|
TheBigBlack's Rock Top 10 |
||
|
|
David Gilmour
|
|
David Gilmour as a musician needs no introduction. Guitarist for Pink Floyd and with an equally impressive solo collection, he is revered worldwide for his talents on guitar, and the 'feel' he and his instrument give to his music. He plays the guitar like no other, but oddly this album is mostly void of that instantly recognisable six-string charm. Opening with the short and moody 'Black Cat', the listener is introduced to the style and pace of the next 45 minutes. The title track follows, and locks into a Pink Floyd bass groove reminiscent of the late 70s. Gilmour's voice is aged and raged, but comfy like slipping on an old pair of shoes. When the chorus breaks it feels like you have been here before, and not because it is repeating anything he has done before - but because his tones (both vocal and guitar) invite you into its welcoming arms like an old friend. Gilmour pushes himself vocally on this album, probably more so than ever before, but it is possibly due to his age that some notes just can't be hit. Some listeners may feel like it adds authenticity, whereas others may just think he is trying too hard. Lead single 'The Piper's Call' certainly doesn't have this issue, and stands as one of the standout tracks of the album. It drips through the speakers like honey from a spoon, so smooth it is almost unbearable until it breaks into another of those great grooves, leading to possibly the best soloing of the entire album. 'A Single Spark' is a mellow affair, that is quaint enough to listen to - but brings nothing new to the repertoire or legacy. 'Vita Brevis' brings a nice harmonic interlude, but at this point it becomes clear that this is a moody album, and mostly crawls rather than walks. It leaves the listener with a touch of tempo fatigue by the mid-point, and as 'Between Two Points' (featuring his daughter Romany on vocals, and a cover of a track by The Montgolfier Brothers) begins, it is clear the old rocker has reached a point where he rocks more in a chair on the porch than on the guitar. Nearing his 80th year, he is content to make music that is mellow and with moods that can't quite be grasped. Music that is both of now and completely timeless. Music that is completely Gilmour-esque whilst also being of a different artist entirely. In fact, it isn't until that distinct soloing style breaks through on songs like this one, that you even know who is playing. This is probably intentional on Gilmour's part, possibly wanting to prove he is more than just a guy with a magical Stratocaster. At song 7, 'Dark And Velvet Nights', the pace picks up for the first time, and whilst it still at a speed for those approaching their final years, it carries some of the punch fans are waiting to hear. It would have better served the album to place it further up front. The album closes with over 7 minutes of 'Scattered', a progressive ballad with a piano freak out and sublime acoustic piece into a classic electric solo, but for the first time in his long career it feels like Gilmour may have just been repeating his best solos of the past. It still gives chills, but sounds just a little too familiar. Luck And Strange is by no means a bad album, but it is certainly an album that only lends itself to a certain mood, and perhaps that is exactly what Gilmour was looking for. An album he could enjoying in his later years. An album made for him and no one else, and if we should happen to enjoy it - then so be it. He's earnt the right to do that. |
|
|
Melvins
|
|
Melvins have never been a band that have cared what-so-ever about their listener. They make the music they want to make, and that can often lead to a jarring listening experience, with them on more than one occasion making albums that could be labelled unlistenable. With time and age they have slowly been writing songs that although distinctively them, have a more 'user friendly' edge. 'Pain Equals Funny' launches the album (album number 27?), and a hooky groove drags you in straight away. A few minutes in the song leaves the hook behind and the listener is on more familiar ground if they are a Melvins regular. A heavy sludge-dirge signals in what you will get for the rest of the track, all 19 minutes of it. Oddly thought it is very compelling, even though the vocals cease about 10 minutes in. It feels like the band has been making this music for so long now that the rest of world has finally caught up with their vision, and so they are the apex predators of the style. Once the near 20 minutes of the droning terror of track one is over, 'Working The Ditch' dirges its way into being, and the smell of burning spliff wafts from the speakers. Again though, the song is listenable and compelling - but it is unclear why. 'She's Got Weird Arms' could be called 'They Got Weird Songs' as an eclectic Devo-esque chant leaves the listener checking what they believe is the meaning of their existence, until they are punched in the face by the cacophony of 'Allergic To Food'. 'Smiler' continues the sludge to close the album, but picks up the pace, and closes what is possibly the most listenable album Melvins have produced in a long time (or even ever). Sure, it is still quirky and odd, and like every other Melvins album it will challenge you with every moment that passes to continue on or leave - but for some reason you'll find yourself making it to the end, and when you get there you just may press play to start it all over again. |
|
|
Grinspoon
|
|
In a year that has seen releases from many of the originators of the Australian alternative rock scene of the 1990s it is a welcome relief to see something from one of the bands on the heavier end of the spectrum, Grinspoon. They spent a few years in the 'are they still a thing?' void, but has surfaced alive and well - and certainly kicking. With around 30 years under their belt it would be acceptable if they wanted to experiment a little, but it turns out this album is mostly the opposite. The first track (post a short intro) '(ILYSM)' pounds out classic sounding Grinspoon, and even has a chorus with Jameson declaring 'I guess we're drunk as fuck', rewinding back two+ decades to the wild hey-day of Oz alternative music in the late 90s. The vintage sound doesn't end here, as 'Unknown Pretenders' blares out a riff reminiscent of anything ugly on the album Easy (1999). This is band that is throwing the baby out with the bath water, and ignoring the years they spent trying to get a charting album. New fans be damned - the old ones are the ones that made them after all. 'Nasty' continues the streak, and bounces with a groove that will get the whole pub on their feet. 'Pantomime' slows things down for a small mellow instrumental interlude, allowing the listener a chance to catch their breath before the guitar barrage starts again on 'Never Say Never'. Phil Jameson's voice is smooth throughout, and he saves the punch for the big choruses, which there are plenty of. 'Live Fast Die Young' is opposite of what could be expected based in its name, but it is the first time the album slows down a little - but it isn't a ballad in any sense. That comes a couple of songs later with the soft '4, 5 & 7'. It is nothing significant, but does break up the album nicely. The short interludes continue throughout the album with 'Trains' and 'A Minute' appearing awkwardly, but actually blending nicely. Some of the heavier tracks appear on the second half of the album, with 'The Only One' loud and proud, but possibly the most commercial song on the album. 'Can I Make You Feel?' on the other hand is two and half minutes of post-punk fury, with Pat Davern's guitar tone sounding like it is blaring from a Lismore garage on a suburban street. 'Underground (Hell On Wheels)' is pop song finish, and a nice ending - although it is one of the weakest songs on the album. Like many 'come back' albums, this has a bit of something from every period of the band, but it is certainly more akin to the earlier albums than the later ones - something that will hopefully continue if the band makes any further music. |
|
|
Jerry Cantrell
|
|
Anything from Jerry Cantrell is a blessing for fans, but the line between his solo work and main band Alice In Chains is slowly becoming more blurred with each solo release. We know he isn't a one trick pony, and he has in the past proven he can write some incredibly powerful and stirring ballads, but his modus operandi in recent album is generally fixed on songs that are heavy and dirge-like in structure. He broke free of that slightly on his previous album Brighten (2001), but here he returns to what he knows best. 'Vilified' opens the album with a typical Cantrell riff, and it is only moments before his distinct voice chimes in. The chorus is loaded with the usually multilayered vocals, and the listener realises this album isn't going to stray far from his usual style. It is worth noting that this isn't a bad thing, as his songs are always full of harmony and driving melody regardless of the instruments and musicians involved, and this album is full of that richness fans want to hear. Track 2, the sludgy 'Off The Rails' has a main riff reminiscent of Iron Maiden's 'Wasted Years', and drives along nicely, pulling the listener into the album's big ballad 'Afterglow'. As with every Cantrell penned ballad it showcases the big chorus, and it is a welcome addition to the album to open up its scope. If anything negative can be said, it's that the album needed another big ballad or two, as many of the songs stick to a similar tempo and guitar tone, and until the songs get a chance to sink in after a few listens many of the tracks blend into one. In some ways Jerry has done the stronger songs a disservice by making them all blend so easily into each other, and better tracks like 'Held Your Tongue' take a number of listens before they break free of the others. 'Let It Lie' feels like a Tool-style track is trying break free, but Jerry keeps it constrained to what he knows. Although he uses many of his usual production techniques (such as the vocal multitracking mentioned previously), the album does feel a little less 'produced' and loose that recent Alice In Chains albums. Regardless, many of the songs (such as slow closer 'It Comes') could easy have a shared vocal with William DuVall and immediately be at home on any Alice In Chains album. All in all, one thing Jerry can be counted on to produce is the sort of music that could be called 'comfort food', an album full of songs that sound so familiar it is like you already know them, even when hearing them for the first time. Whether that is a good thing or bad is up to the individual listener to decide. |
|
|
Slash
|
|
Although prolific, Slash hasn't really proven himself particularly versatile over the last few years. Sure, he has released some good albums, but they are generally carried by a couple of great songs amongst many that are paint-by-numbers. Arguably, his first true solo album, 'Slash' from 2010, is still his best solo work. That is what makes this album such a breath of fresh air, as it follows a similar template of featuring different guests on every track, but the twist here is that the songs are all old blues standards. Billy Gibbons of ZZ Top is (of course) perfect for some blues, and transports 'Hoochie Coochie Man' to a dive bar in the deep south, allowing Slash to show off his slide chops. Dorothy Martin channels her inner Joplin on 'Keys To The Highway', and although an odd choice, country star Chris Stapleton does an amazing job on the early Fleetwood Mac classic 'Oh Well' - a standout track. The album isn't perfect by any means, and some of the collaboration choices are odd. Punk icon Iggy Pop's world-weary warble on Lightning Hopkins' 'Awful Dream' is at best tolerable, and we he 'sings' the harmonica line it is cringe-inducing. Also somewhat disappointing is AC/DC's Brian Johnson tackling Howlin' Wolf's 'Killing Floor'. It was a song he could have tackled easily in his prime 30 years ago, but feels now like his voice just doesn't quite carry it. The addition of some electrifying harmonica from Aerosmith's Steven Tyler does lift the song nicely. 'Papa Was A Rolling Stone' is the clear centrepiece of the album, and pop elite Demi Lovato does a supreme job of carrying the track, until Slash really opens up midway through, reminding us why he is one of the greatest guitar heroes of the last few decades. |
|
|
Jebediah
|
|
The last couple of Jebediah albums have been a bit of a bumpy ride, with the music awkwardly alternating between the alternate rock bombast the band started with and other more commercial tracks clearly designed to get airplay. This approach made for a difficult listen, as the listener generally wanted to hear more of one style than the other - leaving them impressed half the time and disappointed for the other half. 13 years after the very uneven Kosciusko (2011) the band is back with Oiks, and although this is still an album of varying styles, the band finally feels comfortable in its own skin. The album opens softly (but powerfully) with 'Bad For You', but it doesn't take long before the noise kicks in on 'Gum Up The Bearings' - a perfect blend of the pop-punk charm Jebediah do so well. Kevin Mitchell's voice is less abrasive than on earlier albums, and a lot of the nasal 'whine' is gone. 'Motivation' is an earworm that will be in your head all day long, and is very old-school Jebediah in style, and 'Rubberman' explores an odd dream-like landscape. There is a range of styles here, but they blend well, and the album never feels disjointed. 'Start Again' has an urgency that is hard to describe, and propels itself forward before the album comes to a close with the sombre but restless 'Aqua - Lung'. This isn't the Jebediah of old, in fact it is far from it, but it feels like the band are having fun - and that is infectious for the listener. It is an album that invites you along for the ride, rather than you merely being an observer - and that is what a great album should do. |
|
|
The Cure
|
|
16 years is a long time between albums, and although The Cure was still reasonably active in touring, fans had likely assumed they had heard the last of new music from the band long ago. From the moment lead single 'Alone' opens the album there is a distinctness about it, a sound that could only ever be from the mind of frontman Robert Smith. The song opens the album beautifully, placing the music in a melancholy mood - but it isn't all about the dark, with shades of light breaking through the clouds on occasion, allowing the listener to take an untainted breath. By track 2, the sublime 'And Nothing Is Forever', it is obvious this is not an album of up-tempo songs, instead keeping to a walking (and sometimes crawling) pace. By 'Warsong' the true feeling of burden the album leaves on the listener really become apparent, unfurling like a heavy blanket placed upon your body. Songs like 'I Can Never Say Goodbye' have moments of the vintage The Cure charm that made them so popular in the 80s, but 'All I Ever Am' drags you back to now - not this time, but to this very moment - the urgency of Robert's voice being immediately apparent. 'Endsong', with its themes of loss closes the album precisely as expected, but perfectly just the same. To come back after a such a long break with an piece of music that is not just excellent, but an absolutely essential part of the band's large discography is quite the feat. The album leaves the listener feeling like the have witnessed a series of contradictions - of finality at the same time as a new beginning, of the denseness of pure darkness whilst offering the clarity of light, and most importantly the weight of great burden at the same time as a feeling of weightlessness. Very few bands will ever have an album quite this wonderful. |
|
|
Pearl Jam
|
|
Pearl Jam have never played by anyone's rules but their own. Sure, they love their fans and have always been known for taking care of them - but the music has always been their own. For that reason each new albums builds excitement to fever pitch, as the expectation of what the album will sound like is excruciating. The stomping irresistible groove of the title track is a grower that was a great choice for first single, even if it isn't completely reflective of the album as a whole - as like most Pearl Jam albums there are many styles on offer here. From the get-go the band shows this will be a rock album similar in style to 2020's Gigaton, with 'Scared Of Fear' launching the album. 'Wreckage' and 'Won't Tell' straddle the fence dangerously close to the radio rock, but the pumping tones of tracks like 'React, Respond' and 'Running' harken back to the glory days of the band (and their more 'alternative' beginnings). 'Upper Hand', with its soulful soloing reminiscent of 'Nothing As It Seems' in parts, starts out as almost dull with its drawn-out intro, but builds to one of the most exciting endings of the album. 'Waiting For Stevie' - written whilst literally waiting for Stevie Wonder to show up - is one of the album's many highlights, allowing Mike McCready to remind us all why he is one of the greatest guitarists in modern rock as he solos unrelentingly through about a third of the song. 'Setting Sun' starts as the usual recent Pearl Jam album closers do, but eventually builds to a magnificent finish. The band feels more like a band than on any of their albums in recent memory, and vocalist Eddie Vedder not only seems comfortable with the material, but actually happy with it. Most fans have accepted that the Pearl Jam of 'Ten' and 'Vs.' and 'Vitalogy' is long gone, and so it should be 30+ years later, but does that mean they no longer have a part to play? Not at all, as an album like this proves that although they are now different, they are still dependable and relatable - and that is all a fan really wants from their favourite bands. |
|
|
Smashing Pumpkins
|
|
And just like that it is 1993 again, and Smashing Pumpkins have released an album that is big and brash and in your face, and bursting with that big rock energy that made the world fall in love with them. Since their return from hiatus in 2007 Billy Corgan has lead the band through many different styles (including 80s inspired electro-pop and multi-volume space operas), with only some albums containing brief flickers of their early 90s distortion and attitude - but it was always just a tease leaving us wanting more. After a number of albums that left most long term fans cold, they have finally hit the mark with Aghori Mhori Mei, and produced something that easily stands alongside past glories. Opener 'Edin' smashes through the silence, and Billy's voice is commanding and adds weight to the music with tight production. 'Pentagrams' carries on the rock, with a crispness to the guitars that cuts like a knife. Leadoff single 'Sighommi' is a great representation of the album's sound, although it isn't the best song on offer here. There are gentler moments of course, like the graceful 'Penetcost', the orchestral backing driving the song forward. But these are few, and bookended with tracks like the pummelling 'War Dreams Of Itself' and 'Sicarus' is the sleeper song of the album, revealing its many layers slowly over multiple listens. 'Who Goes There' sounds like it could have been on any Pumpkins album from the 90's and '999' is dark and brooding animal, that sounds ready to strike at any moment. The album ends with the sombre 'Murnau', but a softer moment is needed to bring the crescendo to a close. More recent fans of the band that prefer their pop leanings may be scratching their heads on first listen to Aghori Mhori Mei, but old time fans will be left with a smile on their faces. Clocking in at 45ish minutes it isn't too long or too short, and it begs to be put on repeat for multipole play throughs. One can only guess what the band may do next? |
|
|
The Black Crowes
|
|
In the 1990s The Black Crowes were a force to be reckoned with, as each groundbreaking new album brought a fresh set of southern inspired rockabilly. Sure, they were merely reinventing countless bands that had come before them, ranging from The Rolling Stones to Lynyrd Skynyrd, but they did it with ability and swagger that placed them at the top of the pile. Over time their light faded, and when they announced their break-up in early 2015 it barely registered a blip on the rock radar. After such a stellar beginning, they deserved a bigger send off - but years of average albums and in-band chaos meant they parted ways simply, and that was that. Fast forward to 2019 and the brothers Robinson announced they were returning, albeit with a totally new backing band. Would this new band be anywhere near as effective as the original? From the moment the slide guitar breaks the silence on opener 'Bedside Manners' it is obvious this isn't a band having one last laid-back romp as the ease into retirement. This is the energy of The Crowes in their prime, and it doesn't let up. 'Rats And Clowns' sounds like early AC/DC, and lead single 'Waiting And Wanting' grooves in a way that can't be denied. Vintage Crowes never even sounded this good. It isn't all rock and groove though, with quieter moments like 'Cross Your Fingers' reminding us of the southern roots of the band, and the melancholy of 'Wilted Rose' is sublime. 'Bleed It Dry' brings in some blues, and late album highlight 'Flesh Wound' has a chorus that demands to be sung. Ending on a sombre note, 'Kindred Friend' closes the show perfectly. There will always be fans that argue that the old stuff is better than the new stuff, and that is usually true, but The Black Crowes have proven here that there can be an exception to the rule. |
||
|
TheBigBlack's Rock Honourable Mentions |
||
|
|
Peter Garrett
|
|
|
|
|
Deep Purple
|
|
|
|
|
Regurgitator
|
|
|
|
|
The Offspring
|
|
Over their long career The Offspring have slowly left behind the punk roots and moved more into a mainstream radio-consumable style of 'pop punk'. Much like other bands of the time such as Green Day, they are slowly now making their way back to where they began. Supercharged is by no means a return to prime Offspring like Smash (1994) or Ixnay On The Hombre (1997), but no one will deny it is a large step back toward that style. 'Looking Out For #1' opens with a fair taste of mainstream chorus and polished guitars, but track two 'Light It Up' takes the listener back to band's roots with a guitar tone and tempo reminiscent of the earlier works. This could rightfully be assumed it is a one off, but track 3, 'The Fall Guy' follows suit, and a very vintage sounding album starts to take shape. This trend carries on for most of the album. There are still moments of the modern band (for better or for worse depending on what style you prefer), like the poppy single 'Make It Alright', an insipid song with a hint of distorted guitar to ensure the band can still feel edgy in today's world of disposable pop. Up against later tracks like the speedy 'Truth In Fiction', which could easily sit on any of the band's first 3 or 4 four albums, the contrast feels like a bunch of old and new tracks by the band are being played on random. The production is oddly uneven and flat in places for a Bob Rock produced album, feeling like it was recorded at different times and different locations - which it apparently was. Running at only 32 minutes, it feels more like an E.P. than an album, because regardless of whether you are an old fan or a new one, you will likely only find some of the songs appealing to you, but it does feel more like an old-school album more often than not. Thankfully the band seems to having avoided any 'joke' songs, a staple of nearly all of their album since the mid-90s. All in all, it is actually the most enjoyable and energised album The Offspring has released since Rise And Fall, Rage And Grace (2008), but it is still a long way from being a classic. |
|
|
Jimi Hendrix
|
|
The chance of getting a new Jimi Hendrix album and having it full of anything actually magical is very unlikely these days, as the vaults have been raided for so many years that very little of substance is left to listen to. The last three 'studio' albums have been a poor attempt to package alternate (inferior) takes and lefts over from the sessions of other artists into 'lost' studio albums, and although they sometimes have a moment or two of magnificence - they feel like they are the sort of cash grab albums the family took over Hendrix's legacy back in 1996 to stop. Even the recent live releases leave a lot to be desired. This collection, which is finally being marketed for what it is - a collection of work-in-progress outtakes and mixes from the months leading up to Hendrix's death - is actually a welcome surprise. The box set is focused as much on the actual studio as the songs being worked on, celebrating more than just Hendrix's music vison. An alternate mix of 'Ezy Ryder' launches the album, but there is little here that makes the listener jump to attention, as this track has been heard so many times before. From there though a mellow version of 'Valleys Of Neptune' makes it clear that just when you think you have heard it all, there is still more to hear. Would vocals have worked on such a mellow rendition? No one will ever know. One take of 'Astro Man' has a big fat bass sound, the raw sound of 'Beginnings' is great to listen to - every note played live in the studio without overdub. An early slow take of 'Tune X' (later to become 'In From The Storm') is a great look behind the curtain, and the guitar-only demo 'Heaven Has No Sorrow' reveals a song that was potentially another masterpiece waiting to be discovered. There are off-the-cuff moments like the spirited stab at 'Further On Up The Road' (which falls in a heap after only a minute and a half), and the run through of a number of songs in rehearsal (labelled here as 'The Long Medley') is great to listen to, as everyone is loose and sound like they are enjoying the songs. Many of the mixes here are 'work in progress' mixes made by Hendrix himself (with Eddie Kramer by his side), which although revealing, also show where a lot of work was still to be done to complete the album. The great thing about hearing tracks like 'Freedom' presented here is that you get to hear the inner workings of the songs that were later covered in a blanket of overdubs and production when released officially. Surprisingly, some songs are a necessary addition to the Hendrix library, while others feel like they have not much new to offer. If the market hadn't been flooded with 50+ years of these sort of outtakes, this feels like a collection that may have made a bigger impact - but for all but the diehard fan, so much of what is presented here can be heard elsewhere else with only the slightest differences. Putting that aside though, and just looking at this in terms of what it is and the music on offer on it, it is an amazing journey through the 'never to be album' Hendrix was building in his final days. |
||
|
TheBigBlack's Rock Dishonourable Mentions |
||
|
|
|
Crowded House
|
|
|
|
|
Blue Oyster Cult
|
|
Upon its release Blue Oyster Cult announced Ghost Stories would be their final studio album. Generally when this happens with such a long lasting and beloved band they pull out all the stops to try to produce one last great album their fans can cherish. Instead, they raided the vaults for old unreleased material, mostly recorded between 1978 and 1983, the period that included the albums Mirrors, Cultosaurus Erectus, Fire Of Unknown Origin and The Revolution By Night. These albums are all held in high regard by fans, but time will tell if the reworked left-overs included here are thought of similarly. Some additions were added to the tracks and AI was used in places to de-mix songs for rework, so this isn't just a bunch of left overs packed in the state they were found. Care and attention was apparently applied to the recordings to enhance them. That is why it is so baffling that they sound so void of any passion or intensity. 'Late Night Street Fight' is a groovy start, and opens the album up with in a rather mellow, laid-back way. It isn't the best opener, but has enough charm to hold your interest. 'Cherry' follows, but this is where the charm starts to evaporate. The song sounds like a cast off from a 1950s musical theatre show, more akin to an average Jim Steinman song than a band of this calibre. 'So Supernatural' is one of the catchier songs, and sounds more like vintage BOC than most songs on the album, but it is still ephemeral affair that feels like it would be the worst song on a better album. The cover of The Animals 'We Gotta Get Out Of This Place is flat and lifeless, but the band does breath some life into the MC5's 'Kick Out The Jams'. 'Soul Jive' and 'Gun' are both insignificant songs, saved by the slight boogie-shuffle of 'Shot In The Dark'. As the album winds up 'Don't Come Running To Me' covers the penultimate spot and is one of the better songs on the album, but then the album closes with an acoustic (and quite insipid) cover of The Beatles 'If I Fell' (apparently recorded some time in 2016). After a few listens it is clear that the title, Ghost Stories, is very suited to the material - as this sounds like an album full of songs so thin that you can see right through them. They often feel underdeveloped and flimsy to the point of being unnecessary, and the whole album is void of the vitality that once made this a great band. |
||
|
TheBigBlack's Metal Top 10 |
||
|
|
|
Anciients
|
|
|
|
|
Blood Incantation
|
|
|
|
|
Piah Mater
|
|
Although it is often unfair to constantly compare bands similar in style, sometimes the hero worship is so blatant it is hard not to. In the case of Brazilians Piah Mater, the band they are so easily compared to is the metal titan Opeth, and it feels like Piah Mater see it as their duty to pick up the progressive death metal crown that was dropped. Opener 'As Islands Sink' wastes no time diving into the distorted chaos, and launches the album nicely in the direction fans disgruntled with 'new' Opeth have longed for. As a two man band, they manage to weave incredibly intricate harmonic moments into the framework of the bursts of tight death/doom metal, and the hooks are the tempo and stylistic changes coming at unexpected moments. What becomes apparent on repeat listens (regardless of the similarities in style to classic Opeth) is that the band is often willing to take the progressive elements further than their heroes. As examples, the 10+ minute 'Fallow Garden' has a saxophone solo, and the epic closer 'Canicula' has a lengthy passage sung in Portuguese by a female voice before a violin weaves and winds around the guitar line. 'Macaw's Lament' is a short soulful solo guitar arrangement, whilst 'In Fringes' goes in the direction of layered clean vocal harmonies. Overall, the album twists and turns through a death metal / folk interlude template that does seem somewhat familiar (and possibly a little predicable for doing so), but with immense honesty and integrity Piah Mater proves to the metal community that once one band drops out of the race another with a sound so close can easily fill the void if the public are still wanting. It does beg the question though, where is the line between similarity and mimicry? |
|
|
Hand Of Kalliach
|
|
The melodic death metal style has grown over the years, and morphed into a multi-headed hydra that may strike in many ways. As an analogy, a multi-headed hydra also works for the band Hand Of Kalliach. It is hard to nail them to one particular death metal style, but of the many heads this beast has, beauty is surprisingly one of them. Corryvreckan starts out quiet and builds slowly, and by mid first track 'Three Seas' is a symphonic cacophony. The band is a Scottish husband and wife duo, with haunting female vocals ethereally drifting across the music regardless of its force. This is on full display on 'Fell Reigns', with the growled gravel vocals offset by the beauty of the disembodied female voice. The guitar backing is crushingly heavy, but Scottish folk motives are played throughout giving this a timeless feeling. By 'Dioghaltas' the listener thinks they have this album nailed, but a brutally heavy straight up death metal track blasts that idea away, and yet somewhere buried in the mix those Scottish folk tunes are still playing away. It is an album that is hard to decipher at first, and constantly surprises (or maybe disappoints) as it twists and weaves through unpredictable timing changes and a mixture of styles. By track 6, it sounds like the album has found its heavy groove, but then 'The Hubris Of Prince Bhreacan' veers the ship toward the rocky waters of an almost gothic rock style, its serenity interrupted abruptly by the demonic growls. Although the album is heavily symphonic in places, it certainly isn't light in the slightest - with most of it brutally heavy and foreboding. It is a punishing listen in one sitting, and will require multiple listens to really sink in with even the final track 'Of Twilight And The Pyre' starting out pleasant but ending the album in a wall of brutal noise. This album won't be for everyone, and even hardened death metal veterans may struggle with the female backing and passages of serenity, but for those who do connect with it, it is a totally rewarding listen. |
|
|
Judas Priest
|
|
When a band hits its 50th anniversary, you generally don't expect them to have much of a fire burning in their collective belly anymore. Judas Priest have proven that isn't always the case, with each recent album topping the one before - and Invincible Shield doesn't disappoint either. This is an album that sounds like it was made by an angry young band with something to prove, not a bunch 70+ year old men that have earned the right to slow down. It is almost unfathomable how Rob Halford can still sing the way he does at the age he is, as the entire album smashes everything in its way and leaves devastation in its wake. Opener 'Panic Attack' starts the album at a walking pace, but within a minute or so builds to a gallop, and moments later the album has already hit its top speed - and it likes to run fast. No one has reinvented anything here, and after 50 years. something about if it ain't broke? What Judas Priest does do though is use every trick in their arsenal to keep the listener nailed to their chair. 'The Serpent And The King' is a riff-fest with Halford moving through multiple vocal styles, and the title track provides many a fist-in-the-air stadium moments. The album ends on one of its (few) slower moments, with 'Giants In The Sky' plodding to a finish in a similar style to the band's 80's heyday. All in all, there is not much for a metal fan not to like here, and even if you aren't a fan of the band, it would be hard to fault the album much at all. |
|
|
Counting Hours
|
|
Hailing from Finland, Counting Hours have crafted an amazing album for their sophomore effort. Fitting nicely into the more accessible side of the doom metal genre, the band have crafted something that contains both the old atmospheric black-tinged work and the newer dark gothic rock work of Katatonia in one place, so much so that they sometimes sound like a clone of the band. This isn't always the case though, as the band does break free of the obvious influence at times, and these are the moments when the album really shines. The drums sometimes pummel in blasts, and vocally the band occasionally goes into some deep death-doom territory. Most of all though, it is about the atmosphere, with a tight and crisp production leaving the dual guitar lines almost weeping in sorrow. For better or worse (depending on your tastes), no tracks really stand out against others, instead this being an album that begs to be listened to as a whole - but one that will leave you in a melancholy mood at its conclusion. |
|
|
Kerry King
|
|
When Kerry King announced his new solo band he made it clear what the world was going to get - Slayerless Slayer, as that is what he likes to play. When the album was finally released, that is precisely what was heard, but it was clear that he had really taken his time to put a very personal stamp on it. Phil Demmel on guitar is a great touch, as his soloing style is very different to King's, but compliments it perfectly. The album is punchy as hell, and the production is faultless, really allowing each musician to shine - and King really has assembled a world class thrash act with the addition of Slayer alumni Paul Bostaph on drums and Mark Osegueda of Death Angel on vocals. From the moment 'Diablo' (the instrumental intro) starts this all sounds oddly familiar, but in a good way. A way that wakes you warm inside and feels like you are going home. Yeah, there are some moments straight from every Slayer song King has written (hear 'Idle Hands' and ' Trophies Of The Tyrant' for examples), but for the most part the album stands up as its own angry animal, with songs like 'Toxic' showcasing some of the heaviest music King has ever produced, and 'Two Fists' has nods to the punk that inspired young King to pick up a guitar. A couple more tempo changes in the form of mid-paced songs are perfectly placed, with 'Residue' and 'Tension' allowing a break from the pummelling, but this was clearly an album where King was out to prove something - and he has - that even post Slayer his music is still a force of nature that will continue unbaited. |
|
|
My Dying Bride
|
|
As a progenitor of the death / doom metal style My Dying Bride has always worked within the guardrails they set themselves over 3 decades ago. The great thing is that they do have some space to work within - moving between death riffs and growls, and the slower plodding darkness tinged Sabbath style epics with gothic flourishes. A Mortal Binding as a whole doesn't really fit in either camp, instead alternating freely between the two, and even blending the styles on some tracks. For this reason newcomers to the band may find the album a jarring experience. It opens with 'Her Dominion', using a bold death metal style, complete with heavy riffs and growled vocals, making it quite inaccessible. Following right after is the moody 'Thornwyck Hymn' that fits right into the gothic dirge category. This continues throughout the hour long journey, which adds to the interest, as it twists and turns in ways the band haven't explored for the last few albums. The violin takes a step backward, and isn't an pronounced as some of their works. Midway is the standout 'The Apocalyptist' which combines growls with doom to great effect, and leaves an unsettled feel across the track. As always, the guitar work of Andrew Craighan is exquisite, but the versatility of vocalist Aaron Stainthorpe again steals the show. In a time when many of the original doom metal bands are heading lighter and lighter as they grow in age, it is great to see My Dying Bride staying true to their original vision of so long ago. |
|
|
Bruce Dickinson
|
|
After a 19 year wait Bruce Dickinson finally unveiled his latest solo album, a concept album loosely based (is any concept album ever not loose in its storyline?) on wacky characters like Dr. Necropolis and Professor Lazarus. The story isn't clear from the album itself (you need to read the comic book series to understand it), but the album is better for it anyway, as each song stands alone nicely on its own merit. The album is big and bold - as you'd expect from the front man of Iron Maiden - but also takes some mellower unexpected twists along the way. From the hooky riff and fist punching chorus of 'Afterglow Of Ragnarok' the album signals its intent as something brash, and second single 'Rain On The Graves' has some sweet Deep Purple undertones driving it. 'Resurrection Men' sounds like the theme tune to a modern spaghetti western with its twanging guitar, and the newer (older?) version of 'Eternity Has Failed' has more punch than its Iron Maiden counterpart, probably due to its looseness. The album's big ballad, "Face In The Mirror', feels somewhat undercooked, and doesn't really hit the mark of feeling like the anthem it should be. The second ballad 'Shadow Of The Gods' suffers a similar fate, but has a lot more punch when it builds to its heavier ending. Epic closer 'Sonata (Immortal Beloved)' sends off the album wonderfully with its grandeur. It would be a shame if the world had to wait 19 more years before it hears anything solo from Bruce again, as this is the sort of music the heavy music world needs more of. |
|
|
Opeth
|
|
The Last Will And Testament is more than just an album, it is a piece of art painted brushstroke by brushstroke, each note carefully placed to convey more than just sound. This is an album that conjures images in the mind, and takes you on a journey. It is a concept album, the story of the reading of a will following the death of a post-World War I wealthy patriarch, but the story is really just a vehicle to allow the music to breath and weave. The album opens with 'S1' (each track is given a 'Section', to denote the reading of the will), and the album starts subtly and with the familiar prog-rock style the band has more recently become known for. It isn't long though before the heavier riffing starts, and the true breadth of the album is revealed. This is an album that can't be discussed without raising the fact that frontman Mikael Akerfeldt has taken the bold step in returning to the death metal growls the band left behind over a decade ago. Make no mistake though, this is a not a return to the Opeth of old, but a true blending of both the old and new styles the band is known for. The music takes on moments of death metal intensity before heading back into forays into progressive patterns. The vocals are filled out with the great Ian Anderson of Jethro Tull narrating, and even one of Akerfeldt's daughters adds a vocal, and it isn't too long before the listener realises each voice belongs to a character in the tale. The song ends quietly, allowing the bombast of 'S2' to smash through the serenity. The guitars are not overly distorted, still lending themselves to a rock feel, but the intensity they are played with and the complexity of the riffs harkens back to the Opeth of old. The drums are also crushing, with double-bass blasts throughout. Europe's Joey Tempest even appears on vocals, adding another voice to the large entourage. By 'S3' the album has found its groove, and the symphonic backing by the London Session Orchestra adds a level of sophistication to the music, whilst also trying to corral the sinister charm that drips throughout. Although 'S5' starts out with a moody bass shuffle and Akerfeldt's croon, it soon lifts the intensity to being one of the heaviest tracks on the album, and features some amazing soloing. The album brilliantly weaves the soft and heavy into each other, and the songs hook with timing changes rather than choruses. By the time 'S7' (the final section of the will) is reached, the listener is left both exhausted and exhilarated, and the song fades into the ether taking the hopes of those in the plotline with it. The album closes with 'A Story Never Told', a 7+ minute thing of beauty done in a style so familiar and yet wholly Opeth that this could be no other band. Ian Anderson even lends his flute to the proceedings, before a stunning guitar solo brings everything to a close. This won't be an album for everyone, and even some fans of the band (old or new) may find the complexity of the songs challenging, but if it does connect - it is highly rewarding. It is an album that can't be completely understood in a single listen, and to be honest, may never truly be understood regardless of the number times you hear it. |
||
|
TheBigBlack's Metal Honourable Mentions |
||
|
|
|
Black Sabbath
|
|
|
|
|
Akhlys
|
|
|
|
|
Cavalera
|
|
The Cavalera brothers have completed their re-recordings of the original Sepultura trio of albums with easily the best of the three, both in terms of the song writing and performance. Whereas 2023's new versions of 'Bestial Devastation' and 'Morbid Visions' sounded a little unsure of themselves in places, almost as if the brothers were being cautious not to overdo things, the new version of 'Schizophrenia' hits with full force as if nothing has been held back. 'From The Past Comes The Storms' explodes into life with lo-fi retro-style force, showcasing the simple yet powerful riffs of early Sepultura in a way the original recording barely even hinted at. Every song on the album is given a second chance at life, and in every case far exceeds the original. It isn't just the better production that makes tracks like 'Escape To The Void' and 'Screams Behind The Shadows' classics that never were, but it is also the 30 years of experience in between that make so much difference. Whereas in the original Max's guitar would sometimes sound thin and out of tune, or Igor's frantic drumming was not quite as skilled yet as he had hoped, here the performers are seasoned veterans that are perfectly in sync. Max's voice has a (deliberate) old-school feel and charm about it, and although the production is light years beyond the original, it has still been given a 1980s feel to add to the authenticity. 'Inquisition Symphony' finally gets its chance to shine as the masterwork it is, and the lone new track 'Nightmares Of Delirium', a relic of the time, closes the album nicely (but not as well as the original closer 'R.I.P. (Rest In Pain)'). Whilst the first two re-recordings of their earlier material in 2023 gave a better insight into the early band and a refreshing take on the songs, 'Schizophrenia' goes one step further revealing an album that given better production at the time would possibly still be talked about today as an early thrash classic. |
|
|
Morgul Blade
|
|
Describing Heavy Metal Wraiths beyond 'it is heavy metal' is difficult. The album runs through a blend of styles ranging from traditional to blackened thrash, but not in a smooth transition. The album opens with the Saxon-like 'Eagle Strike', before 'Beneath The Black Sails' continues the 1980s style metal, but it isn't until track 3 'Heavy Metal Wraiths' that the band really winds itself up to show us what it is capable of. 'Frostwyrm Cavalry' launches into a frenzy of drums and guitars which feels like the album is finally finding its stride. The vocals are a gravely black metal snarl, but aren't over the top, blending nicely with the music, and the crisp production give the music a razor sharp edge. Mid-way the band heads into an Enya style vocal chorus named 'Widow's Lament', but it only really serves as a short intro to the next track. 'A Welcoming Hearth' serves a similar purpose, but is an odd orchestrated piece. The album even closes with one of these interludes called 'The Last In A Line Of Kings'. All in all it is a bit of a disjointed listen, that feels like it could have been improved a lot with some tweaks to the track order to pace things better. The songs are all good, but they don't flow to each other particularly well, and the second half of the album feels stronger than the first, with a track like 'Razor Sharp' feeling like it should have been right up front. Regardless though, it has enough intrigue to keep the listener coming back for repeat listens, even if it is slightly underwhelming each time. |
|
|
Exodus
|
|
Exodus suffered a number of unlucky setbacks in the 80s, and many believe this is the reason their early 1990s output suffered in the quality department. Whilst substance abuse probably had more to do with their downfall that lady-luck, it does pose many 'what if?' scenarios, one of which being 'what if this was released back in 1989 when it was recorded?'. Performed at London's Astoria with locals Acid Reign on support, this is a document of a band undisputably at its peak, and the performance is intense and brutal, reminding us that Exodus really deserved a place alongside the likes of Slayer and Metallica. This is the line-up most see as the band's peak - the twin lead of Gary Holt and Rick Hunolt held steady by Rob McKillop on bass and Tom Hunting on drums, and of course the razor-blade vocals of Steve Souza at front of stage. From the moment the first note of 'The Last Act Of Defiance' is played you can see the sweat-filled pit break in your mind's eye, and that familiar head crushing guitar tone only Exodus can dial into rips into your brain. The next hour and a quarter is filled with a selection of fan favourites from all three of the band's albums at the time, and although it is quite heavy with tracks from Fabulous Disaster (the album being toured), it doesn't skimp on earlier material. The songs are frenzied, but still tight, with the Holt and Hunolt (the 'H Team' as they were known at the time) perfectly in-tune with each other, delivering the riffs and solos on the earlier material with perfect precision regardless of the lighting speed. Hunting's drumming is insanely fast, with double kicks on songs like 'Fabulous Disaster' seemingly otherworldly. The energy bubbles throughout, and even on longer tracks like "An Then There Were None' and 'Like Father, Like Son' that slow the tempo, the band doesn't slow the intensity. With a mouth full of gravel and broken glass, Souza's vocals hold up well, and at no point in the high-energy show do the band feel fatigued. About the only thing that doesn't hold up is the between songs banter, which like most U.S. thrash bands of the time is full of cringe-worthy rants about violence and politicians. Closing with crowd favourite 'Strike Of The Beast' the whole thing ends in the same style it started, brutality, and then it is gone, and the time capsule is again closed. Archival releases like this are often just a way to clear the vaults, and act like a passing curiosity - but this album is more than that. It's rough-hewn edges and sheer sonic force reminds us of a time when metal wasn't about anything more than banging your head and making some loud and wonderful noise. Thankfully 35 years on Exodus are still doing just that. |
|
|
Saxon
|
|
Saxon have well and truly proven themselves as in important influence on so many metal bands that there really is no reason they couldn't sit back and take it easy in their final years. Whilst Hell, Fire And Damnation doesn't really bring anything new to their arsenal, it certainly isn't an album that sees them taking it easy. The album starts gently enough with the atmospheric spoken intro 'The Prophecy' (featuring the voice of Brian Blessed, everyone's favourite king). 'Hell, Fire And Damnation' kicks the album into proper gear, with a dirty guitar tone, and a muscular riff reminiscent of Judas Priest. 'Madame Guillotine' slows the speed down, but is a welcome second track with the well-worn and aged vocals of Biff Byford finding the style that suits them best. There are big choruses everywhere here, pulling the listener back to ye metal of olde, but still played with a modern feel. 'Fire And Steel' pummels its way through three and half minutes with lyrics straight from the Anvil playbook. You will find your head bobbing throughout, even on some of the less solid tracks like the cheesy 'There's Something In Roswell' or 'Witches Of Salem', but for the most part punchy tracks like 'Kubla Khan And The Merchant Of Venice' give the album enough edge to set it a cut above most of the recent albums by the band. Although the great production and guitar tones have a lot to do with this, the songs are the true star here, and the addition of Diamond Head's Brian Tatler to the band has certainly given them a lift. This late in the game a band like this is unlikely to pick up many news fans with each release, but if the quality continues on par with this album they certainly won't lose any old ones. |
|
|
Whom Gods Destroy
|
|
|
||
Last Data Update:
 2024-09-06 David Gilmour - Luck And Strange.jpg)
 2024-04-19 Melvins - Tarantula Heart.jpg)
 2024-08-09 Grinspoon - Whatever, Whatever.jpg)
 2024-10-18 Jerry Cantrell - I Want Blood.jpg)
 2024-05-17 Slash - Orgy Of The Damned.jpg)
 2024-04-12 Jebediah - Oiks.jpg)
 2024-11-01 The Cure - Songs Of A Lost World.jpg)
 2024-04-19 Pearl Jam - Dark Matter.jpg)
 2024-08-02 Smashing Pumpkins - Aghori Mhori Mei.jpg)
 2024-03-15 The Black Crowes - Happiness Bastards.jpg)
 2024-03-15 Peter Garrett - The True North.jpg)
![Machine Head [50th Anniversary Super Deluxe Edition]](../../images-covers/(COVER IMAGE) 2024-03-29 Deep Purple - Machine Head [50th Anniversary Super].jpg)
 2024-04-26 Regurgitator - Invader.jpg)
 2024-10-11 The Offspring - Supercharged.jpg)
 2024-10-04 Jimi Hendrix - Electric Lady Studios, A Jimi Hendrix Vision [Boxed Set].jpg)
 2024-05-31 Crowded House - Gravity Stairs.jpg)
 2024-04-12 Blue Oyster Cult - Ghost Stories.jpg)
 2024-08-30 Anciients - Beyond The Reach Of The Sun.jpg)
 2024-10-04 Blood Incantation - Absolute Elsewhere.jpg)
 2024-07-05 Piah Mater - Under The Shadow Of A Foreign Sun.jpg)
 2024-02-23 Hand Of Kalliach - Corryvreckan.jpg)
 2024-03-10 Judas Priest - Invincible Shield.jpg)
 2024-02-23 Counting Hours - The Wishing Tomb.jpg)
 2024-05-17 Kerry King - From Hell I Rise.jpg)
 2024-04-19 My Dying Bride - A Mortal Binding.jpg)
 2024-03-01 Bruce Dickinson - The Mandrake Project.jpg)
 2024-11-22 Opeth - The Last Will And Testament.jpg)
 2024-05-31 Black Sabbath - Anno Domini (1989-1995) [Boxed Set].jpg)
 2024-07-05 Akhlys - House Of The Black Geminus.jpg)
 2024-06-21 Cavalera - Schizophrenia.jpg)
 2024-04-26 Morgul Blade - Heavy Metal Wraiths.jpg)
 2024-05-24 Exodus - British Disaster, The Battle Of '89 (Live At The Astoria).jpg)
 2024-01-19 Saxon - Hell, Fire And Damnation.jpg)
 2024-03-15 Whom Gods Destroy - Insanium.jpg)