The Best Of 2019
As I’ve mentioned in the past, this is a personal list of my favourite releases, and they’re in no particular order of preference.
Queensrÿche – The Verdict (Century Media Records)
The Todd La Torre fronted version of the band hit the ground running with their self titled release from 2013, but seemed to lose direction and drive on their 2015 follow up release “Condition Hüman”. Thankfully “The Verdict” has the band back on track in a major way. Almost every track here rivals the high standard of their 2013 release, but with an obvious progression that shows growth. Highlights worth mentioning are “Propaganda Fashion”, “Dark Reverie” and “Blood Of The Levant”.
Big Wreck - ...But For The Sun (Warner Music Canada)
It baffles me why Big Wreck isn’t one of the biggest hard rock bands of the modern age. For more than twenty years, the band has delivered with every album, and their latest lives up to expectations. Opting for a harder and heavier edge, while retaining the hooks, tracks such as “Voices”, “Locomotive”, “Alibi” and “One More Chance” demonstrate the band’s ability to deliver heavy rock better than most.
Sights & Sounds – No Virtue (Static Era Records)
I wasn’t sure about this album upon first listen given how different the album sounds compared to 2009’s “Monolith”. But given it’s been ten years between full length releases, it’s not surprising. But the album has grown on me, alongside the diverse range of influences the band has drawn from to deliver ten very diverse songs. The picks of the album can be found “Resurface”, “Serpentine” and the melodic and subtle “Undertow”.
No-Man – Love You To Bits (Caroline International)
The imagery on the cover kind of gives you an idea of how much No-Man have moved sound wise, with the duo (Steven Wilson and Tim Bowness) incorporating their downbeat alternative rock into a more dance orientated direction. Comprising of two long pieces, there’s no point in favouring one over the other. Instead, this is an album that’s best enjoyed as a whole.
The Wildhearts – Renaissance Men (Graphite Records)
In the battlefield of rock ‘n’ roll, The Wildhearts are true survivors. Ten years after the release of their last album (2009’s “¡Chutzpah!”), the band have reunited with their “Fishing For Luckies” line-up from 1994, and returned with a vengeance on the aptly titled “Renaissance Men”. The album is loud, heavy and as catchy as hell. The title track “The Renaissance Men” is a high spirited anthem that soars above the volume, while the slow burning “Diagnosis”, “Emergency (Fentanyl Babylon)” and “My Side Of The Bed” are sure to go down an absolute storm during the upcoming tour.
Tesla – Shock (Ume/Universal Music Group)
After three decades in the game, you can’t blame a band for shaking up the formula and trying something new. And that’s exactly what Tesla offer on “Shock” – something different. That difference is Def Leppard’s Phil Collen, who brings out the best in the band, but also gives the band a sound that is fresh and vibrant, and a litte Def Leppard sounding at times. While a couple of tracks miss the mark, tracks such as “You Won’t Take Me Alive”, “Shock”, “The Mission” and the blues based “Tied To The Tracks” hit the bullseye, and make the album worth checking out.
Duff McKagan – Tenderness (Universal Music Enterprises)
For some artists, the release of a roots/Americana/country influenced album that is steeped in social and political lyrics would ultimately signal a death of their career. But if there’s anyone that can pull it off with style it’s Duff McKagan. Backed by Shooter Jennings and his band, “Tenderness” is an album that requires time for the true nature of the songs to sink in. The title track really stands out as a McKagan classic, while “It’s Not Too Late”, the rocking swagger of “Chip Away” “Feel” and the emotive “Parkland” are where McKagan excels as a songwriter.
Alter Bridge – Walk The Sky (Napalm Records)
Six albums in, and Alter Bridge are still able in top form, and further cementing their place in one of the world’s great hard rock bands. Obviously with as many as five previous albums under their belts, there’s no real change in the formula that’s worked so well in the past. While this could work against most bands, it’s worked in Alter Bridge’s favour. There’s not a real lot not to like here, except that it’s possibly a couple of songs too long. Regardless of this, “Wouldn’t You Rather”, the straight forward rocker “Native Son” and the soaring closer “Dying Light” are examples of Alter Bridge in top form.
Steve Hackett – At The Edge Of Light (Inside Out Music/Sony Music)
No top list of the year would be complete without a progressive rock album of some sort, and this year, Steve Hackett takes an honourable place amongst the best. And this is one album that’s hard to pin down. Throwing together a bit of everything Hackett has done in the past, along with some gospel moments and some world music, Hackett delivers something new and exciting to the fore, rather than relying on past glories. “Under The Eye Of The Sky” and the conceptually based trio at the end of the album (“Descent”, “Conflict” and “Peace”) are proof enough that Hackett is still relevant in today’s progressive rock scene.
Soilwork - Verkligheten (Nuclear Blast)
Soilwork’s on form streak continues through to the band’s latest effort “Verkligheten”. Alternating between heavy melodic rockers (“The Nurturing Glance”, “Stålfågel” and “The Wolves Are Back In Town”) and their melodic death metal front (“Bleeder Despoiler”, “When The Universe Spoke” and “Needles And Kin”), Soilwork manage to keep things interesting throughout the album, and keep listeners engaged throughout proceedings.
Top Ten Songs For 2019
As has been said in the past by yours truly, the top ten below is allocated to albums that have some great songs, but fall a bit short as a whole.
Death Angel – Revelation Song (From “Humanicide” on Nuclear Blast)
“Humanicide” is a solid album from Death Angel, but sounding a little too familiar given their last couple of releases. Having said that, “Revelation Song” is a definite stand out from the pack with its oh-so-subtle progressive structure, and the mid paced tempo that allows for a little more breathing space for solos. The album is a bit formulaic, but it does have some moments where the band breaks free of the routine. This is a perfect example of this.
Dream Theater – Pale Blue Dot (From “Distance Over Time” on Inside Out Music/Sony Music)
I love Dream Theater, and there have been some albums that have blown me away, some that haven’t. This is one of those albums that did do it for me. The musicianship is there, but song wise, the band appear to be autopilot. Expect for “Pale Blue Dot”. It’s on this track that the band manage to add a touch of sole and variation to the song writing mix. Sure, it’s a little chaotic and packed with everything under the sun in terms of solos, but it’s a far cry from the rather safe and predictable material heard elsewhere on the album.
Whitesnake – Heart Of Stone (From “Flesh & Blood” on Frontiers Music SRL)
As much as I like David Coverdale, I can’t help but feel that Whitesnake is close to wearing out their welcome. Coverdale’s vocals are not what they once were, and it’s become clearer with every album. But every now and then, he’s does show some signs of inspiration. “Heart Of Stone” is a good example of what the kind of material Coverdale should produce here on in. Vocally, he’s not trying to reach outside his current range, and the music is a step back to the blues influenced rock of years before.
Leprous – Below (From “Pitfalls” on Inside Out Music/Sony Music)
“Pitfalls” is far from a disastrous album, but once that just doesn’t seem to resonate with me as much as their past releases. I commend the band’s move to new territory, but I just can’t seem to commit many to the some to memory. “Below” does however remain a favourite. Slow building, and definitely vocal driven, the song is a sweeping epic that is slower paced, but punctuated with a heavy string presence and gentle tempo changes.
S.O.T.O. – Dance With The Devil (From “Origami” on Inside Out Music/Sony Music)
“Origami” is a solid third outing for S.O.T.O., but hardly an album that breaks new ground. Again, I like to hear growth and progression, and unfortunately I’m not hearing much of either here. But if there’s a track that I enjoy every time I give the album a spin, it’s “Dance With The Devil”. There’s some tight riffing and drumming on offer, but it’s the solos from Tony Dickinson and Ron “Bumblefoot” Thal that provides the fireworks here. Solid song, and Jeff Scott Soto is on target here, but it’s the guitarists that steal the show here.
Misery Loves Co. – Dead Streets (From "Zero” on Black Lodge Records)
With a long nineteen years between releases, it’s hard not to have expectations. And I had my expectations set high for this release. And the band also fulfilled them, so much so that this almost sat in my top ten. But the album is a little scattered, and inconsistent to truly feel like it flows. “Dead Streets” is a track that kind of bridges their first two albums with its driving industrialised rhythms and melodic choruses, and a firm favourite from my first listen. I hope the band continues, and builds upon this rather impressive return effort.
KXM – Lightning (From “Circle Of Dolls” on Rat Pak Records)
It’s no real surprise upon listening to the new KXM that the band has once again push their sound beyond the direction of their first two albums, but it’s not a direction I find easy to warm to. The arrangements appear to be somewhat sparse and experimental, and at times the trio seem to be pulling in different directions. “Lightning” is one of the few experiments here that seems to work in their favour, with George Lynch’s guitar work really the highlight here. Maybe next time around it’ll have a different effect on me (Provided there is a next time).
Black Star Riders – Underneath The Afterglow (From “Another State Of Grace” on Nuclear Blast)
Like the above submission, this album almost made my top ten, but I can’t help that feel like something is a little missing here. What that this is, I just don’t know. But regardless of the missing ingredient, there are some truly great tracks on this album. “Underneath The Underglow” is one such track that seems to sit between Black Star Riders brand of hard rock, and Ricky Warwick’s past in The Almighty. As you can image, it’s the best of both worlds, as stands out for that reason.
Silversun Pickups - Songbirds (From “Widow’s Weeds” on New Machine Records)
I think the days of Silversun Pickups recapturing the highs of “Swoon” are long gone, but I’d like to think they could get somewhere near it with each new release. Unfortunately, “Widow’s Weeds” is patchy, and there are some moments of highs, but there’s also just as many lows too. “Songbirds” may not be totally original and new, it does at leave have some drive, jagged instrumentation and a huge chorus. It’s a shame the album does add a few of these kinds of tracks in place of the few underwhelming tracks.
Slipknot – Birth Of The Cruel (From “We Are Not Your Kind” on Roadrunner Records)
I actually bought this album on my son’s recommendation, and while I’ve enjoyed some of the band’s work, their two previous releases did nothing for me. So after giving the album a good listen, I came to the conclusion that the band has certainly produced a stronger album, but not a completely consistent one. “Birth Of The Cruel” could be viewed as an easy pick purely due to its aggression and somewhat throwback sound, which isn’t a bad thing.
Best Book Of 2019
Greg Prato - King’s X: The Oral History (Jawbone Press)
Despise high praise and admiration from both fans and musicians alike, King’s X has never hit the big time, which is a shame given the band deserve it. Celebrating some thirty odd years of making music (As a band, and as solo artists), author Greg Prato teamed up with the trio to put their story down on paper. And what a story it is. The story covers everything from the band’s formation to the current day, and literally every musical piece the band has released is placed under the microscope, making for a real page turner for fans. Prato has done an amazing job of keeping the story on track, and the band themselves put down a compelling tale that documents the band’s highs, lows and mix of good and back luck. But despite the band’s limited success, there’s no bitterness of what could or should have been, but there’s plenty of gratefulness and positivity on what they have achieved, and that’s what really keeps the reader engaged throughout. Lines like ‘A must have for fans’ is always thrown around, but in this case, it definitely applies.
© Justin Donnelly.
