Rapid fire reviews: where I write about albums / music that I don't want to write artist reviews on. These are not my opinions on the best releases of each week, but instead what I thought was worthy to write about.
Rapid Fire Week of April 1-7th
Fire-Toolz - I Am Upset Because I See Something That Is Not There
This new Fire-Toolz album is an overwhelming experience. While the genre at large would be progressive electronic, this album is better categorized as post-industrial or jazz fusion. The instrumentation is anything from classy saxophones to unfiltered noise, while the vocals are anything from death growls to clean and dynamic falsettos. For those who enjoy Skinny Puppy or Death's Dynamic Shroud, you will feel right at home in the vibrant but hostile environment that Fire-Toolz has meticulously crafted. This is a clear improvement over their 2021 LP Eternal Home, as the sound is more focused and in turn more nuanced. Even with the abrasiveness, it is still possible to enjoy this album as a passive listen, which makes the album very replayable. However, I would have appreciated clearer song structure, and the instrumentals can at times clash unpleasantly with the vocals.
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Brandee Younger - Brand New Life
Brandee Younger immediately sets herself apart from other contemporary jazz releases with the inclusion of the harp, which she plays masterfully and allows for arpeggios and harmonies that would otherwise be impossible. The featured vocalists rarely overpower the harp's presence, instead developing a conversation between the two. While the adventures into the experimental hip-hop side of the album are listenable and at times have interesting turntable elements, ultimately the jazzier songs are where the album shines in its freedom. The title track is especially well written, as Mumu Fresh delivers an enchanting vocal performance fitting for the harp's fantastical character.
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Tim Hecker - No Highs
Tim Hecker is the most critically renowned and influential ambient artist of the past two decades. For a genre that requires commitment from the listener to immerse themselves in the music, it's impressive that Tim Hecker has garnered such a respectable audience. Despite releasing well over 10 albums, each feels designed to convey a specific tone, and No Highs is no exception. The opening track is a perfect representation of free fall; there is nothing to grab onto here as the music simply passes through you. Colin Stetson's feature is also noteworthy, adding a surprising amount of density to an otherwise sparse record. While No Highs might not be Tim Hecker's most impactful project, it's certainly his best record since Virgins and continues his streak of bringing ambient music to a mainstream audience.
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Thomas Bangalter: Mythologies
Thomas Bangalter is a former member of dance/house legends Daft Punk, but that's not stopping him from releasing his own debut album in the form of a modern classical musical odyssey. At almost an hour and a half, this is clearly meant to be an in depth journey of various Greek mythology, and I was hoping for an experience similar to Sarah Kirkland Snider's Unremembered. Unfortunately, I find it hard to connect the music here to the story behind the myths themselves, and Mythologies rarely has enough counterpoint or melodic detours to make up for the lackluster atmosphere. I also can't help but feel as though the themes and musical motifs in these compositions have already been beaten to death by other musicians, and while the experience has some lush passages it rarely feels visceral enough to elicit any emotions. Stick with the house bangers, please.
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HMLTD - The Worm
I'm not entirely sure I understand what the title and theme of this album are supposed to be. The Worm seems to be a gothic art-rock experience about mental deterioration featuring... a worm. I was neutral on HMLTD's previous project West of Eden, so when I saw that this album was getting above-average reviews I decided to give it a try. Given that 40 people supposedly worked on this, you would think the experience should be fine-tuned to a sharp edge. However in this case I believe that too many cooks spoiled the broth. While the instrumentation and structure of the album are impressive, it is simply too ambitious for their compositional capabilities to fully realize. The Worm feels disjointed, overly theatrical, and corny; disappointing when you begin to think of the possibilities.
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That's it for my first rapid fire review week; let me know what you think! Remember that these are all my opinions, and you should listen to all of these albums regardless.