Billow Observatory : II: Plains/Patterns

Billow Observatory exist on some ethereal plane. The music that Jonas Munk and Jason Kolb create has the feel of a constant, syrup-y flow through time and space. It’s no surprise as to the duo’s penchant for grandiose musical beats given their main gigs(Kolb is a member of Detroit, Michigan’s Auburn Lull and Munk is part of Denmark’s Causa Sui, as well as Manual, solo work, and with synth extraordinaire Ulrich Schnauss.) But within the warm embrace of Billow Observatory these two expand the sound into these vast swaths of  blanketed noise. Vast open space is something these two know a lot about, given the miles(and years) between their collaborations. Fortunately this transatlantic duo use the situation to their advantage, giving each plenty of room to stretch out and take their time getting to know the music.

After five years of collaborating and sending music files back and forth Kolb and Munk have finished their second album as Billow Observatory. II: Plains/Patterns is a cavernous beauty of an album, filled with ambient textures, shoegaze melancholy, and kosmische sensibilities. Floating in space never sounded so good.

Listening to this album it’s quite hard to describe what I’m hearing. It’s like describing the aurora borealis to someone who’s never experienced them. Sure, we’re all familiar with the night sky, colors, patterns, and shapes. But to accurately describe the northern lights to someone who’s never seen them so they can truly feel the emotional impact is a fool’s errand. Listening to a song like “Pulsus” or “Nulstil” is just as much a visceral experience as it is a listening experience. Both build an emotional center with rhythmic patterns and cavernous synth. I can tell you that there’s a real impact in these pieces. I think of Brian Eno, Popol Vuh, and Klaus Schulze as Billow Observatory runs through my ears. “Kercheval” is something quite different. I hear elements of Kevin Shields’ wall of guitar noise from Loveless in this track, even though the guitar in this track is swallowed up by cavernous reverb. There’s also an organic quality in this song. Movement and regeneration; a sense of new life growing from the soil.

Like I said, it’s hard to describe.

If there is a centerpiece, that would be “Plains”. This is a ten-minute epic that has the feel of circuitry buzzing and square waves dancing across small blue screens. It’s future ambient techno. An explosion of ideas and spatial motifs that pays off at every turn.

Elsewhere, “Montcalir” sounds like last breaths before that big reveal at the end of it all. Quiet, resolute, and beautiful. “Vex” bubbles and beeps like morse code from deep space before a ping ponging rhythm takes shape. “Plum” is just gorgeous. You’re overtaken by a bouncing synth and little guitar swells that feel like tiny revelations forming. From start to finish, this record is a journey.

With II: Plains/Patterns, Billow Observatory have honed their sound down from the endless, reverberating decay of their 2012 debut. Where on that album there seemed to be an endless drift into the dark(albeit a beautifully ornamented drift), Plains/Patterns has brought the expanse into something much more attainable. Something you can truly touch and feel. There’s an overwhelming sense of destination on this far out journey.

8.4 out of 10

Weird Dream

The alarm went off at 4:20am and I quickly realized I needed an extra 20 minutes of shut eye, so I hit the snooze and quickly went back under.

Next thing I know I’m at my aunt’s old two-story house that she hasn’t lived in close to ten years now. We’re all standing around looking out of the picture window on the second floor. My grandma was there, as was my mom, wife, and my kids. My grandma has been dead for over 6 years now and my kids were all little in the dream. It was some sort of impromptu family get together. I was holding a bowl of soup, which consisted of a dark broth and pieces of a pine tree. The door opened downstairs so I went down to see who it was. It was my aunt, the one whose house we were at. She told me there was some sort of strange animal on the porch and that my dad had shot it. She said he walked back his house to put the gun away and he’d be back. I quickly went over to the window to look at the animal(she said the name of this particular creature but I can’t recall what she called it.) I saw this furry creature that looked like a cross between a koala bear and a beetle slowly crawling along the porch. I followed it along the window and when I got close to the porch door there was a monkey starting in at me. I was shocked because, well, why was there a monkey on the porch of a house in downtown Plymouth, Indiana? I then realized the wall was completely glass, so it looked as if the monkey could come right in. I yelled upstairs and said “Hey! There’s a monkey on the porch. The kind you’d see at the zoo! Look out the window!” It looked like a cross between a kapuchin and a lemur. A demonic Zoboomafoo sort of. It quickly stood up on it’s legs and started walking away. It jumped down off the porch and quickly grew to the size of a full grown man. Like 6’5″ tall and it was suddenly wearing a clown outfit. Just then two more jumped off the roof of the house, one as tall as the first one and another that was shorter. All of them were dressed as clowns and they began walking down towards my parents house where my dad was. I knew their dog would start barking and going crazy so I tried calling their phone number in my aunt’s kitchen on an old rotary phone to warn him not to answer the door. I kept dialing one number wrong and would have to retry. Then once I dialed it I realized I had to dial the area code for some reason, even though they were just two houses down. I looked to my right and my dad was standing right there next to me. I said “I was trying to call you to warn you about those monkey clowns.” “I just got here.”

Then the alarm went off.

I think the Frosted Mini Wheats I ate as a snack before bed might have been laced with PCP.

Causa Sui : Live In Copenhagen

So one day last week I arrived home from work to see a cardboard box waiting for me on the front porch. When I went to pick it up I thought at first that someone had sent me a set of Encyclopedia Britannicas from Denmark as this thing was heavy. Like, really heavy. After further examination it dawned on me that I was holding Causa Sui’s Live In Copenhagen and dropped everything in my hands and made a bee line for the turntable.

It’s been a few weeks since the preorder went up for this mammoth 3-LP set, but we’ve made the most of it(Petty once said the waiting was the hardest part. He must preorder albums, too.) I went back and revisited some Causa Sui LPs I thought you good people should definitely check out if you hadn’t already. It was a swift reminder for me that these musicians from Denmark have done some major expansion in their sound since those early days. From stoner fuzz rock to experimental and expansive, the quartet known as Causa Sui have opened their brains and let some freaky sh*t get in, which is all the better for you and me. And with the studio wizardry getting better so has their live set. Live In Copenhagen shows the band in 2013 and in 2016. LP 1 is live at the Jazzhouse for the Return To Sky release show, while LPs 2 and 3 are live at Dragens Hule for the album release of Empori Tide. Both sets are on fire and show a band hungry to spread their gospel to as many ears as they can. Highlights? You want highlights? Well okay then.

Let’s start with Live at the Jazzhouse from April 29th, 2016. This set opens with “Rip Tide”, a fiery explosion of cry baby wah, drums being beaten into submission, and organ that sounds like it’s on fire with wailing saxophone joining the cacophony of noise. Imagine Jimi Hendrix and the Experience, with special guests Ken Hensley on organ and John Coltrane freaking out on acid. That’s the scene going on here. I can only imagine the faces melting in the audience. This Summer Sessions Vol.2 track never burned and smoldered quite like this before. Return To Sky’s “Mondo Buzzo” sounds like an ancient tribal incantation used to bring the Gods of Rock back from their eternal slumber(which started right after the release of Sabbath’s Sabbath Bloody Sabbath.) Munk, Kahr, Rasmussen, and Skott pull this one off beautifully. If there was a 90s album that I feel Causa Sui channel it’s Soundgarden’s Superunknown. That record’s ferocity and visceral slap in the face is alive and well with Causa Sui, and this live version of “Mondo Buzzo” is sonic gut punch for sure. The breezy vibe of Euporie Tide’s “Ju-Ju Blues” is a welcome respite from the massive crunch we experienced up to this point. It has an almost Doors-y vibe with Rasmussen’s organ and Skott’s jazzy drumming. But in this version Krieger was replaced by Jeff Beck. Pretty soon the earth is cracking open and molten lava is spraying everywhere. This is an epic 10-minute banger, people.

Face. Melted.

When we move to LP 2 we step back in time to August 9th, 2013 at the release show of Euporie Tide. This was the album I was introduced to Causa Sui by, but it took the Pewt’r Sessions to pull me in completely. That’s not to say Euporie didn’t impress me. It did. In fact, they play an amazing version of that album’s “Eternal Flow” at the start of LP 2. It’s amazing the volume four guys can get on such a small stage. They could be at Red Rocks by the sound of this. Then they jump into a brain-melting version of “El Paraiso” that would delight fans of anything from Santana to Graveyard. It’s both a balls out rocker and a psychedelic journey. Side D sports “Portixeddu/Tropic Of Capricorn”. It’s over 15 minutes of psyche-melting noise. Put on some headphones, drop the needle, and you’re welcome.

LP 3 opens with a great cover of Agitation Free’s “First Communication”, followed by a powerful “Homage” from Euporie Tide. “Red Valley” ends side E on a high note with one of Causa Sui’s most doomy tracks in their repertoire. You can almost see the stage morph into some post-apocalyptic desert scene as the song blows into a Sleep-like dirge. Side F is taken up by a Causa Sui-approved version of John Coltrane’s masterpiece “A Love Supreme”. The band welcome Johan Riedenlow back to the stage to sit in for the legendary Coltrane and they take the jazz epic on a ride through 50 years of music history. Instead of attempting a “paint-by-numbers” version of the piece, Causa Sui and Riedenlow open the song up into a psychedelic jam session. It’s a massive piece that pays homage to a legend while still maintaining the essence of these four lads from Odense(don’t worry, you can still chant “Love Supreme, Love Supreme” right along with it.)

I was never a big fan of live LPs. I think something is lost in the translation from stage to stereo. You may get an accurate take on a band’s work, but the sweat, aura, and buzzing heat of that magical space is lost. There have been a few live sets that I’m glad to have in my collection as they do have the ability to pull you into that evening, even if you’re just buzzed on the couch at home. Wilco’s Kicking Television, The Allman Brothers’ At Fillmore East, Television’s Live At The Old Waldorf, and now Causa Sui’s Live In Copenhagen. There’s a few other great live LPs, but these are the handful I swear by. Causa Sui’s other live album, Live At Freak Valley is well worth your time, but sonically Live In Copenhagen is just amazing. It shows just how much of a force these guys are live.

Put this one in your ears.

9.3 out of 10

Want to hear this but you’re not into antiquated forms of music delivery? No problem, you can download this over at El Paraiso Records in MP3 or FLAC form. There’s extra tracks as well that aren’t included in the vinyl version. So go get it.

 

Real Estate : In Mind

Real Estate have always come across as indifferent to the world around them. They seem to be completely aware of the what’s going on, but despite the good and bad that comes crashing down all around they breezily strum and sing their songs of nostalgic navel gazing and pining for something they may never get. 2011s Days felt like the moment where the New Jersey crew came into their own. Melancholy jams with an east coast jangle that seemed to pay tribute to both Springsteen, the Grateful Dead, and the Feelies all in the course of a single song. 2014s Atlas solidified Real Estate as the kings of bleary-eyed jangle, taking their worldview of early 20-somethings looking for the next kegger and wanting to impress that unattainable childhood crush to almost 30 and wondering where do you go from here? Martin Courtney, Alex Bleeker, and Matt Mondanile all followed their muses to solo projects but always found their way back to those summertime New Jersey barbecues and late night rooftop ponderings that Real Estate turned into stoned meditations on suburban upbringings.

But now with their newest album In Mind, Mondanile packed up and moved away from the neighborhood for good, leaving Courtney and Bleeker to keep that porch light on for us to find our way through the fog of memories. Along with Jackson Pollis, Matt Kallman, and Mondanile replacement Julian Lynch, Real Estate have made their best record yet.

I think there has always been a progressive side to Real Estate. Not in a 2112, The Lamb Lies Down On Broadway sort of way, but in the way Courtney and company used the themes of growing up, dropping out, and wondering what it all means as a narrative throughout their albums. And musically, however breezy and pleasant the band comes across, there’s something very meticulous and forward thinking in their guitars and melodies. Lead single “Darling” is instantly recognizable with those pristine guitar lines and clean drumming, but with the addition of synths that hang over the song it feels like a step into new territory for these guys. Courtney has the most pleasant voice in modern rock and roll. He could sing directly from a phone book and there would be something mildly existential about it. This song is no different. They’ve set phaser(pedals) to stunning. “Serve The Song” has some distorted guitar opening the track before we sink into pining for childhood haunts and a pleasant dip into electric piano 70s lull. “Stained Glass” sounds like the Byrds, but without that southern California shine. It’s more like hungover melodies for the regretful morning after.

Timing has always been Real Estate’s biggest strength. Sure, the crystalline and chiming guitars, sweetly melancholy vocals, and overall dreamy aspect of their songs are great. But how they lock into each other as musicians is one of their biggest strong points. There’s a heft to this music that in other band’s hands might come off more twee. Maybe it’s that New Jersey upbringing. Take a track like “After The Moon”. There’s a certain sway in it that without that Real Estate magic might come across too soft rock, or a poor man’s Band Of Horses(as if a rich man’s BOH is any better.) In the hands of these guys quiet moments like this become almost existential. As good as each of their solo projects are, together is where the magic truly is.

Elsewhere “Two Arrows” blossoms over the course of nearly seven minutes, revealing chiming guitars, longing vocals, and an almost tome-like feel. “Holding Pattern” moves along on an early 80s feel, complete with icy synths, jazzy chord structures, and groovy drumming. It’s part Alan Parsons Project and part Motels. “Time” is completely new and engaging, with a space-y bossa nova feel and breathy keys. “Same Sun” shimmies like a midnight stroll home, while “Saturday” is the definitive period at the end of album.

Real Estate continue to move along in interesting musical directions. In Mind captures a group of guys at their best. A snapshot of “good old days” pondering, but never in a pretentious way. Real Estate are the guys at the corner bar happy to drink a beer or two with you and talk about the old times. They’ll even buy the next round. In Mind is an open invitation and a testament to that.

8.1 out of 10

 

Spoon : Hot Thoughts

It’s been over 20 years since their debut album Telephono was released in 1996, and they have done nothing but look forward ever since. I have no problem saying that Spoon have released some of my generations best rock records, and they’ve done it continually on their own terms. Through a major label fumble that would have broke a lesser band, Spoon have built their sound on a steady diet of Wire, The Jam, the Kinks, the Pixies, and Brill Building pop. The result is something completely, well, Spoon.

Girls Can Tell was the album that, for me, officially started what would be their winning streak and Kill The Moonlight was the defining indie rock album of the 2000s. Britt Daniel’s white boy soul vocals and sparse, angular guitar work combined with Jim Eno’s powerful, clean drumming created a magic that producer Mike McCarthy harnessed in the studio.

From there the world was Spoon’s oyster.

Each album that followed redefined and honed their sound. Gimme Fiction, Ga Ga Ga Ga Ga, Transference, and They Want My Soul all had something to offer and built on what came before. One thing each of these records have in common is a gradual lean into groovier territory. “I Turn My Camera On” and “My Mathematical Mind” to “Don’t You Evah” and “Eddie’s Ragga” to “Who Makes Your Money” and “Nobody Gets Me But You”, all of these tracks showed a much more groove-centric Spoon giving their dancier tendencies some play time. With 2014s They Want My Soul there was a push to mix the indie rock heartbreak of earlier records with a much more polished sound. The result was one of their most acclaimed albums yet. Now with the release of Spoon’s ninth album, the excellent Hot Thoughts, there seems to be no reason to believe Spoon can’t conquer the world at large.

“Hot Thoughts” was the first single released and it’s this opening salvo that seems to mix everything we’ve come to love about this Austin band, which includes Britt Daniel and Jim Eno, as well as Rob Pope and Alex Fischel. Dance-y rhythms with a touch of Stones-y flair all covered with an air of urgency. Daniel’s vocals seem to only get better year after year, and this year is no different. “WhisperI’lllistentohearit” is keyboard heavy, but in a 80s drama kind of way. There is guitar on this album, but it’s used sparsely and when engaged to great effect. There are some heavy Divine Fits vibes here, too. With the addition of Alex Fischel, that band’s keyboard player and Daniels’ bandmate, the comparison is not without its merits. This is not a bad thing, either. “Do I Have To Talk You Into It” is the most fun I’ve heard Spoon have on record in a long time, and it doesn’t hurt that the piano melody is pretty similar to Gimme Fiction’s “The Beast And Dragon, Adored”. “First Caress” is another dance-y number that gives you bonus points for indie rock and dance floor cred. “Pink Up” is a beautifully ornamented track that is pushed more by the music than vocals. It’s space-y vibes and jazzy tendencies is a new sound for Spoon and it works well.

The album is produced by Dave Fridmann, who sat in on a few songs with the guys on They Want My Soul. Here, his presence is known but his “in the red” production style doesn’t define the sound of Hot Thoughts. If anything, the guys just use it as a new color to fill in the lines of their already stellar songs. This seems like a great fit for all.

“Can I Sit Next To You” is a full-on come on in song form. Daniel puts his come hither falsetto to good use here, while “I Ain’t The One” feels like a theme for complete heartbreak(it’s use in the season closer for Shameless was damn near perfect). It helps I’m a sucker for that Wurlitzer sound(and I might have a man crush on Britt Daniel.) “Tear It Down” could’ve been a b-side from the Gimme Fiction days. It’s sorta perfect. “Shotgun” sounds like Spoon got onto a “disco Kiss” kick for an afternoon. The result is this tight leather pants-wearing groove fest of a track. The album ends on a space-y jazz instrumental, which is again kind of a genius move.

Is Hot Thoughts Spoon’s best album? Not by a country mile. But guess what? 20 years in and Daniel and Eno are still redefining themselves each time out. They’ve got this tight knit crew after all these years that seem to have found the right amount of slick, weird, heartfelt, and funky that “get it”. Head back in the wayback machine to 1996. Look around the scene and find the music tastemakers at that time, then head back to 2017. Of that musical might, who’s still moving forward? Who’s still pushing and still vital? It’s a small group, and Spoon are at the forefront.

8. 3 out of 10

 

 

Nightswimming : Mark Hutchins Talks New Pale Swimmers Digital Return

by EA Poorman

Mark Hutchins used to make the rounds as one of the premier Fort Wayne songwriters. He started making a name for himself in the band Vandolah, which to my recollection recorded one of the best local albums to grace the cd racks at Wooden Nickel Music called Please. Hutchins also made a little album called Sleepy Furnace, the first album he put out under his own name. Another stellar local album that stands up among the best. But in 2006, Hutchins followed the muse to the way of 4-track cassette recording. New Pale Swimmers was a GBV-inspired 4-track project where Mark would hit record on a little Tascam cassette recorder and just let ideas fly. It was a short-lived project, but one that if you ever had a chance to hear the music you never forgot it.

Recently Hutchins was asked about New Pale Swimmers, which got him thinking about the old tunes. He figured why not digitize the songs and put ’em up on Bandcamp for all to enjoy, which he did. Along with some brand new music he recorded over the last year, Mark has put up all the full-lengths and EPs he recorded as New Pale Swimmers. I sat down and talked with Mark about the New Pale Swimmers, the digital releases, and being a 21st century artist.

EA Poorman: So it’s been quite a few years since New Pale Swimmers have made a sound. You’ve recently put together a Bandcamp page that’s collected most of the albums and EPs from your side project to a convenient place to binge them. What made you decide to unearth these tunes now?

Mark Hutchins: A few people had asked about it, so I put the two full-lengths and an EP up on Bandcamp. Then I got the itch to go full-on 4-track cassette recorder and combined freshly recorded stuff with a few tunes I’d done last year. Now folkscan FINALLY experience the entire NPS catalog. And pay what they want. Or just listen for free. It’s okay; I’m a 21st-century artist. I live under a bridge.

EA Poorman: For those not in the know, can you give me a little background on New Pale Swimmers? How did the project come about? Who was involved? What was the inspiration for the NPS sound and aesthetic? How long did it last?

Mark Hutchins: I decided at some point to challenge myself by coming up with an album title and all the track names in sequence… then write and record all the songs in a week or two. It’s always just been me. I can’t tell you exactly what triggered this, but I’ve always been a fan of DIY, unfettered and unfiltered music. I’ve done plenty of projects that were second guessed, fussed over, refined and tweaked to death. This isn’t necessarily a reaction to it as much as it is a vacation from it–it’s the closest feeling to being a kid again, musically. Hit “record” and go nuts. Tape hiss is comfort food.

EA Poorman: So how many full lengths did you record under the NPS moniker? How many EPs? What was the typical recording process like for a NPS joint? Were you the sole songwriter?

Mark Hutchins: I did two full lengths, self titled and then Buzz Cat. A few years later, I did an EP called World Beater Takes Five. Then there are three more EPs I pulled together this year. The first NPS projects were a mixture of 4-track cassette and computer-based recording program. Some songs even morph from one to the other.

EA Poorman: With this being such a personal project, how often did you take NPS out into the Fort Wayne night life? The mid-2000s were a pretty happening time in the Fort Wayne original music scene.

Mark Hutchins: Except for maybe a gig or two, I never took this stuff to the street. But when NPS started in 2006, Fort Wayne was humming. There were so many original bands at the time… I’d venture to guess that Fort Wayne rivaled Bloomington and Indy at the time. It was really inspiring.

EA Poorman: So besides the old school stuff, you recorded some new NPS material and included it on the Bandcamp page?

Mark Hutchins: I did! Three of the EPs are almost all brand-new music. It’s like having a fit… I recorded a bunch of tunes that I titled first, then back in the closet goes the 4-track, for who knows how long. Don’t ask me how I managed to get a closet under a bridge.

EA Poorman: Probably the same way I did, which we’ll keep a secret. So besides the unearthing of New Pale Swimmers, you’ll also be playing a songwriter’s showcase on March 24th at Deer Park Irish Pub. Can you tell me a little about this show? Deer Park is one of your old haunts, isn’t it?

Mark Hutchins: Oh yeah. I love the place. It’s very cozy. I really hadn’t planned on booking any live stuff but Adam Baker (who is a really good musician and runs these showcases) invited me to play. So I’m going to do an acoustic set with my friend Lee Andrews on mandolin and possibly a special guest from Toledo. I hope to remember the words.

EA Poorman: So if someone strolls along on the web and comes across the New Pale Swimmers BC page and their interest is peaked, what would you recommend they start out with? Where should the NPS journey begin?

Mark Hutchins: A pint of hard liquor with a chaser, headphones, and the first one, The New Pale Swimmers. As you move through the catalog, I’d suggest you add opioids. By the time you hit the latest EPs, you’ll “get it.” I’m not condoning drug abuse here, but being in the proper frame of mind is key.


Head on over to https://newpaleswimmers.bandcamp.com/ and check out the entire New Pale Swimmers catalog newly minted in digital form for you to enjoy. Don’t wait too long, though. It won’t be there forever. And make sure to head out to Deer Park Pub on March 24th for Songwriter’s Showcase and check out Mark and friends break out some tunes.

 

Blanck Mass : World Eater

Benjamin John Power’s Blanck Mass is the kind of musical project that is unforgiving in its need to evolve. He pushes the boundaries of what you thought electronic music was supposed to be. Much like Daniel Lopatin’s Oneohtrix Point Never, Power takes the canvas of electronic and experimental music and pushes the boundaries; painting on the floor, walls, ceiling, and whatever surface he can find. In 2015 Power curated a project as Blanck Mass called Blanck Mass Presents The Strange Colour Of Your Body’s Tears. On it, he along with several other electronic and experimental artists reimagined the soundtrack to the 2013 giallo film of the same name. It’s an uncompromising piece of work, and one that opened my eyes to what Power could do on such a large scale.

On his third full-length as Blanck Mass, titled World Eater, Power explodes his sound into a technicolor affair that goes from mind-altering noise expanses to more restrained and cultivated sounds. It goes from eye-opening world music vibes to industrial crush in the course of a song. It might just be the best Blanck Mass yet.

Let’s start with “Please”, which arrives three songs in. Oneohtrix Point Never comes to mind at first, but there’s no aping anyone’s sound going on. The use of vocals and big synth tones brings to mind Lopatin’s big turn on 2015s Garden Of Delete, but Blanck Mass have a sound all their own, and it meshes well with the world music vibes on this stellar track. “Rhesus Negative”, the song that preceds “Please”, is a teeth-rattling noise bomb of industrial proportion. It’s like Wax Trax! meets Creation Records in a beautiful explosion of violence and beauty. “The Rat” sounds like Pretty Hate Machine as a marching band competition piece. There’s something triumphant and regal about this song, which makes you want to crank it and march proudly through the neighborhood. “Minnesota/Eas Fors/Naked” is buzzing noise and plotting tension. It sounds like static coming through some chrome-covered receiver as something slowly rises from underneath all of it. It’s reminiscent of the work he did on the Strange Colour soundtrack at the beginning. Slowly things begin to clear up to reveal twinkling synths and an end that sounds like some aged 80s synth pop track. “Hive Mind” sounds like a huge club track, but done up in Power’s liquid production. It’s a stunning finish to a stunning album.

Blanck Mass live by the “go big or go home” motto. Each time out Benjamin John Power pushes the sonic edges of his music to incorporate something new while bending it to his will. While his work with Fuck Buttons was similar in pushing their sound, Power seems to move a little smoother and with more ease when he’s wearing the Blanck Mass hat. World Eater is his best record yet, opening the sound up and letting in a bit of house, techno, industrial, experimental, and pretty much you name it. Benjamin John Power brings you right into Blanck Mass’ world, and it’s a visceral experience.

8.1 out of 10