The Best Of 2022
As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.
Enjoy.
Queensrÿche – Digital Noise Alliance (Century Media/Sony Music Entertainment)
I don’t generally single favourites in my yearly rundowns, but on this occasion, I’m willing to admit that Queensrÿche’s latest release has been on high rotation since its release, and is without a doubt a firm favourite of mine in 2022. Taking on a greater degree of melody, and pushing the progressive side of their sound a little more into the forefront, “Digital Noise Alliance” is step in the right direction for the band that were merely a shadow of their past greatness a decade ago. “Behind The Walls” and “Nocturnal Light” are tense numbers that echoes some of the band’s past sounds without sounding like they’re rehashing old history, while “Sicdeath”, “Out Of The Black”, “Realms”, “In Extremis” and “Hold On” ensures listeners that the band still have a lot more to give. Four albums in, and the Todd La Torre era of Queensrÿche proves naysayers wrong with a continued growth of strength upon strength with each new release.
Stabbing Westward – Chasing Ghosts (COP International)
As a follower of Stabbing Westward, it’s hard not to have some high expectations on their first new album in 20 years. But all fears were cast aside the moment “Chasing Ghosts” was given a single run through. The band’s core duo (Vocalist Christopher Hall and guitarist/keyboardist Walter Flakus) have managed to retain the sound that defined Stabbing Westward in the late 90’s, and push it enough to emerge with something new. “I Am Nothing” is a powerful opener with its dark themes, heavy guitars and industrial flourishes, while tracks such as “Damaged Goods”, “Wasteland” and “Cold” follow through with the classic Stabbing Westward sound. “Control Z” and “Ghost” are detours into new soundscapes with their industrialised beats and guitars working in tandem over catchy choruses, while the sweeping closer “The End” is as haunting as it is cinematic. Reunions these days can sometimes leave you feeling that the past should have remained in the past. This is definitely not the case here.
Wolf – Shadowland (Century Media Records/Sony Music Entertainment)
When it comes to traditional straight down the line heavy metal, there’s few that sound like Swedish outfit Wolf. And to some extent, few do it better. In a lot of ways, “Shadowland” is a return to form for the band, with their latest release comparable to the band’s highly regarded “Evil Star” (2004) and “The Black Flame” (2006) albums in its sound and approach. The songwriting has tightened up, and there’s a passion heard this time around that was somewhat lacking a little over the last few releases. The faster paced “Evil Lives”, “Visions For The Blind”, “Exit Sign” and the blistering opener “Dust” are all worthy of being singled out, while “The Time Machine” and “The Ill-Fated Mr. Mordrake” allow the band to stretch out with some more progressive elements into the mix. Wolf haven’t yet made an album that fans have out and out dismissed as a disaster, but “Shadowland” is certainly one of the band’s strongest in some time, and worthy of adding to the collection.
The Dead Daisies – Radiance (SPV/Steamhammer/Spitfire Music)
Back with their second album with Glen Hughes out front, The Dead Daisies have once again put together another heavy slab of classic hard rock, and prove there’s still plenty of fire in both the band and Hughes. Things get off to a thumping riff led start with “Face Your Fear”, and it sets the tone from the bulk of the album. Hughes clearly still has the voice, and the guitar tandem of David Lowy and Doug Aldrich is a force to be reckoned with. I could easily list everything on this album given how consistent the release is from start to finish, but noteworthy tracks tagged as essential would attached to the slower grooved “Radiance”, “Born To Fly”, “Cascade”, the driving “Not Human” and the orchestrated enhanced/semi acoustic closing number “Roll On”. The Dead Daisies have survived numerous line-up changes throughout their decade long career, but I’m really hoping this current formation of the band can survive long enough to make a follow-up release.
Ty Tabor – Shades (Rat Pak Records)
Given how big a fan of King’s X I am, it won’t came as a surprise the new Ty Tabor album in my top ten for this year. As expected, Tabor has once again crafted another album’s worth of material that big on melody, and equally big on guitars and tones. A lot of moods and styles are covered on this album, with “Come Home”, “Shallow”, “What You’re Thinking” and “Insane” some of the more straight-forward rock numbers. On “Sister Genocide”, Tabor stretches out things to allow for a little light and shade in volume, while showcasing his trademark guitar sound in the extended solo breaks, while the slower paced “Your Fantasy”, “Doesn’t Linger”, “Best Day In A While” and the emotive “Ashes” keeps the album interesting throughout. Tabor isn’t about to attract a whole new audience with “Shades”, but existing fans will find plenty to enjoy here.
Tony Martin – Thorns (Dark Star Records)
Tony Martin has never completely disappeared from the hard rock/metal scene since his departure from Black Sabbath 25 years ago, with Martin appearing on a number releases as a guest vocalist or as a member of a number of short lived groups. But in terms of solo releases, it’s been a long wait for fans since 2005’s critically acclaimed “Scream”. But after a several years of false starts and delays, Martin is back with his long awaited third release “Thorns”. This is without a doubt one of the heaviest releases to date for Martin, with the opening duo of “As The World Burns” and “Black Widow Angel” ramming home to listeners of Martin’s return to the spotlight. From here, the guitars take a step back to allow for a little breathing room for the rest of the group, which can be heard in the choir enhanced “Book Of Shadows”, the blues influenced “Damned By You”, the groovy “No Shame At All”, “Passion Killer” and “Run Like The Devil”. “Crying Wolf” is a definite stand out with its acoustic backdrop and strong sense of melodies, while on “This Is Your Damnation” proves Martin isn’t afraid to challenge expectations and lead listeners into the unexpected. The production is little mixed in places, and a couple of songs sound a little out of context on the album as a whole, but overall, this is a long overdue return for Martin.
Amorphis – Halo (Atomic Fire)
There’s a true sense of familiarity with Amorphis latest release, and it’s not surprising since the album concludes a trilogy of albums that began with 2015’s “Under The Red Cloud” and 2018’s “Queen Of Time”. But while there’s not a real lot that separates the three albums, there’s a consistency of the Finn’s latest album that edges it into my top ten list for this year. Sounding a little heavier at times, and yet more focusing more on keeping the choruses more melodic, Amorphis have yet again served up another winner. Picking out songs that resonates more than others is somewhat of a challenge given that everything on offer here is of high calibre, but noteworthy tracks include the opening trio “Northwinds”, “On The Dark Waters” and “The Moon”, while the folk/twin guitar dual sound works a treat on “When The Gods Came”. The choir embellishments on “War” help add an extra shade on the album, while the intensive riffing on “Wolf” and the Katatonia like slower, atmospheric and acoustic driven “My Name Is Night” closes the album beautifully. Amorphis have managed to retain their position at the top, and here’s hoping they continue to do so in the future.
Ginger Wildheart – The Pessimist’s Companion (Wicked Cool Records)
O.K., so this album was technically released in 2018, the album has been given a remix and a remaster, a reshuffled track listing, some additional material added and re-released this year to a wider audience. In short, I missed its release the first time around, and I’m claiming this as a 2022 release. Following on in the same sonic fashion as 2017’s “Ghost In The Tanglewood”, “The Pessimist’s Companion” is a largely acoustic based effort with country and folk influenced weaving in and out of the album’s fifteen tracks, but all tied together with Ginger’s remarkable sense of melody, and deeply personal, dark and melancholy lyrics. It sounds like a bit of a mess, but despite the eclectic nature of the album, it actually works surprisingly well. “Why Aye (Oh You)”, despite its rather depressing lyrical stance, is an upbeat opener that gets the album off to a bouncing start, while the country based “I Love You So Much I'm Leaving”, the stunning “In Reverse” and “You Will Let Me Down Again” complete the uptempo reinvention of this version of the album. From here, the middle of the album takes a more sombre tone with tracks such as “Detachment”, “A Better Love”, “The Pessimist's Companion” and “Barbed Wire & Roses” really high moments. Areas of inspired songwriting finishing up the album appear in “There Is A House” and “May The Restless Find Peace”. This is one heartbreakingly miserable album which sees Ginger pours his heartache and flaws out to downbeat country/acoustic backdrops. Personally, even at his lowest, Ginger is a genius.
King’s X – Three Sides Of One (Inside Out Music/Sony Music)
Now this one was a long time coming. 14 years between studio releases only heightened expectation from fans (Including yours truly), and the band almost managed to live up to them. While the album falls short of classic status, it does provide enough delights to warrant its position in my top ten. The heavy opening of “Let It Rain” is everything you could want from a King’s X song. Sure, Dug Pinnick’s vocals are showing their age a little, and there’s a simplicity in the song structure, but there’s an undeniable groove, a trademark Ty Tabor solo that unmistakably his, and its catchy as hell. “Flood Pt. 1” is no less impressive with its djent like groove and three way harmonies, while the soulful “Nothing But The Truth” is elevated to a whole new level with Tabor’s inspired solo. From here, the album really splinters off in a lot of directions. There’s a bit of funk (“Give It Up”), some punk rock (“Festival”), shades of Beatles-like harmonised pop/rock (“Take The Time”, “Holidays” and “She Called Me Home”, which all feature Jerry Gaskill on lead vocals), and some tracks that sit inbetween them all (“All God‘s Children”, “Watcher” and “Every Everywhere”). There a bit of everything on offer here, and while it’s not best the band’s has offered up over their four decade long career, they have returned, and I am grateful for that.
Ghost - Impera (Loma Vista Recordings/Virgin Music Australia)
It took me a few spins to warm to Ghost’s new album, and it’s not a perfect release by any means, but there’s plenty on here I do enjoy. Pushing the theatrics even further, and toning back the metal aspect of their sound to make way for more pop/rock influences to infiltrate the songs, Ghost have created an album designed to mass appeal, and it works a treat. “Kaisarion” (Which is preceded by the short instrumental piece “Imperium”) opens the album perfectly with its 80’s high scream and classic rock riff, and sets the tone for what is for the most part a real fun album. “Spillways” is unashemedly pop influenced with its heavy keyboard presence, but catchy as hell, while “Call Me Little Sunshine”, “Hunter's Moon”, “Watcher In The Sky” and the quirky “Twenties” adds some darkened moods and menace to the songwriting with great results. “Darkness At The Heart Of My Love” is a ballad of sorts that does work if attention is paid, as too does the closing track “Respite On The Spitalfields”. Failure to take in the finer points of the songs can give the feel that they’re a bit on the weak side, which is unfortunate. Again, this is another solid effort from Ghost, and I look forward to hearing what’s next.
Top Ten Songs Of 2021
The rest is this list made up of albums that didn’t quite mark the grade on the whole, but are otherwise great album’s worth checking out. Again, they're listed in no particular order.
Nefariym - Succubus (From “Morbid Delusions” on Inverse Records)
I’m going to say up front that this release first came out digitally in 2021, but only got a physical release in 2022, so I’m allowing this one into my list, even though it technically shouldn’t. Featuring Mark Kelson and Richie Poate from The Eternal, Nefariym is an old school death metal album that lives and breathes the Swedish sound, and it’s a great album from start to finish. Picking out one track is challenge, but I’m going with “Succubus” as it’s one of the faster numbers on offer here, and when it slows down, there’s an undeniable groove that absolutely crushes. This song is so authentic sounding, from the production, the songwriting, the riffs, and all the way through to the lyrics. In short, if you worship old school Swedish death metal, get your hands on this release.
Def Leppard – Goodbye For Good This Time (From “Diamond Star Halos” on Bludgeon Riffola/UMC)
I asked a good friend of mine what his hopes were for the new Def Leppard album prior to its release, and his response was, “If I can enjoy it without it pissing me off, then that’s the best I can hope for”. And it’s a sentiment I couldn’t agree more with. Given the band’s output over the last 20 years, it’s hard to get excited with the idea of a new album from the Brits. But to my surprise, I actually did enjoy most of it, and it got quite a few spins long after its purchase. As I said, not everything here is a winner, but one song that really stood out for me was “Goodbye For Good This Time”. The subtle strings are a nice touch that gives the tracks an air of drama, as too does the Latin flavoured acoustic guitar work and the piano, but it’s the chorus that really holds it all together. I wouldn’t normally pick a ballad as a highlight (And neither would anyone else I guess), but this is such a great song from Joe Elliott.
Alter Bridge – Fable Of The Silent Son (From “Pawns & Kings” on Napalm Records)
I’m a big fan of Alter Bridge, and I have followed them throughout the years with keen interest. But it was a couple of albums ago that I started to get the feeling that as much as I enjoy the band, there’s a sense of familiarity that’s creeping into their releases that will ultimately lead to me dropping them off my radar. So it’s not surprising that as much as I enjoy “Pawns & Kings”, I feel that I’ve heard it all before. The exception is “Fable Of The Silent Son”, which is a track that I feel the band varies their songwriting formula just enough to make the sound of the track sound different enough to stand out on its own. There’s not a huge change of style, but just enough. I still like Alter Bridge, and will keep an eye on what they are doing, but I do hope they take a little longer between releases, and that they find the courage to challenge themselves and their audience by experimenting a little with their well established sound.
Smith/Kotzen – Got A Hold On Me (Live) (From “Better Days... And Nights” on BMG)
Given that half of this album is a re-release of their “Better Days” vinyl only release from 2021, this didn’t get a look in on my top ten list this year. But that’s not to say it’s bad. It’s great to have the studio tracks re-released here, but it’s the live material that stand out as the really good stuff here, and none more so than “Got A Hold On Me”. Fleshed out with band, and performed in front of a live audience, the song really does come to life with the instruments sounding more realistic, and the extended solos from Richie Kotzen and Adrian Smith distinctly separated and unique. “Better Days... And Nights” is a great album, but it’s the live material that shines the brightest here. I’ll be definitely looking forward to their next release.
Voïvod – Holographic Thinking (From “Synchro Anarchy” on Century Media Records/Sony Music Entertainment)
Voïvod’s 2018 release “The Wake” was certainly a favourite of mind, so when it came to getting their new release, I was hoping the Canadian’s could keep up the same high standard, and release another killer release. “Synchro Anarchy” is an excellent release from the band, and worthy of Voïvod’s reputation as a one of a kind band. As good as the album is, it doesn’t quite reach the same level as “The Wake” for me. Some of the songs are best described as Voïvod keeping within their safe confines, and therefore lie in the really good category, rather than being great. “Holographic Thinking” is one of the tracks on the album where Voïvod really exceed at giving that something extra, and elevate well beyond the predictable. Pinning down the exact reasons why this song works over others is hard as there’s a fine line between good and great, but the combined riff/bass structure (From Chewy and Away) shift quite frequently which keeps things interesting throughout, while Snake’s melodies definitely stick in the mind. There’s not much to complain about here. Voïvod still exist, and make good music. And that’s good enough for me.
Alice Cooper - Desperado (From “Live From The Astroturf” on Ear Music/Edel/Alive)
I’m a nut for Alice Cooper, and will buy anything released (Provided of course that I can afford it!). So when this recording of the original Alice Cooper group live appeared as a re-release on C.D./D.V.D. (This release originally came out in 2018), I snapped it up. The recording is filmed in front of 200 fans, so it’s intimate. And it’s pretty rough. Not everything sounds perfect (Michael Bruce, I’m looking at you), but there’s a certain charm to the whole thing that makes you forgive the obvious flaws in the live performances. The set list doesn’t provide any real surprises, which is a shame, but the track I tend to come back to time to time is the instrumental version of “Desperado”. I’ve always loved the song, and even though there are no vocals, and the run through hits more a few bumps, there’s a primitive charm I really like here.
Decapitated - Hours As Battlegrounds (From “Cancer Culture” on Nuclear Blast/Universal Music Australia/Virgin Music Australia)
Decapitated almost made it into my top ten this year, and the reason for its absence was most likely not spending enough time with it to truly appreciate just how good the album is. Even now as I listen to the album, I’m really getting the impression that it’s me, and not them that’s the issue here. Having said that, things are what they are, and they’re on the secondary top ten list for this year. The one track that really catches my ear with every listen is “Hours As Battlegrounds”. The light and shade of the lone drumming moments that are then broken by the wall of sound guitars really is effective. And then there’s the same minimalist approach taken during the solo’s that I really like. It’s nothing new for Decapitated as it’s a trick they’ve masted over the last four albums, but it does suck me in every time without fail.
Big Wreck – Spit It Out (From “7.2” on Big Wreck Music)
Much like the band’s previous E.P. (2021’s “7.1”), “7.2” is filled with a lot of different sounds and styles, making the E.P. sound very much like a collection of different songs, rather than a cohesive listen from start to finish. That’s not necessarily a bad thing, but it does mean that something the songs take a little longer to stay in the mind. That’s certainly the case for me. I like all the songs on offer here, but for me, “Spit It Out” is easily the stand out. The Led Zeppelin influence is a strong feature throughout the song, but primarily on the musical front. Vocally, Ian Thornley still manages to produce a sound that has an air of Chris Cornell about it, without sounding entirely like him at the same time. Needless to say, if you like a bit of Soundgarden and a bit of Led Zeppelin, this E.P. is one I’d highly recommend.
Grand Theft Audio – Scrub Up (From “Pass Me The Conch” on Technical Foul)
Comebacks are all the rage, and 2022 was no different in that respect. Cue the return of British outfit Grand Theft Audio who emerged from a hibernation of 22 years to emerge with their second full-length album “Pass The Conch”. I was curious to see what the band would come up with, and the end results were a bit patchy to be honest. Maybe it was to do with only half the line-up of the first album being present, or the different approach the band took with their music this time around. Who knows? Anyway, the only song to really resemble their past was the opening track “Scrub Up”. Big guitars, driving guitars and distortion effects, but with a little push of influences from the last 20 years creeping in to keep things fresh. Overall, a great song from a so-so album. Maybe next time.
Meshuggah – They Move Below (From “Immutable” on Atomic Fire Records)
I’m a big fan of Meshuggah, but I need to live with their album for some time to be able to decipher what differences there are from one album to the next. In a lot of ways, the issue I had with Decapitated’s latest release applies here in that I haven’t spent anywhere enough time with this album to really let it sink in. So to be clear, this isn’t necessary a disappointing release, I’m just unsure of where it stands in amongst the band’s expansive output. But even after giving the album a few spins, the lengthy “They Move Below” was a highlight. Some of the guitar effects and the overall rhythm of the song itself reminded me of their “Nothing” (2002) era, without sounding like a carbon copy. To these ears, Meshuggah isn’t a band that progresses or radically changes direction much from album to album, but there are changes made that can be noticed over time. I may not have picked up on them all yet, but I can certainly hear enough new nuances within “They Move Below” to know that nothing remains still within Meshuggah.
The Best Book Of 2022
Horseshoes And Hand Grenades - John Corabi With Paul Miles (Rare Bird Books)
John Corabi has lived the rock ‘n’ roll life, and has a lot of stories to tell. And there’s no further proof than within the pages of “Horseshoes And Hand Grenades”. I love a good rock autobiography, and being a huge fan of Corabi meant that I had to pick this up as soon as it was released. And it didn’t disappoint one bit. Corabi (Along with Miles) manages to put down his life story in a way that really doesn’t come across as laboured for the reader, and it’s written in a manner that’s not only down to earth, but forthright and brutally honest. There’s plenty of stories on his early years, and they’re all an entertaining read, which is a credit to not only the stories, but the authors. In term of the musical side of things, Corabi details his early days in Angora, the slow rise of The Scream, and hitting the big time with Mötley Crüe when he replaced Vince Neil. Of course, his move to Mötley Crüe was short lived, and the book fills in some of the rather large blanks that were evident in the band’s autobiography “The Dirt” in 2001. Of course, the Mötley Crüe is only a small part of Corabi’s musical story, and there’s plenty of reading to be had in regards to his teaming up with ex-Kiss guitarist Bruce Kulick in Union, his time in The Dead Daisies, his solo releases and the numerous other short lived projects he was involved in over the years. But outside of the music, it’s Corabi’s personal story that really keeps the story together. There’s plenty of drama, tragedy and triumphs throughout, and throughout it all, Corabi comes across as the right guy who happens to be in the right place, only at the wrong time. But even if things haven’t gone quite according to the plan at the start, there’s a gratefulness of the good things that makes Corabi a survivor, a legend and an all-round good man.
Biggest Disappointment Of 2022
Megadeth - The Sick, The Dying... And The Dead! (T-Boy Records/Tradecraft/Universal Music Australia)
As a longtime fan of Megadeth, I’m gotten used to the ups and downs of the group’s output, particularly after the break up of the “Rust In Peace” line-up around 1999. Fast forward to 2016, and with the release of “Dystopia”, while it’s hardly a classic, it was a huge step in the right direction for the band after 2013’s absolutely dreadful “Super Collider”. So with plenty of time between releases, I was hoping for a solid release from the veteran thrash outfit. Unfortunately, what I received fell well below my expectations. The songwriting on this new album is, to be blunt, uninspired. Sure, there’s a whole lot of fast paced guitars and drums (Which is a credit to Mustaine, Kiko Loureiro and Dirk Verbeuren), but it doesn't amount to much when the songs themselves are fairly run of the mill and unadventurous. Even Loureiro's guitar work on the solos can lift proceedings. I guess on a positive note, Mustaine’s voice sounds a lot stronger than it did on “Dystopia”, but the snarl of old seems to have all but disappeared. Ideally I’d like to think there’s still life somewhere in the band, but in order for that happen, Megadeth really have to stretch out and produce something a little more adventurous on the writing front.
© Justin Donnelly.
