It’s been a funny few weeks at MDG Manors with the daily soundtrack veering all over the shop.
I’ve dabbled in grind, death, hardcore, hip-hop and a few things that defy description.
I’ve found some real gold in the past week or so, so read on for some tips for sonic satisfaction.
Amebix – Sonic Mass
This is definitely my unexpected discovery of the week. Crust legends Amebix have released their first album in 24 years and my, is it a corker.
Sonic Mass is definitely metal at its core but takes in British post-punk, Killing Joke-style goth and even apocalyptic folk.
There is even a hint of Neurosis in the more epic moments. An album that really rewards a full listen, I can’t recommend it enough.
Masakari – The Prophet Feeds
A bit grindy, a bit hardcore yet surprisingly quite melodic despite the fierceness. I love the spoken word samples that range from Christopher Hitchens to a US soldier testifying.
The clip below isn’t truly representative of the album as there are usually barked vocals but I find the soldier’s words in this context really moving.
Bastard Priest – Ghouls of the Endless Night
I got into a bit of handbags at dawn in the comments sections of Invisible Oranges over this record. There’s a bit of a backlash in certain quarters against Swedish OSDM. I personally couldn’t care less as long as the music is good.
Bastard Priest aren’t the absolute best in show but they definitely pass muster if you enjoy punk-driven death metal with Sunlight guitar tone, which I do.
Book of Black Earth – The Cold Testament
I have spoken at length about how good this record is. I’m still listening to it and loving it yet more with each spin.
One of my favourite parts of this album is the pinch harmonics after about 1:50 on this song. Their rhythmic deployment really makes my neck snap regardless of what else I am doing, which can be embarrassing.
Roots Manuva – 4everevolution
Roots Manuva is without a doubt the best UK hip-hop artist ever. He is such a talented producer and can ride a soundboard as well as any of the Jamaican dubwise legends. Given that he’s no slouch on the mic, it’s a winning combination.
Anyhow, I was rather wary on first listen of this, his 5th album proper (there have been more if you include his “versions”, such as the mind-boggingly good Dub Come Save Me). That’s because he has largely eschewed monster analogue bass for something a bit more fidgety and electronic.
I’m still soaking it up but it has definitely had me jigging, which is a good sign.