Jump to content

BuzzzFuzzz

Members
  • Content count

    668
  • Joined

  • Last visited

  • Days Won

    1

BuzzzFuzzz last won the day on May 13

BuzzzFuzzz had the most liked content!

Community Reputation

1,003 Excellent

About BuzzzFuzzz

  • Rank
    500+ Post Club

Profile Fields

  • Location
    Qld
  • Country
    Australia
  • First Name
    Anthony

Recent Profile Visitors

586 profile views
  1. BuzzzFuzzz

    Metal: Currently Spinning

    Back with more new Metal. This one recommended on the Metal-Fi web site for great production values... Rivers of Nihil 'Where Owls Know My Name' 2018 Metal Blade Records. Available through BandCamp. Review by Alex Seivers (KillYourStereo.com)... Rivers Of Nihil’s third album, the recently released ‘Where Owls Know My Name’, is a goddamn astounding record; one that I’d frenetically annoy anyone with if they asked me which standout metal albums of 2018 they should be checking out and consuming. Ever since my first listen of the American band’s new epic a couple weeks ago, I’ve been repeatedly drawn back to it and with very good reason. Well produced by Carson Slovak and cleanly tracked during 2017 over at Atrium Audio, ‘Where Owls Know My Name‘ is the Pennsylvanian progressive death metal group existing at their highest peak. In a nutshell, this post-apocalyptic, cosmic-sized release is a potent blend of Gojira’s massive scope and molten riffs; the chugging death-metal-cross-metalcore style of Fit For An Autopsy; the intimidating and immense Karl Schubach-esque vocals (Misery Signals); well-composed atmospheric moments and far stronger songwriting dynamics than ther past works; more progressive and jazzier undertones seeping in deeper than ever before; to even a handful of jazz saxophone melodies spliced in that you’d expect from The Faceless (just minus all of the ******* interpersonal drama). Hell, this record’s sole instrumental track – ‘Terrestria III: Wither‘ – is a different beast entirely from its fellow peers. As it’s the kind of slick, motif-driven electronic composition that Korn would’ve created amidst their experimental years with ‘The Paradigm Shift‘ or ‘The Path Of Totality‘, from the creepy, fluttering backing ambience and ’80s-like synth stabs early on, to obnoxiously loud pounding drum grooves and hi-fi wobbles with violins and melodic guitars sprinkled over the top from the middle onwards. It’s a pretty insane piece all up but most importantly, it’s a damn fine track that shows these guys don’t care about adhering to being some purist generic tech-death metal act and want to do whatever they wish. And I **** with that approach. In fact, that instrumental is just one piece of tangible evidence that clearly outlines how Rivers Of Nihil direct real care and well-thought-out effort into every stroke of their musical brush here. Whether they’re moving through brief, eerie spoken word sections and darker progressive soundscapes (‘Cancer/Moonspeak‘, ‘Capricorn/Agoratopia‘) or just dishing out punishing melodic death metal sections full of Brody Uttley’s and Jon Topore’s incredibly impressive guitar work and Jared Klein’s bombarding drums (‘Old Nothing‘, ‘A Home‘), it never once feels out of place. Whether they’re bringing in well-placed melodic atmospheric passages (the title track) or weaving through monstrously heavy sections over into saxophone-lead jazz flows (‘The Silent Life‘ and the bewildering eight-minute prog epic of ‘Subtle Change‘), it works beautifully so. And whether Rivers Of Nihil are making pretty tasteful usage of bassist Adam Biggs‘ clean singing (the fretboard-skipping and fast-riffage of ‘Hollow‘) or when they’re mixing it up even further with a baller electronic instrumental (the aforementioned ‘Terrestria III: Wither‘), ‘Where Owls Know My Name‘ is all the better and more memorable for it. No doubt, this new Rivers Of Nihil LP is as eclectic as it is heavy and layered, which is to say, a ******* lot! And no, it never once comes off as messy nor is it ever overdone or inconsistent. If anything, this is more consistent and more cohesive than most other metal records you’ll experience this year – saxophones or not. Seriously, this album just continually impresses me on each and every listen, and even after multiple listens I’m still finding all of these new little things from the compositions and mixes to think about and muse over. And I cannot say that about most other metal records these days. There’s nothing wrong with a straight up, balls-to-the-wall heavy metal album like the new Judas Priest release, of course, but for those looking for something fresher, denser and deeper, you cannot pass on this release. As for the backdrop narrative behind the veil of ‘Where Owls Know My Name‘, it supposedly picks up several millennia after the events of their last record, ‘Monarchy‘ (2015), where now only one individual remains alive, since being chosen by the planet to be the sole witness of the celestial giant’s coming fate. Or… something like that. Look, it’s not all that important: that story filler is just merely the conceptual vehicle for the band to create their most vivid and emotional work to date. For at its core, ‘Where Owls Know My Name‘ is about the alienation between one’s heart and one’s home, of growing older, of seeing the larger world and understanding bigger picture beyond, and of becoming more accustomed to not only the thought of death but also the impact that it has upon your life. Which is reflected in the existential dread that oozes from the album’s front cover, created by Dan Seagrave (who also did covers for Entombed‘s ‘Left Hand Path‘ and Suffocation‘s ‘Effigy of the Forgotten‘), which shows the nameless protagonist now grown weary, old and tiresome; representing the state of humanity as well as the state of our Earth itself. This thematic heart is found not only within the pretty bleak tone of the lyrics and the imposing screams of solid vocalist Jake Dieffenbach but also in the band’s instrumental textures and timbres of their complex and incredibly proficient performances as well. All creating a really solid feedback loop of staggering and heady progressive death metal that’s more personal and more nuanced than you’d ever initially give a record like this credit for. Conclusion Rivers Of Nihil’s previous two offerings – 2013’s ‘The Conscious Seed of Light‘ and 2015’s ‘Monarchy’ – were just your typical tech-death/djenty releases that had some promise but never realised their full potential. Compared to ‘Where Owls Know My Name’ though, this new album is a galactic leap forward in songwriting, production, ambition, musical density, overall sound and what tastes the band are choosing to fill up their sonic palette with. No matter how you spin it, this is Rivers Of Nihil at their most musically interesting, at their most varied, at their most skilled, and also the band at their most creative too. You’re all looking at one of 2018’s better metal records right here! BandCamp Link - https://riversofnihil.bandcamp.com/album/where-owls-know-my-name Now onto some Instrumental, Progressive Djent Metal... Their Dogs Were Astronauts 'Earthkeeper' 2015 Self Released Review by John Whitmore (ItDjents.com)... The worlds of Djent and Progressive Metal are filled with partial bands and bedroom projects, perhaps more numerous here than all other genres of Metal combined. More often than not these groups consist of guitarists motivated by the pandemic scarcity of drummers. I have heard this state of affairs bemoaned frequently in the UK and it seems the problem is no different in Austria, which is where Their Dogs Were Astronauts hail from. Earthkeeper, their second full length release, is an adroit and slickly skillful fusion of Djent and Prog, with side orders of Funk, Reggae, Ska and Pop thrown in for good measure. The songs are emotive and filled with numerous adeptly persuasive ideas. Their most cunning ploy is to allow the delicate chiming resonance of a solo to float, like a tethered kite, above the choppy maelstrom of a chug pattern. Despite the fluid manner with which they fuse styles, TDWA seem most lucid in their creativity when they allow the more progressive elements in their music to flourish. When they do, there is a ebullient joy ringing through each melody that not only captures the attention, but plucks with florid persistence at the heart-strings. This strength must not be underestimated. The talent they have for manipulating the direction and angular syncopation of a phrase is considerable, as well as one that could well inspire jealousy amongst musicians who garner significantly more acclaim. The essence of their success in this regard can be boiled down to how they allow melodies to hover nebulously at the fringe of genres, without entering them and becoming copyist parody or reverential homage. For a more succinct conception of this idea, imagine Intervals playing a set of 311 covers. As I said, this is a partial band; consisting solely of Saltzburg based brothers Denis and Leo. This restriction in numbers, as is often the case, is both a strength and a weakness. On one hand it allows their ideas to be communicated with absolute clarity, yet being a duo deprives them of the deep and morphic rhythmic ingenuity which having a kick ass drummer provides. This lack of variety manifested in their inability to produce genuinely face-melting Duotonal-Melodo-Rhythms is one of my few criticisms of this record. One of the reasons I love Djent is the way its best riffs are filled with the most avuncular stupidity, able to both contort my face and make me throw myself around. This kind of joyous abandon is noticeably lacking throughout Earthkeeper. Now, I’m not suggesting that being earnest is inappropriate, but adding layers of jubilant exuberance onto their focused, yet austere core would make this album compelling and necessary instead of just delightfully intriguing. The production is also a little sterile, but that can be considered a style in itself, so I will not labour this as a point of distinction, since I am uncertain as to the purpose-domination of this as a choice. Despite these criticisms, I developed more than a passing admiration for Earthkeeper as I got to know its finer points. In particular the fresh and un-cliched approach to solos and melodic interplay which is prevalent throughout. There were moments when I thought that a little objective editing could have provided more focus, but these phases did not detract from the overall enjoyment or my appreciation of the swelling, considered ambience they create. I shall be watching the career of TDWA with great interest, as I feel they have the capability to produce at least one album of posterity bothering genius. That record may require additional personnel to make the leap into existence, but as things stand, this is dutifully impressive effort. BandCamp link - https://theirdogswereastronauts.bandcamp.com/album/earthkeeper Off now to check out Animals as Leaders and Human Factor. Cheers, Ant.
  2. BuzzzFuzzz

    Currently Spinning

    After a brief respite, back into some face melting Metal... Rivers of Nihil 'Where Owls Know My Name' 2018 Metal Blade Records. Available through BandCamp. Progressive Death Metal. Great production, recommended by Metal-Fi web site. Clean and Harsh vocals with a little saxamaphone (Homer) in the mix, which I really like. Ne Obliviscaris have violin in their mix which I really like as well. Now onto some Instrumental, Progressive Djent Metal... Their Dogs Were Astronauts 'Earthkeeper' 2015 Self Released. Also through BandCamp. Reviews and links on Metal thread. Cheers, Ant.
  3. BuzzzFuzzz

    Currently Spinning

    G'day Steve, just having a listen on youtube, great stuff. Thanks.
  4. BuzzzFuzzz

    Currently Spinning

    Back to back... Andy Shauf 'The Party' 2016 Arts & Crafts Prod. Canada.
  5. BuzzzFuzzz

    Currently Spinning

    Hey Guys. An unexpected day off for me. Easing into it with... Andy Shauf 'The Bearer of Bad News' Arts & Crafts Productions, Canada. Flac download from BandCamp. Canadian Folk singer/songwriter/producer/multi-instrumentalist with a pop sensibility, a soft, delicate voice, storytelling lyrics and some odd instruments. I've posted this Album quite a lot. Cheers, Ant.
  6. BuzzzFuzzz

    Earworm: what's currently spinning in your head

    Hey Cazzesman. I watched the MGK clip on youtube the other day. I don't know much about the Rap world, venturing there infrequently. I was working yesterday with a dude who 'seemed' to know a thing or two, and he told me MGK doesn't write his own lyrics, using a ghost writer. Can you enlighten me any further??? Cheers Man, Ant.
  7. BuzzzFuzzz

    Currently Purchasing

    Hey Man, I've been sampling some of their material recently. Do you mind letting me know where you picked up such a bargain??? Cheers, Ant. P.S. Vinyl or CD?
  8. BuzzzFuzzz

    Currently Spinning

    To further balance out my recent extreme listening, a little bit o' Classical, which I haven't listened to for a while... Mozart 'Serenades' Collegium Aereum - Franzjoseph Maier Concertmaster. Quintessence, Critic's Choice, Pickwick, USA. Not Dated. Four piece box set recorded using original instruments from Mozart's era; a particular favourite for that reason. An Op Shop treasure for $6 of $8, with Vinyl in near new condition.
  9. BuzzzFuzzz

    Vinyl Box Sets

    Hey Guys. I've been listening to a lot of Metal recently. Currently spinning Roxy Music 'Avalon' on Vinyl for a break from the extreme. Up next I'm balancing further with some Classical... Mozart 'Serenades' Collegium Aereum - Franzjoseph Maier Concertmaster. Quintessence, Critic's Choice, Pickwick, USA. Not Dated. Four piece Vinyl box set. Recorded using contemporary instruments from Mozart's era. An Op Shop treasure for I think $6 or $8, in near new condition. Cheers, Ant.
  10. BuzzzFuzzz

    Currently Spinning

    One of my 'go to' selections for great sounding Records... Roxy Music 'Avalon' 1982 E.G Records Ltd. PolyGram, Aust.
  11. BuzzzFuzzz

    Electronic currently spinning

    G'day Folks. Digging deeper into the world of Dark Synthwave... Perturbator 'I Am the Night' 2015 Blood Music - Remaster. Review by Alex Spalding (YeahIKnowItSucks.wordpress.com) - Sorry about the length, the only review I could find (without spending too much time)... So, so into this right now. I’ve recently come across some very cool artists doing amazing things on bandcamp, it’s so awesome. This album, by Perturbator, is like… some kind of crazy amalgamation of ’80s b-horror/sci-fi/action/exploitation film or oldschool PC/CD-i game soundtracks, very cyberpunk with a noted dark sexuality to it that I’m absolutely addicted to. Here’s the artist’s description of this album, sure to make you hot: “This is the story of someone who has nothing left to lose, wandering in the hostile neon-soaked dirty streets of a city from the future, armed and dangerous. This is your story. No one really knows what kind of danger you will encounter during this journey into madness. You know you’re not alone, but you are ready. You are the night. Now, lights off.” Yes. Just… yes. The copy I’ve got has some bonus trax on it too, so I’m going to review those as well. The first track is ‘The New Black’, which begins with some kind of church bell sound, a very low, modulating saw synth and loads of samples from the film Network. A good start. The synth bells that come in are very nice, very horror-ific. Then a bass drum sequence comes in, accompanied by these deep, low synth rumbles. It’s got that soundtrack vibe, like early John Carpenter, or like low-budget classics from out of Full Moon Entertainment’s studios or even Troma. Then, it sweeps up suddenly, cutting straight to… … the second track, ‘Retrogenesis’, which is some grimy electro EBM type stuff, really great sound. The bassline sequences are like the pulses of a seedy city, manic and driven by bloodlust, fast cars, neuro-drug enhancements. Super danceable, and as likely to infect as stepping on a broken syringe. ‘Eclipse’ begins, as many of these tracks do, with a low, bassy synth. Then these really beautiful, dark bass synth twitches come in. The atmospheres are really great, viral. String sequences creep in, then the rhythm arrives. I feel like I’m listening to something that would have been in the game Doom, or similar titles… maybe Rise Of The Triad (my personal favourite, for the ludicrous gibs), or something. Some of the synths in this piece really seem to be calling to you, from the darkness. Loving the slamming snares, the sparkling bells, the melodies that evoke for me early gothic/darkwave. Very cool stuff! Ends with what could be a thunderstorm from within the Matrix, and a vocal sample. Next is the title track, ‘I Am The Night’, which starts off with some really nice dark, saw-wave pads and an increasingly louder thump. The rhythm section really bumps, it’s so cool. The sequenced synths also kind of remind me of new beat music, it’s got that kind of slo-mo feel. I’m imagining like… ultraviolence in a torn up, urban dystopian setting. A darkly sensual, chaotic evil romp with machines. ‘Naked Tongues’ features vocals by Isabella Goversic from Memory Ghost. The track begins with low, pulsating synth and bell leads which are very nice, melancholy. The rhythm is downtempo, heavy. The vocals are really, really nice. Just the right amount of them, as they are somewhat minimal, ethereal, not overtaking the mix. They have a touch of phasing, which is a really great effect. I’m in love with this track. It feels like this track is in love with me, too. Cold warmth. I love that feel. I wish I were laying underneath a neon light right now, in the dark. Maybe something magenta, or ultramarine. Aqua, even. A bit over midway through the track it gets a bit more energy, uptempo, which is just perfect. Perfect for those nights, and I’m sure if you’ve been reading my music reviews often, you know just the nights I speak of. No… we are now these nights, the living embodiments of 4:00 AM, parasomniacs, wanderers, nomads, alone with the stars with music in our heads, impassioned and sensorial. Oh, and then there’s ‘Nexus Six – Interlude’. It breaks our thoughts with a strange belltronic sequence and dark pads, synthstrings. Very nice, digitized ethereality. I feel like I’m standing at the top of a large building, looking out over the dark grime of a city that never sleeps. ‘Technoir’ features Noir Deco, another group/artist I recently discovered who is doing some really great music in this vein. The music begins with more of those dark synths, evocative pads expressing the sort of cold longing in night as was like the vibe of Bladerunner and similar. Then the beat comes in, and it is now as if we are stalking the streets — or being stalked? The lines blur between predator and prey. When the hoover-ish sawtooth synths come in, it feels really soundtrack-esque. This really could be the soundtrack to a film. Something like Trancers… or maybe the sequel to Highlander with the aliens that nobody liked but me… or Assault On Precinct 13. After that is ‘Desire’, which features vocals by Greta Link. The synth pulse sequence is nice, especially when the vocals come in, like a vampiress. Wow, these vocals really have been spot on perfect so far! I like that not every single track has them, because many of the tracks function so well as instrumentals, and then it is that when you suddenly hear the ones that do have vocals it takes the album to some indescribable level of feeling. The synths very well match the subtle intensity of the singing. The next track is ‘Deviance’, featuring Arcade High, who are yet another interesting project that I discovered just a short while ago, crazy how many artists came together to make this album as awesome as it is. It begins with a vocal sample, and then careens into a really nice 1980s style electro jam. Cowbell? You got it. Loving the melodies and sounds used here! Perturbator and Arcade High are like wizards. ‘Raining Steel’ starts with those lovely, rasping sawbass waves lurking low, undulating like some kind of angry snake. Noise-rhythmic, high-energy 4/4 beats come in, and the synth sequences and gritty sounds are really fab. This has a great groove. Fierce, with epic highs. This is like high-speed chase music through dark streets, sawed-off shotgun or uzi combat on motorcycles. ‘Ghost Dancers Slay Together’ has a dark, deep sequence, with occasional bursts of sawnoize synth… then the beat comes in, throbbing and cold. Sleek. Loving this track too, very groovy darkwave, electro/EBM sort of sound, with lighter moments later on with some of the ecstatic synths flying high overhead. Yes, this whole album makes me want to dance… it makes me want to dance as much as it makes me want to commit my senses to transcending the flesh while receiving a double-feed of erotica and playing practically ancient FPS games. Last, we have ‘The Price Of Failure’, which takes us on a dark sojourn through the carnage that has unfolded around us. Somber pads with a kind of hollow resonance play, along with a modulating sawtooth bass synth and sweeping atmospherics. Very lovely. Bells twinkle in the night, shimmering their faint light upon the horrors below, as the sun maybe attempts its rise along the horizon of the city skyline. Queue credits… … wait, did I say last? It’s not over yet… time to talk about the bonus tracks! The first of these is ‘Volcanic Machinery’, a collaboration between Perturbator and Dynatron… who is yet another artist I literally discovered about three days ago, who’s work I’m also loving. So cool how all these people are connected! It begins with dark bell pads, sweeping digital soundscapes. The rhythm comes in, locked & loaded, and the synths are just amazing, washing over me like the end of a world. As the track goes on, the synths get better and better. Really digging this track. The next of the bonus tracks is ‘Lilith’, which was the third track from this album that I heard that decidedly made me want to jump forward to review it (the first being ‘I Am The Night’ and the second ‘Retrogenesis’, in case anyone is curious). It starts off with deep, bellphonic sounds and then goes straight into a pummeling 4/4 kick rhythm track while adding sweeps of sawtooth synth and a great arpeggiated bassline. The synths here are so nice! I love all the stabs, swooshes. Like so much of the music on this album, it seems to run the line between darkness and ecstasy. Now, we come to the proper end of the album, which is still an unfortunate thing I must say as I could easily listen to much more… ‘Girl In A Black Dress’ is very downtempo, grey, wistful, atmospheric. There’s even what sounds like a synth-saxophone, probably sample-based, which, coupled with the sparkling bells, makes this a piece that would work nicely as accompaniment to a solitary night of yearning, or maybe a post-love-making session in a dirty cheap hotel room with obligatory cigarette. I love how the track still has energy, with the use of the pulsing synth sequence. An in depth review for a very specific sub-genre. BandCamp link - https://blood-music.bandcamp.com/album/i-am-the-night-remaster Cheers, Ant.
  12. BuzzzFuzzz

    Currently Spinning

    Evening Fellas. A little bit o' Metal... Irreversible Mechanism 'Immersion' 2018 Blood Music. ...and a little more Dark Synthwave... Perturbator 'I Am the Night' 2015 Blood Music - Remaster. Reviews and links (BandCamp) in respective Metal and Electronic threads. Time to spin some Vinyl for a change, not sure where I'm headed, but something will jump out - no doubt. Cheers, Ant.
  13. BuzzzFuzzz

    Metal: Currently Spinning

    Evening Boys. Sticking with a lot of new Metal lately, attempting to reclaim my knowledge base. Usually the drumming is my centrepiece for Metal, however the Vocals are the second priority. I love all things Progressive, Technical and Melodic; I can handle Death Vocals, but not so much the Hardcore influenced forced screaming, preferring a mix of clean and harsh singing, or a vocalist with a wide range, or a dirty growl that is not forced. It is this reason that I listen to a lot of Instrumental Metal too. I also prefer comfortable guitar tones, or down tuned guitars over relentless harsh tones which seem to irritate me. Years ago I was into a lot of Satanic Death Metal, and that 'cold' sound seems to have run it's course for me. Up today... Irreversible Mechanism 'Immersion' 2018 Blood Music. From Belarus (between Russia and Poland). Name Your Price download from BandCamp. Review by Spear (ToiletOvHell.com)... I always try to judge new music on its own merits, tech death or otherwise, but it’s impossible to talk about the new Irreversible Mechanism without at least a cursory look at their debut. Plus, since we somehow managed to completely miss covering that when it first came out, there’s no time like the present. Infinite Fields made quite the splash when it landed back in 2015, picking up a ton of steam independently and ultimately getting the international duo signed to Blood Music the day before it was set to release, as I recall. While being fairly traditional in terms of structure and overall sound, Fields was incredibly well-written and performed, and the use of keyboards as a primary instrument and driving force gave it a unique texture that set it apart from its contemporaries. It’s not an album that I revisit with any frequency, but it is very much worth a listen for any fan of tech death or guitar acrobatics. Having made such a huge impression (as of this writing, it has 854 purchases on Bandcamp alone), it should go without saying that the band’s sophomore effort has been pretty hotly anticipated. The writing and performing chops were there, and with such a unique sound established on the debut, seeing that formula refined and embellished would be incredible. However, if you were one of the many waiting for such a thing… well, I have good news and bad news. You see, when I said “the new Irreversible Mechanism” at the start, I meant that in about as literal a sense as you can get. One half of that original duo, bassist Yaroslav Korotkin, left the band awhile back. Remaining guitarist Vladislav Nekrash has since filled out the band to include a full lineup, recruiting Ne Obliviscaris drummer Dan Presland as a session musician for Immersion. In a reflection of that lineup change, the band’s sophomore effort sounds so entirely different from their debut that it really does feel like a completely different band. The band’s new sound moves at a much more reserved pace; it’s still fast, but it’s not the hurricane of riffs that defined the debut. The synths are largely relegated to big, spacey, ethereal chords for atmosphere, completely ditching the grandiose orchestrations. I am of a mixed mind about this; the cynic in me says this is the most obvious case of trend-hopping in the world, given the huge rise in atmospheric tech death’s popularity the past couple years. As one fan on Blood Music’s Facebook page said, it “follows all the rules” of the current tech death scene. Which makes sense; given how much the landscape has shifted in the three and a half years since they debuted, why wouldn’t they update their sound to remain relevant? Gotta keep those big (well, relatively big) sales numbers rolling, after all, regardless of how much of your identity you have to sacrifice in order to do so. That said, the optimist in me wonders if that even matters at all; after all, the music should be judged on its own merits, right? And in terms of atmospheric tech death, Immersion is good. Really, really good. The album’s press release pitches them as contenders for Fallujah and Rivers of Nihil’s thrones, but substantial chunks of it are much more in line with Virvum’s Illuminance. Whereas the former two albums rely heavily on feeling to move forward, Illuminance uses atmosphere as a shell to encase its riffs. Immersion combines the best of both worlds; there are still floaty nonfunctional harmonies and quieter, thoughtful moments, but the music is also upbeat, adventurous, and exciting. It’s an album that will leave you feeling somehow both pumped and meditative at the end. And of course, the performances are still immaculate. The strings players continue to bring the shred, though it’s tempered by the album’s greater emphasis on emotion and focused by its core narrative. Anyone familiar with NeO already knows how good a drummer Dan Presland is, and the new vocalist is much more robust as well, even bringing some solid clean singing to the table this time around. The layers of keys can obfuscate the rest of the instrumentals at times, but it’s by and large a pleasant listen. So what’s the takeaway from all this? Should we lament the loss of the old Irreversible Mechanism or celebrate the birth of the new? That’s something that will vary from listener to listener, but I think it’s going to be a little bit of both for most everyone. While it’s a shame to see them abandon so much their roots so quickly, it’s hard to deny the quality of Immersion. It walks a well-traveled path to be sure, but I found myself caught up in the adventure nonetheless. BandCamp Link - https://blood-music.bandcamp.com/album/immersion Cheers Ant.
  14. BuzzzFuzzz

    Currently Spinning

    I normally put on some pumping House/Techno/Trance for housework. Amps me up an gets me moving.
  15. BuzzzFuzzz

    Currently Spinning

    Following The Church with this one... XTC 'English Settlement' 1982 Vrigin, UK. A great Album and 'Melt the Guns' blows me away every time. Cheers, Ant.
×