip and keeps the atmosphere alive, making you flow even deeper int othe music. Literally, when I listen to this album I can feel myself moving closer to the speaker like as if it's literally just drawing me in from relaxation. I wouldn't go as far to call this track the best, because it's probably the weakest in my opinion, but at the same time I feel like it does a good job keeping you glued to the music.

If you want to try to give an introduction of this band to anyone, 'Hell's Winter' would be the correct choice. This song speeds up the tempo and isn't as drone-like, but it still has the atmosphere needed. Of course the title track, also the final track on the album is the best one on the entire album, weighing at twenty minutes long. I mean, damn. It's all perfectly timed in the song doesn't get boring in any sense of way. Actually, that's something I should olaberate on.

When I say the words relaxing and slow, don't think this is a boring album, because it's not. This album holds as much intensity then allot of Death Metal bands have, but also holds a center of beauty that nobody can completely do themselves. What i'm saying is that the style that Earth plays it purely original and they've given out two different types of music to the music world now with their two different sound phases they've gone from. 

Currently posting a bunch of old reviews I've done in the past, but later on I'll post new reviews. I really want to review more music from 2011 sometime soon.

The Good The Bad and The Queen review

The Good, The Bad, And The Queen is an unnamed project by Paul Simonon, Simon Tong, Tony Allen, and mainly Damon Albarn. Most of you might know Damon Albarn from his two projects Blur and Gorillaz. He is also the creator of this folk project also. It’s quite funny because many people think that the band name is “The Good, The Bad, And the Queen”, but like I said, it’s unnamed.

“History Song” sets the atmosphere of this concept album about life in London. The acoustic guitars and vocals are aspiring. It’s similar to *80’s Life”, which is sounds like a hymn for a funeral. 

“Northern Whale” is one of my favorites on the album. I hear this downtempo style that reminds me of Gorillaz, but this is a softer side of Damon Albarn and one of the only upbeat songs on the album.

“Kingdom Of Doom” is another acoustic with huge bass lines. Albarn’s voice is pure magic on this track, which might explain why they chose this song as there hit. It has a very pop feel to it, but not too commercial lyrically. I think one of the most important things were for the project to not grow overrated and stay more of a fan favorite.

“Herculean” is more melodic then the other tracks and stands out as a chill track. Although it still holds tension through the background voices. 

“Behind The Sun” is almost like I’m listening to apocalyptic folk band Death In June, but at the same time it would be too soft to fall in that category. This is proven on the next track, “The Bunting Song” due to the simplicity of the song but rhythm. 

“Nature Springs” is like a jazzy chill out track for driving down the town on a nice sunny day. The lyrics can really tell the story that Albarn said makes the concept album. “A Soldier’s Tale” is so beautiful and peaceful that I really feel relaxed completely by it.

They say the best two tracks of the album as the last two. “Green Fields” is addicting, powerful, and really fits British pop. The final track, “The Good, The Bad, And the Queen” is an epic mother fucking work of fucking art mother fuckers. The piano, Albarns mother fucking awesome ass vocals, and the full out crazy jam at the end of the song that feels like it could never end just proves that this project is different than Blur and Gorillaz. Not only that, but its better.