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TheBigBlack's Rock Top 10 |
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Regurgitator
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Melvins
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The Black Crowes
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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. |
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Slash
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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. |
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Jebediah
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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. |
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Pearl Jam
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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. |
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Smashing Pumpkins
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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? |
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TheBigBlack's Rock Honourable Mentions |
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Peter Garrett
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Deep Purple
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TheBigBlack's Rock Dishonourable Mentions |
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Blue Oyster Cult
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TheBigBlack's Metal Top 10 |
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Master
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Piah Mater
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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? |
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Morgul Blade
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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. |
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Ihsahn
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Saxon
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Judas Priest
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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. |
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Counting Hours
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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. |
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Kerry King
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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. |
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My Dying Bride
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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. |
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Bruce Dickinson
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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. |
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TheBigBlack's Metal Honourable Mentions |
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Cavalera
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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. |
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Exodus
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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. |
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Last Data Update:
 2024-04-26 Regurgitator - Invader.jpg)
 2024-04-19 Melvins - Tarantula Heart.jpg)
 2024-03-15 The Black Crowes - Happiness Bastards.jpg)
 2024-05-17 Slash - Orgy Of The Damned.jpg)
 2024-04-12 Jebediah - Oiks.jpg)
 2024-04-19 Pearl Jam - Dark Matter.jpg)
 2024-08-02 Smashing Pumpkins - Aghori Mhori Mei.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)
 2024-04-12 Blue Oyster Cult - Ghost Stories.jpg)
 2024-01-19 Master - Saints Dispelled.jpg)
 2024-07-05 Piah Mater - Under The Shadow Of A Foreign Sun.jpg)
 2024-04-26 Morgul Blade - Heavy Metal Wraiths.jpg)
 2024-02-16 Ihsahn - Ihsahn.jpg)
 2024-01-19 Saxon - Hell, Fire And Damnation.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)
 2024-06-21 Cavalera - Schizophrenia.jpg)
 2024-05-24 Exodus - British Disaster, The Battle Of '89 (Live At The Astoria).jpg)