KATATONIA / Kocytean (2014)

A Record Store Day exclusive E.P. released on 12" vinyl and limited to just 2000 copies. The six tracks on offer were previously available elsewhere, on hard to find E.P.s or as single B-Sides, but they'd never been collected together in such an easily accessible manner before. It's perfect for when you just want a short burst of the bitter-sweet emotion that is the band's forte.
Collectors will enjoy it for its rarity. Fans will enjoy it for its music. Both will benefit because vinyl is, was, and always will be sexier than CD. True story.

Songs of Note:  Why not have it all?

5 gravitations out of 5

PRIMORDIAL / Spirit the Earth Aflame (2000)

StEA taps the same vein as A Journey's End (1998) did before it, a vein that connects with and feeds from the lifeblood of nature itself. The result is a flowing, pulsing musical intention capable of supporting the aggressive mourning that manifests in Nemtheanga's transition from clean vocals to screechy rasps; as he sings of bygone days, we share in the affecting pangs of loss.
The Black Metal influences are never far from the surface but they've been made to fit Primordial's template, not the other way around.

Songs of Note: Gods to the Godless; The Burning Season

4½ glorious dawns out of 5

VARIOUS ARTISTS / The Matrix Revolutions: Music from the Motion Picture (2003)

Akin to its predecessor’s album, Revolutions’ stand-alone musical offering opens well, with rapid-fire, churning percussive elements that crest from quieter idylls, hitting in scintillating fits and swells. Without the pacing provided by the film proper, however, the center’s more generic stretch unfortunately becomes somewhat shrill. The final quarter of the track listing is where things get exciting, with Smith and Neo’s own take on Sephiroth’s One Winged Angel, and a roiling, expansive suite-unto-itself, which incorporates that track’s forceful chants as well as Indian vocals and scripture, over bubbling electronic undertones. Ultimately, though, while I’d argue this is a more tidy listen than Reloaded’s fractured smorgasbord, I can really only recommend this particular release to completist fans.

Songs of Note: Tetsujin; Navras

NOTE: A 2-disc, limited edition version was released last year.

3 Nodes on a Larger Circle out of 5

ARCTURUS / La Masquerade Infernale (1997)

Listening to La Masquerade Infernale conjures images of a theatrical, costumed ball taking place during a lunar eclipse, populated with people in grotesque animal masks who indulge in all kinds of icky vices at the drop of a hat. It's an almost vaudevillian exploration of what 'metal' can be. In plainer terms, the words 'avant-garde' and 'Norway' will tell you some of what you need to know.
The dissonance and daring semi-operatic vocal style will alienate many hardcore fans, but those that connect to the madness will likely still love it even after they see through the veil and become more familiar with its inner workings.

Songs of Note: Master of Disguise; La Masquerade Infernale

4 painted horrors out of 5

ALAN MOORE + TIM PERKINS / Snakes and Ladders (2003)

With spoken word performances it's natural to give your full attention to the first listen, but there's a different, no less valid appreciation attained from repeated listens; such it is with Snakes and Ladders. When the mind drifts or loses focus, or when words lose their distinctiveness and become hypnotic triggers, there's a semi-unconscious feeling that what's being spoken is deeply poignant, magickal and filled with enduring mystery. Eventually, stand out words, sure to be different for each listener, will inevitably draw you back in, but the musings that were birthed in the interim will hopefully have served their purpose.
Moore never falters, letting up only when it suits. In those instances the music of Tim Perkins takes centre stage whilst never betraying its primary supporting role of providing an aural chalice within which the words reverberate.

Songs of Note: The Gates of Tears; Stars and Garters

5 trout skins out of 5

ELVIS COSTELLO / Spike (1989)

Some of these songs are easily decipherable while others are opaque at best and completely bonkers at ‘worst.’ There exist official explanations for each but I have no need of them. My own interpretations are far more satisfying as I have no wish to lose the mystical fascination I’ve always had with this album. While Costello often contents himself with hiding sharp, biting declarations inside pop sensibilities shimmering enough to make your head spin, here he was completely unafraid to indulge his most outlandish and strangely compelling songwriting instincts. Honestly, where else can one find restrained diatribes against world leaders rubbing shoulders with the first-person musings of prominent after-life denizens?

Songs of Note: Deep Dark Truthful Mirror; Tramp the Dirt Down

5 Shamelessly Sticky Pairs of Pornographers’ Trousers out of 5

VARIOUS ARTISTS / The Matrix Reloaded: The Album (2003)

The first disc hits hard out of the gate and finishes strong. It’s the nu-metal filled chasm between Rob Dougan’s masterful, pseudo-symphonic cool and Rage Against the Machine’s grounding contribution that destroys any chance of this being an uninterrupted listen. I’m fairly incapable of separating the score from the visuals and concepts of the film itself and, consequently, while it's commercially presented as brief tracks and a singular suite, I’m still surprisingly content. Don Davis and Juno Reactor’s duels result in both terse and spacious interludes that sometimes build and sometimes jump between demanding of you subtle, DJ-worthy grooving and wide-grinned heart palpitations. Only slightly less gripping than the film, because what flies, soars, turds be damned.

Songs of Note: Furious Angels; Calm Like a Bomb

3 Bands Who Think They Get It, But They Do Not out of 5

PIGFACE / Washingmachine Mouth (1993)

You'll find WM classed as an album, E.P. or even a maxi-single, depending on where you shop, but whatever the truth, clocking in at almost 45 minutes means it doesn't exactly skimp on content, even if it is mostly just 'dicked around' remixes of songs from Fook (1992). After the intensity of that album, the surprise of quieter tracks that are distant, hypnotic cousins of something that might be Ambient Dub was a big surprise; but surprise is what Pigface did best in those days. It's difficult to categorise. It even confuses some CD players; I'm not even kidding.

Songs of Note: Satellite (Needle in the Groove); Prepare to Die (Go! Go! Go!)

3 garden varieties with evil intent out of 5

TOTO / Dune OST (1984)

The soundtrack to Lynch's Dune is as patterned and layered as the film itself: mournful thoughtfulness gives way to epic hero themes that—ironically, considering the setting—have the essence of giant waves crashing on distant shores. The most memorable motif is almost identical to part of Ronald Stein's The Haunted Palace (1963) score, but it works in both settings, so I'm able to forgive the 'coincidence'. The opposing factions and Houses are well-represented through varied use of percussion and there's even a romantic theme or two, should you feel the need for a dreamy accompaniment to the overwhelming heroism.
Track titles are super-spoilery, so, rather than pick what I consider the two best tracks, I'll instead showcase the first two on the album:

Songs of Note: Prologue-Main Title; Guild Report

5 waking dreams out of 5

EVERCLEAR / So Much For the Afterglow (1997)

To less discerning minds, Art Alexakis could be seen as a forebear of Max Bemis. While it is true that he’s more than adept at letting you know that everything’s not alright, he’s also infinitely more inclined to offering the type of optimism Max rarely affords himself. Tempered optimism. Everything’ll still be fucked up, but less so, and that’s the best we can ever expect. His lyrics are hyper specific to his own experiences but the moments when his voice catches and takes on that strange resonance reveal how universally affecting they truly are.

Songs of Note: Father of Mine; Sunflowers

5 Reasons Not to Let it All Go out of 5

MAYHEM / De Mysteriis Dom Sathanas (1994)

Some folks hail Mayhem's first full-length album as the best thing since sliced bread, whereas others say it's overrated shit. I won't try to change minds. I'll say only that you're in a better position to appreciate the array of quality riffs on offer once you get past tittering at the unintentionally comical vocals.
Hellhammer's drumming is a heartbeat that slows and races but always keeps the momentum; how his arms don't fly clean off his shoulders is a mystery.
Vikernes' bass is often too low in the mix for my liking, and Euronymous' guitar too high, but it can be cited as evidence that when the two men weren't plotting to kill each other, they were capable of producing some truly groundbreaking work.

Songs of Note: Freezing Moon; Pagan Fears

4 blood-written pages out of 5

VARIOUS ARTISTS / Have Yourself a Meaty Little Christmas (2009)

Meatwad is somehow able to afford the studio time necessary to make a Christmas album and his perfect balance of naivety and inanity indeed makes for a savory flavor of Christmas subversion when paired with Master Shake’s outright blasphemy. Frylock doesn’t try particularly hard to reign them in and that’s all for the better. Boxxy Brown is the only cast member who gets to contribute outside of the main four and while disappointing it does lend focus when paired with the stated rationale for the endeavor.

This both turns the holiday on its ear and delivers about three episodes worth of the show’s delightfully absurdist content. It’s so much of what Mr. Hankey’s Christmas Classics isn’t.

Songs of Note: Feliz Navidad; I Sure Hope I Don’t Have to Beat Your Ass This Christmas

4½ Elf Boogies out of 5

VARIOUS ARTISTS / Mr. Hankey's Christmas Classics (1999)

I’m no great fan of Christmas and albums that go well out of their way to subvert it are unsurprisingly something I can get behind. Still, much like South Park itself, I’ve found myself liking this far less over the years. The price of hyper topicality is an abbreviated shelf life if that tightrope isn’t tread very carefully. I tend to enjoy the less pointed songs here, as a result.

Am I going soft? No. It’s simply that pitchfork waving isn’t enough on its own, anymore. I need there to be enjoyable substance related to the property in question when I look behind the torchlight.

Songs of Note: Christmas Time in Hell; Swiss Colony Beef Log

2 Summer Sausages Eaten Like Henry VIII out of 5

FOUNTAINS OF WAYNE / Welcome Interstate Managers (2003)

Chris Collingwood and Adam Schlesinger are capable of writing lyrics that span the universe in terms of tone and focus. This is a gigantic melange of power pop that manages to phase rapidly between being heartfelt, heartbreaking, fist-pumping, lackadaisical, introspective, absurdist, nonsensical (yes there is a difference), and cheekily perverted. Is it any wonder one of them wrote and produced for Josie and the Pussycats?

Required listening for those who have a stomach for the genre and a sense of humor buoying their spirit.

Songs of Note: Valley Winter Song; Little Red Light

5 Things Far More Valuable Than Corporate Conformity out of 5

DAVE MATTHEWS BAND / Everyday (2001)

Near the turn of the millennium, DMB scrapped a safer, more generic album’s worth of material in favor of this release and their fanbase essentially revolted, pressuring them into eventually releasing that more-of-the-same drivel. This is far leaner and funkier. More rewarding. There’s a perverse brazenness to the grooves and lyrics that even managed to attract the Wachowski's attention. There is a dollop of hippie pap right at the end but it doesn’t dilute the sincere questioning and lamentation that the well-tread subject matter defining their collective agenda is afforded across the disc. Indeed, this has always been a consistently surprising and engaging experience for me.

Songs of Note: If I Had It All; Mother Father

4 Exotically Percolating Realizations out of 5