Iи Flαмεs - Souиds Of A Plαygяouиd Fαdiиg (2011)

A top-notch melodic death metal band who have, slowly but surely, transformed into an eclectic and more diverse group with the passing of years, Iи Flαмεs turned many a head last year with 10th studio outing Sounds Of A Plαygяound Fαding, and I'd say it was well worth the three year wait for many a metalhead.

Although their first record without founding guitarist Jesper Stromblad in tow, the songwriting and performances don't suffer even a smidgen from what fans and newcomers alike would expect. Immaculate slices of fun like the labyrinthine thrasher 'A New Dawn' and more mid-tempo stompers along the lines of 'Ropes' and the electroclash'd 'Deliver Us' rattle and blaze in throat-curling glory, balancing edge and accessibility in a way that few bands in this vein can do.

My verdict: Catchier than the measles (although cleaner than past releases), cunningly complicated, entertaining and polished to a fault. Recommended in large doses at loud volume!

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Joи Luciεи - Rαsнidα (1973)

Known as "The Man With The Golden Throat" (coined by Herbie Hancock) in all circles smooth, jazzy and soulful, Virgin Islands native Joи Luciεи is one of soul music's untouchable cult classics and the mastermind behind a number of flawless records from the 70's and beyond. Although sonically something of a spiritual contemporary to jazzy folk-mystics like Terry Callier, his musical tapestry incorporated everything from free jazz to folk to bossa nova to Afro-Cuban traditional, all of which is sewn into phantasmagorical ear candy through his soul capturing tenor.

Anyone seeking a spiritual experience should pick this sucker up PRONTO, lest forever hold your peace and miss out on the opportunity of a lifetime.

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Dεαd Cαи Dαиcε - Wiτнiи Tнε Rεαlm Of A Dyiиg Suи (1987/2008)

Ripped from the Japanese remastered SACD.

More often than not, I find that words fail me when it comes to a group like Dεαd Cαи Dαиcε. Their two-decade long discography explored, from perfect record to perfect record, the recesses of atmospheric post-punk, world music, New Age and an unbelievably cinematic grasp on the whole neoclassicism spectrum of musical indulgences. Before veterans like Peter Gabriel and Paul Simon jumped on the African pygmy-chant bandwagon and unleashed the savage jungle into contemporary Top-40 territory, this illustrious duo were cutting 3rd World masterpieces with a feudal edge that took even scenesters by surprise.

But, I digress. If one had to pluck but a single record from DCD's divinely inspired catalogue to get a newbie's ears wet in the ethereal woodwork, then 1987's Wiτнin Tнε Rεαlm Of A Dying Sun is the place to start. Not only are these songs some of the best crafted in a career long-canon, but with Side A being dominated by the grave croon of Brendan Perry and Side B an ideal slice of the heavenly pipes of Lisa Gerrard, the listener gets to experience both sides of Dεαd Cαи Dαиcε's musical cerebrum and...hell, maybe even reach enlightenment through doing so.

Like a narcotic you just can't quite get out of your system, this record casts a long, haunted shadow over your mind...and I'm more than happy to let it envelop me when I least expect it.

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Sτяicτly Iиc. - S/T (1995)

In the music industry, it is simply a given that good things are never meant to last very long. Groups break up, ideas don't hold together like they should in studio, and record labels consistently and without exception never bother to promote music which actually deserves to be heard....all of which seemed to be the case from this excellent progressive pop collaboration between Genesis keyboardist Tony Banks and vocalist Jack Hues of experimental 80's New Wave band Wang Chung. 1995, evidently, was the worst year one could have picked to release a record that would have sounded cutting edge only six years earlier.

Rhythmically creative, rich in sonic contour and in many ways a rock solid competitor to the pop sensibilities of prior art-rock hotcakes such as Genesis's Invisible Touch, Peter Gabriel's So and Yes's Talk, this unusual creature known as Sτяicτly Iиc. loosely follows a series of degenerates, from a psychopath who drives an ice cream truck for a living to a girl with multiple personalities, and gives their tales life and color through a series of punchy art-pop ditties...atleast up until the 17 minute closer 'An Island In The Darkness', an orchestrated send-up to human struggle and insecurity itself that stands as one of the 90's best progressive rock suites no matter how you cut it.

Progressive rock and synthesized coked-up keyboard pop don't normally breed in a way that people can get into on a regular basis, but this record proves such a union can result in something wonderful when every element is where it needs to be.

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Icεd Eαяτн - Dysτopiα (2011)

Much to many a metalhead's delight, one of the 90's best thrash acts returned like a bloody hellstorm last year with death and vengeance upon their teeth in the form of Dysτopiα, and in this mere blogger's opinion it was one of those triumphant comebacks which could have easily made my Top 11, but didn't due to how things ended up being ordered.

Along with boasting some of the nicest balance production-wise I've heard from any metal act this side of Grand Magus, this is also Icεd Eαяτн's most melodic record I think anyone will have the pleasure of hearing since their explosive career beginnings: in particular, the galloping 'Iron Will' and soon-to-be metal classic title track hit you like a bullet train from the first spin onward, and even the more paced-out tickers ('Dark City', 'Anguish Of Youth') are pure dynamic pleasures in and of themselves. And if that's not the mark of a fine modern metal record, I don't know what is.

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Jαy Gяαydoи - Aiяplαy Foя Tнε Plαиετ (1993/2002)

Remastered and ripped from CD.

Both a solo record and something of a musical continuation of a particular songwriting ideal, this wicked good release by guitarist/producer/engineer/songwriter Jαy Gяαydoи epitomizes the synth-guitar dominated style of Westcoast pop that came to prominence through the work of groups like Toto, DaBarge and guys like Al Jarreau. Still, times change and musical trends shift like tectonic plates: in light of that, this album in many ways felt like a farewell salute to a dying style when it originally hit shelves back in '93, and to this day remains a stunning example in the context of its style.

Although almost entirely programmed through synths, keyboards and drum machines (bar the excellent axework), there are some songs here which rank among the best you'd hear from an L.A. pop record, with my personal favorites being the bouncy Sherwood Ball fronted cuts ('Holdin' On To Love', 'One Way Or Another') and some of jazz vocal god Bill Cantos's best vocal performances in this particular genre with the snowbound sounding 'I Do' and the gorgeous key drivin' 'Ever After Love'. But these are merely personal gravitations in an entire set of strong songs: when taken as a whole, this is the best hi-tech Westcoast record ever put to posterity.

The sheer depth of positivity in these sonic fragements may be too sugary for some appetites, but the songwriting itself is atmospheric enough to where even the most insipid sounding sentiment doesn't really matter when you think about it. Thus, take things with a grain of salt and get lost in the haze of an era that'll probably never come back.

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Aиατнεмα - Judgεмεиτ (1999)

Poppier than any of Doom/Alt. rock outfit's Aиατнεмα's doom heralding LPs up until that point, the transitory Judgement retains enough morbidity and atrophic edge to satiate their Gothic consumer base whilst managing to sneak in numerous memorable moments [dare I say it, "radio friendly"] below the studio-induced haze (mid-tempo heartbeater 'Deep' and soot-laden anthem 'Pitiless' being my elected representatives in court at the moment).

Moody this is, but weaksauce it ain't, and it should serve as a lovely springboard for anyone with even the slightest remote interest in output by the brothers Cavanaugh.

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