The Best Of 2021
2021 was pretty much like 2020 with the world in the grip of the pandemic, so there’s nothing new to add there. But I guess one significant difference was that I bought more C.D.’s than last year!
As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.
Todd La Torre – Rejoice In The Suffering (Rat Pak Records)
After three albums with Queensrÿche under his belt, vocalist Todd La Torre has ventured out on his own solo release, and what a release it is. Unlike his work with Queensrÿche, “Rejoice In The Suffering” is a straight forward heavy metal album, and it’s just the kind of vehicle suited to La Torre’s talents. Hard and heavy, but with a modern sheen and a sharp production, La Torre’s solo effort brings to mind Judas Priest and Nevermore, but never sounding like a carbon copy at any point. The opening track “Dogmata” is a good indication of what’s on offer, and “Vanguards Of The Dawn Wall”, “Pretenders”, the mid paced “Darkened Majesty” and “One By One” follow through in punishing form. Far from being one dimensional, La Torre showcases his impressive range on the emotive “Crossroads To Insanity”, and veers more towards the progressive metal side of things on the powerful “Vexed”. There’s no mistaking La Torre’s talents here. Here’s hoping some of this carries through to the next Queensrÿche.
Armored Saint – Punching The Sky (Metal Blade Records)
Armored Saint may be the underdogs of the metal scene, but I’ll be damned if I didn’t think their last album (2015’s “Win Hands Down”) wasn’t the greatest release of that year, and up there as one of the band’s best. So I eagerly awaiting what the band would come up with this time around. And as per usual, the band has well and truly delivered. The band come out in true fighting form with “Standing On The Shoulders Of Giants”, and continue their winning streak with “End Of The Attention Span”, “Missile To Gun”, the biting “Bark, No Bite” and the metallic assault of “Never You Fret”. Armored Saint have always been one of the more reliable and consistent bands in the scene, and fans can count on “Punching The Sky” giving listeners exactly what they want.
Jason Bieler And The Baron Von Bielski Orchestra - Songs For The Apocalypse (An Auditory Excursion Of Whimsical Delirium) (Frontiers Music SRL)
As much as I am a fan of Saigon Kick, I didn’t always dig Jason Bieler’s solo work. Sometimes it was the production, and sometimes it was the songs. So I approached this album knowing that it might not hit the mark for me. Well I was wrong, and in a good way! Bieler has thrown literally everything in the mix here, and invited everyone to the party to join in, and the results are strange, but amazing at the same time. “Apology” is like a dense and heavy pop song that is dark as it catchy, while David Ellefson’s prominent bass on “Bring Out Your Dead” adds an air of heaviness the clashes against the pure pop nature of Bieler’s vocal melodies. And it’s this odd mix of styles that shouldn’t work that really gives the album a unique feel, and brings out a whole new side to Bieler previously unheard before. Other tracks of note include “Down In A Hole”, “Crab Claw Dan” (Both bringing to mind “The Lizard” era Saigon Kick), “Anthem For Losers” (Remember Shuttlecock?), “Alone In The World” (Featuring Jeff Scott Soto) and the instrumental “Horror Wobbles The Hippo”. On the strength of this album, I sure hope there’s more to come from Bieler.
Del Amitri – Fatal Mistakes (Cooking Vinyl)
I was surprised just how low key the return of Del Amitri was after so many years. In fact I wasn’t aware of their return to the studio until I stumbled upon this album, and it was a pleasant surprise. Typically grim lyrically, and a little more pop/rock orientated than their previous last couple of releases, the album does time to grow on you. But once it does, there’s no denying tracks such as “You Can't Go Back”, “All Hail Blind Love”, “Losing The Will To Die”, the poptastic “It's Feelings” and personal favourites “I'm So Scared Of Dying” and “Missing Person”. The stripped back “Lonely” is something a bit different for Del Amitri, which showcases growth in their time away, while the slow building “Nation Of Caners” makes for a perfect closer. “Fatal Mistakes” is not an immediate release, and a far cry from the sound that was all over the band’s well known releases. But if you give this album time, it’ll soon reveal itself in all its cynical, self depreciating glory.
The Dead Daisies – Holy Ground (SPV/Steamhammer/Spitfire Music)
As a fan of The Dead Daisies, I was disappointed when John Corabi left the band. But I had no doubt that the band would return with a new vocalist, and deliver another knockout. What I didn’t expect was the recruitment of Glenn Hughes. I was really excited by the joining of the two (I’m a huge Glenn Hughes fan too!), and they didn’t let me down one bit. Again, this is another one of those albums where I could reel off every number on the album as a track worth checking out, but that would be counterproductive. But I will make note of the rocking opening number “Holy Ground (Shake The Memory)”, the driving soul infused “Like No Other (Bassline)”, the heavy “Bustle And Flow”, the straight forward rocker “Unspoken” and the epic closer “Far Away” (This one is a personal favourite). With an album as good under their belts, they would be short-changing themselves and fans if there wasn’t a follow up in the future.
Alice Cooper – Detroit Stories (Ear Music/Sony Music)
As a long time follower of The Coop, you get used to the ups and downs of his studio releases. For every classic, there’s another that doesn’t quite hit the mark. But thankfully, “Detroit Stories” is on par with the excellent “Paranormal” (2017), even if it’s gear further towards the classic garage rock sound of the Alice Cooper band’s early sound. Opening with the cover of Lou Reed’s “Rock & Roll”, Cooper sets the tone of the album sound wise, and gives listeners a clear idea of what to expect throughout the album. The 60’s influenced “Our Love Will Change The World” is fun, while “$1000 High Heel Shoes” and “Independence Dave” injects a bit of funk and soul to the mix. Favourite tracks include “Shut Up And Rock”, “East Side Story” and “Sister Anne”. This is a throwback release, but rocking all the same, and a whole lot of fun. Long live The Coop!
Steven Wilson – The Future Bites (Caroline International/Arts & Crafts)
Steven Wilson has never been afraid to push his music beyond listeners perceptions, and “The Future Bites” truly does that. Opting for a more keyboard driven approach over guitars, the album is certainly one of Wilson’s more accessible solo efforts to date, and yet remains very typical of what fans would expect of Wilson at its heart. Shades of Porcupine Tree’s “Stupid Dream” can be heard in “12 Things I Forgot”, while “Self”, “Eminent Sleaze” and “Personal Shopper” are experimental pieces of modern dance/pop, but underlined with biting lyrics that give the tracks an edge. Of course, not everything on offer here is alien and new, as both “Man Of The People” and “Count Of Unease” mine more familiar territory with their dreamlike music backdrop. It took a while to truly absorb “The Future Bites”, but the end result is an album I can accept and enjoy immensely from Wilson.
Liquid Tension Experiment – Liquid Tension Experiment 3 (Inside Out Music/Sony Music)
After much talk of making a follow up to their 1999 release, Liquid Tension Experiment finally delivered a new opus, and it was worth the wait. My tastes have obviously changed in the two decades since they last delivered an album, but I actually enjoyed this album. As per usual, the album opener with a blistering track that shred at a hundred miles an hour in “Hypersonic”. The band maintain a sense of melody that can sometimes missed in this kind of music, but all the while amazing with their technical prowess on their chosen instruments. From here, the band keep things varied throughout, with “Beating The Odds” and “The Passage Of Time” keeping things melodic and rocking in parts, and “Liquid Evolution” and “Shades Of Hope” slowing down the speed for more chilled atmospherics. Capping off the album in fine form is the epic “Key To The Imagination”. This isn’t the kind of album I’d listen to always, but for this style of music, I’d choose this as there’s precious few that do it as well.
Times Of Grace – Songs Of Loss And Separation (Wicked Good Records)
In the decade since the release of Times Of Grace’s Debut, vocalist Jesse David Leach has rejoined Killswitch Engage, which meant that a need for a second release from seemed somewhat redundant. Not according to the duo it would seem, as “Songs Of Loss And Separation” proves. Rather than mine the metalcore angle of Killswitch Engage, the pair (The other half being Adam Dutkiewicz) veer more towards an alternative/post-rock/metal sound on their second album together, and it works like a charm. The opener “The Burden Of Belief” is an early highlight with its country flavoured musical backdrop, while the emotive “Bleed Me” follows a similar path direction wise. Elsewhere the band up the aggression at times on “Rescue”, the blues tinged “Medusa” and “Currents”, successfully avoiding and Killswitch Engage comparisons, before closing out the album in perfection with the duo of “Cold” and “Forever”. Here’s hoping Times Of Grace continue to exist in the future.
Ricky Warwick – When Life Was Hard And Fast (Nuclear Blast)
Ricky Warwick has rarely let me down with his solo efforts. And sure enough, his seventh solo effort is another winner. Never one to stay too far from the path laid down by his previous efforts, “When Life Was Hard And Fast” features plenty of rocking tunes, while a whole host of friends to help out. The opening trio “When Life Was Hard And Fast”, “You Don't Love Me” (Featuring Thunder’s Luke Morley on solo duty) and “I'd Rather Be Hit” (With Andy Taylor on the guitar solo) get the album off to a hard rocking start, while the cover of Willy DeVille’s “Gunslinger” and the faster paced “Never Corner A Rat” inject a bit of a punk influence into the mix. The acoustic “Time Don't Seem To Matter” is heartfelt, and the kind of material Warwick excels at, leaving the single “Fighting Heart”, “Still Alive” and the self explanatory “You're My Rock 'N' Roll” rounding up what is another Warwick classic to add to his every growing catalogue of first class releases.
Top Ten Songs Of 2021
I bought a few E.P.’s this year, so they don’t qualify as albums, so it gives me an excuse to include them here. The rest is made up of album that didn’t quite mark the grade, but are otherwise great album’s worth checking out.
Billy Idol – Bitter Taste (From “The Roadside EP” on Dark Horse Records)
Being the Billy Idol fan that I am, there was no question about me buying this new E.P. But prior to purchase, I had no idea what to expect. But what I got was a pleasant surprise. The E.P. is a mix of all songs, but there’s no doubt that that “Bitter Taste” was the stand out cut. While the song doesn’t sound anything alike to “Summer Running” (From 2004’s “Devil’s Playground”), it does bring to mind the ‘out of left field’ feel that the track had on me. In layman’s terms, while I feel there are some great songs on the E.P., I feel that this is modern day Idol at his best. I’m looking forward to what’s next.
The Night Flight Orchestra – Change (From “Aeromantic II” on Nuclear Blast)
The Night Flight Orchestra’s latest effort isn’t a bad album at all, and perhaps I need to give it some more time, but I can’t help but feel there’s a couple of filler tracks on the album that made it miss my top ten. But one track that really stood out for me was “Change”. The song doesn’t have the biggest and catchiest chorus, but it does have that heavy handed keyboard presence that can’t be ignored, and that solo that weaves into the mind after a few listens. It’s unlikely to be one of the band’s well known songs, but it’s a very meaning of a deep track on my mind.
Evile – Gore (From “Hell Unleashed” on Napalm Records)
I was chomping at the bit to hear Evile’s comeback album after eight long years away. In terms of modern day thrash acts, Evile was my favourite. And musically, the band didn’t disappoint one bit. The music is fast, technical and more lethal sounding than ever. The sticking point for me were the vocals. Sure, Ol Drake delivers a solid performance, but I really missed Matt Drake’s approach at the microphone. But despite this, I still enjoyed the album, particularly “Gore”, which is a great example of the band’s relentless approach to skull crushing forward thinking thrash. Overall “Hell Unleashed” was a good album, but just misses the mark for me on the vocal front.
The Wildhearts – 21st Century Love Songs (From “21st Century Love Songs” on Graphite Records)
This album, much like the band’s previous effort (2019’s “Renaissance Men”) is a sonic assault to the senses for the moment you hit play. There’s a lot to take in, and there’s virtually no reprieve throughout the tracks on offer. I love The Wildhearts, but the direction on the last couple of releases is a bit suffocating at times. But there’s plenty of gems to be found here, and it’s the title track that will earns its place on my list this year. There’s a catchiness in the chorus amongst the chaos, and there’s a ton of riffs to pick up on, and the dual vocals is a nice touch too. It’s a raucous singalong that sounds like it’s about to collapse under its own weight, but somehow keeps on track. Given the band’s rocky history, I’m just thankful they managed to release a new album this year.
Moonspell – Common Prayers (From “Hermitage” on Napalm Records)
Moonspell really are unpredictable. The change from one album to the next keeps listeners on their toes, and can often mean that fans will enjoy selected albums from the band’s discography, rather than an era. With the band’s latest release, I’ll admit I was underwhelmed. But over time, the has grown on me, but not as much as their previous release (2017’s “1755”). But it has to be said that Moonspell don’t make bad albums, just different ones. And to these ears, the album is a mix of everything they’ve done, all mixed into one album. One of the good examples of this is “Common Prayers” which incorporates heavy guitar riffs, melodic/aggressive vocal passages and sweeping keyboards, all of which showcase the band’s full scope of sounds in one. “Hermitage” is a good album, but falling short of the brilliance the band have clearly achieved in the past.
Tomahawk – Predators And Scavengers (From “Tonic Immobility” on Ipecac Recordings)
2021 boasted quite a few reunions and returns, and Tomahawk was another such act that re-emerged after a lengthy hiatus to release their fifth album “Tonic Immobility”. The album is another mixed bag of the odd and the wonderful, but from the first moment I heard the song, “Predators And Scavengers” is a firm favourite. Mike Patton provides vocals/sounds that sound slightly off when blended with the galloping riff in the backdrop, but it works exceeding well at retaining that off kilter appeal that only the band can produce.
Myles Kennedy – The Ides Of March (From “The Ides Of March” on Napalm Records)
Myles Kennedy’s second solo release is a completely different beast to his debut “Year Of The Tiger” (2018), but then that no real surprise given the circumstances behind the recording of the album. As you’d expect, “The Ides Of Arch” is very much a rock album, and a good one at that. The title track earns its place as the favourite with Kennedy allowing the song to stretch beyond the four minute mark, which in turn gives the album its centrepiece. Kennedy does an incredible job here on the guitar and vocals, proving he really is at his prime. Overall this is a great song, lifted off a terrific album.
Exodus - The Fires Of Division (From “Persona Non Grata” on Napalm Records)
Having Exodus back is a great thing, and I was really looking forward to this new album. But even though I’m still getting familiar with the album, I feel it’s a little too long, and Steve “Zetro” Souza’s vocals grate after a while - Hence it missed the top ten. But it’s not all bad news, as there’s plenty of killer tracks on offer here. One such track is “The Fires Of Division”. This mid-paced track has the technically and brutality we’ve come to expect from Exodus, but with enough space in the track to allow the riffs to stand out alongside the bass and drums, and it’s one of the better examples of “Zetro” providing variation on the vocal front. “Persona Non Grata” is a good album from Exodus, but like latter day Death Angel, they’ve possibly offer more without realizing that sometimes less is more.
Big Wreck – High On The Hog (From “7.1” on Warner Music)
The new release from classic heavy rocker’s Big Wreck is an E.P., so it doesn’t qualify for the top ten. And that’s a shame because all five on offer here rock. Choosing a favourite was a tough task, but I’m going with “High On The Hog”, which doesn’t hide the Led Zeppelin influences within Ian Thornley, who delivers some of best riffs not to be written by Jimmy Page. But aside from the riffs, there’s also plenty going on in the back, with some great bass and drum work underpinning everything. Big Wreck are such a great band, and “7.1” didn’t let me down one bit.
Shihad – The Wreckage (From “Old Gods” on Warner Music Australia)
I’ll admit I’m still getting into Shihad’s new album given it was released so late in the year, but I already know that I’m really digging the guitar tones in a big way, and the band seem to be really on things with this album. Almost everything on the album sounds great, but there’s that edge of heaviness and sinister edge on the tones of the verses of “The Wreckage” that I’m really picking up on and really like. It doesn’t have the Killing Joke vibe of the last album, but more of a big heavy guitar/bass bottom edge and a clarity in the production which Shihad seem to do really well. Another great album, that I’m sure could have been in my top ten had there been more time to let it sink in.
Best Book Of 2021
Rainbow in the Dark: The Autobiography - Ronnie James Dio with Mick Wall and Wendy Dio (Permuted Press)
It’s another year, and another biography comes out that gets added to the yearly list. This year it’s Dio’s autobiography that’s been a long time coming. Written by Dio himself several years before passed away, and filled out with extra details by Mick Wall and fleshed out by personal perspectives by wife/manager Wendy Dio, the book covers extensively Dio’s early years and his pre-fame bands (Ronnie And The Prophets, The Electric Elves and Elf) before joining former Deep Purple guitarist Ritchie Blackmore in Ritchie Blackmore’s Rainbow. From here, most will know the story, only this time told from Dio’s perspective. I won’t spoil the details on what’s contained, but it’s certainly a no-holds-barred opinion on who he joined, played with and was dismissed from the band. The same details surround his joining of Black Sabbath, before launching his solo career. Unfortunately, at the time of his death (May 2010), Dio had only written his biography up to 1986, just after the release of “Intermission”. The book is a good read, and Dio is a solid storyteller who manages to still to the facts rather than filling out facts with anecdotes. It’s a little frustrating that the story ends in 1986, but fingers crossed that the notes left behind are enough for Wendy Dio and Mick Wall to piece together the remainder of Dio’s life in print form for all to enjoy
© Justin Donnelly.
