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TheBigBlack's Rock Top 10 |
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Mammoth
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Steven Wilson
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Jethro Tull
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Ringo Starr
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As the Beatle with the least amount of writing credits and vocals performances to his name, Richard 'Ringo' Starkey has still managed to make a long and surprisingly prosperous career with limited talents in both those areas. He is of course an amazingly talented drummer, but that alone usually can't carry an artist. With many smart decisions and well-known special guests (other former Beatles included) he has managed to keep his music relevant to his fans. Look Up is a perfect example of this, sharply tilting away from rock to a more country-tinged affair. From the moment the acoustic opener 'Breathless' bursts through the silence it is obvious this is a different Ringo album than anything else in recent memory. Featuring bluegrass master Billy Talent on the strings, the song is both rich and sparse at the same time, the density coming from the feel rather than the instrumentation. The song will make you smile, and let's face it, that's all Ringo has ever really wanted us to do when listening to his music. Don't analyse it. Don't be critical of it. Just bob your head and smile. The title track has a bit more of a muscular punch to it, but is still light and fun, and it is clear that Ringo has worked hard to craft a set of tunes that his vocal range can compliment. 'Time On My Hands' and 'I Live For Your Love' are full country steel-string soaked ballads, and 'Never Let Me Go' feels like it could have its own boot-scootin' line-dance. 'Come Back', featuring indie stars Lucious on backing vocals, is about as deep into Texas as you can travel. 'Rosetta' lifts the album back out of a deep-south tavern, and puts a little more rock on the album's roll, and its placement is perfect to lift things. It all wraps up in a bow with 'Thankful', a largely forgettable track that is only really saved by the irresistible Allison Kraus sharing the vocals. At a smidge over 35 minutes long, the album is short - but it works at that length - and the production is smoother than an aged Kentucky Bourbon, making the album a very easy listen. This wasn't the first time Ringo had tried country as his second solo album way back in 1970 was also sporting the Nashville sound. Critics at the time noted how well the style fit his voice, and it seemed like he would return there in the future. Now that he has, we must wonder why he took so long? |
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Chevelle
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Michael Schenker Group
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Michael Schenker has never been a guy short on music, and with Michael Shenker Group, his solo work, and all the other projects he devotes time to, he has proven the well is far from running dry. This album is another worthy addition to his legacy, but not one that will change it. It is a pretty standard 2020's Schenker product, and possibly suffers for exactly that reason - it is a little too standard, and ultimately predictable. The majority of the album's vocals are handed by Eric Gronwall, recently exited from Skid Row. There are also appearances from Robin McAuley and Michael Voss (who have both crossed paths with Schenker many times over the years), and the power metal vocals of Roberto Dimitri Liapakis even show up. All seasoned veterans as vocalists, and appearing on hundreds of albums - they were an easy choice to include. Mixing up the vocals is a nice touch, and are really the only moments of surprise on the album, as musically is doesn't have much that longtime fans haven't heard before. Opener 'Don't Sell Your Soul' grooves with an Iron Maiden style gallop, but is ultimately quite restrained musically and vocally for an opener. The understated but very smooth solo (really Schenker's signature style), catches interest, and helps the songs to be a repeat listen grower. 'Danger Zone' is similar, in that it doesn't jump out the speakers, instead rumbling low, like an idling engine. As always, the solo is perfectly placed, but overall it doesn't really pop as the second track on the album. Track 3, 'Eye Of The Storm' allows the album to start stretching it's legs, and is more in the usual Schenker style. It has a distinctly 80's neoclassical feel in places, and McAuley's vocals sound like it is 1985 again. Depending on what you are looking for, this feels more like the album fans are here to listen to. 'Janey The Fox' is a slower modern sounding song, that is again slick - and not very memorable. Every album needs breathing room, but it hadn't felt like it had really opened up enough yet to warrant it this early. 'I Can't Stand Waiting' is another mid-paced track, and doesn't feel like much of a stretch for any of the musicians here. A guitarist like Schenker surely could not be challenged by songs this simple? Much like 'Eye Of Storm' earlier, 'Sign Of The Times' has a distinctly 80s sound - and the album is so much better for it. At this point it is obvious that Schenker is looking to keep his sound fresh and modern, but the songs here that have more of a throwback style or riff are actually where the album shines the most. Modern doesn't have to mean simple, and artists like Wolfgang Van Halen have proven with his Mammoth WVH band that you can use throwbacks in modern songs and still keep things sounding fresh. The solo here is one of the best on the album, and is so distinctly Schenker that you hear the entire history of his discography revealed to your ears. He even puts in a second one just as sublime later in the track. The most successful of the modern sounding tracks is the speedy 'Flash And Bone', showing that by adding a hook, the song can be infinitely better. 'Surrender' drives the album to a close, and is one of the best tracks on display. Gronwall carries the vocals well, but doesn't really push himself hard, and the song could have used the pipes of someone like Jeff Scott Soto to really lift it. Overall, it is a pleasant listen, and although it won't break into any Top 5 Schenker albums lists anytime soon, it is still worth spending time with. It does beg the question though, is Michael Schenker, now in his 70s, looking to play it fairly safe from here on? He has earned the right to coast if he wants to, but there are hints throughout this album that by pushing himself slightly harder these songs could benefit from some sharper edges. |
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Melvins
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Melvins - Press play, and wait for the chaos to leave the speakers. One of the great things about being a Melvins fan is having no idea what turn each album will take. For the most part the band has stayed reasonably listenable for the last handful of albums, losing a lot of the 'grinding noise' tracks earlier albums had - and although some of the band's earlier works had a little extra charm for them being included, what we get now is a leaner and infinitely more focused vision of the band. It doesn't mean the epic sludge anthems are no longer there, as this very album reeks with them, but they feel like they are delivered with more purpose than 'Spread Eagle Beagle' or 'Boris' ever did. This leaves things sounding a little more mature. Melvins. Mature. Yes, it's an oxymoron. 'King Of Rome' kicks the album out it's a cage with a down-tuned dirty guitar tone. Unlike many past albums, this isn't a grinding plodder, but instead gallops at a pretty fast pace, with a great since of urgency. Clocking off at around 3 minutes, it hooks you in, and nails you down. 'Vomit Of Clarity' is a rather unnecessary soundscape of instrumental and digital noise. It is somewhat musical, but pointless just the same, sounding more like an intro to another track than being able to stand on its own merit. With only 2 minutes to sit through, it is tolerable, but it also reminds you this isn't a Top 40 rock band and never will be. Typically Melvins AND totally pointless. Those words can comfortably site side by side here. 'Short Hair With A Wig' is what the older fans have come for, an 11 minute sludgy dirge that is both repetitive and compelling in equal parts. It's intro is long and drawn out, but this isn't the band of the 90s playing the same phrase over and over. There are interesting guitar parts that hook, and when frontman Buzz Osbourne begins to sing the whole thing feel more dark and brooding than anything the band has done in a long time. Like most long Melvins tracks, it does begin to stay up too late past its bedtime toward the end, but not overly so. 'Victory Of The Pyramids' brings back a touch of speed after the tempo fatigue of the previous track, and is quite tuneful, with a main riff that is swirling and addictive. Another long one, and when the silence is finally broken by the vocals it is warmly welcomed. Osbourne wails with a 70s style swagger that isn't in his normal operating style. It is Melvins doing 70s stoner rock, and they do it well. Midway the song slows down to a crawl, and it is hard to see how the first half is even the same song as the second. There are sound effects and guitar feedbacks aplenty, and it stays somewhat interesting long after it should. 'Venus Blood' farewells the album with a slow chugger that is probably the most 'classic' Melvins sounding track on the album. Although the track has many ups and down, the double-tracked vocals cut through as the centrepiece, and it all ends very abruptly. Overall, it is an album only this band could make, with lots of slow chugs and low-end madness, but the band has learnt over the years the tricks needed to keep repetitive tracks from sounding stale quickly. You are never going to be singing along while driving the family cross-country on a trip to Wally World, but in a nice pair of headphones an album like this will transport you to its own holiday location - and at around 30 minutes (is this even an album?), it is perfectly balanced to never outstay it's welcome. |
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Bush
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Deftones
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Robert Plant with Suzi Dian
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In recent albums Robert Plant has found his groove. Although each has its own distinct feel, they all share similar themes of acoustic Americana, Midwest roots music, a sprinkle of country & western, and oddly - at times - a clear middle eastern vibe. Saving Grace, Robert Plant's twelfth solo album, introduces the vocals of Suzi Dian to his music, and their voices are a perfect match. Her ethereal, soft harmonies compliment his voice throughout, and although he is still the lead here, Suzi shines in places. Kansas Joe's 'Chevrolet' opens the album, and the listener immediately knows not only that this is a Robert Plant album, but even the era it is from. If the old dg has learnt any new tricks in recent times, he isn't revealing them here, and he croons his way through this folky roots track. The harmonies with Dian are immediately apparent and strong, and they carry the track wonderfully. The traditional 'As I Roved Out' has a great driving rhythm and guitar line, and it's clear that the vocal harmonies are going to be a big part of the personality of the album. They two voices weave around each other, and Plant (knowing his voice is not what it used to be) allows Dian to take the high register in places the song need them. Moby Grape's 'It's A Beautiful Day Today' is an amazing moment, and opens with some subtle Nashville-style lap steel guitar. Plant often covers traditional or obscure songs on his albums, but this collection is a complete covers album. In typical Plant style though, nothing here is well known - and even if you did happen to know a track, everything is completely reimagined from the original. Blind William Blake's 'Soul Of A Man' is great example of this. It is now a slow folksy-hoedown rather than a fingerpicked blues, and it works. In fact everything here works - and the album slowly creates a colourful tapestry of songs that weave together like one giant piece. 'Ticket Taker' is amazing in its understated beauty, and is a perfect example of Plant's recent style - modern, yet a hundred years ago. The lyrics take us to a time none of us now living knew, yet the immediacy and weight of the performance snap as back to this very moment. Dian gets a chance to take the front on Martha Scanlan's 'Higher Rock', but it is on 'Too Far From You', one of the punchier tracks on the album, that she shines. Plant provides very little beyond some harmonies and backing vocals here, and her voice is graceful and focused. She may be half his age, but the two voices intertwine magically. The song is still slow but builds to a big crescendo, and serves as a cathartic moment after so many lighter tracks. This serves as a segway into Low's 'Everybody's Song'. The loudest and most up-tempo track of the album, this could easily have been an album opener, and would find itself very much at home on either of Plant's prior albums Lullaby And The Ceaseless Road (2014) or Carry Fire (2017). The middle eastern themes again wind around the song, but played on western acoustic instruments it is hard to place what the influence is. The album closes softly with potentially the only familiar song, the ageless classic 'Gospel Plough' (sic). Performed by every bluesman and folkie since the early 1900s, this is a fairly faithful rendition, without too much embellishment, and its closes the album perfectly, with a feeling of wistful hopefulness. Fans of Robert Plant's recent music won't be disappointed here, but there is a small feeling of 'heard it all before'. For any other performer that probably wouldn't be the case, but Plant has been a chameleon over the years - changing colours with every album, so this feels like a shade very close to one he has worn before. It certainly doesn't make this a bad album, in fact it is better than 2021's Raise The Roof with Alison Krauss, but it does feel as though his days of experimentation have come to an end. He has settled into this style like an old man slipping on his favourite pair of slippers. They are warm and comfortable, and most importantly familiar. The man owes us nothing, and his contributions to music over the years are countless. For this reason we can forgive him for reusing an idea or two. |
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TheBigBlack's Rock Honourable Mentions |
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Neil Young
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Sex Pistols
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Pink Floyd
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There is precious little live material from the early years of Pink Floyd available, so for that reason the 'Live At Pompeii' film, originally released back in 1972, has been repackaged and reissued in varying levels of quality for decades. Finally in 2025 it has received the attention it deserved in a full 4K make over, but more importantly it has finally been given an official stand-alone soundtrack release to accompany. The core tracks were officially released previously in The Early Years boxed set (2016), but here they have been given the sonic treatment they deserve - by being remixed by the amazing Steven Wilson. The album opens with a short introduction of feedback and drums before launching into the epic 'Echoes'. Only half the song plays through, ending early to move into the moody 'Careful With That Axe, Eugene'. Both songs are played with precision, although the live vocals are a little flat compared to the studio version. The guitars cut through louder and heavier than expected, and bass drives the tracks with that wholly Pink Floyd groove. 'One Of These Days' is punchy, and really leaps out with an energy that wasn't on early releases of the material. 'Set The Controls For The Heart Of The Sun' is a long, brooding affair that is a more experimental in nature than the album version. In fact, anyone that has seen the film will know that some of the longer songs do tend to 'meander' a bit from time to time, but this was very representative of their live shows of the period. The penultimate track of the soundtrack, 'Mademoiselle Nobs', is an odd little ditty played to the singing of a howling dog. In the film it was short interlude to the band in the studio, whereas here it does feel very out of place, and almost breaks the momentum of the tracks. The second part of 'Echoes' closes the performance, and it builds to a great climax. The only production decision that could be deemed questionable is breaking 'Echoes' into two separate parts, but this is serving as a soundtrack to the film after all, and that is how the song was presented on screen. That aside, the sound quality and mixing of the album is wonderful, beautifully transforming something captured over 50 years ago onto portable 8-track into a piece of art still relevant today. In particular, Nick Mason's drums have a thunderous rumble driving the whole album. As a whole, the performances here are quite flawless - but although recorded in October 1971, it would be incorrect to say the band was in their prime here. That was still to come with their breakthrough album The Dark Side Of The Moon close to two years away. Instead what this shows is band that is so rehearsed they are locked together as one. They are finding their way through early growing pains and discovering the sound that would eventually define them. It took Pink Floyd longer than most bands to do that, but the great part is we get to hear that journey as they travelled it - and this great concert is part of that. It will never be an album marked as essential in the bands discography, but it is certainly still worthy of attention. |
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Motorhead
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The 'legendary' Manticore Tapes (named after the studio they were recorded in), have sat in a box somewhere for almost 50 years until they have finally seen the light of day for this release. These rehearsals are the first recordings of Lemmy joined by Fast Eddie Clarke and Philthy Phil Taylor. It has been heralded as 'lost album', but that simply isn't true - as these are merely rough run-throughs, probably recorded to see how the band sounds on tape. Launching with the instrumental 'Intro', the recordings reveal themselves to be rough but completely listenable. There isn't a lot of distortion present, and Lemmy's bass cuts through better than on most studio recordings, as he hasn't quite reached the point sonically where he is filling the same space as the guitar. Fast Eddie gets a chance to show off his soloing, and the three musicians lock together wonderfully to create a cohesive sound. 'Leaving Here' is next, a cover of the Eddie Holland song that seemed to be a band favourite. Musically it is raucous, but Lemmy's vocals are restrained - and he sounds somewhat unsure of his place. This no doubt is a result of these tapes merely being a rehearsal, as they seem to vary in conviction from song to song. 'Vibrator' is bursting with an energy even later studio recordings were lacking, and 'The Watcher' has more of a bluesy feel than the final version. The song 'Motorhead' shows how much dirtier the soon-to-be recorded debut album could have sounded with the right production. John Mayall's 'Witch Doctor' is a highlight, and sounds the most like what the band would soon become. This is by no means an essential addition to the Motorhead collection, as the performances feel like they require work and care to get them to where they eventually would land. It is however and amazing time capsule for fans into a studio in August 1976 where a band was literally being born performing these tracks. |
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Bob Dylan
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The Black Crowes
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TheBigBlack's Rock Dishonourable Mentions |
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The Beatles
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The original Anthology project, now 30 years ago, was a massive event for Beales fans. Six hours of unreleased music (not to mention the book and a multi-part documentary series) was received with much applause - and rightly so. Although the albums had some quirks, like a few mixes made by engineers in the 80s that had never even met the band, overall they were excellent. There were new surprises on every listen, and they were packaged to feel like they were the definitive collection of extras by The Beatles. For many years, until the 'super deluxe' reissues series started in 2017, they were. This new 30th anniversary repackaging contains the original three albums, plus a new fourth volume of outtakes. No one would disagree that the Anthology collection was long overdue for a remastering, and the sound has been greatly improved (and noticeably so) on some tracks. Tracks like The Quarrymen recordings from 1958 have been cleaned up wonderfully (with AI), with a clarity that is unbelievable. The music throughout the collection sounds clear and dynamic, and with minimal compression. The remastering itself is a masterclass in sound engineering. The issues with the albums are with the tracks that haven't been upgraded or changed. The small things fans have griped about for the 30 years, like a mono mix instead of a stereo (when one most certainly exists), or a speaking part overlapping a song intro - these are things that could easily have been fixed - and should have been. The reissue has been marketed as faithfully reproducing the original albums, hence the quirks still existing - but then other tracks have clearly had an upgrade. Perhaps these things will be fixed for the 60th anniversary reissues? The original volumes aside, the part of the collection most fans were really interested in was, of course, the new 'Anthology 4'. With 36 tracks, only 13 were unreleased, and the rest was previously available on 'super deluxe editions' of albums released in the last few years. No doubt into the future all the tracks presented here will also be covered in those releases, as there are still more to come. Overall the album is a good listen, and the sound quality is exceptional, but it is ultimately just a footnote on the Anthology era. Sure, these are new outtakes, but the original release was new and exciting, whereas Beatles outtakes are a dime a dozen now, so the charm just isn't there. Add to that the fact that these songs, out of sequence with the other three Anthology albums, just feel like a tacked on afterthought - which to fair, is what the new album is. I'm never one to say 'No more Beatles for me', but at the same time, the presentation of these materials is critical to how they are heard and understood. In this digital age, it is probably expected people will make their own playlists, and sequencing isn't important - but many fans are now back to collecting physical media like vinyl and CD - so it really does matter. The new volume opens with rowdy (but rough) early take of 'I Saw Her Standing There', and cycles through a number of early outtakes previously unheard. With so many outtakes previously released there are still some gems here, like the simpler version of George's 'I Need You' that hasn't had the swelling guitar pieces added yet or the brass-less (but very rocking) version of Paul's 'Got To Get You Into My Life'. The rest of the early takes though are rather unremarkable, more highlighting the Beatles studio process and banter than any takes of real value. It is fun to listen to, but there are rather few 'wow' moments. It should also have been peppered with some live tracks (maybe Shae Stadium from 1965 or the Japan tour of 1966) or even some left over 'live at the BBC' recordings. This would also give it more of the charm the original Anthologys had. The second half, heading into 1967 and beyond, has mostly been previously released. There are a handful of new tracks around the Magical Mystery Tour (1967) recordings, and these are probably the standouts of the new material. An early take of 'Baby, You're A Rich Man' before the song really found its identity is great, and the BBC recording of the rehearsal for the 'All You Need Is Love' satellite performance is a nice listen. Whether new material or previously released, one thing that stood out was how many songs are just instrumental backing tracks. Whilst these are interesting, it gets dull when there are too many in a row, and there are quite a few. The album also includes the three 'Threetles' singles - with 'Free As A Bird' and 'Real Love' newly remixed by Jeff Lynne. Using Peter Jackson's AI technology John's vocals have been isolated and tidied up, which is great - but the songs have also had major elements changed or removed - and that just doesn't sit well with some people. At least the originals are still available on Anthology 1 and Anthology 2. In some ways, adding the new Anthology Volume 4 was actually more problematic than applauded. Maybe the album isn't actually the problem? Maybe the real issue is the expectation of fans? |
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Led Zeppelin
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No review of the Live E.P. can't at some point address the elephant in the room, so let's get it out the way before we begin. Why is one of the most recorded artists of all time, releasing nothing but an E.P. worth of live material when they probably have oodles of concerts that could be released in entirety instead? The short answer is 'Who knows"?. Jimmy Page has not addressed this in any way, and considering this E.P. is to celebrate the 50th anniversary of one of their best albums, 1975's Physical Graffiti, it certainly makes ZERO sense when at least a single - if not double - album of material could surely have been released? The tracks included are all part of concerts that were previously included on the DVD release of 2003, so the complete audio of these concerts exists. We may never know, and that is where we will leave the question, instead now focussing on what has been included. Leading with the tasty slide work of Page on the band's loose interpretation of Blind Willie Johnson's 'In My Time of Dying', the 1975 performance is pretty flawless, and the sound quality impeccable - with a new mix better than the DVD of years ago. It is an odd opener, as it isn't particularly energetic. Bonham's drum work quickly becomes the star here, as it often does - but John Paul Jones doesn't take a break on bass either, with his pulse driving the song. Next up is another 1975 performance with 'Trampled Underfoot', and again JPJ shows off his versatility - but this time on keyboard. Page plays a wild improvised solo that wraps the song up nicely. Fast forwarding to 1979 for the next two tracks we hear a more restrained Led Zeppelin. In only 4 years the band had become a very different animal due to personal events, and the Knebworth recordings were their first live shows in a couple of years. Robert Plant's vocals do not sound as sure of themselves as the earlier tracks, almost showing a distance to the material. 'Sick Again' is a ragged performance, with him semi-screaming in places rather than refining his vocals. Closing the E.P. with the epic 'Kashmir' is an easy choice, but the performance again sounds somewhat subdued and restrained. Both tracks sound like the band is trying to re-find the magic of playing together. Obvious short running length aside, it is another quality Led Zeppelin product, as only perfectionist Page would allow the release of. The first two tracks are the band in their barnstorming prime, and the second - only four short years later - sound like a professional, mature band. The contrast works well, but still would have worked better with more material to compare making this essential rather than a novelty. |
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TheBigBlack's Metal Top 10 |
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Harakiri For The Sky
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Dawn Of Solace
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Cradle Of Filth
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Novembers Doom
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By album number twelve, it is clear Novembers Doom has chosen it's forever style of gothic doom metal and won't be changing anytime soon. Having said that though, the band is still looking for new ways to sound fresh within the boundaries it has set itself. The vocals here in particular are more varied than ever, with them soaring in places rather than always languishing in the dark corners. The music is also rather majestic at times, offering a little touch of light to shine through in places the band has never allowed it before. The album opens with the short and simple piano ballad 'June', and the almost whispered vocals create atmosphere and build anticipation. The album's title track is next, and although it opens in fairly predictable minor key, it soon opens into a quite uplifting chorus. Vocalist Paul Kuhr somehow invokes the spirit of both Devin Townsend and Burton C. Bell all at once, yet still sounds like himself. 'Ravenous' smashes out the speakers, and is a brutal show of force, showing no subtlety. It is a great ultra-heavy moment on the album, clawing the listener back into the darkness. 'Mercy' brings things back to more typical song by the band, with shorts acoustic passages interspersed within moments of crushing doom. 'The Dance' is similar, but moves faster, and really jerks your attention back after the dark dreams they were drifting into. At this point it is obvious the album is possibly the band's most diverse to date, and isn't all the usual slow chugging doom. 'The Fool' is another great example of one of the faster tracks. It doesn't sound like traditional death metal, as it still has that gothic flair Novembers Doom do so well - but it is certainly closer to a traditional sound than the band normally goes. 'Bleed Static' slows the pace again, and is a slow build to a gothic-rock style track. The chorus is big, but the pay-off doesn't really match it, and it is one of the lesser songs on the album - especially when dragging on for 8 minutes. Having said that though, it does manage an epic solo that deserves attention. 'Chatter ' and 'Dusking Day' are both good, but general nest nicely into band's usual song style. 'XXII' is the closer, and it has a great feeling of anticipation in the music. It feels like it is building to a crescendo, but not in a forced way - and then it ends with a bang, leaving only silence. It's a great way to wrap it up. Overall, this is an album that shows that a band, even 30+ years into their career, can still find new ways to invigorate the listener, without veering from what they are known for. It also worth noting that the legendary Dan Swano mixed the album, giving it a wonderfully organic feel, perfectly capturing the emotion of the songs. |
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Castle Rat
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Like many heavy metal sub-genres, doom metal treads a fine line sometimes between being weighty and fresh or instead just being a parody of itself and its forefathers. Album number one for Castle Rat, Into The Realm from 2024, almost felt a bit gimmicky - not so much based on its musical quality - but more so on its short 32 minute run time and overly shlock sword and sorcery visuals. There was also that fact the frontwoman The Rat Queen (Riley Pinkerton) reveals a lot more than just her vocal skills in the outfits she wears. Pulling off a worthy, or even better, second album was critical to the longevity of the band - mainly to prove they aren't just another tear drop in a sea of lost one-album wonders. The album opens with 'Phoenix I', a complete song, but also just an intro in function. If features some slick guitar harmonies and builds some anticipation and tension. Oddly, it fades out rather than ending abruptly, and all that building tension is broken by the white noise between it and next track 'Wolf I'. The first proper song on the album, it is slow and broody. It builds like a great oil painting, layering texture on texture until the entirety of the breadth of the album to come is on display. It's the type of song that on first listen doesn't sound like it should lead the album into battle, but by its close it shows why it is the most worthy warrior the album has. 'Wizard' is massive and beautiful and everything a good doom metal song should be. The riffs are big and fat, but never outstay their welcome. There is a chance the retro 70's thing could come off as a little on the nose, and at times it is a bit much - but for the most part it is done with such a driving urgency that it really works. Sure, there is some Black Sabbath worship here, but it is hard to play lumbering down-tuned riffs without that sound coming through at times. The ending solo is a perfect solo in every way, showing just how good new guitarist The Count is for the band. There are a few lumbering moments here, with 'Unicorn', the album's longest song being a good example. It isn't by any means a bad song on its own - but amongst twelve other songs with a similar style and tempo it does feel like it is on the verge of outstaying its welcome. It is hard to imagine listeners staying engaged at a live show, but that is probably why the rat-headed and scantily clad Rat Reaperess takes the stage to entertain, like some 1970s Hawkwind throwback. At the center of the album is 'Serpent', which is one of the more accessible songs, but the main reason for it deserving a mention is the Malmsteen-esque solo that ends the track. It is a true masterpiece, and is unfortunately faded out. There are quieter interlude moments like the short 'Path Of Moss' and 'Summoning Spell'. They are far from essential tracks, but they do break the momentum enough to allow the listener to come up for air. 'Sun Song' has a massive ending for the album, not just in isn't heaviness, but in the huge crescendo that it closes everything with. It is actually a shame that the final track, 'Phoenix II', is just another short and soft instrumental. Overall, although it is a well written and wonderfully executed set of performances, it isn't an album for every day. Like most doom metal you need to be in the right mood to appreciate it fully, and at just under 50 minutes it can be a demanding listen. That being said, doom metal shouldn't be an easy listen - and Castle Rat have proven on this album the reward is in the perseverance of the listener, and in their ability to stay focused on the rich and rewarding music whilst ignoring some of the gimmicky dress ups and album art. Some tracks are a tad samey, mainly due to the mostly monotone vocals and the tempo of many being the same, but they do have enough variance to stand apart once you get to know them. Doom metal megafans will probably claim there are more genuine doom bands out there, but are there any that are quite so 'fun' to listen to? Probably not. |
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Scour
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From the opening notes of 'Cross' Scour blasts from the speakers in a wall of noise. It is unrepentant black chaos, but in a perfectly American style. Phil Anselmo's vocals are brutal and pinpoint effective, switching from death-like growls and grunts to black metal scowls and screeches with perfect timing. Track 1 only lasts just over 2 minutes, but leaves the listener exhausted none the less - but if there is any doubt of what is ahead, you weren't paying attention. 'Blades' is slightly slower, and a bit more death metal, but is pummelling just the same. 'Infusorium' slows things down even more, but is still as heavy as hell, and the razor sharp guitar tones and demonic vocals embrace the listener in a hellish landscape. There are strange moments of clarity here, like the interludes 'Ornaments' and 'Contaminated', but they feel like they are here more to allow the listener a chance to breath than to showcase any music. The songs are short and tight and all under 4 minutes, and track after track the hated filled assault blows away the listener. It is hard to nail down the particular style with the songs alternating between death and black metal randomly, and often. With tracks like 'Evil', 'Devil' And 'Hell' there is no questioning the intent. The title track manages to actually get a bit of a groove into the chaos, but for the most part the track blisters like all the others. There really isn't much variation here, so by the final track 'Serve', which is a stand-out, a lot of the album has passed by in a blur. By design, isn't meant to dazzle with its musicianship and there are scarce few guitar solos, so don't come here looking for a feel good album - this is about sheer brute force and the power and energy it evokes when listening to it. It is like a mosh pit for your ears and soul, and when the just under 40 minute album ends you'll have the mental bruises to show your dedication. Then you'll press play again. |
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Blackbraid
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An Abstract Illusion
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Testament
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In metal circles Testament need no introduction. They are thrash royalty, and since the 90s have even dabbed in more extreme genres on more than one occasion. Para Bellum, album number 14, has a mixture of different styles but never sounds too much like a rehash of old ideas. The album opens with 'For The Love Of Pain' and is an all-out borderline death metal assault very much in the style of the bands late 90s albums. Chuck Billy growls and belches and even screams with a focus and brutality that sounds genuine, and the song saves no space for any quieter moments. The chorus absolutely pummels with blast-beats like no Testament track ever has before, and this is potentially their heaviest song ever. A great album opener, but one that takes time to absorb. 'Infanticide A.I.', the album's lead single, also features some break-neck drummer and riffing - but once it gets moving it is unmistakeably a modern Testament track, following their usual style and sound template. This doesn't make it bad by any stretch, as it is easily one of the catchiest tracks on the album, incorporating aspects of many styles into its three and half minute run time. 'Shadow People' slows things down to a more manageable rhythm, and the songs subtler vocals allow the riffs to really breathe - but only until tempo changes take you by surprise. As always the twin leads of Alex Skolnick and mainstay Eric Peterson pepper the songs with amazing solos and flourishes that show virtuoso agility, but always in perfect harmony with the song being played. Whereas a thrash guitarist like Kerry King could cover these songs in chaotic solos that exhibit nothing but brute force and power (a hallmark of Slayer), these two men instead still produce solos of beauty in the environment the songs prove for them. 'Meant To Be' is the obligatory ballad, and is a fairly paint-by-numbers affair, but it is possibly one of the band's best ballads. It is great to hear that well into his 60's Billy can still sing with a soft voice to great effect. Orchestrated, it ends with some great twin guitar harmonies and a beat reminiscent of Metallica's 'Halo On Fire'. 'High Noon' and 'Witch Hunt' use a few more brutal metal influences again, but still have a thrash groove in places that allow the songs to find an identity of their own, and as always the vocal variations that Billy has become known for are evident throughout. 'Nature Of The Beast' has an old school 80's vibe to it, and is probably the closest to 'classic' Testament here. Even the production is a little more restrained as to not suffocate the listener. 'Room 117' follows suit, and the two songs actually sound a little out of place on first listen - but followed by the amazingly catchy 'Havana Syndrome', this trio start to become the champions of the album for long time listeners. The album may have benefitted from breaking these three tracks up and peppering them in amongst the earlier, heavier songs. The title track ends the album and contains a good range of styles seen on all the other tracks. It is a worthy song that doesn't stand out as anything particularly special to be a closer, but it does fade into a nice solo guitar line that closes the album with a wonderful gentle moment. When a band has as many albums as Testament does, some of which are regarded as classics of the genre, it is easy to dismiss new ones as just more to pour in an over-flowing bucket. It is also easy for the band to fire up 'auto-pilot' and produce what they know best with very little effort. This album proves it doesn't have to be that way, as Testament have added something worthy to their discography that won't just be an album with songs that pop up on random and are forgotten the moment they end. Some of these tracks are top tier, and the album as a whole stands up as one heir better in recent years. Listening to your favourite band, you want every moment to remind why it feels so good to be a fan, and various moments here do this with little to no effort. |
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Coroner
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Making a comeback album is always going to be tough - but doing it 32 years after your last one adds extra layers of difficulty. Not only is the scrutiny intensified, but the 'classic era' of a band is even more revered the farther back in the past it is. In a time where reunion albums are turning up everywhere Coroner has shown that old dogs don't need to learn new tricks - they merely have to modernise their old ones. Starting with the moody instrumental intro 'Oxymoron', the track sounds like the band breathing new life into itself. 'Consequence' blasts into action, and the pristine production is immediately apparent. Every note is clean and clear, and the sound envelops. Within moments the bass drums are pummelling, and the vocals of Ron Broder cut through. It is still that same voice from the 80s, but it is older and weatherworn - like the years away have been hard. The chorus introduces unexpected electronic elements before heading into a lengthy subtle instrumental passage, and it is clear the band has not forgone the progressive elements they were always known for. It even leaves room for Tommy Vetterli to rip through a classic metal solo. Overall it is an amazing album opener that shows elements of everything they were once known for, and begs the question - Can the rest of the album match this level of perfection? Spoiler alert: 100%. 'Sacrificial Lamb' slows the album down, and instead of speeding along it lumbers. It is not without charm through, and before the vocals even start the perfect finessing skills of the band is on display. It has some great heavy moments and is perfectly placed. 'Crisium Bound' is pure Coroner, showcasing their odd timing and song structures, hallmarks they were always known for. The syncopation in the verses is particularly dazzling, and the song builds to a big finish. 'Symmetry', the album's centrepiece is beyond mere thrash metal. It is a masterclass in the metal riff, full of complex, but still hooky patterns. The second half of the album reveals itself a little slower than the first, as it is full of complexity that takes a few listens. The down-key changes in 'Transparent Eye' are unfathomable at first, sounding like a studio effect - but make no mistake, they are no tricks here. 'Renewal' is the fastest and heaviest song here, but Coroner have resisted the urge to creep into blast beats or similar, sticking to a distinctly vintage thrash style throughout. 'Prolonging' is the shortest track on the album, but closes it well - carefully placing an organ solo as the hero of the track. Yes, you did read that correctly. An organ solo. It is a perfect and unexpected end to an album where the songs are complex, but still somehow written in a way they makes them easy to digest and appreciate. Whilst repeat spins reveal more detail, you are hooked on Dissonance Theory from the first listen - in a way old school thrash once did. Coroner have not only captured the style perfectly, but also the spirit, and sometimes that is the most important part. |
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TheBigBlack's Metal Honourable Mentions |
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Bruce Dickinson
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Metallica
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The sixth deluxe reissue by Metallica, the Load boxed set is possibly the best yet - with a range of content that is generally in excellent sound quality. When the original Load album was released in 1996 Metallica had built a following and reputation for themselves that was so large they were now a household name. The Metallica album (1991) had sold millions of copies, which afforded them the luxury of recording a lot shows and other material. The box features the best of this, and there are certainly some surprises. The original album is remastered, but to be fair - the production was so crisp on the original release that it is barely noticeable as any different. The 'Mama Said' single is packaged as a collectable on 7'' picture disc, but with only a single b-side it doesn't really hold much interest beyond the nostalgia value of those that were collecting singles at the time. There are five whole CDs of riffs, demos, and session outtakes (named 'Shadowcast') that are fascinating to listen to, allowing the listener to hear the songs coming together over a number of months leading up to their recording. Sometimes the songs are arranged differently, or feature a vastly different lyric or vocal style. It is interesting hearing the songs coming together and to hear how some of the choices made affect the final product, choices that generally always seem to be the correct ones. B-sides and rarities from the period are included in the box, and the addition of two more songs recorded during the rehearsal for Lemmy's 50th birthday are great to hear. 'The Outlaw Torn' is finally available in its complete form for the first time since 1996, and the only live version of 'Mama Said' ever played (on a U.K. TV special) is also here. There are four complete concerts included, and the sound quality of each is generally excellent. During the period many of the concerts featured a very similar setlist, so the four shows are spread across a range of dates that vary the shows as much as possible. The first show is from as far back as August 1995, on the Monsters Of Rock tour and features a very 'black album' heavy set list. It's a good show, but the band does feel a little on autopilot. This is a show they have played many times before, and apart from the couple of new sings snuck in we heard better shows in the Metallica boxed set (2021). There is a great club show at Slim's recorded during the warm-up for Lollapolooza 6. It is raw and fun, and the band are clearly not taking things too seriously, using it to try out a few new songs. A full Lollapolooza set is next, and the sound and performance are punchy as hell. It is a truncated 'festival' setlist, but is a really good representation of Metallica live circa 1996, perhaps the best in the box. Apart from a couple of new tracks, it is pretty much a 'greatest hits' performance, but the real gem here is the version of 'Overkill' as a finale that features Lemmy himself. Three months later we hear the band in Norway, and this is a full concert with a the best representation of a fairly standard setlist of the near year of touring the album. By Metallica standards it isn't the best made show ever played, but it is still a great listen that is well recorded and mixed. The final 'concert' included is actually a mixture of tracks (in various qualities) from a number of shows on the Poor Touring Me tour. It's a great way to capture a cross-section of standout performances, although the sound variations are a little jarring at times. Overall the box is loaded (no pun intended) with great content that begs repeat listens. The only real complaint stems from the lack of variety in the setlists themselves. Metallica have once again shown they are the gold standard in deluxe boxed sets, and will no doubt continue to do so for a few more reissues to come. |
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TheBigBlack's Metal Dishonourable Mentions |
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Katatonia
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