Monday marked my 29th birthday, so I didn’t want to jump right into reviews on that day. I also managed to wake up extremely late on Tuesday, meaning that I didn’t get as much done as early as I would have liked to. Wednesday I had to close in addition to being up at 7:00 AM (these disjointed hours are fucking killing me) Thursday for the early morning truck. And it’s only going to get tougher from there. At any rate, it almost seems that the non-metal genres have trumped over the metal genres this week, with veritable prog rock gods Perfect_Beings taking in the top spot and EyeHateGod managing to sludge through as the top metal pick, so to speak. Remember, we aren’t strictly a metal review site as that’s never been my goal. I just like music, so if something is sent to me that manages to catch my ear, then it gets noted. There’s no genre favoritism here.
Perfect_Beings – Perfect_Beings (2014 SPOTLIGHT) – This Los Angeles prog outfit have unleashed an impressive debut release, which certainly took me aback. To put it bluntly, this is an incredible progressive rock album that truly needs some label support backing it. The obvious influences are here, like Pink Floyd, mid-era Beatles (when they started fooling around with drugs and getting good) as well as Yes, which really started the whole thing off in a “Roundabout” sort of way. The record itself is based upon a recent sci-fi novel called TJ And Tosc by Suhail Rafidi and the content of that material really seems to translate well into the spacey-prog rock that the band brandish with this impeccable release. Folks, there are just some records out there that I can’t explain enough in words. You would actually be better off skipping the rest of this review, as you can just head over to the band’s Bandcamp page and stream or purchase the release for yourself. But right, I’m supposed to do my job and review this one. Yet what really can I say? The melodies are perplexing, as the synths light up and dazzle the sky leading right into stellar guitar solos that are as mind-boggling as they are ripped from the pages of only the most memorable period of 70’s progressive rock grandeur. Perhaps there are a few moments on “Walkabout 9:21” and others where frontman Ryan Hurtgen sounds like he’s channeling Maynard’s vocal approach, but I’m quite sure that the style goes farther back than that as these guys have showcased on this release. I can use fancy little buzzwords and throw in a thesaurus full of fifty dollar words to describe the thing, but it’s truly not necessary. Perfect_Beings is a band that you feel, just like King Crimson and Pink Floyd were bands that you just sat back and listened to. You quieted your mouth and you absorbed the grandeur of the music. There’s nothing else on Earth really like this kind of music, an expression that you can reach out and grab and touch with your fingers. It’s real and almost solid in that aspect, otherworldly and possibly even interplanetary in composition. I don’t even know where the originators of progressive rock got their ideas from, so what these guys have built onto those trance-induced ideas is quite mystifying, to say the least. I actually caught myself enjoying the record immensely on an unexpected third listen, which occurred as soon as the second initial playthrough ended and I found myself starting the record over again. I sort of got lost in it, so it was admittedly very difficult to grasp enough focus to finish this review. That doesn’t happen often, so it should tell you something immediately about Perfect_Beings and their effect on my conscious (and possible subconscious) mind. These gentlemen are wise beyond their years and may have well-crafted one of the best progressive rock albums of the year. This isn’t just a promising effort; it’s a literally staggering effort. I definitely recommend this debut effort from Perfect_Beings. I hope you’re reading this InsideOut Music, because this is truly an act that you would not want to miss out on. Incredible is just not the word for it.
Iugulatus – Satanic Pride (2014 Orig. 2012) – Before they changed their name to Architect Of Disease, these guys were playing as Iugulatus. They did however; manage to make two records before losing Wojtass (drums) which was the reason for the band’s name change in the first place. This record is the last one, and to be honest it’s quite respectable. In comparison, Architect Of Disease and Iugulatus don’t even sound remotely the same as Iugulatus features more of a crushing black metal backbone, filled with spoonful’s of tremolo riffs and all the drum blasts and grim frostiness that you could ever ask for. It certainly sounds quite bleak, foreboding and at times even overbearing in its feeling of awesome darkness with tracks like “Beware The Flame From Udun 10:56” and the closer “Demonic Lust 14:50” adding in rather lengthy atmospheres and thicker song structures, ultimately making this a truly memorable black metal album. The drums are especially beefy here, proving that Wojtass was a suitable drummer, as the band’s frontman Balrog commands a more than respectable scowl gone gravel. These guys were also capable of far more than tremolos, as they manage to throw in a few thrash and groove riffs, in addition to what could be taken as prog if you’re really paying attention. Metal Archives was actually split right between the middle with one guy giving it a 75% and the other a clueless 28% while talking about how bored he was with the record and going at length to describe how if he worked at a major metal magazine, he’d give “any old cack a 9/10.” Seriously, its reviewers like this that give reviewing a bad name. Clearly, the guy who gave this a 75% is about right. It’s not perfect, but there’s no way that I could ever let a person walk away from this band without hearing the awesomeness of the two extended cuts on this album. For fuck’s sake; Iugulatus really tried to make something that was worth a damn here and the production doesn’t sound purposely shitty, which is another plus. Apparently these guys are still trying to get the thing a spotlight, which is why they sent it to me and I’m going to give it what it deserves. Once again, I recommend this one if you like your black metal fierce and well-structured. This is my second listen of the disc and I can already say that I like it more on this second time around, as the band really sounds like they were about to blossom and might have released a real killer if Wojtass hadn’t jumped ship to play for the death metal act, Slain. I also would have liked it if Balrog had been the vocalist for Architect Of Disease (who now apparently has no frontman at all) as I rather liked his approach far better than the man who did record with them and then jumped ship. By the way, Balrog now also plays in Slain. Following me? At any rate, if you can find this disc, go ahead and give it a listen. I quite enjoyed it for what it is and I think that fans of black metal who like that extra death and groove kick will find something to like here too.
King Of Asgard – Karg (2014) – This third album from these Swedish melodic death/Viking metallers is actually my first rendezvous with them, so I’m not aware of the previous efforts and really can’t compare it to them. But what I can do, is tell you that I’m quite pleased with the effort displayed on the disc, as “The Runes Of Hel 5:53” comes in with a memorable thunder right from the beginning. It’s always good to start a disc right out on a highlight, which is what they’ve done here. It definitely reminds me of classic Amon Amarth, especially in the beginning of the piece where sharp chants are screamed, running directly into a more grueling approach that changes the entire format of the song up until its end. It’s not something we might expect, but it certainly works for them. On Karg there are a lot of different styles and approaches, so it’s best that I take this one on song by song. Fans of The Crusher will certainly recognize the approach of “The Trickster 6:35” immediately, but there is an added clean vocal chant to open the piece (something we would not have heard in Amon Amarth) which slightly separates it. You can also hear a few tremolo riffs right towards the end. “Highland Rebellion 6:11” begins with pummeling drums and a loud bell, which tolls in a scathing vocal approach and moments of atmosphere by which to decorate those vocals. The prog sense of this track really speaks to latter Enslaved, yet it also contains a rather morbid set of melodies that occur right before the end. “Remnant Of The Past 5:30” bursts in with Viking folk melodies gone metal as the approach lowers completely to allow thick growls and eventually a melody that encapsulates a few clean vocalizations. I’m not extremely crazy about the toned down approach of the opening to each of the verses on this one, but when the chorus and clean melody in the background hit, the song manages to show its place among the rest. “Omma 7:47” begins with a light piano, some more deep throated chants and bustling death metal approach. The song offers more melody as it continues, as well as some brighter clean vocal harmonies towards the end. “The Heritage Throne 4:55” doesn’t really manage to break much from the formula, leaving “Huldran 4:42” to melancholic melodies and black metal influence. If there’s one song that separates these guys from Amon Amarth (among some of the others I’ve mentioned) it would be this one. There’s definitely a ton of black metal brewing here and it makes for a truly intriguing listen. “Rising 5:43” features strong vocal influence and melodies, but doesn’t really offer much different from Amon Amarth in that respect. The last track on the disc is a bonus entitled “Total Destruction 4:15” which pounds beyond all recognition and offers a rather memorable end to the release. Its mix of thrash and death definitely differ much from the original, making me assume it to be a thrash cover (even though I do not see it listed as one.) King Of Asgard do manage to sound much like Amon Amarth, (MA says they have a 75% influence from the band, with their previous act Mithotyn falling just below that at 42%) but Karg sees that approach a bit more unique and original in some areas, making for an ultimately noteworthy release and something that I feel is worth checking out and giving a good listen. It may not rock your world completely, but there’s enough here to mildly shake it off its hinges.
Highlights: The Runes Of Hel, The Trickster, Omma, Huldran, Total Destruction (9 Tracks, 51:00)
Prong – Ruining Lives (2014) – Post thrash industrial New Yorkers Prong are back with their latest record, right off the heels of the critically acclaimed (and even MA likes it) 2012 release, Carved Into Stone. While I haven’t heard that album, people are giving it ridiculous amounts of praise, making me curious as to what happened here. Ruining Lives is not a bad album by any means, but it just seems like the band rushed it a little (they do say it’s the fastest that they’ve ever written an album) and it offers a much different approach from the band’s last album. First of all, this sounds a bit cleaner, more geared towards making rock radio rumble, which is all well and good but it doesn’t offer so much in the way of structure. “Turnover 3:35” and “The Barriers 3:31” offer up muscular thrash backings, but the clean vocal approach is almost pop in nature. I think that Tommy Victor sounds just a little too happy on the record, but I guess that’s due to the fact that he seems in good spirits at least as far as the band photos show. “Windows Shut 4:02” has a really catchy chorus, starting out on a darker tone but ending with a certain brightness that seems to lean towards alternative rock. I do however, really like “Remove, Separate Self 3:58” as this starts to become more of a “well, what chorus do I like the best?” kind of record. I’m not really sure what kind of piston pumping effort the band’s last record was, but this one seems to marry whatever heaviness was achieved there with a more accessible nature. Thrash comes back in with the title track (4:41) but it really does sound like thrash metal fronted with a Killing Joke vocal style, which actually sounds a little disjointed in hindsight. Again, there’s a certain brightness to Tommy Victor on this record, which doesn’t seem to match the thunder of the background instruments. He did say that he didn’t want the record to be a bunch of screaming, so it makes sense that he would want to clean things up a bit. Maybe on a third listen I might be able to get into this thing a bit more? Regardless of that, the title cut still manages to deliver a strong enough presence that I think the thrash fan and alternative fan could both appreciate, oddly enough. “Absence Of Light 3:42” definitely tunes right into hard rock, making its radio-play nature immediately evident. Then we barrel right back into thrash again (really?) with “The Book Of Change 3:22” which features some rather potent guitar solos and a rather positive message. I think it’s about the Bible. Certainly seems to tear the ground apart though, so this Biblical basher is definitely a standout. “Self Will Run Riot 3:51” features another great chorus moment, which these guys always seem to deliver as “Come To Realize 3:48” mixes groove along with odd time signatures, which is a first for the band. It certainly makes for a different sound from Prong, but it’s also one that is very common in the heavy metal genre as of late. “Chamber Of Thought 3:44” brings the thrash back once again, as short flying solos appear along with some definite hardcore grooves. The last song on the original album is “Limitations And Validations 3:35” which manages to end the disc on a decent note, but despite the continuing might of thrash, it doesn’t really strike me as all that memorable. There’s a bonus track on the disc called “Retreat” which I didn’t get, so if you want to hear it, you’ll have to pick up the special edition version of the record. When all is said and done, Prong successfully married the sound of thrash, industrial punk and modern alternative rock/nu-metal together but I’m really not sure how people are going to take to it. I definitely enjoyed some of the tracks on this release quite a bit and would even consider adding the catchy “Remove Separate Self” to my personal playlist. But as a whole, I think it’s ultimately just a decent effort and I’d really like to hear some of the work that preceded it to make a better judgment. I’m not all that familiar with the work of Prong, so perhaps I shall remedy that in the future.
Highlights: Remove Separate Self, Ruining Lives, The Book of Change, Self Will Run Riot (11 Tracks, 41:00)
Crematory – Antiserum (2014) – I’m not really familiar with Germany’s Crematory, but from looking at their previous releases, I want to be. The band apparently offered up some interesting gothic death metal earlier in their career and now delves into industrial death metal with gothic elements where they apparently hit their peak on 2000’s Revolution, an album that I’d like to get a hold of as well as their previous work. This is the band’s first album in four years however, as the band attempts to offer what they once did with the aforementioned Revolution disc. The disc is a more electronic-laden affair with death growls and memorable clean vocals, which really sees synthesizers at the forefront, pushing the guitars to the background much in the nature of the Russians, who have been plowing this style into the fucking ground as of the past few years. Anyone who is familiar with the band Xe-None will know exactly what I’m talking about, as the band musically sound exactly like them now. The growls are obviously a bit thicker and there are some darker elements explored on tracks like “Irony Of Fate 3:57” and “Welcome 3:57”, but musically it remains very close. They do manage to mix the gothic influences perfectly within the title track (5:03) and closer, but despite all of that; there really isn’t all that much here to go on. “Shadowmaker 3:39” uses a robotic vocal filter, but it’s definitely not the band’s best (at least I hope not) and ultimately falls just as flat as most of the material here. It’s just not all that great and from observing previous reviews (as I haven’t heard any of the previous material) it sounds like to me that these guys can do much better than this. Instead of relying so much on the synth-metal that the Russians heavily utilize, they should find a way to mix the darkness of their earlier gothic death metal days along with the synths. Hard as hell, I know – but I think it would be brilliant if executed properly. It seems to echo more of a “futuristic city” vibe, but it really needs to have an “in space, no one can hear you scream” sort of vibe. This is death metal after all, right? But again, who knows. They’ve released several albums before this one and I’m sure that the band members would look at this review and my suggestion and exclaim, “Well, we did that already with “____” album.” At any rate, I’d like to hear them. Too broke to buy much of anything right now, considering groceries and an A/C kind of wiped my paycheck flat to goose eggs. But first world problems, so they say. Nevertheless, if you like the sound of electronic dance music (EDM) mixed in with a little bit of death metal, yet not done quite to perfection; then maybe Antiserum is for you. There’s also two bonus electronic remixes of “Shadowmaker” included on the limited edition CD, so check that out if you want to hear them. As for me, I’m willing to bet that the best from these guys has already come and gone.
Highlights: Welcome, Antiserum (11 Tracks, 43:00)
EyeHateGod – EyeHateGod (2014) – Alright, go ahead and stone me. Just do it. This is the first full-length EyeHateGod record that I’ve heard in its entirety, even though they’re fucking NOLA legends and I ought to be bitchslapped for not checking out their previous work. I remember hearing “Dixie Whiskey” on a comp a while back and just couldn’t get into that song or any of the other songs that I had heard from the band at the time. It just sounded like a lot of amp fuzz and distortion and was so incredibly raw that it didn’t work for me. But I have to say that this new record, their first in ten fucking years and last with long time drummer Joey LaCaze is definitely more up to my speed. Maybe it’s the fact that I can actually fucking hear these guys now, or maybe it’s the fact that my brain has become such mush that I just don’t even fucking care anymore. The Sabbath grooves and punk sensibility that overwhelms this thing just seem to speak to me for some odd reason. These guys sound like what punk should sound like now, to be honest. It’s loud, it’s rough, it’s rowdy and it’s got a lot of piss and vinegar that you just don’t hear from other bands. Fucking reminds me of Acid Bath too and yeah, I did my fucking research there so don’t school me on those guys. So much for professionalism on this review, but I guess that matches the material. After all, I doubt that these guys want someone with a boatload of degrees in musical composition who listens to mainly modern rock and pop music reviewing their disc anyway. In other words, this seems to be the kind of band who would tell Rolling Stone to fuck right off. Anyone who finds themselves counting invisible fuzzies while listening to Coldplay has no place listening to the sludge, grime and filth that EyeHateGod create with this rightly named self-titled album. If you like thumping blues grooves and harsh vocalizing along with pungent drumming, you’re going to get down with this record immediately. I’ll be honest and tell you that there’s not a whole lot of variation here, but chances are that you’re too stoned to care. Which is really the best fucking time to play this kind of music. You put in the CD, and then you turn on the TV to some random show, press the mute button and then smoke until you can’t feel your feet anymore. These guys don’t endorse the hard drugs anymore, because they totally fucked them up and had to get clean. But I don’t endorse the hard drugs either, so that works for me too. Most people don’t even realize that though I’ve had more than my fair share of the green stuff, I’ve never actually smoked a tobacco cigarette. Never even had the urge to do it. I drink though, on occasion. Listening to this record would definitely be one of those occasions where a little bit of whiskey wouldn’t hurt. There’s actually a rather long number on the disc called “Flags And Cities Bound 7:10” which sees a lot of atmosphere, amp fuzz and some definite doom dirges. Mike IX Williams even offers some spoken word vocals on the track, creating more of atmospheric vibe to the piece. The same of course can be said about Joey LaCaze, who proves that he really was all about the kit. To sum up this malformed and shot to hell review that I’ve managed to punch out at nearly 2:00 in the fucking morning (no joke), EyeHateGod sounds exactly like EyeHateGod on this album, which is a good thing considering they could have used this ten year absence to do what most bands do, and “reinvent” themselves. You get what you pay for with this album and chances are that you already fucking have it if you’re a longtime fan. I will say that the more I listen to it, the more it soaks in and I feel that I’m starting to understand the atmosphere that was above my head (or maybe below it?) ten years ago. Fuck yeah.
Midnight Moodswings & Seiswork – The Surrogate Piano (2014) – Midnight Moodswings and Seiswork who are a part of the Pennsylvanian collective FieldsOfMigraine seem to delight in what sort of sounds like goth, darkwave and electronica, amidst the sounds of the cool night air. It’s quite romantic in a sense, offering a sound that feels truly sensual and somewhat fragile. I definitely would consider Black Tape For A Blue Girl to be an influence, as well as several other acts like Depeche Mode and The Cure. The group features two vocalists who duet with each other throughout most of the songs, a male and female respectively. The male vocalist has a deeper tone, which makes the female vocalist come off in a sort of union, quite like the veritable bonding of a man and woman in the musical sense. If I’m telling you that The Surrogate Piano kind of sounds like sex, that’s because it does. Another act who I am strangely reminded of at times, is mid-era Ulver who may or may not be an influence; yet are truly evident within the soundscape of the piece, which is what this is – a true atmosphere in every sense of the word. “Trapped In Recurrence 3:57” gave me the electronic industrial vibe of Ulver or even How To Destroy Angels quite instantly. Even though electronics and piano are featured quite frequently throughout the release, there is also the use of a guitar, which definitely adds some rather interesting riffscapes to the piece. The Surrogate Piano is a lengthy affair that you will want to explore again and again, perhaps during the twilight hours and beneath the light of candles. It evokes a feeling that surely has a foot in many different influences, yet manages to come off as something breathtaking, surreal and truly original. If you’re looking for the kind of sexy atmosphere that you can play in the dark whilst caressing your partner, then perhaps The Surrogate Piano is for you. I rather enjoyed it, so I’m definitely looking forward to the next FieldsOfMigraine release by Tenor, entitled Experimentalism Pt.1. Wherever is it that you people are getting these breathtaking atmospheres from, I definitely want to hear more of them. A must have for all fans of darkwave, experimental and avant-garde music. Check them out on Bandcamp.
Stoneburner – Life Drawing (2014) – Whether it’s uncertain as to whether or not this Portland based sludge act is composed of a bunch of hipsters, I can say that it also features Jason Depew of Burial At Sea on guitar duties. As I’m a huge fan of Buried At Sea, I figured that I would also take a chance on this album, which has proved to be quite intriguing. If you haven’t already garnered from the thorough review placed on MA by way of The Metal Observer, these guys will fit well with fans of Neurosis, Cult Of Luna and EyeHateGod. Yet we could also throw in early Isis and a few other sludge acts if we wanted to nitpick. However, what erupts on the surface of this album is a kind of abrasive, yet somewhat melancholy atmosphere that seems both corrosive and a bit downtrodden at the same time. It’s both depressing, yet full of anguish; as bouts of screaming bellow forth from the mouths of Damon Kelly and Jesse McKinnon, two guys who sound way more pissed off than they probably are. But that’s the EyeHateGod influence in them, coupled with pound upon pound of thick and meaty sludge, making for a disc that really needs no description… but wait, there’s more. You see, Stoneburner isn’t just the sort of band who shits out putrid slime over an eighty minute period, because there are some surprisingly atmospheric sections including the nearly twenty minute closer, “The Phoenix 19:25” that show a mellower and more transcendental side of the music, giving volume and structure to what could have really just been nine songs of thick and rowdy sludge. It’s here that the Neurosis influence comes in, showing remarkable strength even though it’s being packed in with all the filth and grime that one might expect with any old sludge album. There’s even some blues elements to be unleashed, just as you would expect from a band touting an undeniable influence in EyeHateGod. At the end of the day, Life Drawing is a record that captures the same vicious spirit of their sludge influences, while managing to seamlessly (and sometimes unexpectedly) meld those elements in with calming and meditative post metal. Simply put, it’s sludge metal that leaves you some time to think in between the onslaught. And thinking is something that all of us really ought to be doing a whole lot more of right now, in these times especially. Stoneburner have released a disc that is just a little bit blue, with thick chunks of red and a white outline for contemplation. It’s post American metal, for the looming of what might soon be a post American landscape. I guess this is what hipsters are thinking about these days.
Taurus – No Thing (2014) – Another great Portland act, who… alright. The joke’s had its run. At any rate, this act features Stevie Floyd, who is also synonymous with Dark Castle which is currently on hold, and seems to be an alternative and very different outlet for exploring her musical and spiritual passions. Most interestingly of all however, is the fact that the band offers this one of a kind wooden box format version of the record on their Bandcamp page (that will set you back a hundred bucks, but it’s cool for collectors, right?) which is handmade and hand numbered, with not one box being the same. But enough about the box, let’s talk about the album. And what an album it is, folks. Though Taurus explores doom metal elements, they’re apparently too weird for MA so they sit between the realms of metal and experimental art. Most certainly there is some odd sort of ritualistic vibe on the album, with miss Floyd chanting about the record as is also utilized a sharp scowl and fierce growl amongst the numerous voice clips, atmospheric passages and as I reiterate, an occult ritual vibe. This is music for those who seek comfort in the darker side of occult, or perhaps the dark mysteries. Or perhaps it’s not even about the occult at all – it just comes off that way. Like a mix of Dead Can Dance and the aforementioned Dark Castle albeit with freakier riff structures and an unwelcome, yet entrancing feel; Taurus is entirely in a league of their own and may not necessarily appeal to everyone. But that’s fine, because that is in an essence, what true art is supposed to be. It’s the kind of record that might be too bizarre for the metal head, yet too heavy for the art and occult rockers. So it sits just fine with me and my oblong tastes. I can actually say that compared to the two decent albums I’ve heard by Dark Castle, I much prefer this band over that act by a sheer mile. And why? Because Taurus is truly different. It’s the kind of disc that you might want to spend a whole hundred dollars on, just to get an elaborate wooden box. There’s something dark, mystical and inquisitive about the piece, which is what pulled me in automatically. Whatever in the hell they were invoking, they might just have managed to appease it with this album. Definitely not something you hear every day.
Jupiter Zeus – One Earth (2014) – This the debut album from these Australian psychedelic rockers, and it’s definitely a mixed bag as far as I’ve heard. To be honest, I haven’t heard the effort in quite a while so I don’t faintly recall it which could mean that it either didn’t register the first time, or I was too busy doing something at work during the listen, that it simply faded into background music. However, I was quite elated with the disc’s mesmerizing opener, “Waves 4:40” as it’s pulsating melodies and fresh air atmosphere worked to chill both my mind and body, especially after I just listened to several warmer discs earlier in the list. Simon Saltari proves that he’s got a strong voice, but it doesn’t really hit until he carries it in the chorus sections. He can hit most of the notes rather well, but the tone simply becomes uplifting when he really barrels it out throughout certain noteworthy sections of the album. As for the rest of the band, they switch between many different approaches ranging from the dreamier “I Am 4:13” to the more thunderous “Divinity 4:19”, each approach seeming to be just as potent as the other, even though I’ll be honest and admit that On Earth is one of those records that will have you picking and choosing your favorite songs instantly, as I’ve already got mine and I’m sure that you’ll have yours. Yet with a band so brimming with limitless potential, that can only be expected. “Waiting In A Line 2:31” would be another one of those that seems to gel with me for example. I could see myself putting that one in my Mp3 player and jamming to it with all the lights off, as I enjoy doing. Or plopping it right onto my phone and doing the same. (My phone has of late enveloped my personal playlist) Sure, Jupiter Zeus didn’t make the best psychedelic hard rocker of an album that you’ve ever heard, but there are certainly some rather noteworthy pieces on this record and that’s what matters to me and most people more than the record being a perfect ten. Because let’s be honest, if you can find a few tracks on a record that really stick with you in the way that some of these catchy ocean breezes have stuck with me, then it really doesn’t matter if every single track is perfect. After all, if everything on the disc was perfect, then would make tracks like “Waves”, “I Am” and “Waiting In A Line” standouts? Exactly. If you’d like to experience some of these wonderful pieces for yourself, then give the record a try. I’m actually a little upset that it’s taken me so long to finally post a review for it.
Highlights: Waves, I Am, Waiting In A Line (11 Tracks, 45:00)
SCORING: 10 – Great, 9 – Good, 8 – Solid, 7 – Decent, 6 – Alright, 5 – Mediocre 4 – Less Than Mediocre, 3 – Flawed, 2 – Poor, 1 – Garbage, 0 – Unlistenable