RockAtlantic Recap

What convenient timing! Amazingly the last blog of 2013 has coincided with the 50th post on RockAtlantic, so I thought I’d write a special blog looking back at some of the stories I have featured on this blog and updating you to what happened after they were published, and although I’d like to claim this timing was intentional, it was unfortunately just a mere coincidence.

‘The Dysfunctional Family’ (April 1)

In my first post on RockAtlantic I explained how Machine Head’s bassist Adam Duce was fired from the band in February as his heart hadn’t been in it for “well over a decade”. To find a replacement Machine Head held a competition in which anyone could send in an audition video playing the bassline from either ‘This Is The End’, ‘Halo’ or ‘Beautiful Mourning’. As I suspected all the bedroom bassist hopefuls who applied didn’t get the gig; instead they opted intelligently for touring experience and chose ex-Sanctity frontman Jared MacEachern, who had passed their auditions (especially the vocal-side of it) “with flying colours”.

Here is Jared MacEachern’s audition for ‘Halo’:

Machine Head are currently writing their follow up to 2011’s highly successful ‘Unto the Locust’.

‘Reunions’ (May 4)

Back in January ex-Korn guitarist Brian Welch, known better as ‘Head’, joined Korn back on stage for the first time in the best part of eight years and shortly after was re-integrated into the band; an event that seemed almost impossible after various insults were publicly thrown across from both sides of the split.

Fast forward to October when Korn’s eleventh studio album ‘The Paradigm Shift’ was released. The record is their first effort to feature contributions from Head since 2003’s ‘Take A Look In The Mirror’ and is a return to form for a band that has been lost in the confusion of not knowing what musical direction to take.

Whilst I personally enjoyed their dubstep-infused ‘The Path Of Totality’ and the dark atmospheres of ‘See You On The Other Side’, and found that ‘Untitled’ and ‘Korn III’ left me wanting more, many fans felt the polar opposite towards these albums. However ‘The Paradigm Shift’ has managed to find a middle ground, keeping in the electronic elements for ‘Spike In My Veins’ and ‘Victimized’, but returning to the nu metal riffing of the past for ‘Love & Meth’ and ‘Prey For Me’. It’s a surprising rebirth for  a band that many had written off a long time ago.

‘Decisions, Decisions, Decisions’ (July 8)

In this blog I discussed the Progressive Music Awards which are run by Prog Magazine. There were no real surprises in the outcome of the votes which included Steven Wilson’s ‘The Raven That Refused To Sing’ winning the album of the year (the same album came third in my top 10 albums of 2013 last week) and Mike Portnoy winning the virtuoso award. I personally wanted The Elijah to win the newcomers award for their unique brand of post-metal that juxtaposes harsh vocals with serene soundscapes. Unfortunately the week I released that blog I heard the news that the band had decided to call it day and were embarking on their last ever set of tour dates. It was such a blow for a band that I honestly believed had so much potential.

Here the amazing ‘I Loved’ here:

‘Hail To The King’ (July 24)

This post was the second segment of a five part series in which I reviewed five new songs that had recently been released. ‘Hail To The King’ was the lead single of the then-upcoming Avenged Sevenfold album of the same name. As you may recall I was excited by this song – I felt it was strong and musically different to their previous efforts, and whilst it wasn’t their best song, it gave me hope that the other songs on the album would continue to explore and experiment on this new sound like all previous A7X albums have done.

I admit now that I was wrong.

The album turned out to be very bland indeed and in turn saw the band getting all the plaudits simply for it being similar in sound to Metallica’s Black Album. The problem with this is that I already own ‘Metallica’ and therefore have no need for a modern ‘take’ (replace with ‘copy’ depending on personal preference) on a classic metal sound. There are certainly a few good songs on the record like ‘Acid Rain’ and ‘Planets’ and it will definitely attract a substantially greater audience towards the five-peice. However the problem is that they have openly admitted changing musical direction because they see themselves as the next metal royalty akin to Metallica or Iron Maiden, which is a decision which can only be taken by us, the fans.

I would like to take this opportunity to thank everyone who has read, liked, commented on and subscribed to RockAltantic over the past eight months and I wish you all a very happy new year!

– zeroceid


RockAtlantic’s Top 10 Albums of 2013 Part 2

In Monday’s post I listed the first half of my top 10 albums of 2013. Such was the quality of music released this year that many records that deserve to be nominated unfortunately missed the cut. Deciding the order of the top 5 was an even harder exercise, but after much deliberating, the top 5 albums of the year (in my opinion) are as follows:

5 – Biffy Clyro: ‘Opposites’

After the (deserved) success of 2007’s ‘Puzzle’ and 2009’s ‘Only Revolutions’, the four year wait for ‘Opposites’ meant it was one of the most highly anticipated records of the year. Once again Biffy Clyro have managed to out-do their previous effort, building on their unique brand of hard rock and confirming their place as one of the UK’s biggest rock bands.

The album’s brilliance is even more incredible when you consider that they have yet again catered for two sets of fans: the ones approaching from the rock side and the ones approaching from the chart-music side, without alienating either set. ‘The Joke’s On Us’ and ‘Modern Magic Formula’ show the band’s ‘heavier’ side; the three-piece attack driving through the riffs at pace, whilst ‘Opposite’ and ‘Biblical’ are more commercially orientated (but by no means are they bad tracks).

Listen to: ‘Victory Over The Sun’

4 – Stone Sour: ‘House Of Gold & Bones Part 2’

After a lull in form with the release of the bland ‘Audio Secrecy’ in 2010, Stone Sour’s ‘House Of Gold & Bones’ double concept album refocused the Iowa-based band back to their riff-centric metal as featured on their first two albums ‘Stone Sour’ and ‘Come What (Ever) May’. The trilogy of ‘Blue Smoke’, ‘Do Me A Favor’ and ‘The Conflagration’ is one of the double album’s highlights, showing Stone Sour’s maturity with their ability to write brilliant songs whilst fully immersed inside Corey Taylor’s concept. The rest of the album flows well too, amalgamating odd refrains and riffs from part 1, to create a very strong concept album that any top prog band, let alone a metal side project*, would be happy to call their own.

Listen to: ”82′

3 – Steven Wilson: ‘The Raven That Refused To Sing (And Other Stories)’

Although ‘The Raven That Refused To Sing’ is my ‘least favourite’ of the three Steven Wilson solo albums so far, the high quality of Wilson’s work means that the record is still superior to many of his contemporary’s efforts. This is his first solo effort written for his current backing band and as such the effort has a more prominent ‘band feel’ and reminds of Dream Theater; each player taking it in turn to highlight their musical supremacy.

‘Luminol’ showcases Nick Beggs’ talents on bass, whilst Guthrie Govan’s lead playing is exploited to its fullest potential on ‘The Watchmaker’ and ‘Drive Home’. The inclusion of pianist Adam Holzman and saxophonist/flautist Theo Travis, mean Wilson’s grand vision of 70s-inspired progressive music can be realised, culminating in one of the finest progressive records of the 21st century so far.

Listen To: ‘Luminol’

2 – Atoms For Peace: ‘Amok’

Thom Yorke rarely disappoints and ‘Amok’ is an example of why. As with Radiohead, he constantly looks to explore the marriage of electronic aspects of music as well as traditional instruments and ‘Amok’ is the perfect union, creating an album with which the line between computer and man is not just blurred, but has disappeared altogether.

Atoms For Peace lets Yorke et al. explore and experiment like children in a musical playground. All the traditional shackles of writing a rock album have been removed and as such the music flows like a jam between talented musicians free from restraints. It’s rare to get an album where every song is flawless, whether it’s the dark and moody ‘Unless’, or the likes of ‘Amok’ and ‘Reverse Running’ which are layered with sparse, expansive textures, each track has its purpose and if it wasn’t for the next album in this list, ‘Amok’ would be number one.

Listen to: ‘Judge, Jury And Executioner’

1 – Tesseract: ‘Altered State’

With ‘Altered State’ Tesseract broke out of the captivity of the djent movement that held back their debut ‘One’, to make an outstanding progressive metal album. Even though the album is split into ten musical movements for greater accessibility, it was designed to flow as one long musical piece, which is a vastly underrated approach in today’s music scene.

Whilst elements of djent still remain as an integral part of their sound, the removal of screamed vocals and the addition of saxophone on several tracks, in addition to a new found maturity in the songwriting process, has resulted in the emergence of Tesseract as a leader in the progressive metal genre. ‘Singularity’ and ‘Nocturne’ provide great examples of Tesseract’s sound, contrasting crushing rhythm sections with both mellow and dark atmospherics, alongside Ashe O’Hara’s ethereal vocals. Ultimately ‘Altered State’ is the best album of 2013 and I look forward to seeing where they go from here.

Listen to: ‘Of Reality – Eclipse’

Thank you for reading. If you enjoyed this week’s blog please like, comment and subscribe to email updates.

Have a great festive period.

*Pedantic Footnote: Even though Stone Sour formed before Slipknot, the project was restarted as Taylor’s side project to Slipknot. Although now it’s questionable if you can still call the highly successful Stone Sour a side project.

RockAtlantic’s Top 10 Albums of 2013 Part 1

The year is drawing to a close and so the time has come to choose my top 10 favourite albums of 2013.

10 – Clutch: ‘Earth Rocker’

This is an album that has grown on me a lot. When it was released in March it caught my attention with the monolithic ‘Earth Rocker’ and ‘Crucial Velocity’, however a lot of the album didn’t immediately click with me. Fast forward to the end of the year and with numerous critics’ polls citing the album in the top five, I decided to revisit the album which I had almost bought on release.

I was very surprised with what I heard second time around; the songs that I had initially dismissed (like ‘Gone Cold’ and ‘The Wolf Man Kindly Requests…’) really caught my attention the second time around. Overall ‘Earth Rocker’ does as it says on the cover; it rocks from the beginning to the very end. There’s no five minute solos or instrumental detours, just an unapologetically hefty collection of riffs, oozing in attitude and ultimately a real love for what they do.

Listen to: ‘D.C. Sound Attack!’

9 – Karnivool: ‘Asymmetry’

The Australian progressive metal outfit had a lot to live up to with their second album ‘Sound Awake’ firmly under their belts. Fortunately ‘Asymmetry’ lived up to all the expectations set by its predecessor by keeping up the same brand of metal on ‘We Are’ and ‘Nacash’, but also opting to expand their pallet with dreamy soundscapes like ‘Float’ and experimental excursions like ‘Alpha’ and ‘Asymmetry’. With their third record, Karnivool have cemented their position as one of the best and most diverse metal acts, managing to marry brutality with beauty seamlessly across the album.

Listen to: ‘Eidolon’

8 – Nine Inch Nails: ‘Hesitation Marks’

After a five year absence, Trent Reznor finally returned from soundtracks and his (largely-disappointing) side project How To Destroy Angels, to focus on his once world-topping Nine Inch Nails. ‘Hesitation Marks’, like most NIN records, has its own unique sound, ditching the cold and harsh atmospherics from ‘Year Zero’ (and ‘The Slip’ to an extent) and replacing it with warmer instrumentation. Whilst there are a lot of direct songs, focused on instant gratification (akin to ‘With Teeth’), the album has a good measure of experimental tracks, building on his work with ‘Ghosts I-IV’.

Overall ‘Hesitation Marks’ is a return to form for Trent Reznor, who has managed to include nods to previous efforts, whilst simultaneously building up an album that flows and will sit happily next to the widely established greats of ‘The Downward Spiral’ and ‘The Fragile’.

Listen to: ‘All Time Low’

7 – Wisdom Of Crowds: ‘Wisdom Of Crowds’

Who would have thought a year after Steven Wilson and Michael Akerfeldt joined forces to create Storm Corrosion, that the world of rock would witness another Brit/Swede collaboration in the form of The Pineapple Thief’s Bruce Soord and Katatonia’s Jonas Renkse. Like Storm Corrosion, Wisdom Of Crowds doesn’t stray to far from their natural habitats, keeping the almost art-rock feel of  their respective bands.

Although it’s a shame that Soord doesn’t provide any vocals, his instrumentation is very distinct and compliments Renkse’s voice perfectly, as if they have been playing together for years. A lot of the album is dedicated to sparse, atmospheric textures, but tracks like ‘Radio Star’ and ‘Stacked Naked’ showcase the duo’s energetic side too. Ultimately ‘Wisdom Of Crowds’ is an example of the all-to-rare occasion when a super group/collaboration lives up to everything it should be.

Listen to: ‘Stacked Naked’

6 – Coheed & Cambria: ‘The Afterman: Descension’

Regular readers of RockAtlantic will know about my love for all things Coheed & Cambria. ‘Descension’, released in February, is the second half of ‘The Afterman’ double album and concludes the story of Sirius Amory. Storytelling aside, ‘Descension’ has some of Coheed’s finest work since 2004’s ‘In Keeping Of Silent Earth: 3’; bringing back the energy and pop influences in ‘Number City’ and the epic guitar-work in ‘Key Entity Extraction V: Sentry The Defiant’.

‘The Afterman: Descension’ manages to keep up the same high-octane and talented musicianship featured throughout their back catalog and builds upon the first half of  ‘The Afterman’, concluding this chapter of the grand sci-fi series created by frontman Claudio Sanchez in fantastic style. In my (albeit biased) opinion Coheed & Cambria are one of the most underrated progressive bands today, and this record deserves all the acclaim it receives.

Listen to: ‘Number City’

Thank you for reading. If you enjoyed this week’s blog, please like, comment and subscribe to email updates. Look out for part 2 of my top 10 of 2013 on Friday.

Have a great festive period.

Who could be the new Slipknot Sticksman?

Earlier this week, Slipknot drummer and founding member Joey Jordison announced his departure from the Iowa-based metal outfit. The split was unexpected, especially since Jordison had announced he had lots of songs ready for their upcoming album, which, as mentioned in last week’s blog, had just started to gain some forward momentum.

For today’s article, I have decided to review who, if anyone, could fill his proverbial shoes.

Shawn ‘Clown’ Crahan/Chris Fehn

In 1995 Jordison was invited into the band by bassist Paul Gray and subsequently replaced Crahan as the band’s main drummer, pushing him onto custom percussion, where he was joined later by Chris Fehn. The duo make up a large part of their live show, spending equal amounts of time wrestling and climbing on equipment, as they do bashing their ‘homemade’ drum kits. This aspect would certainly be lost if Crahan was reinstated as their main drummer. The other question revolves around if Crahan and Fehn actually have the skill to live up to Jordison’s intense and technical drumming: Crahan might, Fehn is really a bassist.

For: Keeps the Slipknot ‘family-like’ mentality.

Against: Diminished stage presence and possible doubts in technical ability.

Verdict: Improbable (Crahan) to Virtually Impossible (Fehn)

Roy Mayorga

Roy Mayorga is the current drummer of metal band Stone Sour, which shares both its vocalist Corey Taylor and guitarist Jim Root with Slipknot. He is an incredibly talented, metal-orientated, drummer (he previously played for Soulfly) and as well as having a rapport with the previously mentioned Slipknot band members, he has also performed on bassist Paul Gray’s ‘Behind the Player’ DVD, playing Slipknot’s ‘Duality’ and ‘Surfacing’ flawlessly.

For: He is as close to being in Slipknot as it’s possible to be, without actually being in Slipknot.

Against: The constant blurring of Stone Sour and Slipknot into “The Corey Taylor Show”.

Verdict: Very Likely – almost definite as a touring member.

Dave Lombardo

After being left out of Slayer’s most recent tour and being officially replaced by Paul Bostaph, he has a giant band-shaped whole in his life. Lombardo also understands what it’s like to play as part of a world famous metal act and easily has the ability to replace, if not make an improvement upon Jordison’s drumming.

For: His diary is free.

Against: Lombardo probably doesn’t need the hassle of wearing a mask and being rotated upside-down whilst performing a drum solo.

Verdict: Unlikely.

Mike Portnoy

Since leaving Dream Theater in 2010, he has flitted between numerous musical projects, seemingly starting and ending new musical relationships on a weekly basis. He also filled in for Roy Mayorga for a one-off Stone Sour gig in 2011, whilst Mayorga’s wife was expecting their first child.

For: His need to flirt with every well known musician before he is 50.

Against: His need to flirt with every well known musician before he is 50.

Verdict: Very Unlikely.

Chris Pennie

Chris Pennie is the former drummer of the hectic, mathcore-styled Dillinger Escape Plan, whose techniques are very diverse, taking influences both from jazz and technical metal, which ultimately lead him to playing for Coheed & Cambria during the ‘No World for Tomorrow’ and ‘Year of the Black Rainbow’ album cycles. Although participating in a few small projects, Pennie is currently not held up with any substantial commitments.

For: Talented metal drummer who could be in the market for a new home.

Against: He left Coheed to focus on his smaller projects.

Verdict: The Dark Horse.

Jason Bittner

Bittner is the force behind American metal band Shadows Fall. He joined in 2002 as a permanent replacement for previous sticksman David Germain, who left the band due to alcoholism in 2001. Bittner has also played with Anthrax, filling in for the engaged Charlie Benante in 2006, as well as playing in several other projects and releasing his own series of educational products.

For: Supremely technical drum wizard.

Against: Currently heavily committed to Shadows Fall.

Verdict: Unlikely.

Matthew McDonough

McDonough is the current drummer for Mudvayne and is known for his very unique metal drumming style. Already with hefty experience of drumming in costumes and makeup, and currently without a major project whilst lead singer Chad Gray is busy with his second band Hellyeah, he would fit right in.

For: Makeup. Free time. Fans choice.

Against: Mudvayne would always come first – that is if Chad Gray ever swaps his new ‘redneck and alcohol’ image for his old Mudvayne persona.

Verdict: Very Plausible.

Chris Vrenna

Multi-instrumentalist Vrenna has filled in and played for all the big metal names including Nine Inch Nails, Marilyn Manson, Jordison’s side project Scar The Martyr, P.O.D., Billy Corgan… oh, and of course he performed additional production duties on Slipknot’s fourth album ‘All Hope Is Gone’.

For: Mr. Replacement with prior Slipknot experience.

Against: Is Vrenna finally ready to settle down?

Verdict: Likely.

Steve ‘Skinny’ Felton

Mushroomhead and Slipknot have had a (mainly) fan-driven rivalry due to their similar nu metal inspirations and masked appearances. Skinny is a founding member of Mushroomhead, who are currently having a quiet period after the hugely disappointing ‘Beautiful Stories for Ugly Children’.

For: The Mushroomhead-Slipknot rivalry.

Against: The Mushroomhead-Slipknot rivalry.

Verdict: 50/50.

There are several other possibilities including ex-Korn drummer David Silvera, Ginger Fish of Marilyn Manson fame, “The Atomic Clock” Gene Hoglan and a not so serious suggestion of Dave Grohl (after all when has he ever declined a new project). If there are any drummers who you feel I have missed, please suggest them in the comments below. Thank you for reading – please leave a like and subscribe to email updates if you have enjoyed this week’s blog. Look out for the best of 2013 coming soon.

Too much work on your plate?

Musicians like to keep themselves busy. Whether it’s recording a new album or setting off on a fifty-date world tour, most bands find being busy is ultimately better. But when does this overindulgence in diary dates become a detriment rather than a gift?

Jim Root is the guitarist for both Corey Taylor-fronted metal bands; Slipknot and Stone Sour. Recently Root announced he had made the decision to skip Stone Sour’s twenty-two date North American winter tour in favour of turning his focus to Slipknot for their upcoming album, expected towards the end of 2014. Being a member of two highly successful acts simultaneously requires a careful juggling of time so that neither act becomes neglected – arguably Jim Root has allowed his double commitments to compromise his responsibilities in Stone Sour.

Jim Root is allowed much more freedom with his guitar work in Stone Sour compared to the nu metal-styled Slipknot, and as such, his absence from the tour will have an impact, regardless of replacement Christian Martucci’s efforts. Whilst the tour will undoubtedly be a success, if I had bought a ticket and learned I would not be watching one of my favourite guitarists, I would be disappointed and the experience would be diminished – albeit very slightly.

However, taking on multiple projects can be advantageous; it allows you to keep inspired by switching to different projects when others aren’t taking off as planned. Steven Wilson is a brilliant example of this, finding that flitting between the multiple bands and production duties which run alongside each other actually encourages the best from his songwriting.

For regular readers of RockAtlantic, you’ll know my feelings on nu metal band Five Finger Death Punch (FFDP). After releasing ‘The Wrong Side of Heaven and the Righteous Side of Hell, Volume Two’ last month, they have now amassed five albums in the space of just six years and naturally the question of quality control comes to mind. Recently guitarist Zoltan Bathory was quoted as saying “we are putting records out nearly every year…we’re catching up [to Avenged Sevenfold]”.

Unfortunately keeping up a constant output is an almost guaranteed method to produce below-par records. Save for a few very gifted writers, great records take time and patience to craft, something FFDP have forgotten in their quest to build a double digit discography in under half the time that most of their contemporaries will achieve this. In this case FFDP’s need for action has lead to a decline in song quality, which is a shame because debut ‘The Way of the Fist’ and sophomore effort ‘War is the Answer’ showed some great musicianship and creativity that has gone missing from recent works.

Contrast this approach, however, with the almost sloth-like inner workings of progressive metal titans Tool. Their last release ‘10,000 Days’ came in 2006 and only now has progress started to begin on a new effort. The extraordinarily long wait has been a feature of the band ever since the beginning and has only seemed to grow longer with age. However, every album has been superb, pushing the boundaries on what a progressive band can achieve and keeping up a quality discography, justifying the fans’ patient.

Overall the ability to know when to take on a new project and when to take a step back is a major factor in keeping quality standards high within a band. There are bands who can break this model such as the very busy Deftones or the previously mentioned Steven Wilson, but in general a plate which is too full won’t help fulfill your musical potential; only subtract from it.

Thanks for reading – if you enjoyed this week’s blog, please like, comment and subscribe to email updates.

Coming soon: The best of 2013

Who Is Your Favourite Band?

The question “who is your favourite band?” is something a lot of people struggle to answer and even if you know who your favourite band is, it’s very unlikely your answer will be the same in a couple of years time. Although, for me, my favourite band hasn’t changed for a long time – I simply love Coheed and Cambria and here are five reasons you should too.

1. Sci-fi Story

Coheed & Cambria’s albums are based on a series of comics written by frontman Claudio Sanchez which detail a sprawling science fiction story called The Amory Wars. The band are named after the original two main characters, Coheed and Cambria Kilgannon and each album focuses on a new chapter of the story. Each release comes with the added excitement of a new installment of the story and a new challenge to pick through and unravel the narrative from Claudio’s lyrics.

However, even if you don’t care about the fate of the fictional planetary system called Heaven’s Gate, the lyrics stand on their own and without purposefully pulling out the plot, the science fiction will take a back seat, save for a few character references. The main advantage the vast concept adds is that it acts as a mechanism to concentrate and focus the lyrics – meaning they pass through a very strict quality control and hence they never disappoint.

2. Claudio’s & Travis’ Lead Playing

Both guitarists Claudio Sanchez and Travis Stever take lead and rhythm guitar responsibilities and as a result a lot of musical focus is directed towards lead segments. The ‘Good Apollo, I’m Burning Star IV’ albums provide most of their best lead work, alternating from blues influenced passages on ‘On The Brink’ and pentatonic inspired solos on ‘Gravemakers & Gunslingers’ to near shredding on ‘Welcome Home’ and ‘Ten Speed (Of God’s Blood and Burial)’.

3. From Prog to Pop

Coheed & Cambria are easily identifiable as progressive rock/metal and are almost always compared to Rush, but take almost equal inspiration from the world of pop. In fact their first album ‘Second Stage Turbine Blade’ is unashamedly a mix of post-hardcore and pop punk. Their second album ‘In Keeping Secrets of Silent Earth: 3’ saw their most radical change of sound, opting to amalgamate five minute plus epics and the pop aspects from their previous brand of introspective punk. The majority of songs off ‘From Fear Through The Eyes Of Madness’ are shorter pop-styled efforts, with only the album’s bookends providing the progressive elements. This juxtaposition between styles is a unique trait to have and is what keeps Coheed & Cambria unique.

4. Song Suites

Since their second album, Coheed & Cambria have included numerous song suites which act to narrate a particular scene of the story in finer detail. ‘The Velourium Camper I – III’ is dark both musically and lyrically whilst ‘The End Complete I – V’ is the epic conclusion to the main story arc, cycling through everything from acoustic and blues passages to an unusual take on thrash metal. ‘The Willing Well I- IV’ is possibly the most progressive peice of music the foursome have produced, removing nearly all elements of their light, poppy sound.

5. Basslines

The Rush comparisons are definitely deserved when you scrutinise the playing of both current bassist Zach Cooper and past bassist Michael Todd. Not content to simply copy the guitars, their lines make good use of their skills, including a great slap technique and interesting scale runs, which remind of the very talented Geddy Lee.

Recommended Coheed & Cambria

  • ‘Gravemakers & Gunslingers’ from ‘Good Apollo, I’m Burning Star IV, Vol. 2: No World For Tomorrow’
  • ‘Number City’ from ‘The Afterman: Descension’
  • ‘In Keeping Secrets Of Silent Earth: 3’ from ‘In Keeping Secrets Of Silent Earth: 3’
  • ‘Welcome Home’ from ‘Good Apollo, I’m Burning Star IV, Vol. 1: From Fear Through The Eyes Of Madness’
  • ‘Key Entity Extraction II: Holly Wood The Cracked’ from ‘The Afterman: Ascension’

Thank you for reading, if you enjoyed this week’s blog please like, comment and subscribe to email updates.