tag:blogger.com,1999:blog-38018053700205603692024-03-27T17:36:33.414+11:00J.J.D.'s Reviews And Interviews BlogA blog specialising in heavy metal album reviews and interviews.Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.comBlogger1368125tag:blogger.com,1999:blog-3801805370020560369.post-13139225765177437802022-12-18T20:06:00.002+11:002022-12-19T05:19:51.114+11:00The Best Of 2022<div style="text-align: left;">The Best Of 2022</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Enjoy.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsK27ORiuiK2X0RQbkY7AW2feJUFNKcRSmQ-Fesk-4kfSn69Y2nI61RhdvqeQrnWLUDUumJFGKhb0bwJBVaVq_waDO3TXheZJxEf3ELVogZAvqJzQNpMsBxutpgr73Wz_QXiNcDEp9BsPkUYJYVvQ5PnX_E3E8oDGOxZY92mY3MMAXU8nINKzw-g/s1000/Queensryche-DNA.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsK27ORiuiK2X0RQbkY7AW2feJUFNKcRSmQ-Fesk-4kfSn69Y2nI61RhdvqeQrnWLUDUumJFGKhb0bwJBVaVq_waDO3TXheZJxEf3ELVogZAvqJzQNpMsBxutpgr73Wz_QXiNcDEp9BsPkUYJYVvQ5PnX_E3E8oDGOxZY92mY3MMAXU8nINKzw-g/s320/Queensryche-DNA.jpg" width="320" /></a></div><div>Queensrÿche – Digital Noise Alliance (Century Media/Sony Music Entertainment)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZ-pZ2qKyCPvoSo9FyWIl_xMhsHTykmHKKtv4vuW-SnT-taLoq7sfKoJT1dttqtLtdpi3agmV0CayzjXuC3khsp10Zf0cdKiENt8eHb7VJ2gkFIk4GEyykICnXKq7uG_hpott58gdgGTApCB71N9sRKlcFJgCd1s1-olaVnURF5YzaY49cbD3NQ/s1200/SW.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZ-pZ2qKyCPvoSo9FyWIl_xMhsHTykmHKKtv4vuW-SnT-taLoq7sfKoJT1dttqtLtdpi3agmV0CayzjXuC3khsp10Zf0cdKiENt8eHb7VJ2gkFIk4GEyykICnXKq7uG_hpott58gdgGTApCB71N9sRKlcFJgCd1s1-olaVnURF5YzaY49cbD3NQ/s320/SW.jpg" width="320" /></a></div><div>Stabbing Westward – Chasing Ghosts (COP International)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6QAh9EeD-XGhWeICdMvkR6Jqs4HsIeoHnKZ3hhRuiXPIJYeYVpXSsOIeloAXQALfscKiMGRuwmkvQgK4RqWSmk4LC6mO8r-BBBd0k66wtSj4oVgumhmaobq7PZfu2IA0ezkxLolvY-5GreAYnUQq2R4qz_zR0BIHZCsWESK3cmVDwJprVHImi-A/s1500/Wolf_Shadowlands.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6QAh9EeD-XGhWeICdMvkR6Jqs4HsIeoHnKZ3hhRuiXPIJYeYVpXSsOIeloAXQALfscKiMGRuwmkvQgK4RqWSmk4LC6mO8r-BBBd0k66wtSj4oVgumhmaobq7PZfu2IA0ezkxLolvY-5GreAYnUQq2R4qz_zR0BIHZCsWESK3cmVDwJprVHImi-A/s320/Wolf_Shadowlands.jpg" width="320" /></a></div><div>Wolf – Shadowland (Century Media Records/Sony Music Entertainment)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZa76jlPixxoUyUerryQGX1AX7kLe69I8u_-zq5sGL1HB0z8uL-96KDGrfYtP5Vx_ZAYQiRcJs9gurXflS07dQE-kuqpzL-RbtjmJKRwhnWLvFQ0tASMXSLezoZy8tL5FiWUSZZAgDSCSZkqMDTWziPkJn8P2evarooqHu5jTh_dinvLPas86sAg/s800/The-Dead-Daisies_radiance-scaled-e1658557234464.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZa76jlPixxoUyUerryQGX1AX7kLe69I8u_-zq5sGL1HB0z8uL-96KDGrfYtP5Vx_ZAYQiRcJs9gurXflS07dQE-kuqpzL-RbtjmJKRwhnWLvFQ0tASMXSLezoZy8tL5FiWUSZZAgDSCSZkqMDTWziPkJn8P2evarooqHu5jTh_dinvLPas86sAg/s320/The-Dead-Daisies_radiance-scaled-e1658557234464.jpg" width="320" /></a></div><div>The Dead Daisies – Radiance (SPV/Steamhammer/Spitfire Music)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJQeHRQXtNopdm5v4lhGziX4WkKa0VAFLGJoMJkWAzlYNB6pm0rErzm_1C3ihoio3KhEMXcrAXGNLlX_rVTZzOWSLyg49lpL0RhfsKY_W5xd2PL39qcgI2VWEJlbuTHFzbQLOJdZT6XvccqE_QtzUmXJY8DsPEnG9dn2mDJ5XyMibfr538luUmg/s600/R-22376920-1646348554-5091.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJQeHRQXtNopdm5v4lhGziX4WkKa0VAFLGJoMJkWAzlYNB6pm0rErzm_1C3ihoio3KhEMXcrAXGNLlX_rVTZzOWSLyg49lpL0RhfsKY_W5xd2PL39qcgI2VWEJlbuTHFzbQLOJdZT6XvccqE_QtzUmXJY8DsPEnG9dn2mDJ5XyMibfr538luUmg/s320/R-22376920-1646348554-5091.jpg" width="320" /></a></div><div>Ty Tabor – Shades (Rat Pak Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxV8XREMnlCiAANsnAAwbI_FnOj8yAP0GFbKUMEeodXf0k86BSulGIi71yTdUQkc2hVa3wRjS7sSeJbDcel1b4YCB9T_zIpEta4HPvFsXw2TzEoA_d_N-mQdvzugApY8NamMMvjEqDPL6hqrTpcijqySf3yXnv8BrOVhQhRFjVt3ydPFNzzEOU8w/s1072/scan_20220204.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="966" data-original-width="1072" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxV8XREMnlCiAANsnAAwbI_FnOj8yAP0GFbKUMEeodXf0k86BSulGIi71yTdUQkc2hVa3wRjS7sSeJbDcel1b4YCB9T_zIpEta4HPvFsXw2TzEoA_d_N-mQdvzugApY8NamMMvjEqDPL6hqrTpcijqySf3yXnv8BrOVhQhRFjVt3ydPFNzzEOU8w/s320/scan_20220204.jpg" width="320" /></a></div><div>Tony Martin – Thorns (Dark Star Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5nALzYAUpndgTNLtsSztOp1sN4EZK13gHbu9m5C0lo_OdBDNgQwSrS6FHr5i5TSbU6gUnTgyNpp_Q5HCu5Nq5GD0SJDHwVEcTABzUr16mbvSRf-cY8IbqdNHHxJ0HxaxwTVUNNj_z4tK3eb3D0cpp0-1ayzFSFelXPfKcLyakgGAtP4spcaGO1A/s2048/Halo.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5nALzYAUpndgTNLtsSztOp1sN4EZK13gHbu9m5C0lo_OdBDNgQwSrS6FHr5i5TSbU6gUnTgyNpp_Q5HCu5Nq5GD0SJDHwVEcTABzUr16mbvSRf-cY8IbqdNHHxJ0HxaxwTVUNNj_z4tK3eb3D0cpp0-1ayzFSFelXPfKcLyakgGAtP4spcaGO1A/s320/Halo.jpg" width="320" /></a></div><div>Amorphis – Halo (Atomic Fire)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfOSXF-TFlj9P1k2Wrl6u_KHZboqNZTr0GPuw57qchOQ4NIzg-gWVYr2dM0NZ_3_idIwL3JrxPcnZR97LILhNBM4ffZFU9UhJYeENLi1gdg28NmG5v5TulGwseL_MOGE9oSHMVzcdq_lT0yH7_PQJFYLtTXiZq1GpdoWDbutR5ALBmIFOg9phPkw/s1200/GW.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfOSXF-TFlj9P1k2Wrl6u_KHZboqNZTr0GPuw57qchOQ4NIzg-gWVYr2dM0NZ_3_idIwL3JrxPcnZR97LILhNBM4ffZFU9UhJYeENLi1gdg28NmG5v5TulGwseL_MOGE9oSHMVzcdq_lT0yH7_PQJFYLtTXiZq1GpdoWDbutR5ALBmIFOg9phPkw/s320/GW.jpg" width="320" /></a></div><div>Ginger Wildheart – The Pessimist’s Companion (Wicked Cool Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzLSM9HdV1-ysZOS8XrjJO3OgSwTfC0Gz2FJGu7jn_FL16pQrxFh2XjIbiOSOf7-4TtCltZqex8jQbVdaklnQlRIkg3X5gZpxuAWsbRZHa8qrk6xQmrWpyp4oZn5bKw4WfqcXfIkDVFV-rks_rOgZFXw6tloMhyWJdGRVd6z0SwohJi430Zu9qg/s1500/Kings-X-Three-Sides-of-One-1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzLSM9HdV1-ysZOS8XrjJO3OgSwTfC0Gz2FJGu7jn_FL16pQrxFh2XjIbiOSOf7-4TtCltZqex8jQbVdaklnQlRIkg3X5gZpxuAWsbRZHa8qrk6xQmrWpyp4oZn5bKw4WfqcXfIkDVFV-rks_rOgZFXw6tloMhyWJdGRVd6z0SwohJi430Zu9qg/s320/Kings-X-Three-Sides-of-One-1.jpg" width="320" /></a></div><div>King’s X – Three Sides Of One (Inside Out Music/Sony Music)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsKZ0asbNM81TQTjx3LsReiqBSmfHEcGAtGPQn7RTWaAYTNNM_FOLAyVuLEvZqsTT3OIAI6zwhWA0utqxoj5OCpoCaJ_VINZuZnMNSW3NpBzrd4nx_r0efPgnoQ7L065feo5tCnuAthcfPHAEhBDhUFBCEjqhTKjDp75UFUQZ3FylXxr22ZJDDwA/s600/R-21816190-1642691683-7642.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsKZ0asbNM81TQTjx3LsReiqBSmfHEcGAtGPQn7RTWaAYTNNM_FOLAyVuLEvZqsTT3OIAI6zwhWA0utqxoj5OCpoCaJ_VINZuZnMNSW3NpBzrd4nx_r0efPgnoQ7L065feo5tCnuAthcfPHAEhBDhUFBCEjqhTKjDp75UFUQZ3FylXxr22ZJDDwA/s320/R-21816190-1642691683-7642.jpg" width="320" /></a></div><div>Ghost - Impera (Loma Vista Recordings/Virgin Music Australia)</div><div><br /></div><div>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.</div><div><br /></div><div><div>Top Ten Songs Of 2021</div><div><br /></div><div>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.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYtYTcKY4qAHTXT2rMOz5GVTsnLZMdKLfKdM1dNksdHlDZO_ZzeSKK8-hbmUgTQfsXGMQnxijq-jdi6BG2sLM_2U403y7fXtdSJVOYKMGk3_udXJ_1n1TrwYsIlaSV1Ur2ueNDMtVERYQG7zT8gnPC79CHaIX12lhtE01NzOPRNBOcaW3j2ZjmRw/s1200/Nefariym.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYtYTcKY4qAHTXT2rMOz5GVTsnLZMdKLfKdM1dNksdHlDZO_ZzeSKK8-hbmUgTQfsXGMQnxijq-jdi6BG2sLM_2U403y7fXtdSJVOYKMGk3_udXJ_1n1TrwYsIlaSV1Ur2ueNDMtVERYQG7zT8gnPC79CHaIX12lhtE01NzOPRNBOcaW3j2ZjmRw/s320/Nefariym.jpg" width="320" /></a></div><div>Nefariym - Succubus (From “Morbid Delusions” on Inverse Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0a0CJ2gQsP6fmUo9OwuPlzQxecnXgVKZP0hmCrDzeuC66g-haO5srWgozhuHkXQinC-_7nnNew7QqPTd-L4hmHGok4ldIMPk0jYbh8aCOfs_UU9imB2221KapTQuRSieStUPrqDp5_NkXdbMU9rjKPq9e-wbRnNL6KnACrpFcnEjs-3Y3ig3mtA/s600/R-23403845-1653885113-9525.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0a0CJ2gQsP6fmUo9OwuPlzQxecnXgVKZP0hmCrDzeuC66g-haO5srWgozhuHkXQinC-_7nnNew7QqPTd-L4hmHGok4ldIMPk0jYbh8aCOfs_UU9imB2221KapTQuRSieStUPrqDp5_NkXdbMU9rjKPq9e-wbRnNL6KnACrpFcnEjs-3Y3ig3mtA/s320/R-23403845-1653885113-9525.jpg" width="320" /></a></div><div>Def Leppard – Goodbye For Good This Time (From “Diamond Star Halos” on Bludgeon Riffola/UMC)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eK0aURecYa4E8OIdlfDSxLi4ShYiF3ht7x981nJlLbYhhgH33mOQfT_V4E4EF2SYwEPLzeJGV1gWCYtQ6NLpncEQgP5GvmvsBy3y2GrgP6VQ4ySWlYMXm7qgf8HQQxz2h6DvLdSejCN28GCFtpP2r3GKFlDvI2lmhxIn2dkilx7GOQTIF-x3ng/s585/Alter%20Bridge.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="584" data-original-width="585" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eK0aURecYa4E8OIdlfDSxLi4ShYiF3ht7x981nJlLbYhhgH33mOQfT_V4E4EF2SYwEPLzeJGV1gWCYtQ6NLpncEQgP5GvmvsBy3y2GrgP6VQ4ySWlYMXm7qgf8HQQxz2h6DvLdSejCN28GCFtpP2r3GKFlDvI2lmhxIn2dkilx7GOQTIF-x3ng/s320/Alter%20Bridge.png" width="320" /></a></div><div>Alter Bridge – Fable Of The Silent Son (From “Pawns & Kings” on Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6khPxKDYjfAnxeMJ4Vi6RKeGN7fs5CAELRq6F75R2nqWI_gIKmZFl5sMP0SjGeFMG27aKQ_5aXzi9Q3jx_O_uqiqa15yb-cNl3qaPyW25pTDdca5fXqI7YgfA0vuo1YIXhjN-9bRcELhv1sLGx0II6N0FizZ0bz6v9fVIqRsSxgOagc4_7d9weg/s600/R-24519413-1663617419-1297.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="529" data-original-width="600" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6khPxKDYjfAnxeMJ4Vi6RKeGN7fs5CAELRq6F75R2nqWI_gIKmZFl5sMP0SjGeFMG27aKQ_5aXzi9Q3jx_O_uqiqa15yb-cNl3qaPyW25pTDdca5fXqI7YgfA0vuo1YIXhjN-9bRcELhv1sLGx0II6N0FizZ0bz6v9fVIqRsSxgOagc4_7d9weg/s320/R-24519413-1663617419-1297.jpg" width="320" /></a></div><div>Smith/Kotzen – Got A Hold On Me (Live) (From “Better Days... And Nights” on BMG)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTu7iMX8fepE5_y82N0q0ChLYOVKiFDFwKLiI1WtX6WtYwIoIBWj7UTJRXrObqsFsyRthfQ8uiUr2AnArRkvgbW-aHZ1Z-wTszLkV-TtDCJJiAihG_zGKv4LR3oyYCzH43ofPsz6EyQaL8g3345IilRd_uxwV_vSM7O5cMaSvfWvCWaWpb9lwmFQ/s599/R-22106140-1644930036-1848.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="545" data-original-width="599" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTu7iMX8fepE5_y82N0q0ChLYOVKiFDFwKLiI1WtX6WtYwIoIBWj7UTJRXrObqsFsyRthfQ8uiUr2AnArRkvgbW-aHZ1Z-wTszLkV-TtDCJJiAihG_zGKv4LR3oyYCzH43ofPsz6EyQaL8g3345IilRd_uxwV_vSM7O5cMaSvfWvCWaWpb9lwmFQ/s320/R-22106140-1644930036-1848.jpg" width="320" /></a></div><div>Voïvod – Holographic Thinking (From “Synchro Anarchy” on Century Media Records/Sony Music Entertainment)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf1dPHz0CYPTTyHWYI4KZNB67z3AWBVLMp_Vu7osQnlTME6lIbpor6UTDB85YiLCPWz6k8mL3uABPyiBfiO161Atv0JWOnrsutNkOtSA-3dPwpCtJpQ0wbP_h0391Sd4fdnjLdz_xDb77b9qOTcOTZG10DBK1ltLbyOncBg8q6P5lCGuceD4sozA/s600/R-24682199-1665264821-3459.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="534" data-original-width="600" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf1dPHz0CYPTTyHWYI4KZNB67z3AWBVLMp_Vu7osQnlTME6lIbpor6UTDB85YiLCPWz6k8mL3uABPyiBfiO161Atv0JWOnrsutNkOtSA-3dPwpCtJpQ0wbP_h0391Sd4fdnjLdz_xDb77b9qOTcOTZG10DBK1ltLbyOncBg8q6P5lCGuceD4sozA/s320/R-24682199-1665264821-3459.jpg" width="320" /></a></div><div>Alice Cooper - Desperado (From “Live From The Astroturf” on Ear Music/Edel/Alive)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWXLqebitXOeCGl68hLID3Zucjl56h3RASA6P66rWV9RjVH9pLwRZPzGVYG4TtTcZdf1kt7en3s5_E1jbEYkdTp-F94zpu16YBEBvpDfG05LMoXJyuDvg-iClz1CF_TSRVw7e-y02oXsoZ-HS6TNclqk_74g26B6VYIRssSbM2l8pfWrp05hYDNA/s1500/decapitated-cancer-culture-artwork.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWXLqebitXOeCGl68hLID3Zucjl56h3RASA6P66rWV9RjVH9pLwRZPzGVYG4TtTcZdf1kt7en3s5_E1jbEYkdTp-F94zpu16YBEBvpDfG05LMoXJyuDvg-iClz1CF_TSRVw7e-y02oXsoZ-HS6TNclqk_74g26B6VYIRssSbM2l8pfWrp05hYDNA/s320/decapitated-cancer-culture-artwork.jpg" width="320" /></a></div><div>Decapitated - Hours As Battlegrounds (From “Cancer Culture” on Nuclear Blast/Universal Music Australia/Virgin Music Australia)</div><div> </div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sKYdxAdNKcgt9wf2eRd_AfA_-RP0frYzN9z0D0VM34NZRTrFOKOy8XJXyMOfxNVbRqV6UjdHd1wTZaF9XJrpPYNqPZbh2hrEay2ddSnjT-934MmZRQvB7YtJyBMHtjS2D20MPrTDVwG2eUuBWOh1TsayufxTH3eobBoxbTa-xmmYplY8DmZGwA/s1200/BW.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sKYdxAdNKcgt9wf2eRd_AfA_-RP0frYzN9z0D0VM34NZRTrFOKOy8XJXyMOfxNVbRqV6UjdHd1wTZaF9XJrpPYNqPZbh2hrEay2ddSnjT-934MmZRQvB7YtJyBMHtjS2D20MPrTDVwG2eUuBWOh1TsayufxTH3eobBoxbTa-xmmYplY8DmZGwA/s320/BW.jpg" width="320" /></a></div><div>Big Wreck – Spit It Out (From “7.2” on Big Wreck Music)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHk6hQSTypcG5lcJ8MDTPempPmDdpWDkcUZcXdOZqZu2IJhZ7Mc93NLxSMx-Z3QF6k-FeaW_2YnqZG0xIKESaY28JII0_yiUIyhZa8cRrb8eDnsPMJ8eZM829rNFQKb5oNdHs5UEctzodv1EFkRrDfOGKLpIE4_Zpf6AQBnhR4cB6O7qAMEg40A/s600/R-24485087-1662925710-8799.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHk6hQSTypcG5lcJ8MDTPempPmDdpWDkcUZcXdOZqZu2IJhZ7Mc93NLxSMx-Z3QF6k-FeaW_2YnqZG0xIKESaY28JII0_yiUIyhZa8cRrb8eDnsPMJ8eZM829rNFQKb5oNdHs5UEctzodv1EFkRrDfOGKLpIE4_Zpf6AQBnhR4cB6O7qAMEg40A/s320/R-24485087-1662925710-8799.jpg" width="320" /></a></div><div>Grand Theft Audio – Scrub Up (From “Pass Me The Conch” on Technical Foul)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYW4KWzQ0LN0601Idk3o-ja4M9PmgIHqlERTTjEUWj_QQcqja1RTxXvq8BYK7wUsEUaoWcMu3YKWdUgCTS94r9YOB-021y_lN2JZ4cAB7wp6Tqy6blfVK1pyoVB1-fsepiE_qSGwbQwfT6w0Dql6-MD_2k7XCyXGStqcwb3lijlFFYJMG3V_n61g/s2560/Meshuggah-Immutable-01-scaled.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2560" data-original-width="2560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYW4KWzQ0LN0601Idk3o-ja4M9PmgIHqlERTTjEUWj_QQcqja1RTxXvq8BYK7wUsEUaoWcMu3YKWdUgCTS94r9YOB-021y_lN2JZ4cAB7wp6Tqy6blfVK1pyoVB1-fsepiE_qSGwbQwfT6w0Dql6-MD_2k7XCyXGStqcwb3lijlFFYJMG3V_n61g/s320/Meshuggah-Immutable-01-scaled.jpg" width="320" /></a></div><div>Meshuggah – They Move Below (From “Immutable” on Atomic Fire Records)</div><div><br /></div><div>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.</div><div><br /></div><div>The Best Book Of 2022</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkW-9iLvEs19yHrfjUYbmESMdKn0iOUJZmnmgibRM1VUrYJyKahE1Hl21o8Puv160WLLkRdAmpTwrCZF7vFHwQEc5-dYIdH93cHNp8fnzorbRDWc-T3YXDSFVnmryVz1wNoCAnLZWM9u0Hp7Wa3I3mXe-sMZh34CBHrpem5trnx9AYOkt3Wu3XQ/s1558/JC.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1558" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkW-9iLvEs19yHrfjUYbmESMdKn0iOUJZmnmgibRM1VUrYJyKahE1Hl21o8Puv160WLLkRdAmpTwrCZF7vFHwQEc5-dYIdH93cHNp8fnzorbRDWc-T3YXDSFVnmryVz1wNoCAnLZWM9u0Hp7Wa3I3mXe-sMZh34CBHrpem5trnx9AYOkt3Wu3XQ/s320/JC.jpg" width="205" /></a></div><div>Horseshoes And Hand Grenades - John Corabi With Paul Miles (Rare Bird Books)</div><div><br /></div><div>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.</div><div><br /></div><div>Biggest Disappointment Of 2022</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekLtCSU85D_rnf7boQ-xHEfFEZY_mbQAR4F3aKG-lkknOJZsJrscpwiLXI0kx6Zz0rRxQbxIqIH-6yN6q6hEz4nrMCjbkJBVpnfDXqznRGJFIA9Mmp_uw9guSOaJl4bujHZvrAOP6NpBA274dlMKGhOe7F8fAslK_BFQvDUo-5sOyxjG3A6O8wQ/s1536/Megadeth.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekLtCSU85D_rnf7boQ-xHEfFEZY_mbQAR4F3aKG-lkknOJZsJrscpwiLXI0kx6Zz0rRxQbxIqIH-6yN6q6hEz4nrMCjbkJBVpnfDXqznRGJFIA9Mmp_uw9guSOaJl4bujHZvrAOP6NpBA274dlMKGhOe7F8fAslK_BFQvDUo-5sOyxjG3A6O8wQ/s320/Megadeth.jpg" width="320" /></a></div><div>Megadeth - The Sick, The Dying... And The Dead! (T-Boy Records/Tradecraft/Universal Music Australia)</div><div><br /></div><div>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.</div><div><br /></div><div>© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-37768466471152735342021-12-31T19:19:00.003+11:002022-11-06T16:36:13.121+11:00The Best Of 2021<p> The Best Of 2021</p><p>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!</p><p>As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhNXtIR4p4aCQw6fui58Cj9pGJwev5ibL8t7jyqqAfCi8sZv97P-rALyaVg712XsYpihZ0b6CWuV8Z7pAZHs6XmKWfrVlXfCfGDNgMCmYF8cBd2L6i7sbnRUCq3o2vlsjkRlp1Ac9zzLD9X3QuIBZ1SIQfISURKKjKpCbyE-eT16gUD0gwlL7L1EA=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhNXtIR4p4aCQw6fui58Cj9pGJwev5ibL8t7jyqqAfCi8sZv97P-rALyaVg712XsYpihZ0b6CWuV8Z7pAZHs6XmKWfrVlXfCfGDNgMCmYF8cBd2L6i7sbnRUCq3o2vlsjkRlp1Ac9zzLD9X3QuIBZ1SIQfISURKKjKpCbyE-eT16gUD0gwlL7L1EA=s320" width="320" /></a></div><div>Todd La Torre – Rejoice In The Suffering (Rat Pak Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjhX9-ITn9yH9tvcIXfz9uzi__DDMix4Dg8rKLnkoOVaEHrFmzWuudL29oVbSJdjBza3kHtE4B0zYQeK3nUDkZG11OCRUFCtGRcwptxLCPG2ikprXJNy1KoJNYtikDlXTwtd6gxgP7J-BgIYUKGD176ZOSLBJ1M5bUbd7sE1NFWJpB_aT6dOR2Pyg=s1500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhX9-ITn9yH9tvcIXfz9uzi__DDMix4Dg8rKLnkoOVaEHrFmzWuudL29oVbSJdjBza3kHtE4B0zYQeK3nUDkZG11OCRUFCtGRcwptxLCPG2ikprXJNy1KoJNYtikDlXTwtd6gxgP7J-BgIYUKGD176ZOSLBJ1M5bUbd7sE1NFWJpB_aT6dOR2Pyg=s320" width="320" /></a></div><div>Armored Saint – Punching The Sky (Metal Blade Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh6V3Tw9w-9nqy9p3OHTCEtGJtvsy-ggreeriTon8rhly1zRA--xwEWSPAyQtwNsGpZrG_zIujGOtfUZZPaiTA9iNXwM8aVaArp2Fwvl9Rbpk53uhUE-UWC04aRtwNEqIoqUWGsktXZy3nJUEZS9SzS1dmgsY5BQfLYmbMZ6XqQtGv6HNOJUBRxig=s1500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh6V3Tw9w-9nqy9p3OHTCEtGJtvsy-ggreeriTon8rhly1zRA--xwEWSPAyQtwNsGpZrG_zIujGOtfUZZPaiTA9iNXwM8aVaArp2Fwvl9Rbpk53uhUE-UWC04aRtwNEqIoqUWGsktXZy3nJUEZS9SzS1dmgsY5BQfLYmbMZ6XqQtGv6HNOJUBRxig=s320" width="320" /></a></div><div>Jason Bieler And The Baron Von Bielski Orchestra - Songs For The Apocalypse (An Auditory Excursion Of Whimsical Delirium) (Frontiers Music SRL)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibANlmPC9PcuXUCBlPk-A2MLR_ptEL-3L-_-Fqw9NAr8AB--U91ACw773-Kl3bmIp6SEE4YkvIBVS44K8eSl_lfaagu_piVnmuovnVD2_YpEscaujQiNPbVobDXD-g69rKIGQl0frx41x1iXUedFEBvv_UjeQyaPoNz557CcAeY8lKYmABX3wEjg=s1080" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEibANlmPC9PcuXUCBlPk-A2MLR_ptEL-3L-_-Fqw9NAr8AB--U91ACw773-Kl3bmIp6SEE4YkvIBVS44K8eSl_lfaagu_piVnmuovnVD2_YpEscaujQiNPbVobDXD-g69rKIGQl0frx41x1iXUedFEBvv_UjeQyaPoNz557CcAeY8lKYmABX3wEjg=s320" width="320" /></a></div><div>Del Amitri – Fatal Mistakes (Cooking Vinyl)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEitdKDhRRNGLl2R-gA58xJsb0vELWx2ZoJYyUVIRK58PqZFxJDumQHmpJCb6osrUFBDQFh5Fj8bY91YVQmgpNvhyVMr9leSU_T6AkupzXQqncIh_JLP4xYllOrCiRt-MS3EZa1N8uVN_Cv3T37xpEWzNON9PSPM8IeFwLqF621iWQbVutoEMSc__g=s1080" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEitdKDhRRNGLl2R-gA58xJsb0vELWx2ZoJYyUVIRK58PqZFxJDumQHmpJCb6osrUFBDQFh5Fj8bY91YVQmgpNvhyVMr9leSU_T6AkupzXQqncIh_JLP4xYllOrCiRt-MS3EZa1N8uVN_Cv3T37xpEWzNON9PSPM8IeFwLqF621iWQbVutoEMSc__g=s320" width="320" /></a></div><div>The Dead Daisies – Holy Ground (SPV/Steamhammer/Spitfire Music)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiHNrEpb-VKY6VSZou22Glnd1D6icXIkbINj8a70gyADtQ1dxyeL3GT8h2fug-q9cJtY5nsK6DBKS5SDDdHFUCzEaU5FAlQoptFIzeTsPUSFkFcYSl3UypqLvjYrDAYglVLBoAZf_oeGx6gYySBqMxxthN9YPdCcdG3nrBKf87Q6gu5DgSBN11lag=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiHNrEpb-VKY6VSZou22Glnd1D6icXIkbINj8a70gyADtQ1dxyeL3GT8h2fug-q9cJtY5nsK6DBKS5SDDdHFUCzEaU5FAlQoptFIzeTsPUSFkFcYSl3UypqLvjYrDAYglVLBoAZf_oeGx6gYySBqMxxthN9YPdCcdG3nrBKf87Q6gu5DgSBN11lag=s320" width="320" /></a></div><div>Alice Cooper – Detroit Stories (Ear Music/Sony Music)</div><div><br /></div><div>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!</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1_ZMksidwgP4A42Mv7ARUdh5xp0lVqo_Om-gNGYReS29tW0lz9PW-r6ldhRBdIlh5xFhmKwDSk6vsLk3ulIVZFxNB41IxIxM2a7gKRlEke0h3SobSUxJML_2zfiuAFe42uVytmwn_bTPgQmP5jL1y8bO7zdWmOMoJeuZ-_O_Y_qnHkk8xLlNGyQ=s2048" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1_ZMksidwgP4A42Mv7ARUdh5xp0lVqo_Om-gNGYReS29tW0lz9PW-r6ldhRBdIlh5xFhmKwDSk6vsLk3ulIVZFxNB41IxIxM2a7gKRlEke0h3SobSUxJML_2zfiuAFe42uVytmwn_bTPgQmP5jL1y8bO7zdWmOMoJeuZ-_O_Y_qnHkk8xLlNGyQ=s320" width="320" /></a></div><div>Steven Wilson – The Future Bites (Caroline International/Arts & Crafts)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjb4ReZjTO2j8zcsLLW_tssI6hxh2zV2h3HCvBc2zvuN26eFuJuWgQwjeCb3ZaabAbMOqutRY-d40VUpqCVhCNUCsVgtvmSALuoD18OEpIuQ2m4p0gUgmraDNhOATxnV-k3c_pcIOxdhA1Mq-nkBsjXY6v27PeXYr0pbYJ2oCeFwK9jQOwGd8oASA=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjb4ReZjTO2j8zcsLLW_tssI6hxh2zV2h3HCvBc2zvuN26eFuJuWgQwjeCb3ZaabAbMOqutRY-d40VUpqCVhCNUCsVgtvmSALuoD18OEpIuQ2m4p0gUgmraDNhOATxnV-k3c_pcIOxdhA1Mq-nkBsjXY6v27PeXYr0pbYJ2oCeFwK9jQOwGd8oASA=s320" width="320" /></a></div><div>Liquid Tension Experiment – Liquid Tension Experiment 3 (Inside Out Music/Sony Music)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg4NoWKvw3Qi71ktQmnGBF-0BH01iKtUZycN_rCnrY5jTaZ7WO-tFQC1NuuvW8fdAsCrm8yD4XVZbqOEFM8BiEFmaU5geJZ8rC0OnNL8yAN5-R9iB3GPtW3HnbF_c-YDlibuux9EjAzDlZDZlNtvOJcH25nY4TsDYz1aB57yD9-KxgqCgmZyN80Sg=s3000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg4NoWKvw3Qi71ktQmnGBF-0BH01iKtUZycN_rCnrY5jTaZ7WO-tFQC1NuuvW8fdAsCrm8yD4XVZbqOEFM8BiEFmaU5geJZ8rC0OnNL8yAN5-R9iB3GPtW3HnbF_c-YDlibuux9EjAzDlZDZlNtvOJcH25nY4TsDYz1aB57yD9-KxgqCgmZyN80Sg=s320" width="320" /></a></div><div>Times Of Grace – Songs Of Loss And Separation (Wicked Good Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh4IYeiBRzxISwpB-HjnzXBXY80TDY6uYDeuor8RTnu24ySlIomq77wKQzrBg6UdH0X-3u0V4joQiH0ecfFWETH4nFSPhm9tJJjDoS-Iotwclhn7hHnLlKt1VbNdWen1zH3mf68q4Rhf5ZbzRMLe49d7U7Vqr9UOz3OWc1IRtOjD7uBP1ytccNdLA=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh4IYeiBRzxISwpB-HjnzXBXY80TDY6uYDeuor8RTnu24ySlIomq77wKQzrBg6UdH0X-3u0V4joQiH0ecfFWETH4nFSPhm9tJJjDoS-Iotwclhn7hHnLlKt1VbNdWen1zH3mf68q4Rhf5ZbzRMLe49d7U7Vqr9UOz3OWc1IRtOjD7uBP1ytccNdLA=s320" width="320" /></a></div><div>Ricky Warwick – When Life Was Hard And Fast (Nuclear Blast)</div><div><br /></div><div>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.</div><div><br /></div><div><div>Top Ten Songs Of 2021</div><div><br /></div><div>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.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSd8I5QSf63PPazSIAJ2_I1pb-Pa_thHWzSDZGsiEuVJPBpo4lK4rv7e3qBjlAZ89tauXW7DGBizBZpBRtTMDQWNyE9i28mz8zqtfKgBw02Rv1EIynxj8P_QOOFj25GtkG_AsiY2cRZ-2cinJJX6xp2kbgGWYSi6Zz6hxl9W3uH8W25t0PmJmr0A=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSd8I5QSf63PPazSIAJ2_I1pb-Pa_thHWzSDZGsiEuVJPBpo4lK4rv7e3qBjlAZ89tauXW7DGBizBZpBRtTMDQWNyE9i28mz8zqtfKgBw02Rv1EIynxj8P_QOOFj25GtkG_AsiY2cRZ-2cinJJX6xp2kbgGWYSi6Zz6hxl9W3uH8W25t0PmJmr0A=s320" width="320" /></a></div><div>Billy Idol – Bitter Taste (From “The Roadside EP” on Dark Horse Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjmnFWFuI3-A89hMAd4y-WZxt6NaRzS5vHXa1QcuF-PQ0mcL2AAHO30NBrL4JYw7cz4W5w05ckOzL-6g4KDUp1kwNTap48dFcMt5t9UHSryAeWQlo1nMeMEmd32z5tqTQuZ2fwm1q_Ktb-PdhIGtIJAzmzshBmxqE8W8Ms_cm9vXhKYVrTkpTNrpw=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjmnFWFuI3-A89hMAd4y-WZxt6NaRzS5vHXa1QcuF-PQ0mcL2AAHO30NBrL4JYw7cz4W5w05ckOzL-6g4KDUp1kwNTap48dFcMt5t9UHSryAeWQlo1nMeMEmd32z5tqTQuZ2fwm1q_Ktb-PdhIGtIJAzmzshBmxqE8W8Ms_cm9vXhKYVrTkpTNrpw=s320" width="320" /></a></div><div>The Night Flight Orchestra – Change (From “Aeromantic II” on Nuclear Blast)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdcurMwO8T1srr96iG1TBDyzw2RiaPffWlYWHTudsyLyTMpLoIRgDa8JzJzUMMOTEGqKxLIxyipEOoAirilvJjlWWtl70kHh50QA3KqdyuGw-coHFQVW4L59kHmdXFKQPZHYsu35rMsjsPdkK_vl-7l2LwbGT79tTbIxGP96dNxLQWy_hCzlM8sA=s3000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2999" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdcurMwO8T1srr96iG1TBDyzw2RiaPffWlYWHTudsyLyTMpLoIRgDa8JzJzUMMOTEGqKxLIxyipEOoAirilvJjlWWtl70kHh50QA3KqdyuGw-coHFQVW4L59kHmdXFKQPZHYsu35rMsjsPdkK_vl-7l2LwbGT79tTbIxGP96dNxLQWy_hCzlM8sA=s320" width="320" /></a></div><div>Evile – Gore (From “Hell Unleashed” on Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8JFcdW352ZVKFzVPnrQ6niqtGALNEROsSyzrfTgHJUbEQ-iXdYMkm5Ig-kd9pmIkgZkxSmg5Tz2Z918sABURu8cgIKK4BItK_di9Guh1BuSHD4SwlDk5n2D4w4lY9y71etRhn5uKYxsESMjfRRuSZc30Krn_yZZb_2cpO8zkjh4K45juirVD1CA=s1280" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1279" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8JFcdW352ZVKFzVPnrQ6niqtGALNEROsSyzrfTgHJUbEQ-iXdYMkm5Ig-kd9pmIkgZkxSmg5Tz2Z918sABURu8cgIKK4BItK_di9Guh1BuSHD4SwlDk5n2D4w4lY9y71etRhn5uKYxsESMjfRRuSZc30Krn_yZZb_2cpO8zkjh4K45juirVD1CA=s320" width="320" /></a></div><div>The Wildhearts – 21st Century Love Songs (From “21st Century Love Songs” on Graphite Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibz0cwlLeAKjenqxU3dhdOJ0MzqtJLom-TlKjtvMlTT-632nyXtJdf0SKV0iXtmC-TQf8Va3vU1dUJoEhOHh-3DXsSIdKelpLUcDnMYGTYWT8vvo4MyBjAJLciiP6M_zlH1qes5cPDdY3PJHHuf5M5w32R3btnKZWAv7kGNRlx1dkBa2H5iKLmSw=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEibz0cwlLeAKjenqxU3dhdOJ0MzqtJLom-TlKjtvMlTT-632nyXtJdf0SKV0iXtmC-TQf8Va3vU1dUJoEhOHh-3DXsSIdKelpLUcDnMYGTYWT8vvo4MyBjAJLciiP6M_zlH1qes5cPDdY3PJHHuf5M5w32R3btnKZWAv7kGNRlx1dkBa2H5iKLmSw=s320" width="320" /></a></div><div>Moonspell – Common Prayers (From “Hermitage” on Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnrIiRjsDs3xXgwlIXlMEueas-AQJ1ugkI4mCK2qGu1F-CHSy1m0-IgSp7K5Lck7VM2rrJHWhoPBcqnlaMH8yS_fgwgrSf24okOg7JcZrbYhEPOFSIYbhXNdvo9gwnFdSt06Jv1eBmBrr1Gpt7khykFGF6iQZLSzN0DyN7XczeBj5DUA0p9sC17Q=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnrIiRjsDs3xXgwlIXlMEueas-AQJ1ugkI4mCK2qGu1F-CHSy1m0-IgSp7K5Lck7VM2rrJHWhoPBcqnlaMH8yS_fgwgrSf24okOg7JcZrbYhEPOFSIYbhXNdvo9gwnFdSt06Jv1eBmBrr1Gpt7khykFGF6iQZLSzN0DyN7XczeBj5DUA0p9sC17Q=s320" width="320" /></a></div><div>Tomahawk – Predators And Scavengers (From “Tonic Immobility” on Ipecac Recordings)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-LFVcTBFkWoIyUaYxjfSggP5SqG_w-7EaJ-_9fvMIFWBOFrpo319l8S3Rw19VD5T0SPR4A35Wf7HiejPGm0RXOeN4s-0x7iHBmib02AdgAdHJMXmW0UgwYTwQt2SOtFYQXj67X2ZzBBgGCdd39w_FBKbMdc4hioBqij8dGKb8UdDc221U1-n6UQ=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-LFVcTBFkWoIyUaYxjfSggP5SqG_w-7EaJ-_9fvMIFWBOFrpo319l8S3Rw19VD5T0SPR4A35Wf7HiejPGm0RXOeN4s-0x7iHBmib02AdgAdHJMXmW0UgwYTwQt2SOtFYQXj67X2ZzBBgGCdd39w_FBKbMdc4hioBqij8dGKb8UdDc221U1-n6UQ=s320" width="320" /></a></div><div>Myles Kennedy – The Ides Of March (From “The Ides Of March” on Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh0ROb9Uz8QFv06ad1T7DCSkS7HZJXItkEbK1qv0KBpa8bVhTvgglQiU3QxlC_rtDmvJbb0zfT6W9Q5YyBuqeDvSKTEO_3EHm9WxcbOA_N5I6B4U-x9dGYpljMLjYbsKlpDgvdGpQBqTxXDt4ikmRhirZ55JdAXwuq7VKFY5iMyZOHIUxX2UAH2fA=s1417" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1417" data-original-width="1417" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh0ROb9Uz8QFv06ad1T7DCSkS7HZJXItkEbK1qv0KBpa8bVhTvgglQiU3QxlC_rtDmvJbb0zfT6W9Q5YyBuqeDvSKTEO_3EHm9WxcbOA_N5I6B4U-x9dGYpljMLjYbsKlpDgvdGpQBqTxXDt4ikmRhirZ55JdAXwuq7VKFY5iMyZOHIUxX2UAH2fA=s320" width="320" /></a></div><div>Exodus - The Fires Of Division (From “Persona Non Grata” on Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgMu1OkcWEqbo0OzXx0zuTeGHvymAU4moSzKrqYgMtfpcHonfsY9IzhJasXlgKVlU-5LxS2Wdf_eQrdV_Iw_7i0jOAa0LnuGpS0LbI_giv0gHPWtcr1JnPt4V8qWLbfX8BjM0CV2ZaTYEIu8nwywtvw4W_NjvPmfSZckV3D6RdHS3pjdLmVDGqQug=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgMu1OkcWEqbo0OzXx0zuTeGHvymAU4moSzKrqYgMtfpcHonfsY9IzhJasXlgKVlU-5LxS2Wdf_eQrdV_Iw_7i0jOAa0LnuGpS0LbI_giv0gHPWtcr1JnPt4V8qWLbfX8BjM0CV2ZaTYEIu8nwywtvw4W_NjvPmfSZckV3D6RdHS3pjdLmVDGqQug=s320" width="320" /></a></div><div>Big Wreck – High On The Hog (From “7.1” on Warner Music)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiBb5QP_XGbdlR4wBzvu8Kxf11zqT8qH82u0DLRxgFGO54BWwmL2x59gv6WwDgg0RLXIdtsrMOUKY8ilcJz27ut95rI_qJ1hdEov0OWV4tsg9GjPZTwbdiYpRtLhpWKwvlURq66dr-VTqZApx7q3fjOIj4nXPPDkGdMqYTG8b5mlEXWMyhWhFY5Gw=s2048" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1993" data-original-width="2048" height="311" src="https://blogger.googleusercontent.com/img/a/AVvXsEiBb5QP_XGbdlR4wBzvu8Kxf11zqT8qH82u0DLRxgFGO54BWwmL2x59gv6WwDgg0RLXIdtsrMOUKY8ilcJz27ut95rI_qJ1hdEov0OWV4tsg9GjPZTwbdiYpRtLhpWKwvlURq66dr-VTqZApx7q3fjOIj4nXPPDkGdMqYTG8b5mlEXWMyhWhFY5Gw=s320" width="320" /></a></div><div>Shihad – The Wreckage (From “Old Gods” on Warner Music Australia)</div><div><br /></div><div>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.</div><div><br /></div><div>Best Book Of 2021</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJlq4XufhaaZLK0WT2jomfDBY5mEvY6hitWaGVQnEcwCDzP3Aulr1qDlieTEW9iuRw23Y2gxS95quvIilXSBD58DNXcMrItGiRGcR6WAX4tWJE6oUD3cHTYiNezZq4gmEmwDcHDf2U2f1v7VSL-jDYMeMZTXDeXrfRMQdq20yYVIYNg31ZorktUg=s2113" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2113" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJlq4XufhaaZLK0WT2jomfDBY5mEvY6hitWaGVQnEcwCDzP3Aulr1qDlieTEW9iuRw23Y2gxS95quvIilXSBD58DNXcMrItGiRGcR6WAX4tWJE6oUD3cHTYiNezZq4gmEmwDcHDf2U2f1v7VSL-jDYMeMZTXDeXrfRMQdq20yYVIYNg31ZorktUg=s320" width="212" /></a></div><div>Rainbow in the Dark: The Autobiography - Ronnie James Dio with Mick Wall and Wendy Dio (Permuted Press)</div><div><br /></div><div>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</div><div><br /></div><div>© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-11568269641698043692020-12-31T17:24:00.003+11:002022-01-03T18:26:32.377+11:00The Best Of 2020<div style="text-align: left;">The Best Of 2020</div><div style="text-align: left;"><br />I’m not going to go into detail about what 2020 was like for me, primarily because everybody basically experienced the same thing during the pandemic, and because nobody would be interested.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>But in general, I didn’t purchase much in the way of new music, hence the list being shorter than usual. As noted in the past, this is a personal list of my favourite releases, and is listed in no particular order of preference.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhPHfjb-6nyEbmHq_q0Moo7swhWu8wgj9x07gHfmjhVTJEpsFRWpPkuRHtj59I8-wTEded0M70M6-M-lnbAuheOkfg5hkh84rSZAH0S5qbF-xaZ9u-AbUeFsDO_-YgeBUjuB3lYa-NPo9F88lXgULXteZ4aWoB_OPJhEm_cokaviygfe9OgU6np_Q=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhPHfjb-6nyEbmHq_q0Moo7swhWu8wgj9x07gHfmjhVTJEpsFRWpPkuRHtj59I8-wTEded0M70M6-M-lnbAuheOkfg5hkh84rSZAH0S5qbF-xaZ9u-AbUeFsDO_-YgeBUjuB3lYa-NPo9F88lXgULXteZ4aWoB_OPJhEm_cokaviygfe9OgU6np_Q=s320" width="320" /></a></div><div>Pure Revolution Reason – Eupnea (Inside Out Music/Sony Music)</div><div><br /></div><div>Around the same time I discovered British outfit Pure Revolution Reason was around the time they started to wind up as a band, which was disappointing. But after a decade away, the band is back, and it’s a welcomed return. Taking musical cues from the likes of Pink Floyd and Porcupine Tree in a progressive/pop direction, “Eupnea” is worthy addition to the Pure Reason Revolution catalogue, and sees the band picking up where they last left things. Featuring a mix of short and long songs, it’s the long songs that really stand out here, with the epic “Silent Genesis” and the title track “Eupnea” stealing the limelight with their beautifully crafted dual vocals, masterful creation of varying musical movements and immaculate production. In short, this is a great comeback for the band, and hopefully the first of many to come.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjRhr0EfwOQAj1z8_rEUGxIXTFLOiH6bnJsm_iDXUTHNhAqCFmkd57gbFVooa6LTV3PkjjChCvKL7ae7ZQlcQkX5QYqAeU3V0MZg6_cTFWuc6d_Nx2gCbhWyggKU6CHGeIkkeSdz-lIuEcy_3808jZ4RBQxqnEt6QLj-3XG3ad865TMIU4SWM2Nvw=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjRhr0EfwOQAj1z8_rEUGxIXTFLOiH6bnJsm_iDXUTHNhAqCFmkd57gbFVooa6LTV3PkjjChCvKL7ae7ZQlcQkX5QYqAeU3V0MZg6_cTFWuc6d_Nx2gCbhWyggKU6CHGeIkkeSdz-lIuEcy_3808jZ4RBQxqnEt6QLj-3XG3ad865TMIU4SWM2Nvw=s320" width="320" /></a></div><div>Testament – Titans Of Creation (Nuclear Blast)</div><div><br /></div><div>I’m usually railing against acts that steadfastly refusing to move beyond the proven formula, but on this occasion, I’ll make an exception purely because I really enjoy this album for what it is. Testament is hardly breaking new ground here, but it’s a solid release from start to finish, and the band is playing to their obvious strengths. In terms of modern day straight forward thrash, Testament delivers in spades on “Children Of The Next Level”, the fast paced “WWIII” and the hammering “Code Of Hammurabi”, while on “Curse Of Osiris”, Chuck Billy adds variation on the vocal front with some black metal lines. Elsewhere, the Eastern influences on “Ishtar’s Gate” and the bass dominance within “City Of Angels” are worthy additions. “Titans Of Creation” is typical latter era Testament album, but my expectations have been met.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh65qbUet7olF2nDYCcfJX9wmcBVukXd1NnjK6k69z6HCXhVT7GkLL9-j5Fbll-bHRVG-S0zC9ozfqFvpR0Q6LjTQwqB05sG5tcSvGqfrS-p0i4a_N8-DFnZPu7Wwap-70nPfETrd1FK63F3B5Wij23iWwEQxv7eJwwEWUhKSpDBwGBJ0mJdi1Veg=s500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh65qbUet7olF2nDYCcfJX9wmcBVukXd1NnjK6k69z6HCXhVT7GkLL9-j5Fbll-bHRVG-S0zC9ozfqFvpR0Q6LjTQwqB05sG5tcSvGqfrS-p0i4a_N8-DFnZPu7Wwap-70nPfETrd1FK63F3B5Wij23iWwEQxv7eJwwEWUhKSpDBwGBJ0mJdi1Veg=s320" width="320" /></a></div><div>Mr. Bungle - The Raging Wrath Of The Easter Bunny Demo (Ipecac Recordings/Liberator Music)</div><div><br /></div><div>Speaking of another band making a return to the scene after a lengthy twenty years away is Mr. Bungle. Strangely enough, the band roped in a couple of newcomers (Guitarist Scott Ian and drummer Dave Lombardo), and the band set about re-recording their 1986 demo “The Raging Wrath Of The Easter Bunny”. Given its Mr. Bungle, maybe this wasn’t all that strange. Either way, this album is something quite different to what most listeners would associate with the band, and that’s in itself is a positive. As a thrash/crossover album, it’s hardly cutting edge or breaking new ground, but it is a fun listen, and a worthy update on the original demo. In terms of the album’s high moments, “Raping Your Mind”, “Bungle Grind” and “Glutton For Punishment” are worthy of singling out. If history has proven anything, re-recording old albums is a recipe for disaster. “The Raging Wrath Of The Easter Bunny Demo” isn’t a classic, but it’s a fun listen, and easier to listen to than the original.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjbgQJmNtZCSLHF1UJeTE5DuFWRdnOJRxazPHzV6yTAHTZ3IZnLr0tPARmhHr5RZfsZG9me12hcopNnEF_P6ripwE9l_f5k5lZGVwCb7P4oBYTq7pthdZUWyeBCkEehK1RMr9LLYUI3GU6bqvhVUiZEJnSNlh5Qv4OTu0YbAr34f1E3i67mMBm00w=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjbgQJmNtZCSLHF1UJeTE5DuFWRdnOJRxazPHzV6yTAHTZ3IZnLr0tPARmhHr5RZfsZG9me12hcopNnEF_P6ripwE9l_f5k5lZGVwCb7P4oBYTq7pthdZUWyeBCkEehK1RMr9LLYUI3GU6bqvhVUiZEJnSNlh5Qv4OTu0YbAr34f1E3i67mMBm00w=s320" width="320" /></a></div><div>The Night Flight Orchestra – Aeromantic (Nuclear Blast)</div><div><br /></div><div>I believe an entry for a new album from The Night Flight Orchestra into my top ten is somewhat predictable since almost all of their albums have made it in there. But to date, the band hasn’t had a weak release to date. The opening track “Servants Of The Air” is a huge opening statement of classic ‘80’s rock delivered with a distinctly modern edge, and boasts plenty of great musicianship and melodies to get the album off to a great start. From there, there’s plenty of catchy hard rock numbers in “Divinyls”, the title track “Aeromantic”, “Taurus” and “Sister Mercurial”, while “Golden Swansdown”, “Transmissions” and “Carmencita Seven” embrace all the cheesiness of 80’s pop, but without sounding terrible. Finishing out the album is “Dead Of Winter”, which like the opener, is a lengthy number, but another stand out. Although it’s not their strongest album (That honour belongs to “Skyline Whispers”), it’s stacks up against the band’s back catalogue as a great album.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjkZT_57w06V9mRp_dzsCHeFMKtGATJVtmcxdWaDoy7Dw1N4_CSS0Z9h7SKqpdE2c0jk3RLscAefTD1YX4X1w4I3kE4b4zDurVRb6K9GFJf8S_O0SJE0KzRRgN0C2wEVjFMOd1gDksEESVIPQc9ahFQLvPw3njgoEAJ73RhUWipYFzRKzJ-V6IxrQ=s1500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjkZT_57w06V9mRp_dzsCHeFMKtGATJVtmcxdWaDoy7Dw1N4_CSS0Z9h7SKqpdE2c0jk3RLscAefTD1YX4X1w4I3kE4b4zDurVRb6K9GFJf8S_O0SJE0KzRRgN0C2wEVjFMOd1gDksEESVIPQc9ahFQLvPw3njgoEAJ73RhUWipYFzRKzJ-V6IxrQ=s320" width="320" /></a></div><div>Sepultura - Quadra (Nuclear Blast)</div><div><br /></div><div>Sepultura are certainly riding on a wave of creativity, with the band releasing yet another stunning album in “Quadra”. Concept based, and divided into four sections, “Quadra” showcases the all facets of the band’s broad sound, with barely a track sounding out of place throughout. The opening trio of tracks (“Isolation”, “Means To An End” and “Last Time”) are crushingly heavy, and prove beyond any doubt that there’s still plenty of fire left in the band. The heavily grooved “Captial Enslavement” and “Raging Void” have some innovative guitar work to add some depth to the song structures, while the progressive leanings on “Guardians Of Earth” and “Autem” are true highlights of the album, and show how far the band has moved on beyond the sound of “Against” more than twenty years ago. Closing out the album is the powerful “Agony Of Defeat” and the epic “Fear • Pain • Chaos • Suffering”. Opinions are divisive on modern day Sepultura, but as far as I’m concerned, this is another classic from the Derrick Green fronted version of the band.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi5npJRjRAz1npQVGp6MCdlMnac8bAkVmB-PnMGunwPAZmdwHMZSTQ-ghVCNTs1zD3oTU1F20UXyxz3c8yyLVSHT6Pfixfm0ef9Ru8O2chp2qNetiXP38Kj-yu7EoclNnogfgU5hc0KwMw1DotXBaTHkMTTbodgieLS0YyaZIsCqAjw8H0Vp9iLRg=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi5npJRjRAz1npQVGp6MCdlMnac8bAkVmB-PnMGunwPAZmdwHMZSTQ-ghVCNTs1zD3oTU1F20UXyxz3c8yyLVSHT6Pfixfm0ef9Ru8O2chp2qNetiXP38Kj-yu7EoclNnogfgU5hc0KwMw1DotXBaTHkMTTbodgieLS0YyaZIsCqAjw8H0Vp9iLRg=s320" width="320" /></a></div><div>Deep Purple - Whoosh! (Ear Music/Sony Music)</div><div><br /></div><div>In an era of older acts milking their past with nostalgia shows, you have to hand it to Deep Purple for still producing albums of new music. Granted, they’re not as prolific as they once were, or as experimental as their early days, but they’re output is still solid classic hard rock. “Throw My Bones” is provides a rocking start to the album, while “We’re All The Same In The Dark”, “No Need To Shout”, “The Long Way Round” and “Dancing In My Sleep” maintain the momentum with plenty of guitar riffs and shredding from Steve Morse. In terms of stepping outside the hard rock formula, Deep Purple slow things down on the keyboard heavy “Nothing At All” and stretch out to add some atmospherics on the progressive “The Power Of The Moon”, “Man Alive” and the instrumental piece “Remission Possible”. At this stage of their career, “Whossh!” is all-round solid album, and a worthy listen.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgJoK2n6RXjJ2pwPmb5pr_oonQuk78eFAlFOBXw5ogvYwTLKR9XbK3qs5vSQV9ESxqPg9Y6lgNE02yu4_WAsCwq0O7_3wXtRAi0KqsPXwJz7ohnQFy34nBxri1iAg-RP3LDaHEUm4FUKYbdWD0DonAmSqX95kY1RO2tJaBxXejzUCLEv6NyAf4W6Q=s1500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgJoK2n6RXjJ2pwPmb5pr_oonQuk78eFAlFOBXw5ogvYwTLKR9XbK3qs5vSQV9ESxqPg9Y6lgNE02yu4_WAsCwq0O7_3wXtRAi0KqsPXwJz7ohnQFy34nBxri1iAg-RP3LDaHEUm4FUKYbdWD0DonAmSqX95kY1RO2tJaBxXejzUCLEv6NyAf4W6Q=s320" width="320" /></a></div><div>Warbringer – Weapons Of Tomorrow (Napalm Records)</div><div><br /></div><div>The Californian thrashers are back with album number six, and it’s a killer. Warbringer haven’t really altered the sound they presented on 2017’s “Woe To The Vanquished”, but they have refined it, and in some ways this has given the album an edge the predecessor didn’t have. John Kevill absolutely reigns on the opener speeding number “Firepower Kills”, while similar passages of face melting shred heard on “Outer Reaches”, “Crushed Beneath The Tracks” and “Notre Dame (King Of Fools)”, albeit in smaller doses as the band stretch out the arrangements to allow for some tempo changes and alternate passages to break up the formula. As for the mid paced thrashers, the more memorable tracks come in the form of “The Black Hand Reaches Out”, "Defiance Of Fate" and "Heart Of Darkness", while the closer “Glorious End” is a fitting epic for the album with its themes of war without meaning or glory. Warbringer maintain their title of thrash kings once again on “Weapons Of Tomorrow”.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgquf4ngdn5ZmnBoTzSGzpIqodv2k5mbDRMCWkQhuWsHwxhfJvSUEQ4i3LrV8wGUBfBc9o5fmpOKDUuJ6Q3RQAQu4CLT2ZFMr0dNJv-hxdGuQ8BqeB_2MJzLs6OQRWCeKEBb0qVgvwSUsgC71MH1SrS8fpwMiIrftesAGjjko5ngSR7eZgRr7rJ9Q=s900" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgquf4ngdn5ZmnBoTzSGzpIqodv2k5mbDRMCWkQhuWsHwxhfJvSUEQ4i3LrV8wGUBfBc9o5fmpOKDUuJ6Q3RQAQu4CLT2ZFMr0dNJv-hxdGuQ8BqeB_2MJzLs6OQRWCeKEBb0qVgvwSUsgC71MH1SrS8fpwMiIrftesAGjjko5ngSR7eZgRr7rJ9Q=s320" width="320" /></a></div><div>Chaos Divine – Legacies (Chaos Divine Self-Released)</div><div><br /></div><div>It’s been a long five years between releases for Perth based progressive rock outfit Chaos Divine, but with the release of their fourth full length album, the wait has proven to be worth it. Building on the foundation of their former releases, “Legacies” still retains the incredibly melodic and catchy vocals of David Anderton on the hook laden choruses, but musically the band have brought forward a heavier sound to the fore, and the underlying use of growls on the vocal from add another dimension to the band’s sound. The perfect example of this new sound can be heard on the opener “Instincts”, which is incredibly melodic, and yet technical and heavy in parts. Similar in style are “Guarding Gravity”, “Colours Of War”, “Beacon”, the stunning “False Flags” and the lengthy closer “Into The Now”. “No Saviour (Rise & Fall)” is favourite with its heavier vocals and technical musical backdrop, while “Only Son” and “Dead Rivers” are slower and allow for Anderton to open up on the vocal/lyrical front. There’s a lot to taken in on the album with its thirteen tracks, and the album does taken time to absorb. But the time put in will reap its rewards.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjNrr4OGJs367XH3yw1nAfbhvYAbqLnxW43lPk5mYr8Rke-qammGIwwpoU8qaQKgjUKB32D6ccgZnkkQhlpBadwUsYMRhqkQ0mvf_vmF-QokehE8hXDOVJ1plfovkHaYuFfVTbogCXspma5GaCOYzNKTHRLk3gdeUAb0zV0sceaGRzqu_8X4IHndQ=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjNrr4OGJs367XH3yw1nAfbhvYAbqLnxW43lPk5mYr8Rke-qammGIwwpoU8qaQKgjUKB32D6ccgZnkkQhlpBadwUsYMRhqkQ0mvf_vmF-QokehE8hXDOVJ1plfovkHaYuFfVTbogCXspma5GaCOYzNKTHRLk3gdeUAb0zV0sceaGRzqu_8X4IHndQ=s320" width="320" /></a></div><div>Stone Temple Pilots – Perdida (Rhino Records)</div><div><br /></div><div>When Stone Temple Pilots re-emerged in 2018 with their self-titled release with Jeff Gutt on vocals, my faith in the band was restored, and the album was my favourite of that year. Two years on, and I quickly picked up their new album, only to discover it’s an acoustic album. It’s a strange move, but one that’s worked incredibly well. Gutt again proves his appointment to front man of the band was the right move with his performance on tracks such as “Fare Thee Well”, “Three Wishes”, “You Found Yourself While Losing Your Heart” and the dreamy “Sunburst”. Robert DeLeo puts in fairly solid performance vocally on the bare boned “Years”, while the Spanish feel of the title track “Perdida” presents a different side to the band. “Perdida” doesn’t outshine 2018’s “Stone Temple Pilots”, but it does at least prove that Gutt is capable of replacing Scott Weiland’s big shoes.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiRCYEvz2ey8fGmbB4YiNyde_ukToRd7sSINxo9o2IUiIEbus7mgjqzTDacJXl7HPaOsB5pzn1Z3SlVC9ByJhqPVaMFk4NHqgiHt-_iAtRBPwziu5Pt81OANJ3OOjt8pzPH42Fvno_0Pqs5mytk6MHEGD02rzaQCNrSsgEYrgef7XboZLl9kAfACg=s1000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiRCYEvz2ey8fGmbB4YiNyde_ukToRd7sSINxo9o2IUiIEbus7mgjqzTDacJXl7HPaOsB5pzn1Z3SlVC9ByJhqPVaMFk4NHqgiHt-_iAtRBPwziu5Pt81OANJ3OOjt8pzPH42Fvno_0Pqs5mytk6MHEGD02rzaQCNrSsgEYrgef7XboZLl9kAfACg=s320" width="320" /></a></div><div>Biffy Clyro – A Celebration Of Endings (14th Floor Records/Warner Records)</div><div><br /></div><div>Biffy Clyro are one of those bands that I find hard to pin down. I guess what makes it even more difficult is how I like some of their material, but these other things that I just can’t get into. But with “A Celebration Of Endings” I have found an album of theirs that I have enjoyed from start to finish. In terms of sound, Biffy Clyro seem to cover almost every base, and yet never stray too far outside the boundaries at the same time. In short, the band sound energised, exciting, melodic, rocking and innovative. There’s barely a fault to be found on the album, but at a push, tracks such as the “North Of No South”, the angular “Tiny Indoor Fireworks”, “Instant History” and the stunning “Space” really take centre stage. There’s really isn’t a band that quite sounds like Biffy Clyro.</div><div><br /></div><div>Best Book Of 2020</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirJG9fvEJqUJNqS-tEXZTsZcLw1AJ4EfS4SdAt2O_mqrKiI97gsScliRen_Z56g0-1peUynCId7GH882RdaCMWJ_dHNuaP9jpkpGivLM7N6Txu09oRi3fzPQtQeUrobu_3AqaH8ykkiZfBH46tjZDSYeKX5qJk30uhxySdzXdJPoPRV9VZ1oI1QQ=s2560" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2560" data-original-width="1696" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEirJG9fvEJqUJNqS-tEXZTsZcLw1AJ4EfS4SdAt2O_mqrKiI97gsScliRen_Z56g0-1peUynCId7GH882RdaCMWJ_dHNuaP9jpkpGivLM7N6Txu09oRi3fzPQtQeUrobu_3AqaH8ykkiZfBH46tjZDSYeKX5qJk30uhxySdzXdJPoPRV9VZ1oI1QQ=s320" width="212" /></a></div><div>Rob Halford With Ian Gittins – Confess: The Autobiography (Hachette Books)</div><div><br /></div><div>With so many autobiographies on the market these days, you really do have to have a story to tell in order to stand out from the pack. And while I had my doubts, Rob Halford does have a story to tell, both within and outside of his work in Judas Priest. The premise is quite different from most, as it focuses more on Halford’s life as a gay man, and having to hide that side of his life for most of his life while fronting on of heavy metal’s greatest band. Of course, hiding his sexuality took a toll on Halford on a personal front, as the story told on the pages reveal. The book is a little thin in terms of musical side of things, it does provide enough detail on the making of Judas Priest’s albums to make it worthy of a read. The really interesting part of the book is where the details of Halford’s split from Judas priest is talked about, the formation and demise of Fight, the short lived 2wo project, and Halford’s eventual coming out as a gay man. The book is a good read, and the premise is certainly a unique one, and that’s not an easy thing to come up with these days. For Halford fans, this is certainly a worthy read.</div><div><br /></div><div>© Justin Donnelly.</div></div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-20053311697303041732019-12-31T22:46:00.013+11:002022-01-02T23:08:14.098+11:00The Best Of 2019<p>The Best Of 2019</p><p>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.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjQkSf7hkkoz5O9NCxZMg2_UhFL8aQX-tK_SurdkI7Hlj5aR4SdPaGibbHEpkHoGU9UmyWSgfY7yFMcWnNJ08ylwUfFna1B1fMMYQQHHBhfGG3pyH9PJzIeGBJuYaANehSl6i92yF8tp1ywpmnr8BXn7LykfkQqmuOmWAQsiSFGJKUhabi-gvG0tg=s1200" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjQkSf7hkkoz5O9NCxZMg2_UhFL8aQX-tK_SurdkI7Hlj5aR4SdPaGibbHEpkHoGU9UmyWSgfY7yFMcWnNJ08ylwUfFna1B1fMMYQQHHBhfGG3pyH9PJzIeGBJuYaANehSl6i92yF8tp1ywpmnr8BXn7LykfkQqmuOmWAQsiSFGJKUhabi-gvG0tg=s320" width="320" /></a></div><div>Queensrÿche – The Verdict (Century Media Records)</div><div><br /></div><div>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”.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj50Tuhm1UTM-l_FVH_VDl3M-iVupVxQA4BDycmAS8wwG4HDPwCVWM49CIbxkm54Y7OECAINDlWJ9eQEWg9EIS9GoY2xZXrjOOCWSS-GdulPhk5uzZkidnY8poHBkDGcUl5gfV6MmtGvZ9aQVyBLI14OiAouq4LxXQ3MRZqHvL4VAeg-XtoGe70-A=s1000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj50Tuhm1UTM-l_FVH_VDl3M-iVupVxQA4BDycmAS8wwG4HDPwCVWM49CIbxkm54Y7OECAINDlWJ9eQEWg9EIS9GoY2xZXrjOOCWSS-GdulPhk5uzZkidnY8poHBkDGcUl5gfV6MmtGvZ9aQVyBLI14OiAouq4LxXQ3MRZqHvL4VAeg-XtoGe70-A=s320" width="320" /></a></div><div>Big Wreck - ...But For The Sun (Warner Music Canada)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg1zMy4-MJZ1PXZ20frDNI0GSLAMVIhMGbDQmhE-Y02adHqY8evy1WEdaDMNnnn_xoEDaqGMsWCGXj__jqlE7RZbFeL6SOTVjg-W7R2yPUqm04IAmPNXTqKye8BWZlRPB48FxVUBwegBJWjXzRUF1kYO8W7Sgzrr084iGKumBm7iVmBF0GFvR6kNQ=s1200" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg1zMy4-MJZ1PXZ20frDNI0GSLAMVIhMGbDQmhE-Y02adHqY8evy1WEdaDMNnnn_xoEDaqGMsWCGXj__jqlE7RZbFeL6SOTVjg-W7R2yPUqm04IAmPNXTqKye8BWZlRPB48FxVUBwegBJWjXzRUF1kYO8W7Sgzrr084iGKumBm7iVmBF0GFvR6kNQ=s320" width="320" /></a></div><div><div>Sights & Sounds – No Virtue (Static Era Records)</div><div><br /></div><div>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”.</div></div><div><br /></div><div><br /></div><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhVaTHXnGSHYND2eEbZnaAEpfv5_e6MZgmAfcHIV1Zpc_q_uMuVyBK2JLqi-dpZCoo4KUg3MQh-2HOS3y_nw7rnWSY4TlJJ8S7K4BM548o4aADHxXE2lj9chnnPGiEKb798D4S_EskOOBAICMgMl5Ba0mk71S_6JjrRz54mdtWvwjAVQElWla0vow=s512" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhVaTHXnGSHYND2eEbZnaAEpfv5_e6MZgmAfcHIV1Zpc_q_uMuVyBK2JLqi-dpZCoo4KUg3MQh-2HOS3y_nw7rnWSY4TlJJ8S7K4BM548o4aADHxXE2lj9chnnPGiEKb798D4S_EskOOBAICMgMl5Ba0mk71S_6JjrRz54mdtWvwjAVQElWla0vow=s320" width="320" /></a></div><div>No-Man – Love You To Bits (Caroline International)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhel_wzpqeJwMuxid8HuJkkTHMOn43UTtb4l69HdJPL9yz7IOFxUD_gHhhufNI2wYJpBkQ7_9I1riofZiohFpMyif53zlWHHDePD2_t8oSErQDG1qZsjPMaKfdUoBtEeZpPJVxjtf_Z67dNvO3rKfTDFLIA0DM3rCFwAKhHrPGNqS-KEqgp0CFCHA=s1000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhel_wzpqeJwMuxid8HuJkkTHMOn43UTtb4l69HdJPL9yz7IOFxUD_gHhhufNI2wYJpBkQ7_9I1riofZiohFpMyif53zlWHHDePD2_t8oSErQDG1qZsjPMaKfdUoBtEeZpPJVxjtf_Z67dNvO3rKfTDFLIA0DM3rCFwAKhHrPGNqS-KEqgp0CFCHA=s320" width="320" /></a></div><div>The Wildhearts – Renaissance Men (Graphite Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiiVBGwklFb4AFPbxeWpw7soPkbBgLKZTT2bQOaHxNuWcjyp_VDJ7a46b7wM4KrgXADuBtg9rD83zDG-7w6yd5bgScBgw2wReHhG_119RHWbC7yoQr2wc7t0xaWcl3hqdvXf0nUWpxEC8JI25q7B3K2x8qjz7Ce-r981QG6oCv0xmBm-AhSaBRi_Q=s500" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiiVBGwklFb4AFPbxeWpw7soPkbBgLKZTT2bQOaHxNuWcjyp_VDJ7a46b7wM4KrgXADuBtg9rD83zDG-7w6yd5bgScBgw2wReHhG_119RHWbC7yoQr2wc7t0xaWcl3hqdvXf0nUWpxEC8JI25q7B3K2x8qjz7Ce-r981QG6oCv0xmBm-AhSaBRi_Q=s320" width="320" /></a></div><div>Tesla – Shock (Ume/Universal Music Group)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiMDPc6FhJSNqOYiSL5euhWNIWW1lEuFCehsBQuPpFqEGAQgAf7W2LLCV5-7Kr0wrEdhBMpX_SVEuWIpy0p8RQ0XB54PY7Uxikk4sJcVsyM11L7gQdrm4hLKGdUBX9EVUv7bozvRa2j8Uo7CDPt0s0rHKEI35CmdVLFgcSA6dW7AvsnEKQlf07gYQ=s1400" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiMDPc6FhJSNqOYiSL5euhWNIWW1lEuFCehsBQuPpFqEGAQgAf7W2LLCV5-7Kr0wrEdhBMpX_SVEuWIpy0p8RQ0XB54PY7Uxikk4sJcVsyM11L7gQdrm4hLKGdUBX9EVUv7bozvRa2j8Uo7CDPt0s0rHKEI35CmdVLFgcSA6dW7AvsnEKQlf07gYQ=s320" width="320" /></a></div><div>Duff McKagan – Tenderness (Universal Music Enterprises)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjY1hyMY8zX_XeC8oKE1DNEc2vuvo1lXUndREk8XGCRT2cANoj7V3q-KKqRDp0oGqg-Kc7EK_xGMakRa8kCHKuBDhGYGbg7etk_BKwBeoCR2m1_UWnq5qc4sP8wIPsTkyvP1-mB7cZBr0w-jUSQLwb9Xh8lJiWLO0VOVpi3-dH0aTClnhooHhL5eg=s1500" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjY1hyMY8zX_XeC8oKE1DNEc2vuvo1lXUndREk8XGCRT2cANoj7V3q-KKqRDp0oGqg-Kc7EK_xGMakRa8kCHKuBDhGYGbg7etk_BKwBeoCR2m1_UWnq5qc4sP8wIPsTkyvP1-mB7cZBr0w-jUSQLwb9Xh8lJiWLO0VOVpi3-dH0aTClnhooHhL5eg=s320" width="320" /></a></div><div>Alter Bridge – Walk The Sky (Napalm Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0T-F7C5hlLImpxhim1GOCdS1mQVpki2dK9g4UU_hKJKMMOQPQPyLLFZERFmPHVA9MlAMNk7S8-a2urGBwUjndMTAQNJg3gpRWU4Pe9mrLnlX-zm3CHi_r3hXLtNfYrKCXd0jNrS9Z9lWt8GLM1SXVua1k1eI98yZfJip2fVi5GFTx2xrJ9IsnYw=s3000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0T-F7C5hlLImpxhim1GOCdS1mQVpki2dK9g4UU_hKJKMMOQPQPyLLFZERFmPHVA9MlAMNk7S8-a2urGBwUjndMTAQNJg3gpRWU4Pe9mrLnlX-zm3CHi_r3hXLtNfYrKCXd0jNrS9Z9lWt8GLM1SXVua1k1eI98yZfJip2fVi5GFTx2xrJ9IsnYw=s320" width="320" /></a></div><div>Steve Hackett – At The Edge Of Light (Inside Out Music/Sony Music)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6aJzBZOUqB9mC0Qc-0BZ5TJ6GhEHuKge_coCF-bS9Z5S1r10iqbdXjWil5DtInMz3mJmgrgSuOIAJBqY8e4qsTEwfCi5fT0dtaFwLW-N_dGzHktA9b1nltgKWp4Gw4nSS0SArmVYepKIPVlcVnoectcfzC-WI2Ugodhtox9TgHt7nzfSfo44z_g=s1000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6aJzBZOUqB9mC0Qc-0BZ5TJ6GhEHuKge_coCF-bS9Z5S1r10iqbdXjWil5DtInMz3mJmgrgSuOIAJBqY8e4qsTEwfCi5fT0dtaFwLW-N_dGzHktA9b1nltgKWp4Gw4nSS0SArmVYepKIPVlcVnoectcfzC-WI2Ugodhtox9TgHt7nzfSfo44z_g=s320" width="320" /></a></div><div>Soilwork - Verkligheten (Nuclear Blast)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><div>Top Ten Songs For 2019</div><div><br /></div><div>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.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhj9E4E7XY8CqVcPKbO0O8p66H85hI9BhWz5k1vCYFCersoXraZLbq_iqqS7VVKNiXgWGmZi2DFUyw89-940I9bGroF7wFoyO1hRIBqH68It9Ip7PkoIlb3ND9NwmIuicYr2VEUPd0sde0JGrkFYt0aigKS4AWVhrBZnuIpoMrLmuwgU0Gh7KqMUg=s1000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhj9E4E7XY8CqVcPKbO0O8p66H85hI9BhWz5k1vCYFCersoXraZLbq_iqqS7VVKNiXgWGmZi2DFUyw89-940I9bGroF7wFoyO1hRIBqH68It9Ip7PkoIlb3ND9NwmIuicYr2VEUPd0sde0JGrkFYt0aigKS4AWVhrBZnuIpoMrLmuwgU0Gh7KqMUg=s320" width="320" /></a></div><div>Death Angel – Revelation Song (From “Humanicide” on Nuclear Blast)</div><div><br /></div><div>“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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjB7SyZuGK5Vkl5LZ98fS0NPymDZqvodoysfAoGINin5P1Fu89Loed_NZM_Spfk_RZAYZHRMq1cOp2HSMiIuOnxPqj7MYqgiKQg6FOePen7fSF-LKgklPPgTvxJC34f-JgmGHu-VMsKDlAE_eynYMvYi3HZ7Ae1abH1SB_LqHMZvZX7QB3exbNebg=s1024" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjB7SyZuGK5Vkl5LZ98fS0NPymDZqvodoysfAoGINin5P1Fu89Loed_NZM_Spfk_RZAYZHRMq1cOp2HSMiIuOnxPqj7MYqgiKQg6FOePen7fSF-LKgklPPgTvxJC34f-JgmGHu-VMsKDlAE_eynYMvYi3HZ7Ae1abH1SB_LqHMZvZX7QB3exbNebg=s320" width="320" /></a></div><div>Dream Theater – Pale Blue Dot (From “Distance Over Time” on Inside Out Music/Sony Music)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjKz_OfZmFXNnbQOwGJWG55JQ-qALIcCYlwZDPiQlRYJlEm_jnBzf8YylAAubvmwM_bSNZ0MCYvCF0jMHVuL-y1c5-DcgEWfa3KCs2wh6qcao199Te3wm4LLTE_O6eaEaJeTNMt1cMrL7g6xGbL4RfTrtkLVbQBad4P-tEI7KOuKw3tN2f06lpwbQ=s1200" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjKz_OfZmFXNnbQOwGJWG55JQ-qALIcCYlwZDPiQlRYJlEm_jnBzf8YylAAubvmwM_bSNZ0MCYvCF0jMHVuL-y1c5-DcgEWfa3KCs2wh6qcao199Te3wm4LLTE_O6eaEaJeTNMt1cMrL7g6xGbL4RfTrtkLVbQBad4P-tEI7KOuKw3tN2f06lpwbQ=s320" width="320" /></a></div><div>Whitesnake – Heart Of Stone (From “Flesh & Blood” on Frontiers Music SRL)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiI6rhyZSvc3mgeW900mACR87BfEYk7qaHX-7X_jLFNj2sJPCQopJydVPL-ihzCoC7rA7MBdaQBM90hb4PR2k76n9dG0gWSOGH8TYIQTT-C9pQY_giBBXT2QkxOl7JN_jx78yESSnzPcj78ej5jTv2voZbFmJyesFdu2brAIXRjVmQd3dwohiQdQw=s512" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiI6rhyZSvc3mgeW900mACR87BfEYk7qaHX-7X_jLFNj2sJPCQopJydVPL-ihzCoC7rA7MBdaQBM90hb4PR2k76n9dG0gWSOGH8TYIQTT-C9pQY_giBBXT2QkxOl7JN_jx78yESSnzPcj78ej5jTv2voZbFmJyesFdu2brAIXRjVmQd3dwohiQdQw=s320" width="320" /></a></div><div>Leprous – Below (From “Pitfalls” on Inside Out Music/Sony Music)</div><div><br /></div><div>“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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5GQOo7V_-rKxmzj3A0zC6qzTHBiU2N0gruNYRdBtZeZoAIapkYHtoFJ4oNHRR4vPwcUUCSPeK2cqbpbFCmomalKtimsiiDJry9Qr6TZDco3SniUlm5rP_XB8YJ2Qya6eGMHbb-W-Tv_uxT_ZpRcBa5X0T_lIK_jts_DBvsRVwBiZrTtTKO5MBEQ=s2560" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2560" data-original-width="2560" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5GQOo7V_-rKxmzj3A0zC6qzTHBiU2N0gruNYRdBtZeZoAIapkYHtoFJ4oNHRR4vPwcUUCSPeK2cqbpbFCmomalKtimsiiDJry9Qr6TZDco3SniUlm5rP_XB8YJ2Qya6eGMHbb-W-Tv_uxT_ZpRcBa5X0T_lIK_jts_DBvsRVwBiZrTtTKO5MBEQ=s320" width="320" /></a></div><div>S.O.T.O. – Dance With The Devil (From “Origami” on Inside Out Music/Sony Music)</div><div><br /></div><div>“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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIm7nXp2j9M4H1NTt7JLt5UwIVeel3za3Xe2-HktTHAW2_X6ejyI3UKchaC5bbAQ0cKWFbMuLNh6OrrAKiVhRtpXMHRVchEHkiMLaXcvlE1r2EkZsqfJVmK3JXFARfSdK_HfrZHWkW9PR9LsGOYN66DzSmfXe_vHmtVmavEIfYrEX95R_cAKNsOg=s1500" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIm7nXp2j9M4H1NTt7JLt5UwIVeel3za3Xe2-HktTHAW2_X6ejyI3UKchaC5bbAQ0cKWFbMuLNh6OrrAKiVhRtpXMHRVchEHkiMLaXcvlE1r2EkZsqfJVmK3JXFARfSdK_HfrZHWkW9PR9LsGOYN66DzSmfXe_vHmtVmavEIfYrEX95R_cAKNsOg=s320" width="320" /></a></div><div>Misery Loves Co. – Dead Streets (From "Zero” on Black Lodge Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgUXYuge02wkhzKMFO0Oc5If3V1ITqmux0EvQyMlxTLhhOm1EC0l2oRcsDBxmCY6VftfklX8xFpGi6QIXHgROb23oxSrh58T0l0oWJ4lpES2eaQ8uYaX4fuR_tsEDpdsBxuUirDXcOt10WF8zBVOeV_q7pibfVe4BpZgWPDXX3pnYcPLcPqX506rw=s1080" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgUXYuge02wkhzKMFO0Oc5If3V1ITqmux0EvQyMlxTLhhOm1EC0l2oRcsDBxmCY6VftfklX8xFpGi6QIXHgROb23oxSrh58T0l0oWJ4lpES2eaQ8uYaX4fuR_tsEDpdsBxuUirDXcOt10WF8zBVOeV_q7pibfVe4BpZgWPDXX3pnYcPLcPqX506rw=s320" width="320" /></a></div><div>KXM – Lightning (From “Circle Of Dolls” on Rat Pak Records)</div><div><br /></div><div>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).</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgRJ9sL76CtBOO3vSFi0_tpMGIrDUpCZ85dzFrpz9Fz_DbJtQNRe_hBW9nOz2UJRysjwPaZLGnsVuOhglRUutEQ6GN8Vo76A85wArQtya_niDN4LwI8urtbwnj5WyVMxG3dyAEOgSTqwL7gCPXWouQAROakrE53Eyo5zGj5-9qPN9qAkdnclIpzUQ=s1000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgRJ9sL76CtBOO3vSFi0_tpMGIrDUpCZ85dzFrpz9Fz_DbJtQNRe_hBW9nOz2UJRysjwPaZLGnsVuOhglRUutEQ6GN8Vo76A85wArQtya_niDN4LwI8urtbwnj5WyVMxG3dyAEOgSTqwL7gCPXWouQAROakrE53Eyo5zGj5-9qPN9qAkdnclIpzUQ=s320" width="320" /></a></div><div>Black Star Riders – Underneath The Afterglow (From “Another State Of Grace” on Nuclear Blast)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgT2fVNe6b7xI9KJEfis0G2sIk6bfaJa-qGFCX-GO5VZwo37LsP8oetGm13RTGXZJuWLcuLlmd54Z6YNq7ObT7GiVaUU-LaLuQFTr-i52jsdUcTQYQ_9hGD40PPS5JP1FITXQejmKUIiz-MTJo-XTvKAvhDVepzZmA1_o4ARIDZQPHTMcYCOpn6yw=s1080" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgT2fVNe6b7xI9KJEfis0G2sIk6bfaJa-qGFCX-GO5VZwo37LsP8oetGm13RTGXZJuWLcuLlmd54Z6YNq7ObT7GiVaUU-LaLuQFTr-i52jsdUcTQYQ_9hGD40PPS5JP1FITXQejmKUIiz-MTJo-XTvKAvhDVepzZmA1_o4ARIDZQPHTMcYCOpn6yw=s320" width="320" /></a></div><div>Silversun Pickups - Songbirds (From “Widow’s Weeds” on New Machine Records)</div><div><br /></div><div>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.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibg_2Y1jTir3jJfjTlALxZ-WxRsH3wVyDSW99O7WtztJFyRyHMgjLD4x75diOE1lWcKmWAIdZVR1qW2nQJeQh_NQM1qbkInMR1hnpBKL2_bJN_6NbVznCgO3PwReChMY0cBUWIe7NMNUUcTa9fn2ZjxXB6VvLTS0PGuIJcF1clIgWoQpeG20pefA=s1425" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEibg_2Y1jTir3jJfjTlALxZ-WxRsH3wVyDSW99O7WtztJFyRyHMgjLD4x75diOE1lWcKmWAIdZVR1qW2nQJeQh_NQM1qbkInMR1hnpBKL2_bJN_6NbVznCgO3PwReChMY0cBUWIe7NMNUUcTa9fn2ZjxXB6VvLTS0PGuIJcF1clIgWoQpeG20pefA=s320" width="320" /></a></div><div><div>Slipknot – Birth Of The Cruel (From “We Are Not Your Kind” on Roadrunner Records)</div><div><br /></div><div>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.</div></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>Best Book Of 2019</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhrYsfqGwmtrJYBNPH43OOeb9EI_4jHPmPZ0V6mzwlifQKmxJaKILNuOeKYnLXsPlwHjofwvSPHxDoKxEPqzuBPjXSPvtymzgBhkxSLZHkz6MS1wQJo320TDsXKIsJwW4fpPWUFt8Vu0273jNxh2VW3I6gq9ao6UfFJWWgroGvMosMd7CUouc5QZA=s450" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="450" data-original-width="318" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhrYsfqGwmtrJYBNPH43OOeb9EI_4jHPmPZ0V6mzwlifQKmxJaKILNuOeKYnLXsPlwHjofwvSPHxDoKxEPqzuBPjXSPvtymzgBhkxSLZHkz6MS1wQJo320TDsXKIsJwW4fpPWUFt8Vu0273jNxh2VW3I6gq9ao6UfFJWWgroGvMosMd7CUouc5QZA=s320" width="226" /></a></div><div>Greg Prato - King’s X: The Oral History (Jawbone Press)</div><div><br /></div><div>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.</div><div><br /></div><div>© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-19663522791198198222018-12-31T17:30:00.000+11:002022-01-01T13:37:59.989+11:00The Best Of 2018<span style="color: white;">The Best Of 2018</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">Compared to the last couple of years,
2018 was a pretty good year in general. Yes, it had its fair share of ups and
downs, but compared to the last couple of years, the ups seemed to outweigh the
downs.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">But as the year comes to a close, it
was time for me to turn towards the list of releases I kept that came out in
2018. And much like the year was for me on a personal level, 2018 was to my
ears, a far stronger year for releases than last year.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">So with that said, I present to you my
favourite releases of 2018. As per usual, the selections chosen here are based
on my own personal tastes, and are not in any particular order of preference.<o:p></o:p></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/--zJ3rGQVtV0/XDmAilH6zsI/AAAAAAAABt0/KyV8u6IxIPo4vDBmg83PzL0t75StoGKjQCLcBGAs/s1600/Amorphis.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://2.bp.blogspot.com/--zJ3rGQVtV0/XDmAilH6zsI/AAAAAAAABt0/KyV8u6IxIPo4vDBmg83PzL0t75StoGKjQCLcBGAs/s320/Amorphis.jpg" width="320" /></span></a></div>
<span style="color: white;">Amorphis – Queen Of Time (Nuclear Blast
Records)</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">It would be fair to say that Amorphis
haven’t deviated much the winning formula showcased on 2015’s ‘Under The Red
Cloud’ on their latest release. And while that proposition doesn’t do that much
for me (I like to hear progression rather than repetition), I can overlook that
this time around given how enjoyable the songs are on offer this time around.
The weaving ‘Message In The Amber’, the lengthy experimentation within
‘Daughter Of Hate’ and the multi-layered ‘Amongst Stars’ </span><span style="color: white;"> are the picks on the album.</span><span style="color: white;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-9loHPWYW8X4/XDmBSFp_sMI/AAAAAAAABvw/dN2YEPAaaY4VrXl-IWwdfNUjO-MiwVHbQCEwYBhgL/s1600/Vo%25C3%25AFvod.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://4.bp.blogspot.com/-9loHPWYW8X4/XDmBSFp_sMI/AAAAAAAABvw/dN2YEPAaaY4VrXl-IWwdfNUjO-MiwVHbQCEwYBhgL/s320/Vo%25C3%25AFvod.jpg" width="320" /></a></div>
<span style="color: white;">Voïvod – The Wake (Century Media
Records)<br /></span>
<span style="color: white;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Following on from their excellent ‘Post
Society’ E.P. from 2016, Voïvod once again manage to retain their winning form
with the release of their latest release ‘The Wake’. Decidedly a lot less
thrashier sounding than what was initially expected, ‘The Wake’ is instead a
showcase of what the band have done best in the years since their breakthrough
release ‘Nothingface’ (1989). And that sound is experimental, lyrically sci-fi
based and most certainly progressive. The album is best experienced as a whole
with the themes played out from start to finish, but tracks such as the bass
heavy groove of ‘Orb Confusion’, the faster paced/odd feel of ‘Always Moving’
and the epic mashed-up closer ‘Sonic Mycelium’ are favourites. This is without
question one of Voïvod’s stellar efforts.</span><o:p></o:p><br />
<span style="color: white;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-30aEcqWh3dw/XDmBAlk2XlI/AAAAAAAABvc/bNs4Oh2E_DsSgFw_yIoKjBhGJqjkIWL2gCEwYBhgL/s1600/Stone%2BTemple%2BPilots.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://1.bp.blogspot.com/-30aEcqWh3dw/XDmBAlk2XlI/AAAAAAAABvc/bNs4Oh2E_DsSgFw_yIoKjBhGJqjkIWL2gCEwYBhgL/s320/Stone%2BTemple%2BPilots.jpg" width="320" /></span></a></div>
<span style="color: white;">Stone Temple Pilots – Stone Temple
Pilots (Rhino Records)</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">Given Stone Temple Pilots’ track record
without Scott Weiland out front (Talk Show, Army Of Anyone and the Bennington fronted
E.P.), I was unsure what to expect from the band’s latest album. But if there’s
an album this year that has blown away all my expectations, then it’s this
album. Vocalist Jeff Gutt is a perfect fit for the band with his ability to
provide the band with something new, while keeping enough of the past sound to
please diehard fans. The band sounds inspired once again on hard hitting
efforts like ‘Middle Of Nowhere, ‘Guilty’, ‘Six Eight’ and ‘Never Enough’, while
Gutt’s presence on ‘Meadow’, ‘Thought She'd Be Mine’, ‘Finest Hour’ and ‘Reds
& Blues’ is incredible. This is easily the strongest body of work the band
has released in near twenty years.</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-6hnpENiZHZM/XDmA1l0_nWI/AAAAAAAABvE/vKryIvW25LM3O2p06s54FQb2dIxgkzLMgCEwYBhgL/s1600/Ghost.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://3.bp.blogspot.com/-6hnpENiZHZM/XDmA1l0_nWI/AAAAAAAABvE/vKryIvW25LM3O2p06s54FQb2dIxgkzLMgCEwYBhgL/s320/Ghost.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">Ghost - Prequelle (Loma Vista
Recordings)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;">Ghost almost didn’t make it into my top
ten this year, despite their latest release hosting some truly amazing tracks.
And the reason is that while Ghost hit the mark on most of the album, when they
miss, they miss the mark by a mile. But as I mentioned, Ghost really are on
fire for most of the album, with tracks such as the heavy rocking ‘Rats’, the
metallic ‘Faith’ and ‘Witch Image’ great examples of Ghost in full flight. But
what really impresses me is when the band blurs the lines between late ‘80’s
hard rock, pop and subliminal messaging. Prime examples can be found in ‘See
The Light’, ‘Dance Macabre’ and the Alice Cooper influenced ‘Pro Memoria’. The
album might slip during the instrumentals, interludes and covers, but overall Ghost continues to impress me with the new album.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-_TDPrIeHpfU/XDmBQTEzKfI/AAAAAAAABvs/vVB_Bh5JJMkvjmiwAqepng7et2L_P3x2gCEwYBhgL/s1600/The%2BNight%2BFlight%2BOrchestra.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-_TDPrIeHpfU/XDmBQTEzKfI/AAAAAAAABvs/vVB_Bh5JJMkvjmiwAqepng7et2L_P3x2gCEwYBhgL/s320/The%2BNight%2BFlight%2BOrchestra.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Night Flight Orchestra – Sometimes
The World Ain’t Enough (Nuclear Blast Australia)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">When a particular group I like releases
a couple of great albums in a row, then there’s always the potential that they
latest effort will possibly disappoint, and signal the end of a winning streak.
That’s not the case here, with ‘Sometimes The World Ain’t Enough’ competing a
trio of solid gold albums. Fusing classic rock and 80’s hard rock, but with a distinctly
modern sheen, tracks such as ‘Turn To Miami’, the funky ‘Paralyzed’, the slick
‘Moments Of Thunder’, ‘Can’t Be That Bad’ and ‘Winged And Serpentine’ have
received some pretty heavy rotation on my stereo this year. I may not have this
list in any particular order, but this is certainly one of my favourite
releases from 2018.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-S3PIoXCQwcY/XDmAPudyYsI/AAAAAAAABts/v43Ny3HJM7ISnsWjPMcGyiZhWBp-u1PEQCEwYBhgL/s1600/Alice%2BIn%2BChains.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://4.bp.blogspot.com/-S3PIoXCQwcY/XDmAPudyYsI/AAAAAAAABts/v43Ny3HJM7ISnsWjPMcGyiZhWBp-u1PEQCEwYBhgL/s320/Alice%2BIn%2BChains.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Alice In Chains – Rainier Fog (BMG)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">When Alice In Chains returned to the
scene with their 2009 release, I was impressed with their ability to retain
their core sound, while pushing forward. Three albums into their comeback, and
the band continue to deliver the goods. Sounding more consistent and alive than
their former release, ‘Rainer Fog’ boasts the classic Alice In Chains, without
sounding like the band are repeating themselves. The band offer a bit of
everything, with ‘Red Giant’, ‘So Far Under’ and ‘All I Am’ sounding slow,
grinding and heavy, while ‘Fly’ and ‘Maybe’ lighter the tone to keep the whole
album varied and engaging.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-cHobKZqF_ZE/XDmA_lAYxrI/AAAAAAAABvc/dQeW3tO4EcQgCKES4p7eJilH7_HLo3qaQCEwYBhgL/s1600/Myles%2BKennedy.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://1.bp.blogspot.com/-cHobKZqF_ZE/XDmA_lAYxrI/AAAAAAAABvc/dQeW3tO4EcQgCKES4p7eJilH7_HLo3qaQCEwYBhgL/s320/Myles%2BKennedy.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Myles Kennedy – Year Of The Tiger
(Napalm Records)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I was really looking forward to this
album, and while it wasn’t what I was expecting from the Alter Bridge/Slash
vocalist’s debut sole outing, it has grown on me over time. Acoustic based and
deeply rooted in that Americana sound, ‘Year Of The Tiger’ is quite a stripped
back and personal album, and one that offers fans a wide array of sounds and
styles. ‘Devil On The Way’, ‘Mother’, ‘Songbird’ and the title track represent
the stronger uptempo numbers, while the more downbeat ‘Haunted By Design’,
‘Ghost Of Shangri La’ and the huge sounding ‘The Great Beyond’ only showcase
what a talented artist Kennedy really is both as a singer and a songwriter.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-mb1EyOIOTK8/XDmAm0yVNBI/AAAAAAAABus/vOYQe170Xawg6kvbBdQSXuyyGE2SQIF3QCEwYBhgL/s1600/Judas%2BPriest.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://4.bp.blogspot.com/-mb1EyOIOTK8/XDmAm0yVNBI/AAAAAAAABus/vOYQe170Xawg6kvbBdQSXuyyGE2SQIF3QCEwYBhgL/s320/Judas%2BPriest.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Judas Priest – Firepower (Sony Music)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">As big a fan as I am of Judas Priest, I
really haven’t been blown away with anything the veteran act has released since
the return of Halford out front. So I wasn’t expecting anything from this
release. But lo and behold, Judas Priest has finally released an album worthy
of their legendary status. The production duo of Tom Allom and Andy Sneap
ensure that the sound is great, but its Halford’s inspired performance and the
quality of the songs here that win me over. Listening to the likes of the title
track, the serpentine slink of ‘Flame Thrower’, the driving ‘Traitor’s Gate’,
the melodic sensibilities of ‘No Surrender’ and ‘Evil Never Dies’, it’s clear
that Judas Priest still have plenty to offer fans.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-FljY5rmdRtA/XDmBKsOUl4I/AAAAAAAABvs/2CSE2noadO4ahJlk9DXxoHPLvY4plNF-ACEwYBhgL/s1600/The%2BEternal.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://3.bp.blogspot.com/-FljY5rmdRtA/XDmBKsOUl4I/AAAAAAAABvs/2CSE2noadO4ahJlk9DXxoHPLvY4plNF-ACEwYBhgL/s320/The%2BEternal.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Eternal – Waiting For The Endless
Dawn (Sombre Light Productions)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I’ve been waiting for this album for
some time, and the wait was well worth it. In a lot of ways, The Eternal
revised their past with this album boasting a darker and heavier sound than
their last couple of albums. And to these ears, it sounds perfect. The epic
opener ‘The Wound’ is a perfect example of what the album has instore with its
lush melodies, heavy guitar and memorable vocal passages, while ‘Rise From
Agony’ boasts some great guitar work from front man Mark Kelson. I could list
every track on this album as a highlight, but the violin enhanced ‘I Lie In
Wait’, the band’s unique take on Icehouse’s ‘Don’t Believe Anymore’ and ‘In The
Lilac Dusk’ (Featuring guest vocalist Mikko Kotamäki from Swallow The Sun) are
tracks to keep an ear out for. This album is a personal favourite of mine of
for 2018.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-jtd1GRIWrz4/XDmA4Shp7sI/AAAAAAAABvs/hJVza4elvrgKUYQ_Rh58mDzFXPR1wIW5QCEwYBhgL/s1600/Michael%2BRomeo.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://1.bp.blogspot.com/-jtd1GRIWrz4/XDmA4Shp7sI/AAAAAAAABvs/hJVza4elvrgKUYQ_Rh58mDzFXPR1wIW5QCEwYBhgL/s320/Michael%2BRomeo.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Michael Romeo - War Of The Worlds - Pt.
1 (Music Theories Recordings)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Given how much I like Symphony X, there
was never going to be any doubt that guitarist Michael Romeo new solo album was
going to feature somewhere in my top list this year. ‘War Of The Worlds - Pt. 1’
is almost like a new Symphony X album, but does have enough differing elements
to make it stand alone. And one of those big differences is vocalist Rick
Castellano, who sounds like a smoother/less operatic version of Russell Allen
(Pre-2007’s ‘Paradise Lost’), and someone who really stands out here on the album
alongside Romeo’s impressive guitar work. Picking out highlights on the album
is quite a challenge given the strength of the album overall, but ‘Fear The
Unknown’, ‘Black’, ‘Djinn’ and ‘Oblivion’ are tracks that should be earmarked
for a definite listen to. Here’s hoping there’s more Romeo solo efforts to fill
the gaps between Symphony X releases in the future.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Top Ten Songs For 2018<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">There are those great sounding,
memorable and strong albums that naturally make their way into your top ten
list at the end of the year. The rest flow onto the list featured below.
Basically these are albums that have some great songs, but aren’t consistent
enough to stand out as album’s that begging for repeated listens for the rest
of eternity (Or at least something like that). They’re still worth checking out
however.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-NcJCwOZypC0/XDmBFiUBNxI/AAAAAAAABvo/Horj_LIMFyUO4Ub9Z94sWZymnhKA0Ey1wCEwYBhgL/s1600/Tantric.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://2.bp.blogspot.com/-NcJCwOZypC0/XDmBFiUBNxI/AAAAAAAABvo/Horj_LIMFyUO4Ub9Z94sWZymnhKA0Ey1wCEwYBhgL/s320/Tantric.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Tantric – Letting Go (From ‘Mercury
Retrograde’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Since 2008, Tantric have been a bit
inconsistent, and mostly because of the uneven production values on their
albums, and their constant revolving door of members within their ranks. And
their latest album suffers once again for these very reasons. But despite its
disappointments, the band’s latest does feature ‘Letting Go’, which is a
rerecorded track from the original line-up’s unreleased ‘Tantic III’ album from
2007. Vocalist Hugo Ferreira is in top form here with the melodies, the lyrics
are solid, and the mix of acoustic and electric guitars is trademark Tantric of
old from a production point of view. It’s just a shame they can’t pull this thing
off on every track on the new album.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-aD7JxJ3sYsU/XDmAfRjqQeI/AAAAAAAABuU/t6ZyUhdIc5wLyEAopVFRzuHyzXG-TWd2QCEwYBhgL/s1600/Corrosion%2BOf%2BConformity.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://4.bp.blogspot.com/-aD7JxJ3sYsU/XDmAfRjqQeI/AAAAAAAABuU/t6ZyUhdIc5wLyEAopVFRzuHyzXG-TWd2QCEwYBhgL/s320/Corrosion%2BOf%2BConformity.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Corrosion Of Conformity – Cast The
First Stone (From ‘No Cross No Crown’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I was really looking forward to Corrosion
Of Conformity getting back together with Pepper Keenan on their new album, and
while I enjoy the album, it’s not an album I love. I think the production has a
bit to do with it, but listening to the album as a whole, it’s pretty clear
that there’s a fair bit of filler on it, and it’s a bit gruelling to get
through because of that. But a definite high point on the album appears within
‘Cast The First Stone’. Chunky riffs, musical attitude and Keenan on vocals
with his familiar bite is a great mix for the band, and once that reminds me a
bit of the band’s glory days around ‘Deliverance’ (1994).<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-QbHjhREgF1w/XDmAXIQKahI/AAAAAAAABuA/f_9xObpBpT0LDPIREkhZ8Dis7mzVMavBQCEwYBhgL/s1600/Andrew%2BW.K..jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://3.bp.blogspot.com/-QbHjhREgF1w/XDmAXIQKahI/AAAAAAAABuA/f_9xObpBpT0LDPIREkhZ8Dis7mzVMavBQCEwYBhgL/s320/Andrew%2BW.K..jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Andrew W.K. – ‘Party Mindset’ (From
‘You’re Not Alone’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Why is this track on here? I can’t say
for sure. I’m not a huge fan of Andrew W.K., but I do have a few of his albums.
I picked this album up as a gamble, and I really did enjoy quite a few tracks
off the album. Of all of them, I did like ‘Party Mindset’ the most. Part of the
appeal is the message, another part is the instrumentation. But I have to admit
the melody is infectious too. Like I mentioned earlier, I’m not what you’d call
an avid follower of Andrew W.K.’s stuff, but I do appreciate his
vibrant/overtly positive musical output from time to time.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-YGVABL3Hscc/XDmBN5zHgoI/AAAAAAAABvw/5BRIYUN33YYWUZgnkVeYIeL1YOihlRdbACEwYBhgL/s1600/The%2BSea%2BWithin.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-YGVABL3Hscc/XDmBN5zHgoI/AAAAAAAABvw/5BRIYUN33YYWUZgnkVeYIeL1YOihlRdbACEwYBhgL/s320/The%2BSea%2BWithin.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Sea Within – They Know My Name (From
‘The Sea Within’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">This album almost appeared in my top
ten list of the year, and the only reason it hasn’t is because I’m still trying
to fully absorb the album. This project is spearheaded by Roine Stolt (The
Flower Kings) and Daniel Gildenlöw (Pain Of Salvation), and is every bit as
good as the line-up suggests. The album covers a wide variety of styles and
directions, but my favourite is the rather dark and beautiful ‘The Know My
Name’. Gildenlöw’s passionate vocals mesh perfectly with the subdued musical
framework, and create a track that lingers in the mind well after finishing.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-knihtjTBDyg/XDmBIA3YO7I/AAAAAAAABvs/xhfJsPoRcLULSlVjmBi7O1jaNM2dAc2PACEwYBhgL/s1600/The%2BDead%2BDaisies.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://3.bp.blogspot.com/-knihtjTBDyg/XDmBIA3YO7I/AAAAAAAABvs/xhfJsPoRcLULSlVjmBi7O1jaNM2dAc2PACEwYBhgL/s320/The%2BDead%2BDaisies.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Dead Daisies – Judgement Day (From
‘Burn It Up’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Dead Daises seem to be moving at a
relentless pace with a new album every year. On their fourth studio album, the
band maintains their high standard brand of hard rock for the most part,
barring a few average sounding numbers. One of the album’s big highlights comes
in ‘Judgement Day’. Fusing together the tried and true acoustic verses and
heavy duty choruses, ‘Judgement Day’ is a great example of the guitarist’s
ability to conjure up a rock solid riff and tasteful solo, and John Corabi’s
incredible vocals. The Dead Daisies have yet to produce a certified classic
album, but with this album, they weren’t far off the mark.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Ne5gfCGpaWA/XDmBF01xKbI/AAAAAAAABvs/C8avcmxQ7aEyqz-yC5dSiLgrbsPBLzE3ACEwYBhgL/s1600/Tesseract.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://1.bp.blogspot.com/-Ne5gfCGpaWA/XDmBF01xKbI/AAAAAAAABvs/C8avcmxQ7aEyqz-yC5dSiLgrbsPBLzE3ACEwYBhgL/s320/Tesseract.jpeg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Tesseract – King (From ‘Sonder’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">‘Sonder’ isn’t one of my favourite
Tesseract albums, but that doesn’t mean that it’s a bad album either. Instead,
it sits somewhere in the middle, with the song writing sounding more refined,
but a little forgettable sound wise overall. But while some songs can drift by,
‘King’ always stands out, and that’s in no small part due to Daniel Tompkins’
contrast between screamed vocals and lush melodies against the sonic wall of
noise from the rest of the band. ‘King’ is an exceptional song on a solid
album.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-tot6t8JjAIQ/XDmBUABGfDI/AAAAAAAABv0/Pir6PxsVNhMzuBmUG_ho9cJeYM5ez8W9wCEwYBhgL/s1600/Ty%2BTabor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://4.bp.blogspot.com/-tot6t8JjAIQ/XDmBUABGfDI/AAAAAAAABv0/Pir6PxsVNhMzuBmUG_ho9cJeYM5ez8W9wCEwYBhgL/s320/Ty%2BTabor.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Ty Tabor – So Here’s To You (From
‘Alien Beans’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Picking a song from Tabor’s latest
release was a bit tough, because there’s three really great tracks (The rest
are no slouches either!), but I’ve gone with ‘So Here’s To You’ primarily
because I keep coming back to it, and it really does showcase what Tabor does
best in the song writing sense. The use of acoustics in the track is quite
effective, and while Tabor’s voice can get a little much at times, it works
wonders on this track. Here’s hoping that next year a new King’s X album makes
my top ten list!<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-OT3E6gYa9QM/XDmAOH1I5GI/AAAAAAAABto/nXX4DeRwOMAV0xjnBeynzF796scR9EmYACEwYBhgL/s1600/ASG.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://1.bp.blogspot.com/-OT3E6gYa9QM/XDmAOH1I5GI/AAAAAAAABto/nXX4DeRwOMAV0xjnBeynzF796scR9EmYACEwYBhgL/s320/ASG.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">ASG – God Knows We (From ‘Survive
Sunrise’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Given the number of years that ASG has
been around for (Sixteen if one wasn’t sure), it’s safe to say that the band
know what they do best. And while that works a good part of the time, it does
mean that sometimes the band’s output can sound a bit overly familiar. And
that’s what plagues ‘Survive Sunrise’. It’s a good album, but it’s only the
second half of the album where the band stretch beyond their know strengths and
strive for greatness. There’s a ton of great material featured in the latter
half of the album, but ‘God Knows We’ hits where it should in terms of delivering
a highly infectious performance, grooving riffs and strong melodies.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-R2m3c90jCVU/XDmA8ltYBmI/AAAAAAAABvo/ZA8m47xkzDQYdICWk-ZSGF_MOGiOiVWRACEwYBhgL/s1600/Spock%2527s%2BBeard.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://1.bp.blogspot.com/-R2m3c90jCVU/XDmA8ltYBmI/AAAAAAAABvo/ZA8m47xkzDQYdICWk-ZSGF_MOGiOiVWRACEwYBhgL/s320/Spock%2527s%2BBeard.jpg" width="320" /></span></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Spock’s Beard – Somebody’s Home (From
‘Noise Floor’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Three albums into the third incarnation
of Spock’s Beard, and the band are still producing some great results. But if
there’s a negative surrounding ‘Noise Floor’, it’s that the band are playing to
their strengths, and not really challenging their audience. Don’t get me wrong,
the progressive rock band’s latest album is really solid, but I can’t help but
feel that the band aren’t stretching themselves to break new ground. The album
will take a lot more time before it really starts to gel with me, but the first single ‘Somebody’s
Home’ grabbed me right from the start. It’s a more melodic approach from the
band than what’s usually expected (As is the rest of the album), and the
progressive flourishes are certainly toned down, but it’s a damn likeable
track.<o:p></o:p></span></div>
<span style="color: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-IjV2MmdIrYY/XDmAuSY02YI/AAAAAAAABus/WLz3kMuMuQ0ElxibofFF_ANAwELkBzlmQCEwYBhgL/s1600/Living%2BColour.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://2.bp.blogspot.com/-IjV2MmdIrYY/XDmAuSY02YI/AAAAAAAABus/WLz3kMuMuQ0ElxibofFF_ANAwELkBzlmQCEwYBhgL/s320/Living%2BColour.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Living Colour – Program (From ‘Shade’)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I never know what to expect from Living
Colour over the course of a full length album, and the band live up to that in
a big way on ‘Shade’. Seemingly crossing from one style to the next, Living
Colour can be hard to pin down. ‘Shade’ is a good album, with every song
ticking the box for me. The only real problem is that as a whole, the album
isn’t as strong as some of their other releases to my ears. But like I mention
before, there isn’t a bad track, and ‘Program’ is a firm favourite. Riff heavy,
full of attitude on the vocal front (Both in the rapped and sung sections) and
funky in typically Living Colour fashion, ‘Program’ is a political statement in
musical form and signature Living Colour sounding as we’ve come to expect from
the band.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Biggest Disappointment Of 2018</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-_QPkZtLje60/XDmA3C31WMI/AAAAAAAABvc/SoHrZl333YcEtgBBvme5sGsnddsc_ythgCEwYBhgL/s1600/Machine%2BHead.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://4.bp.blogspot.com/-_QPkZtLje60/XDmA3C31WMI/AAAAAAAABvc/SoHrZl333YcEtgBBvme5sGsnddsc_ythgCEwYBhgL/s320/Machine%2BHead.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Machine Head - Catharsis (Nuclear Blast
Entertainment)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">You could never accuse Machine Head of
making the same album over and over again. If history has proven anything, it’s
that there have been times when that’s been a really good thing (The transition
from 2001’s ‘Supercharger’ to 2003’s ‘Through The Ashes Of Empires’), and times
when it’s been a huge letdown (2011’s ‘Unto The Locust’ and its follow up
2014’s ‘Bloodstone & Diamonds’). Cue Machine Head’s ninth studio release ‘Catharsis’.
‘Catharsis’ does have its moments, but not complete songs. There’s snippets
where the band are doing some cool things, but that can’t seem to focus on
those good ideas and build quality songs from them. Instead the songs feel like
their thrown together haphazardly, giving the album a very scattered feel. And
even some of the likeable tracks on the album (Notably ‘Psychotic’, ‘California
Bleeding’ and ‘Volatile’) sound like the band are on autopilot. And at fifteen
tracks/seventy-five minutes, the album also drags. In the end, ‘Catharsis’
fails to grab me like I’d hoped it would, and will no doubt rarely be thrown on
the stereo for a spin. This album doesn’t signal the end of Machine Head,
because the band has a knack for bouncing back from the brink of disaster. But
of all the albums released this year, this is one I just can’t enjoy as much as
I had hoped I would.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">The Best Book Of 2018</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-6fReQMpO4pY/XDmAsrocJuI/AAAAAAAABvE/8k5aUUfI1LgEaPOoEz65iznoBcNAM7GNgCEwYBhgL/s1600/K.K.%2BDowning%2BBook.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1480" data-original-width="980" height="320" src="https://2.bp.blogspot.com/-6fReQMpO4pY/XDmAsrocJuI/AAAAAAAABvE/8k5aUUfI1LgEaPOoEz65iznoBcNAM7GNgCEwYBhgL/s320/K.K.%2BDowning%2BBook.jpg" width="211" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="background-color: black; color: white;">K.K. Downing With Mark Eglinton – Heavy
Duty: Days And Nights In Judas Priest (Constable)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="background-color: black;"><span style="color: white;">I’ve amassed quite a few biographies
over the years, and it’s getting easier to recognise the good ones from the
bad. Obviously being a Judas Priest fan, I had to pick up Downing’s effort, and
in doing so had hoped that it might shed some insight into the band’s lengthy
and highly influential four decade long story. Well, on that front, the book
does disappoint. But on a more personal level, the book work surprisingly well.
Downing’s book comes across as honest and straight forward telling of his side
of the story, with a large proportion of the book focusing on his personal life
outside of Judas Priest. Starting, predicably, with the details surrounding his
(Hard) early life, the book does take its time getting around to the formation
of the band. But there’s a very good reason for that, and that’s because his
early life had such a huge influence on how he handled his
personal/professional life from there on. Given the mystery surrounding Judas
Priest’s inner workings, this book is a first of its kind, and quite revealing.
But Downing does hold back on a lot of the dirt in an effort to retain some
respect he has with his former band members. A lot of the finer details
surrounding the making of the music is brushed over (Or missing in some cases),
and Downing’s memory lapses regarding some important details can be
disappointing and make little </span><span style="color: white;">sense at times, but overall the book succeeds
more than it fails.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Biggest Surprise Of 2018</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/--SeXnMDrG8g/XDmAixWog9I/AAAAAAAABuQ/lD8krQk_xSg5CBEn--6y911ApFPp2DcywCEwYBhgL/s1600/Deluxe%2BReissue.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="538" data-original-width="807" height="213" src="https://3.bp.blogspot.com/--SeXnMDrG8g/XDmAixWog9I/AAAAAAAABuQ/lD8krQk_xSg5CBEn--6y911ApFPp2DcywCEwYBhgL/s320/Deluxe%2BReissue.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Unlike cassette tapes and vinyl, which
disappeared rather quickly with the introduction of C.D.’s (Well it took time,
but did seem to happen quickly at the time), C.D.’s are dying a slow and
agonising death with the growing use of digital music. And while none of this
is news to music collectors, the effect of this slow transition still manages
to surprise me on a number of different levels. A prime example of this is the
release of most albums these days in standard and deluxe formats. While it was
once relegated to a small percentage of releases, it now seems common place.
But that’s something I kind of expected to become more common place as time
moved on. I guess what’s really taken me by surprise is the deluxe format
album’s have taken on the reissue front. Gone are the days where a long out of
print album will get a reissue that’s the same in almost every aspect apart
from the label and the barcode. No, now it’s remixed/remastered, filled with
bonus tracks, packaged with vinyl/books/trinkets and all wrapped in some lavish
packaging. Again, while none of this is a real surprise, the extent that some
albums have been repackaged is quite mind blowing and surprising. The expansion
of the deluxe reissue really has been taken to a whole new level with the likes
of Pink Floyd’s Immersion box set version of ‘Dark Side Of The Moon’, Metallica’s
‘...And Justice For All’ and Guns N’ Roses ‘Appetite For Destruction’. These deluxe
sets cater to the absolute diehard fan, and with those who have money. I’m sure
I’ll be amazed (And horrified sometimes) with what will emerge in 2019 and
beyond in terms of music presentation, but 2018 certainly opened my mind to the
possibilities and pitfalls of a collector whose fond of the C.D. format, and
what they have to contend with in the coming years.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Best Concert Of 2018</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-lWorm_oTN2A/XDmAkHWmkOI/AAAAAAAABuU/qKmhadEbqXkyeQa8f9LMfUoiYWKma6rHACEwYBhgL/s1600/Europe%2BAustralian%2BTour%2BPoster.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1132" height="320" src="https://2.bp.blogspot.com/-lWorm_oTN2A/XDmAkHWmkOI/AAAAAAAABuU/qKmhadEbqXkyeQa8f9LMfUoiYWKma6rHACEwYBhgL/s320/Europe%2BAustralian%2BTour%2BPoster.jpg" width="226" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">Europe – Palais Theatre – 19<sup>th</sup>
May 2018<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I didn’t get to a lot of shows this
year, but of the few I did see, Europe was one of my favourites. Although I was
never one of their biggest fans in the early days, I have become one since
their return to the scene in 2004. Each and every release since their
reformation has been great, and I (And my partner) leapt at the chance to see
them live. And it didn’t disappoint one bit. Joey Tempest hasn’t lost anything
on the vocal front, and the band sounded great. This kind of show could have
easily slipped into reliving past glories for the band, but instead they kept the
set list geared primarily on the most recent efforts, while acknowledging their
past to keep everyone pleased. There were plenty of highlights (Particularly
when the band snuck in a brief snippet of AC/DC’s ‘Whole Lot Of Rosie’ and
Whitesnake’s ‘Here I Go Again’ into a couple of their songs), but hearing both
‘Firebox’ and ‘Walk The Earth’ was worth the price of admission alone. For a
first visit to Australian shores, Europe conquered with ease, and left a huge
impression on all.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-hansi-font-family: Calibri;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Most Anticipated Album Of 2019<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-vMcHBhl1lmE/XDmBMRgI4jI/AAAAAAAABvs/cmJEgbAy4jw_v1mSNyXaMuMgYgh73zz2QCEwYBhgL/s1600/The%2BEnd%2BMachine.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="638" data-original-width="638" height="320" src="https://4.bp.blogspot.com/-vMcHBhl1lmE/XDmBMRgI4jI/AAAAAAAABvs/cmJEgbAy4jw_v1mSNyXaMuMgYgh73zz2QCEwYBhgL/s320/The%2BEnd%2BMachine.jpg" width="319" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="color: white;">I always get stuck on this one, because
what I’ve put here in the past generally doesn’t come out until two years
later! Anyway, I’m looking forward to a lot of releases this year, but one I
know that’s being released in 2019 is the debut effort from The End Machine.
Featuring “classic era” Dokken members George Lynch (Guitar), Jeff Pilson
(Bass) and Mick Brown (Drums), The End Machine sees the trio team up with
ex-Lynch Mob/Warrant vocalist Robert Mason for what so far appears to be
something a little more modern sounding than what I’d expected. Although the
concept didn’t sound all that enticing on paper (Is anyone excited by the idea
of rehashed Dokken classics?), T&N’s debut effort from 2012 was a cracking
release, and a real showcase of the talent with the three guys on the new
material. So with that in mind, I’m really looking forward to seeing what the
guys would come up with next. O.K., I was hoping for that second T&N album,
but this will do in the meantime. </span><o:p></o:p></div>
<br />
<br />Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-31566693241601443872017-12-31T16:39:00.000+11:002022-01-01T13:35:57.929+11:00The Best Of 2017<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The Best Of 2017<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
2017 will go down as a challenging
year. Sure, every year has its difficulties, but 2017 seemed just that much
tougher to get through.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
But despite the struggles of day to day
life, at least there’s music. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
But having said that, I’d have to admit
that 2017 won’t go down as one of the strongest in terms of classic musical
offerings either. There was no shortage of albums to listen to, but it fell
well short of mark of previous years for memorable albums.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
But all was not lost, because there were
enough gems to emerge from the coal, and earn themselves high rotation
throughout the year.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
So here it is this year’s list. As
always, the choices here are based on my own personal tastes, and are not in
any particular order of preference.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Enjoy.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-zcSNmwVvmJQ/Wm1cIWNaJTI/AAAAAAAABqI/qFJH57x_3P0_g0vXXK9KoipXOM3sMY9hACLcBGAs/s1600/The%2BNight%2BFlight%2BOrchestra.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://1.bp.blogspot.com/-zcSNmwVvmJQ/Wm1cIWNaJTI/AAAAAAAABqI/qFJH57x_3P0_g0vXXK9KoipXOM3sMY9hACLcBGAs/s320/The%2BNight%2BFlight%2BOrchestra.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The Night Flight Orchestra – Amber
Galactic (Nuclear Blast Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
After the high mark of excellence left
with 2015’s ‘Skyline Whispers’, I expected big things from The Night Flight
Orchestra on their third album. And to be honest, on the first couple of listens,
I was disappointed. But you can never judge a book by its cover, and as time
wore on, so did my love of this album. Just about all the album tracks can be
listed as a favourite (Apart from the Mick Jagger cover of course!), but
favourites include ‘Midnight Flyer’, ‘Gemini’, the Kiss tinged ‘Sad State Of
Affairs’, ‘Jennie’, ‘Josephine’ and ‘Space Whisperer’. The album is a must
have!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-rNVsaFpg58U/Wm1cfLRxHEI/AAAAAAAABqU/3RkkyusO-CUmk-lpgDo-9C786bxmEhhDQCLcBGAs/s1600/Big%2BWreck.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://2.bp.blogspot.com/-rNVsaFpg58U/Wm1cfLRxHEI/AAAAAAAABqU/3RkkyusO-CUmk-lpgDo-9C786bxmEhhDQCLcBGAs/s320/Big%2BWreck.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Big Wreck – Grace Street (Zoë Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
There are plenty of classic rock
outfits that emerge from the woodwork every year, but few that try live up to
their lofty claims of sounding like the real deal. But Canadian outfit Big
Wreck really is the exception. After a series of critically acclaimed releases,
the band is back with their latest effort, and it’s again something new from
them, and yet true to the bands past sound. ‘One Good Piece Of Me’, the vintage
‘Digging In’, ‘Tomorrow Down’ and the progressive laced instrumental ‘Skybunk
Marché’ is exactly the brand of rock you’d expect from the band, while keyboard
driven and measured ‘Motionless’, ‘All My Fears On You’, and the marriage of
all sounds on ‘Floodgates’ is new terrain from the group. Big Wreck isn’t the
next big thing, because they were always the real deal right from the start.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-OUAQJnga6WM/Wm1c9TasSOI/AAAAAAAABq8/hzDEqVjit4ovjnYAduLdXwBscR2gOpFFgCEwYBhgL/s1600/Ginger%2BWildheart.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://3.bp.blogspot.com/-OUAQJnga6WM/Wm1c9TasSOI/AAAAAAAABq8/hzDEqVjit4ovjnYAduLdXwBscR2gOpFFgCEwYBhgL/s320/Ginger%2BWildheart.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Ginger Wildheart – Ghost In The
Tanglewood (Round Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
When Ginger announced that his new
album would be in a more acoustic/county vein, I was optimistic about the
results. But once again, I wasn’t sold on the finished product. But as always,
time has changed by mind, and for the most part, it’s another stellar effort
from the genius. The opener ‘The Daylight Hotel’ is an absolute cracker, while
the beautifully simple ‘Pay It Forward’, the heartache of ‘Miss You’ and ‘Remains’,
‘The Words Are Gonna Have To Wait’ and the rocking ‘The Reaper’ showcase
Ginger’s song writing stripped back, at seemingly at his best.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-m7gDvvT770M/Wm1c-JbF-cI/AAAAAAAABrA/Asobs804DV40HtMKpRzxKc_rC5H3PfPfwCEwYBhgL/s1600/Hell%2BOr%2BHighwater.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1302" data-original-width="1302" height="320" src="https://1.bp.blogspot.com/-m7gDvvT770M/Wm1c-JbF-cI/AAAAAAAABrA/Asobs804DV40HtMKpRzxKc_rC5H3PfPfwCEwYBhgL/s320/Hell%2BOr%2BHighwater.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Hell Or Highwater – Vista (Spinefarm
Records)</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
It’s a while between releases for Hell
Or Highwater, but well worth it. Although sounding a little more polished on
the production front, the band retains the style that worked so well on their
former releases for the most part, with a couple of surprises to shake things
up a bit. Tracks such as ‘Don’t Hate Me’, ‘Dame’, ‘Colors’, ‘Washed Away’ and
the single ‘I Want It All’ will keep existing satisfied to no end, while cuts
such as the dramatic ‘Another Good Time’, ‘Lighter Than Air’, the thumping
modernised rock edge in ‘Don’t Stop. Get Up.’ and ‘Pieces’ keep things from
getting stale. ‘Vista’ is a truly well return for Brandon Saller and company
after a long period of inactivity.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-bx5tfBnO2RE/Wm1c30MX0gI/AAAAAAAABr0/9SyagsDhp-IpLVeikSM7r2z4OXPDRMH-wCEwYBhgL/s1600/Comeback%2BKid.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://1.bp.blogspot.com/-bx5tfBnO2RE/Wm1c30MX0gI/AAAAAAAABr0/9SyagsDhp-IpLVeikSM7r2z4OXPDRMH-wCEwYBhgL/s320/Comeback%2BKid.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Comeback Kid – Outsider (Nuclear Blast
Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Comeback Kid were always going to have
a challenge topping 2014’s ‘Die Knowing’ in my eyes, and while their new album
doesn’t quite topple the previous album off its place on the top shelf, the
band certainly gave it a bloody good go. ‘Outsider’ is probably best described
as an album that combines everything the band has delivered over the last three
studio albums. There’s plenty of aggressive hardcore/punk (‘Outsider’, ‘I’ll Be
That’, ‘Outrage (Fresh Face, Stale Cause)’ and ‘Livid, I’m Prime’) mixed masterfully
with tracks that drive home Andrew Neufeld’s irresistible melodic presence (‘Somewhere, Somehow’, ‘Surrender
Control’, ‘Absolute’ and the heavy ‘Throw That Stone’). Overall, this is
another top effort from the Canadian’s.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-egwdFd3TIKo/Wm1c_PdT2_I/AAAAAAAABrs/RJ6lB_TMd1M8pr6KXt6sVSS-XF9ZxNTrgCEwYBhgL/s1600/KXM.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://2.bp.blogspot.com/-egwdFd3TIKo/Wm1c_PdT2_I/AAAAAAAABrs/RJ6lB_TMd1M8pr6KXt6sVSS-XF9ZxNTrgCEwYBhgL/s320/KXM.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
KXM – Scatterbrain (Rat Pak Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
What I love about KXM is how much it
brings out in the three musicians involved. Bassist/vocalist Doug Pinnick
(King’s X) provides some amazing melodies and bottom end, guitarist George
Lynch (Dokken/Lynch Mob) truly stretches out and delivers a while array of
riffs and sounds that extend beyond his safety zone, and Ray Luzier (Korn) is
all over every song with his rhythmic thumping. Although they don’t stray too
far from the blueprint laid out three years ago, the songs are so good you can
overlook the fact. Stand outs include the groove based ‘Calypso’, the catchy
‘Not A Single Word’, the darkened overtones of ‘It's Never Enough’ and ‘Stand’
and the melodic trio of ‘Noises In The Sky’, ‘Scatterbrain’ and ‘Breakout’. If
you enjoyed their debut, then this is a must have.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-bwUumjs0zOw/Wm1c1uyZElI/AAAAAAAABrs/sbD5FGgcb0gKu3rR6hkRdcANII9Xm4P6QCEwYBhgL/s1600/Cheap%2BTrick.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://3.bp.blogspot.com/-bwUumjs0zOw/Wm1c1uyZElI/AAAAAAAABrs/sbD5FGgcb0gKu3rR6hkRdcANII9Xm4P6QCEwYBhgL/s320/Cheap%2BTrick.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Cheap Trick – We’re All Alright! (Big
Machine Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Despite being around for more than
forty years, I believe some of Cheap Trick’s strongest output outside of their first
decade together has been anything the band has released in the last ten years.
And that high standard is maintained on their latest effort ‘We’re All
Alright!’. Sounding a whole lot less polished and guitar heavy than anything
the band has released in years, ‘We’re All Alright!’ is Cheap trick in full
‘rock on’ mode, and sounding as good as ever. Classic Cheap Trick on full
display with stellar cuts such as ‘You Got It Going On’, ‘Long Time Coming’, ‘Lolita’,
‘Like A Fly’ and ‘Brand New Name On An Old Tattoo’, while ‘Nowhere’ and ‘Radio
Lover’ see the band add a punk edge to their classic rock sound. After a patchy
stretch through the ‘80’s and 90’s, Cheap Trick have bounced back with
enthusiasm and energy that belies their age. As far as I’m concerned, that’s
alright by me.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-k-N_EcYGV8E/Wm1cw79jdNI/AAAAAAAABr4/2IL2W20YByorx99HN9ZoJ8ksm8YUXCO3ACEwYBhgL/s1600/Black%2BCountry%2BCommunion.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1417" data-original-width="1429" height="317" src="https://2.bp.blogspot.com/-k-N_EcYGV8E/Wm1cw79jdNI/AAAAAAAABr4/2IL2W20YByorx99HN9ZoJ8ksm8YUXCO3ACEwYBhgL/s320/Black%2BCountry%2BCommunion.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p></o:p>Black Country Communion – BCCIV (J&R
Adventures/Mascot Records)</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
After the disappointment of 2012’s
‘Afterglow’, I didn’t expect the band to make a return, let alone emerge with a
fourth full length effort. But while my expectations were quite low, this album
really does herald a comeback for the band, and a welcome return to the collaborative
styled of song writing that was missing the last time around. Practically
everything is a winner here, but ‘Over My Head’, Bonamassa’s ‘The Last Song For
My Resting Place’, the riff heavy ‘Sway’ and ‘When The Morning Comes’ are
possibly some of the best tunes Page and Plant never got around to writing and
recording.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-OKgoZ0SIZNY/Wm1c8zyVdXI/AAAAAAAABro/yYP7FHaOsfckfi0XlKmAHKSiQxLx9eCNQCEwYBhgL/s1600/Decapitated.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1417" data-original-width="1417" height="320" src="https://2.bp.blogspot.com/-OKgoZ0SIZNY/Wm1c8zyVdXI/AAAAAAAABro/yYP7FHaOsfckfi0XlKmAHKSiQxLx9eCNQCEwYBhgL/s320/Decapitated.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Decapitated – Anticult (Nuclear Blast
Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Fusing together elements of thrash and
death metal, and adding some melodic atmospherics has been working like a charm
for Decapitated in recent years to these ears. And on their latest album, the
Polish outfit have damn near perfected the mix on ‘Anticult’. From the groove
based thrash of ‘Deathvaluation’, to the infection catchiness of ‘Kill The
Cult’ and ‘Earth Scar’ and the throwback to days of old (Albeit with a modern
twist) of the punishing ‘Never’, Decapitated have come up with a diverse, yet
cohesive sounding album that is worthy follow up to 2014’s rather impressive
‘Blood Mantra’.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-V1R86gSyoEs/Wm1dKN4NIUI/AAAAAAAABr4/zh1O2hPBozUXu4jf5DPSxcA4QhIwAbmVwCEwYBhgL/s1600/Sepultura.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://4.bp.blogspot.com/-V1R86gSyoEs/Wm1dKN4NIUI/AAAAAAAABr4/zh1O2hPBozUXu4jf5DPSxcA4QhIwAbmVwCEwYBhgL/s320/Sepultura.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Sepultura – Machine Messiah (Nuclear
Blast Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Sepultura have always been a bit hit
and miss to me. For every big leap forward with a new album the band seem to
make, they falter with the follow up effort. Fortunately, ‘Machine Messiah’ is
one of those steps onward for the Brazilian outfit. Sepultura find a great
balance between doom heavy efforts (The title track), thrash blasting tunes (‘I
Am The Enemy’, ‘Silent Violence’ and the fantastic ‘Vandals Nest’),
experimental orchestral fare (‘Phantom Self’ and ‘Sworn Oath’) and the rhythmic
groove based songs the band are primarily known for (‘Alethea’, ‘Cyber God’ and
‘Resistant Parasites’) to produce a well rounded and interestingly diverse
album.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Top Ten Songs For 2017<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Why stop at a top ten? That’s a good
question. And the answer is I haven’t. These albums aren’t quite as consistent
all the way through, but still have enough killer tracks to make them worth
checking out.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-ZcqEw1SekQM/Wm1c_NIvCCI/AAAAAAAABr8/8C-0C1B8i8U40NFv00Ahr0U8O4PmsNvsACEwYBhgL/s1600/Pain%2BOf%2BSalvation.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="750" height="320" src="https://2.bp.blogspot.com/-ZcqEw1SekQM/Wm1c_NIvCCI/AAAAAAAABr8/8C-0C1B8i8U40NFv00Ahr0U8O4PmsNvsACEwYBhgL/s320/Pain%2BOf%2BSalvation.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Pain Of Salvation – Silent Gold (From
‘In The Passing Light Of Day’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
After the brilliance of the double
barrelled ‘Road Salt’ efforts, ‘In The Passing Light Of Day’ is a chore to sit
through if I’m not in the right frame of mind. But one true gem to shine from
the album’s punishing progressive push from start to finish is the stunning
ballad ‘Silent Gold’. Stripped back, and full of Daniel Gildenlöw’s emotive
vocals, ‘Silent Gold’ is an absolute stunner that proves that a song doesn’t
have to be complex and challenging to captivate the listener.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-_2MOgacidSE/Wm1c_1CmobI/AAAAAAAABr8/tQeXhJmRG4Q1C87PZXNaAMaaP5Yyj4UFACEwYBhgL/s1600/Richie%2BKotzen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1302" data-original-width="1302" height="320" src="https://1.bp.blogspot.com/-_2MOgacidSE/Wm1c_1CmobI/AAAAAAAABr8/tQeXhJmRG4Q1C87PZXNaAMaaP5Yyj4UFACEwYBhgL/s320/Richie%2BKotzen.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Richie Kotzen – I’ve Got You (From
‘Salting Earth’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Kotzen is another artist who despite
being immensely talented, can be real hit and miss on the album front. His
latest album is evidence of this, but it does have some absolute dazzlers in
there, including ‘I’ve Got You’. What it lacks in guitar wizardry, it more than
makes up with its infectious chorus and energetic vibe. And the fact that the
song sounded just as great live is a testament of how great the song stands up
on all fronts.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-lZ5EK4Mt8bs/Wm1dNkNDRUI/AAAAAAAABr8/nx_875UrBwA8c08hrHWCvUpuTu-VhtKigCEwYBhgL/s1600/Warbringer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://4.bp.blogspot.com/-lZ5EK4Mt8bs/Wm1dNkNDRUI/AAAAAAAABr8/nx_875UrBwA8c08hrHWCvUpuTu-VhtKigCEwYBhgL/s320/Warbringer.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Warbringer – Shellfire (From ‘Woe To
The Vanquished’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
I love Warbringer, but to be honest,
‘Woe To The Vanquished’ fell well short of my expectations. I believe the band
may have been trying too hard to stretch their sound, and delivered an album
that sounds underdeveloped. But that doesn’t mean it’s a total failure, with
‘Shellfire’ a sure-fire thrashing blast that remind me of the very reason I got
into the band all those years ago. Fast paced, catchy and sounding better than
ever on the production front, ‘Shellfire’ is a sign that the band haven’t lost
their mojo, but merely misplaced it this time around.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Zzs5sNHCbyU/Wm1cbInBm5I/AAAAAAAABr0/OVUeWc1iUmQP78jIcD5mV_07F1X1Us7lACEwYBhgL/s1600/Alice%2BCooper.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1496" data-original-width="1500" height="319" src="https://4.bp.blogspot.com/-Zzs5sNHCbyU/Wm1cbInBm5I/AAAAAAAABr0/OVUeWc1iUmQP78jIcD5mV_07F1X1Us7lACEwYBhgL/s320/Alice%2BCooper.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Alice Cooper - Fireball (From
‘Paranormal’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Now this one was a challenge! Not the
strongest album from the Coop, but far from his worst. So O.K., which track is
your favourite? And there’s the problem. I liked quite a few from the album,
but one that gets me every time is ‘Fireball’. Sounding unlike anything else on
the album, this bass driven (Dennis Dunaway no less!)/organ heavy effort
(Courtesy of Bob Ezrin) is a marvel of strangeness and catchiness, and suits
Alice to a T. It’s in a style of its own, and it’s when Alice produces his best
work.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-F8Fb6T7E9vQ/Wm1c6D0w3-I/AAAAAAAABrs/SZdHLFjJzWQpwe7HiYYqyB3BX42Wegy1gCEwYBhgL/s1600/Galactic%2BCowboys.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://4.bp.blogspot.com/-F8Fb6T7E9vQ/Wm1c6D0w3-I/AAAAAAAABrs/SZdHLFjJzWQpwe7HiYYqyB3BX42Wegy1gCEwYBhgL/s320/Galactic%2BCowboys.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Galactic Cowboys – Infernal Masquerade
(From ‘Long Way Back To The Moon’)</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
After seventeen years away, Galactic
Cowboys finally reunited with their original line up and put together a new
album! And man, was I excited. While I have yet to fully absorb in the entire
album, I can safely say that it’s not quite up to top ten material. But it does
have some great tunes, such as ‘Infernal Masquerade’. Packed with killer
harmonies, chunky riffs and a chorus that sticks in the mind once the song has
well and truly finished, the album may be far from perfect, but this is a
killer track.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Diz56j9we9w/Wm1cb9RoCKI/AAAAAAAABrs/xkv1jvkasbkDZm8Wqmfb6ZmTucQdEQ1FgCEwYBhgL/s1600/Akercocke.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://3.bp.blogspot.com/-Diz56j9we9w/Wm1cb9RoCKI/AAAAAAAABrs/xkv1jvkasbkDZm8Wqmfb6ZmTucQdEQ1FgCEwYBhgL/s320/Akercocke.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Akercocke - Familiar Ghosts (From
‘Renaissance In Extremis’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Akercocke is another act that emerged
from out of a self imposed exile to return with a new album this year, and
despite some clear changes in sound, ‘Renaissance In Extremis’ is a very solid
album. If I were to choose one song that is a favourite, and one that best sums
up all of the band’s multi-faceted sound, it would have to be ‘Familiar
Ghosts’. Effortlessly combining the more extreme, melodic and progressive
elements of Akercocke’s sound, ‘Familiar Ghosts’ is a good example of what the
band has to offer in the one song.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-ZZqJuhEa9r0/Wm1cunQ9nxI/AAAAAAAABro/ASYAYmkCduwBFkW5JKCGEft03J6abG5TQCEwYBhgL/s1600/Black%2BStar%2BRiders.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1417" data-original-width="1417" height="320" src="https://2.bp.blogspot.com/-ZZqJuhEa9r0/Wm1cunQ9nxI/AAAAAAAABro/ASYAYmkCduwBFkW5JKCGEft03J6abG5TQCEwYBhgL/s320/Black%2BStar%2BRiders.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Black Star Riders - Thinking About You
Could Get Me (From ‘Heavy Fire’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Three albums in, and Black Star Riders
are still producing the goods. There’s a lot of great tracks on the album, but
‘Thinking About You Could Get Me Killed’ is a firm favourite with its heavier
sound (Courtesy of guitar duo Scott Gorham and Damon Johnson), and Ricky
Warwick channelling a bit more grit on the vocal front to give the song a bit
more of that sound that made The Almighty so great in the first place.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-DgE9Cu2Eo90/Wm1dKIPdDcI/AAAAAAAABr8/RfWwYHiPip4pQ6_XmGEwoqivrzGAECSWgCEwYBhgL/s1600/The%2BHaunted.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://3.bp.blogspot.com/-DgE9Cu2Eo90/Wm1dKIPdDcI/AAAAAAAABr8/RfWwYHiPip4pQ6_XmGEwoqivrzGAECSWgCEwYBhgL/s320/The%2BHaunted.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The Haunted – Preachers Of Death (From
‘Strength In Numbers’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
After launching a bit of a comeback on
2014’s ‘Exit Wounds’, I was really hoping for a knockout blow with ‘Strength In
Numbers’. Unfortunately, something is a bit amiss on the new album, and The
Haunted ended up with a solid, but unremarkable release. But when they hit the
mark, they hit hard. ‘Preachers Of Death’ is definitely a hard hitter with its
chugging groove and menacing tone, this track is what’s expected of the band
both in terms of heaviness and density, and delivered in spades.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/--brp8itFM2A/Wm1dBmQ5OjI/AAAAAAAABr0/Vxo5yKqyS54zm03CbzJxVgsQb2CPpMt9QCEwYBhgL/s1600/Roger%2BWaters.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://2.bp.blogspot.com/--brp8itFM2A/Wm1dBmQ5OjI/AAAAAAAABr0/Vxo5yKqyS54zm03CbzJxVgsQb2CPpMt9QCEwYBhgL/s320/Roger%2BWaters.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Roger Waters - Déjà Vu’ (From ‘Is This
The Life We Really Want?’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
It took him twenty-five years, but
Waters finally released a new album in ‘Is This The Life We Really Want?’. It’s
by far his most accessible and Pink Floyd sounding effort, and perhaps that’s
what stopped it from getting in my top list. Is it too easy to enjoy? Regardless
of this, ‘Déjà Vu’ is classic Waters with lyrics pondering the age old question
of ‘What if...’, while musically speaking it’s as melodic as ever.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-1Dg3pXTEHAw/Wm1c5sZ9VTI/AAAAAAAABrs/TPlgblU3wEQVZbTU_oDud9neENSbNUWjQCEwYBhgL/s1600/Contrive.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://2.bp.blogspot.com/-1Dg3pXTEHAw/Wm1c5sZ9VTI/AAAAAAAABrs/TPlgblU3wEQVZbTU_oDud9neENSbNUWjQCEwYBhgL/s320/Contrive.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Contrive – Below The Line’ (From ‘Slow
Dissolve‘)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Saying that any band seems to get
stronger and better at what they do with every new album is somewhat of a cliché.
But with long running Melbourne outfit Contrive that really is the case. On
their third full length release, the Haug twins have sharpened their song
writing, their riffs and thrown caution to the wind in regards to expectations
and return with a truly solid album. In terms of streamlined sounding efforts, ‘Below
the Line’ well and truly fits the bit. The riffs and fairly straight forward, and
Andrews drumming keeps the backbeat ticking long. But what really carries the
song over the finish line is Paul’s great clean vocals. If you need to sample
one track, I’d recommend this one.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The Best Book Of 2017<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-zbSeG8OBm3w/Wm1c45FiUiI/AAAAAAAABr0/0XLVGWmHYn0OnCFNzXS9Lleao2Fh_4iLQCEwYBhgL/s1600/David%2BE.%2BGehlke.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1131" height="320" src="https://1.bp.blogspot.com/-zbSeG8OBm3w/Wm1c45FiUiI/AAAAAAAABr0/0XLVGWmHYn0OnCFNzXS9Lleao2Fh_4iLQCEwYBhgL/s320/David%2BE.%2BGehlke.jpg" width="226" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
David E. Gehlke - Damn The Machine: The
Story Of Noise Records (Deliberation Press)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
There’s a tonne of autobiographies out
on the market at the moment, but there’s few, if any, written solely around the
story of a record label. Enter Gehlke, who came up with the idea of detailing
the history of hugely influential German heavy metal label Noise Records, and
the result is one truly unique book, and an absolute triumph for Gehlke’s debut
effort in novel form. Boasting exclusive interviews with many of the band’s signed
on with the label before, during and after its heyday, and spliced together
with label founder Karl-Ulrich Walterbach’s tales of dealing with the band, and
the label’s numerous employees spread through different territories, what
emerges is story of a label that managed to achieve as many successes as it did
failures. But during their time, German heavy metal label Noise Records was
nothing short of innovative, and long after their fall from grace, considered a
legend amongst fans for their foresight to sign on band’s that would help
spread the European metal scene throughout the world. This book is an absolute
labour of love, and a truly captivating read for anyone who followed the label’s
releases back in the day.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Biggest Surprise Of 2017</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-StIIXjj9bc8/Wm1dK3YgxuI/AAAAAAAABr4/F0NfcmgeN2k1eJeskcGx_hRa2ITVsozvQCEwYBhgL/s1600/Vinnie%2BVincent.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://3.bp.blogspot.com/-StIIXjj9bc8/Wm1dK3YgxuI/AAAAAAAABr4/F0NfcmgeN2k1eJeskcGx_hRa2ITVsozvQCEwYBhgL/s320/Vinnie%2BVincent.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The return of Vinnie Vincent is hands
down the biggest surprise of the year. And the fact that the return to the
public domain was through Kiss Expo, and not through a mugshot and an attached
police report is an even bigger shock. Where it goes from here remains to be
seen, but the fact that he’s emerged after more than fifteen years after
dropping off the face of the earth is something of a miracle for diehard fans.
One can only hope that during 2018, Vincent can not only right the wrongs of
the past, but release some music to fans who have waited patiently for the his return
for close to two decades.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Biggest Disappointment Of 2017<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-MmOjpByftJM/Wm1c06OSgZI/AAAAAAAABro/VXl_EFYIhfExyMbhwPmBF4QJL6j9O5BXQCEwYBhgL/s1600/Chris%2BCornell.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="464" data-original-width="825" height="179" src="https://1.bp.blogspot.com/-MmOjpByftJM/Wm1c06OSgZI/AAAAAAAABro/VXl_EFYIhfExyMbhwPmBF4QJL6j9O5BXQCEwYBhgL/s320/Chris%2BCornell.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
A lot of big name rock stars passed away in
2017, but the one artist who did pass away that actually meant anything to me
was Chris Cornell. Given I was a fan (In particular Temple of The Dog), it was
a sad loss. I have no doubt there was plenty of songs left in him, but when a
life is cut short, so too is the possibility of any more music.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Most Anticipated Album Of 2018<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-JkeksadTomA/Wm1dHrikZGI/AAAAAAAABr0/IbLfsgBhyoIKKg48y7wnR7tN5191GYz5wCEwYBhgL/s1600/The%2BWildhearts.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="464" data-original-width="466" height="318" src="https://1.bp.blogspot.com/-JkeksadTomA/Wm1dHrikZGI/AAAAAAAABr0/IbLfsgBhyoIKKg48y7wnR7tN5191GYz5wCEwYBhgL/s320/The%2BWildhearts.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
In short, The Wildhearts. Despite
claiming that the band had been laid to rest (At least on the studio front after the release of 2009's '¡Chutzpah!' and its sister E.P. '¡Chutzpah! Jnr.'), Ginger is once again writing
songs for a new album from The Wildhearts due next year. I’m holding back the excitement
to avoid disappointment should it all fall through. But once it’s given the
green light and we have definitive details, there’s no holding me back!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p></o:p></div>
Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-52796907754182613972016-12-31T10:42:00.000+11:002022-01-01T13:32:53.133+11:00The Best Of 2016<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
The Best Of 2016<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Either the years seem to be going
quicker, or I’m getting slower! Either way, 2016 brought me a ton of great
music to lose myself in, even if I couldn’t lock down much time to write about them.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
But despite the disappointing lack of
time (And content for the blog), I did manage to listen to plenty of great music, with more than enough to
make up a top ten list of my favourites for the year.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
So here it is. And as always, the choices here are based on my own personal tastes, and not in any particular order of preference.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-CmkG6dgFXdI/WJpYDQEQ6dI/AAAAAAAABoo/Or3VBS5ww14tg_-Brjt0bzp6rh8ru6yHQCEw/s1600/Abbath.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-CmkG6dgFXdI/WJpYDQEQ6dI/AAAAAAAABoo/Or3VBS5ww14tg_-Brjt0bzp6rh8ru6yHQCEw/s320/Abbath.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Abbath – Abbath (Season Of Mist)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
I really didn’t know what to expect
from former Immortal frontman Abbath’s debut solo release, but it took but a
single listen to know that I liked what I heard. Sure, it’s not all that far removed from what he had produced in the past under the Immortal banner, but when you have tracks such as ‘To
War!’, ‘Winter Bane’, ‘Ashes Of The Damned’ and ‘Endless’, the lack of boundary
pushing can be overlooked at this point in time for one genuinely solid release.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-tPWuAHM9pog/WJpYgNZ2Z9I/AAAAAAAABoY/OcB2Pj84BKUQxPNNUwYoFPRG3pg9-JCcQCEw/s1600/Testament.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-tPWuAHM9pog/WJpYgNZ2Z9I/AAAAAAAABoY/OcB2Pj84BKUQxPNNUwYoFPRG3pg9-JCcQCEw/s320/Testament.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Testament – Brotherhood Of The Snake (Nuclear
Blast Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
A rather tense and difficult gestation
period, mixed with huge expectations from their legion of fans for a new Testament album had many
wondering if the Bay Area thrashers still had it in them to stand tall in the
so called ‘Big 4’. Well in short; ‘Brotherhood Of The Snake’ is an absolute gem
in Testament’s crown. Fast paced, aggressive and catchy, this is Testament at
their best. Stand out cuts include ‘Seven Seals’, ‘The Pale King’, the
shredding title track and ‘The Number Game’. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-ZS67Bs-lrZ0/WJpYivubYII/AAAAAAAABog/DmLPNe4X_pMVK1nC1Q0I3hHA44P2F6x4wCEw/s1600/The%2BJelly%2BJam.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-ZS67Bs-lrZ0/WJpYivubYII/AAAAAAAABog/DmLPNe4X_pMVK1nC1Q0I3hHA44P2F6x4wCEw/s320/The%2BJelly%2BJam.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
The Jelly Jam – Profit (Music Theories Recordings)</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Powerhouse trio The Jelly Jam are
somewhat of a strange outfit, and their releases are never immediate to me. But
over time, this fourth release has certainly grown on me. Mixed equally between
the soft and rockier side of things, the band showcase their diverse musical
influences, and Ty Tabor’s ability to provide hooks that amaze. Song worthy of
singling out include ‘Water’, the rocking ‘Mr. Man’, ‘Stop’, the mellow
‘Heaven’ and the climatic ‘Strong Belief’.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-IqtN-NENCII/WJpYKUHwgTI/AAAAAAAABno/0CyOTWtYUg0H-GT8xJ2-_zOAexPAtBh3ACEw/s1600/Cheap%2BTrick.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-IqtN-NENCII/WJpYKUHwgTI/AAAAAAAABno/0CyOTWtYUg0H-GT8xJ2-_zOAexPAtBh3ACEw/s320/Cheap%2BTrick.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Cheap Trick - Bang, Zoom, Crazy...
Hello (Big Machine Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Long running rock legends Cheap Trick
are on a bit of a roll, with their latest effort almost rivalling their former
effort ‘The Latest’ as some of the best work they’ve produced in years. From
the up tempo rock opener ‘Heart On The Line’, the pop genius of ‘No Direction
Home’, the Slade/T. Rex groove of ‘Blood Red Lips’, the riff heavy ‘Long Time
No See Ya’ and the classic ‘The Sun Never Sets’, ‘Bang, Zoom, Crazy... Hello’
is everything a Cheap Trick fan could ask for... and then some!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-w4hAj4d-HJ4/WJpYVqPSLXI/AAAAAAAABn0/SERTOSy5fpUxpmTEJ2Tnn8jarjt_MlMDwCEw/s1600/Borknagar.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-w4hAj4d-HJ4/WJpYVqPSLXI/AAAAAAAABn0/SERTOSy5fpUxpmTEJ2Tnn8jarjt_MlMDwCEw/s320/Borknagar.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Borknagar – Winter Thrice (Century
Media Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
If you’ve been a fan of Borknagar for
some time now, then you will no doubt know what the band have to offer with
‘Winter Thrice’. While it’s a hardly glowing endorsement (The ‘If you’ve heard
one album, you’ve heard them all’ scenario), but I believe that while this
album is an extension of their last couple of release to some extent, it’s also
a perfection of what they’ve attempted to do in the past as well. It’s hard to
pick favourites as the album is perfect from start to finish. But at a push,
the title track, ‘Cold Runs The River’, ‘Erodent’ and the opener ‘The Rhymes Of
The Mountain’ are immediate favourites.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-mXoznMqs9sA/WJpYXKqGFjI/AAAAAAAABos/90arKstxG7QBXJAtVuHuolfu79NlPD7pgCEw/s1600/Fates%2BWarning.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-mXoznMqs9sA/WJpYXKqGFjI/AAAAAAAABos/90arKstxG7QBXJAtVuHuolfu79NlPD7pgCEw/s320/Fates%2BWarning.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Fates Warning – Theories Of Flight (Inside
Out Music)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Despite being branded a fine return to form,
2013’s ‘Darkness In A Different Light’ wasn’t quite up to the mark for me. It was good, but just not great. But
‘Theories Of Flight’ is the album I have been waiting from Fates Warning for
some time. Ray Alder is in excellent form, and Jim Matheos sounds just as
inspired on the song writing front. No further proof is needed beyond a listen
to ‘From The Rooftops’, ‘Like Stars Our Eyes Have Seen’, SOS’ and the lengthy epic ‘The Ghosts Of Home’.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-KOsTlg5_9sE/WJpYjuD2sFI/AAAAAAAABos/PlogN0M87CM4qmnwhFgtCfcoj04HiSmuQCEw/s1600/Voivod.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-KOsTlg5_9sE/WJpYjuD2sFI/AAAAAAAABos/PlogN0M87CM4qmnwhFgtCfcoj04HiSmuQCEw/s320/Voivod.jpg" width="320" /></a></div>
Voivod – Post Society (Century Media Records)<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
O.K., so this isn’t officially an album, but I
found it’s worthy of its place here, so here it is. Voivod have packed some
great tunes on this E.P., and proven beyond any doubt that there’s still life
in this veteran act. The title track is a rawer edged up-tempo rocker that
works in typically Voivod like fashion, while ‘We Are Connected’ is a driving
track that is equal parts old school and modern sounding. Voivod fans who
haven’t checked this out should. Voivod lives!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Q7zkXVDAh5E/WJpYaJzWTII/AAAAAAAABos/bF97AC8I2bM35O_TIfVClkGez1J_tLQPgCEw/s1600/Megadeth.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-Q7zkXVDAh5E/WJpYaJzWTII/AAAAAAAABos/bF97AC8I2bM35O_TIfVClkGez1J_tLQPgCEw/s320/Megadeth.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Megadeth – Dystopia (Universal Music)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
To be honest, when I first heard this album, I
swore it was never going to end up in my top ten for 2016. Yes, it’s miles
above the cringe worthy ‘Super Collider’ (2013), but I just couldn’t get over
how raw Dave Mustaine’s voice is on this latest effort. But once I got over
that stumbling block, there was no denying that the reshuffled line up of the
band had produced a winner this time around. ‘The Threat Is Real’ is a perfect
opener that announces the band’s return to form’, while ‘Post American World’,
‘Lying In State’ and the band’s cover of Fear’s ‘Foreign Policy’ just further
reinforce the notion of Megadeth’s return.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-nyQP2zLARn4/WJpYDg4rCDI/AAAAAAAABoo/OLoq6pHgsaQluy6R7_1gMqe_uUKRcnE5wCEw/s1600/Biffy%2BClyro.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-nyQP2zLARn4/WJpYDg4rCDI/AAAAAAAABoo/OLoq6pHgsaQluy6R7_1gMqe_uUKRcnE5wCEw/s320/Biffy%2BClyro.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Biffy Clyro – Ellipsis (Warner Bros.
Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Biffy Clyro have always been a bit hit
and miss for me in the past, with their albums a mix of some great tracks and
some real fillers. But ‘Ellipsis’ really caught my ear in a big way. It’s still
a bit left of centre, and not everything featured on the album is a classic,
but when it works, it works. Examples of some of the best the band has to offer
comes in the form of ‘Friends And Enemies’, ‘Re-Arrange’, the stunning
‘Medicine’, ‘Flammable’ and the huge anthem like ‘Howl’. Put this one down to a
guilty pleasure outside the metal realm.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-eB44I_3k-aw/WJpYcnTuJGI/AAAAAAAABos/xmUJu4ohCwsTyZQnO9FeaaXmuKw6Cuf4gCEw/s1600/Redemption.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-eB44I_3k-aw/WJpYcnTuJGI/AAAAAAAABos/xmUJu4ohCwsTyZQnO9FeaaXmuKw6Cuf4gCEw/s320/Redemption.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Redemption – The Art Of Loss (Metal Blade Records)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
I felt that Redemption went off the boil with
2011’s ‘This Mortal Coil’, with the album sounding like the band was going
through the motions. But lo and behold, the progressive rock outfit have bounced back,
and sounding better than ever. There’s not a huge change of sound and direction
from what the band have delivered before, but Alder sounds inspired once again,
with ‘Hope Dies Last’, ‘Damaged’ and ‘Thirty Silver’ showcasing what the band
are truly capable of when inspired.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br />
<br />
<br />
Top Ten Songs For 2016<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
I make no secret of the fact that this really is a
continuation of my top ten favourites of 2016 listed above. So what makes up
this list? Well, it’s really albums that don’t quite have the same consistency
all the way through, but still have enough killer tracks to make them worth
checking out.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-hvKipHwV1_8/WJpYel1NkOI/AAAAAAAABos/oHT__7soxvQHfCRZlWhIXXMgx1VwFBy5gCEw/s1600/Steven%2BTyler.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-hvKipHwV1_8/WJpYel1NkOI/AAAAAAAABos/oHT__7soxvQHfCRZlWhIXXMgx1VwFBy5gCEw/s320/Steven%2BTyler.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Steven Tyler – The Good, The Bad, The
Ugly & Me (From ‘We're All Somebody From Somewhere’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
It’s taken a few years, but Tyler
finally unveiled his debut solo effort in 2016, and I’ll be damned if it was
better than I was expecting, and a whole lot better than Aerosmith’s last
album. Yes, it does have some issues (A little too country flavoured for my
liking, and a couple of songs too long), it does have some hidden gems. And one
of those gems is ‘Only Heaven’. To put it into simple terms, this is Tyler
doing what he does best, and all without the help of his regular sidekicks. And
it rocks!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-KDEloGckGcc/WJpYdqSUK5I/AAAAAAAABos/P25_g9jU6Ks7jI6TtoKltR2j-em6jKRXgCEw/s1600/Soto.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-KDEloGckGcc/WJpYdqSUK5I/AAAAAAAABos/P25_g9jU6Ks7jI6TtoKltR2j-em6jKRXgCEw/s320/Soto.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Soto – Time (From ‘Divak’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
If you liked the first Soto album, you’ll
no doubt love ‘Divak’. Jeff Scott Soto continues his foray into modern heavy
rock for a second effort under his surname, and it’s a winner all round.
There’s plenty to pick out as a favourite here, but it’s the slower paced and
heavy Black Sabbath influenced ‘Time’ that wins the coveted spot here. Soto’s
vocals and hooks are in full force, while the band packs plenty of punch on the
musical front to match.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-fDfaXG1KD_g/WJpYcAHqt-I/AAAAAAAABos/QEXH6XVK6hgM9Sttust_-YhwD2EIGBZjQCEw/s1600/Metal%2BChurch.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-fDfaXG1KD_g/WJpYcAHqt-I/AAAAAAAABos/QEXH6XVK6hgM9Sttust_-YhwD2EIGBZjQCEw/s320/Metal%2BChurch.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Metal Church – Sky Falls In (From ‘XI’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
The announcement of Mike Howe returning
to Metal Church was the best news to emerge from 2015. But as thrilled as I
was, ‘XI’ turned out to be a bit disappointing. That’s not to say that the
album doesn’t have its moments. ‘Sky Falls In’ is one of the stronger tracks on
the album, and one that showcases how much the band and Howe have grown in
their twenty-three years apart. Progressive, heavy and catchy, this track
really is one of the stellar efforts. Here’s hoping that when the band return,
it’s be a worthy contender to 1991’s ‘The Human Factor’.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Y5j_zBbr9Es/WJpYiaBQ56I/AAAAAAAABos/I4bgLByT0OcHDUV85NDAiROvQx7W9fYHACEw/s1600/Steven%2BWilson.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-Y5j_zBbr9Es/WJpYiaBQ56I/AAAAAAAABos/I4bgLByT0OcHDUV85NDAiROvQx7W9fYHACEw/s320/Steven%2BWilson.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Steven Wilson – Happiness III (From ‘4½’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
After being a little letdown with ‘Hand. Cannot.
Erase.’ last year, I was hoping for something a little more satisfying with his
new release. And sure enough, this stopgap E.P. does boast enough to keep me
believing that Wilson can still create magic. While it does bear a slight
similarity to ‘Postcard’ from 2001’s ‘Grace For Drowning’, I can help but love
‘Happiness III’ for what it is. Catchy, up-tempo and easy on the ears, this
track is typically Wilson like, and the kind of stuff fans like me will praise
to no end.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-fya57EMORjo/WJpYcqrQZ-I/AAAAAAAABos/TN5eC9YJY7UHfQlq_L0KhwTthkNbRABdQCEw/s1600/Soilwork.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-fya57EMORjo/WJpYcqrQZ-I/AAAAAAAABos/TN5eC9YJY7UHfQlq_L0KhwTthkNbRABdQCEw/s320/Soilwork.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Soilwork – Helsinki (From ‘Death
Resonance’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
While technically not a new album as
such, this compilation is the kind of release I love from my favourite groups.
Aside from boasting a host of hard to find tracks, this collection also
features a couple of new tunes from Soilwork, one of which is the opening track ‘Helsinki’. Not too far
removed from the recent direction found on their critically acclaim 2015 release 'The Ride Majestic', 'Helsinki' is hook-laden, guitar heavy track that is a worthy
addition to the band’s vast and ever growing catalogue.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-91IljWcujBA/WJpYI8PCsKI/AAAAAAAABos/htUVby2Swb4xX2xOtrr7dXbjgZJHy8XDACEw/s1600/Black%2BSabbath.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-91IljWcujBA/WJpYI8PCsKI/AAAAAAAABos/htUVby2Swb4xX2xOtrr7dXbjgZJHy8XDACEw/s320/Black%2BSabbath.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Black Sabbath – Cry All Night (From ‘The End’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
I wasn’t expecting much from an E.P. that contains leftover tracks from their 2013 album ‘13’ (Especially given the disappointment of shelling out money for the the bonus track 'Naïveté In Black'), but surprisingly enough, the four new tracks offered in ‘The End’ are strong efforts that could have easily been slotted onto their last album. It was hard to single out any one track, but I think on ‘Cry All Night’, Iommi really stands out on the guitar front, and when it’s fused together with Ozzy’s inspired melodies, you have one killer track.<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-bq_0gagfIzI/WJpYEZWrTEI/AAAAAAAABoo/WAGHC_UsQUg-5zcvyidzQ1O1MRgwZ309gCEw/s1600/Anthrax.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-bq_0gagfIzI/WJpYEZWrTEI/AAAAAAAABoo/WAGHC_UsQUg-5zcvyidzQ1O1MRgwZ309gCEw/s320/Anthrax.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Anthrax – You Gotta Believe (From ‘For
All Kings’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Much like a couple of the album’s
featured in this send top ten, Anthrax’s latest was a real mixed bag of killer
tracks mixed with a bunch of filler. And it’s a shame too, because I loved 2011’s
‘Worship Music’. One of the true killer cuts is ‘You Gotta Believe’. It’s
hardly anything new for Anthrax, but musically this had a bit more to say than
most of what was on the album. Belladonna clearly still has the pipes, but
musically, ‘For All Kings’ is a bit hit and miss.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-3FKAuig2_ws/WJpYRJxqL5I/AAAAAAAABos/kGjE9tLquOMFFNdeeablDkI5GGhFA17VwCEw/s1600/Death%2BAngel.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-3FKAuig2_ws/WJpYRJxqL5I/AAAAAAAABos/kGjE9tLquOMFFNdeeablDkI5GGhFA17VwCEw/s320/Death%2BAngel.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Death Angel – The Moth (From ‘The Evil
Divide’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
If there’s a track that signals Death
Angel’s intentions from the word go, it has to be the album opener ‘The Moth’.
Full of tight knit thrash riffing, powerful vocals and some truly searing
solos, this track has it all – In spades! Death Angel show no signs of slowing
down, still remain a firm favourite of mine. The only reason it’s on this list
is because it is a little one dimensional overall. With a little bit of
variation in tempos and moods, this would have been a firm favourite of 2016.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Q055Q0-kR_g/WJpYaLpoRnI/AAAAAAAABos/flqOlZLtSRALxjT_5I6BbSx1Gx50m27NQCEw/s1600/Katatonia.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-Q055Q0-kR_g/WJpYaLpoRnI/AAAAAAAABos/flqOlZLtSRALxjT_5I6BbSx1Gx50m27NQCEw/s320/Katatonia.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Katatonia – Serein (From ‘The Fall Of
Hearts’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
I’m a huge fan of Katatonia, and they’ve
rarely disappointed. And to be perfectly honest, ‘The Fall Of Hearts’ is a another flawless
album from the Swedes. The only problem is that the band has reached the point where they’re
not too hard to mine anything outside their comfort zone. But that’s merely a
personal grip, because as I mentioned, this album is damn near perfect. My pick
of the album would have to be ‘Serein’. It’s a classy heavy driving rocker,
which is the kind of song that Katatonia used to produce in the past with
fantastic results.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-gFW7L_sXDUQ/WJpYVXBLlMI/AAAAAAAABos/zJeJ1eYW4z0oAGuOpKsfmUlhRzJcEegGgCEw/s1600/Diamond%2BHead.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-gFW7L_sXDUQ/WJpYVXBLlMI/AAAAAAAABos/zJeJ1eYW4z0oAGuOpKsfmUlhRzJcEegGgCEw/s320/Diamond%2BHead.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
Diamond Head – Bones (From ‘Diamond
Head’)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
For the better part of the last quarter
century, Diamond Head has been living off old memories. But lo and behold, the
band are back with a new album that truly rocks, and one that's every bit worthy of their
legendary status. While not everything on the album is a classic, the addition of vocalist Rasmus
Bom Andersen has an undeniable positive effect on the band, with Diamond Head’s
latest the best they’re produced in an age (I'm thinking at least as far back as 1993!). If proof is needed, then check out ‘Bones’. This track rocks in a huge way, without straying too far into nostalgia territory.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
© Justin Donnelly.</div>
Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-41621747765868254222015-12-31T21:59:00.000+11:002017-02-08T10:25:07.912+11:00The Best Of 2015<div class="MsoNoSpacing">
The Best Of 2015</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Well, another year has gone, and while I haven’t managed
to dedicate much time to my much neglected computer (Which is a good thing I
guess, as I’ve spent a lot more time with the family this year!), I have been
keeping up to date with what 2015 has had to offer on the music front.</div>
<div class="MsoNoSpacing">
<br /></div>
<br />
<div class="MsoNoSpacing">
So without any fanfare, here my personal take on the best
ten releases 2015 has produced. Oh, and it goes without saying, they’re in no
particular order.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-C_UT_o5k-ow/VrhtVO7XOVI/AAAAAAAABkw/zZ98iYrDaSA/s1600/Killing%2BJoke.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-C_UT_o5k-ow/VrhtVO7XOVI/AAAAAAAABkw/zZ98iYrDaSA/s320/Killing%2BJoke.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Killing Joke – Pylon (Spinefarm Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
U.K. industrial punk/rock outfit Killing Joke have only
gone from strength to strength since the original line-up reformed some five
years ago. Combining the aggressive and dense atmosphere of 2006’s ‘Hosannas
From The Basements Of Hell’ with the melodic overtones of 2012’s ‘MMXII’,
‘Pylon’ is Killing Joke at their best, with tracks such as ‘Dawn Of The Hive’,
‘New Cold War’, ‘War On Freedom’ and ‘Delete’ proving that there’s plenty of
life left in the cult outfit some thirty-five years after the release of the
debut effort.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-kRzqua9R-Qk/VrhtnpDYbpI/AAAAAAAABk0/aLCaRW9IsiE/s1600/Symphony%2BX.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-kRzqua9R-Qk/VrhtnpDYbpI/AAAAAAAABk0/aLCaRW9IsiE/s320/Symphony%2BX.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Symphony X – Underworld (Nuclear Blast Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
This New Jersey based progressive/power metal outfit have
always delivered consistent and strong albums, and ‘Underworld’ is no
exception. And while I’ve enjoyed the band’s last couple of releases, I can’t
help but feel that the keen sense of melody and heaviness is back with a force
not heard since their 2002 masterpiece ‘The Odyssey’. ‘To Hell And Back’ and
‘Without You’ are my picks.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-eIETj_cOue4/Vrht-dnriWI/AAAAAAAABk4/8uIfgEQ7eyY/s1600/Chaos%2BDivine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-eIETj_cOue4/Vrht-dnriWI/AAAAAAAABk4/8uIfgEQ7eyY/s320/Chaos%2BDivine.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Chaos Divine – Colliding Skies (Firestarter Music)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Over the last decade, Australia’s progressive rock/metal
scene has really started to produce some truly world class acts. And Perth
outfit Chaos Divine is one of them. Although I’ve enjoyed moments on their
first couple of albums, it’s with their third effort ‘Colliding Skies’ that has
really caught my attention. Casting aside the metallic aspect of their sound
for something a bit more melodic, the band shine on gems such as ‘Landmines’,
‘Badge Of Honour’ and ‘The Shepherd’.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-uI1cjPO7b5Q/VrhujCakCVI/AAAAAAAABlA/q8WyJk-DP7Q/s1600/Amorphis.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-uI1cjPO7b5Q/VrhujCakCVI/AAAAAAAABlA/q8WyJk-DP7Q/s320/Amorphis.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Amorphis – Under The Red Cloud (Nuclear Blast Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Given how much I loved 2013’s ‘Circle’ (Along with my
son, who ranks the album as one of his favourites!), I was a little
apprehensive about the Finn’s latest effort. And after my first run through the
album, I can say that I was a little underwhelmed. But over time, it was clear
that the album wasn’t a carbon copy of their last release, but an album that
showcased the band’s willingness to step outside their comfort zone and try on
some new sounds. From the aggression of ‘The Skull’, the Middle Eastern tinged
‘Death Of A King’ to the heavy and melodic title track, ‘Under The Red Cloud’
is a worthy follow-up to their highly acclaimed ‘Circle’.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-NRTwLC92HYo/Vrhu2GAJxcI/AAAAAAAABlE/LVzcEniZ10A/s1600/Armored%2BSaint.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-NRTwLC92HYo/Vrhu2GAJxcI/AAAAAAAABlE/LVzcEniZ10A/s320/Armored%2BSaint.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Armored Saint – Win Hands Down (Metal Blade Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Armored Saint has always been a reliable act who delivers
rock solid albums. Sure, some are stronger than others, but they’ve never
released what you would call a bad album. And in my personal opinion, this
album is up there with their best. It’s clear that the veteran band set out to
make an album that combines all the best elements of the band’s sound, but with
a slant more towards the future than the past. And it worked! ‘Win Hands Down’
is a powerful opener, while ‘Mess’ and the guitar driven ‘With A Full Head Of
Steam’ are classic Armored Saint. But in terms of personal favourites, you
can’t go past ‘Muscle Memory’ and ‘That Was Then, Way Back When’.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-c1xc7LC3WUA/VrhvB5XndaI/AAAAAAAABlI/fsfj_ea7nL8/s1600/The%2BNight%2BFlight%2BOrchestra.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-c1xc7LC3WUA/VrhvB5XndaI/AAAAAAAABlI/fsfj_ea7nL8/s320/The%2BNight%2BFlight%2BOrchestra.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
The Night Flight Orchestra - Skyline Whispers (Coroner
Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
The best way to sum up The Night Flight Orchestra’s sound
is to combine the muscle of ‘70’s hard rock with equal measure of the
slick/cheesiness of the ‘80’s. Although my description probably doesn’t sound
all that appealing, ‘Skyline Whispers’ is probably the best album never
recorded from that bygone classic era of rock! Almost everything is a winner on
this release, but ‘Living For The Nighttime’, ‘Stilletto’ and the amazing ‘I
Ain’t Old, I Ain’t Young’ are the cuts worthy of singling out.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-EVJE8f3-TX8/VrhvQF-25DI/AAAAAAAABlQ/BdPGvRLDw9o/s1600/Chris%2BCornell.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-EVJE8f3-TX8/VrhvQF-25DI/AAAAAAAABlQ/BdPGvRLDw9o/s320/Chris%2BCornell.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Chris Cornell – Higher Truth (Universal Music
Enterprises)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Seemingly influenced by the vibe and feel of 2011’s live
album ‘Songbook’, ‘Higher Truth’ is a largely stripped back/intimate
semi-acoustic affair. And one that draws out the best within Cornell both
vocally and in the song writing sense. Anyone who still remains skeptical of Cornell's ability to deliver in solo form after his critically panned 'Scream' album from 2009 need only check out 'Nearly Forgot My Broken Heart', 'Dead Wishes', 'Let Your Eyes Wander' and the title track 'Higher Truth'.<a href="https://www.blogger.com/null" name="_GoBack"></a></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-a_BppqJ2CbU/Vrhwt5YaAMI/AAAAAAAABlc/ATIt_IT3nyw/s1600/Napalm%2BDeath.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-a_BppqJ2CbU/Vrhwt5YaAMI/AAAAAAAABlc/ATIt_IT3nyw/s320/Napalm%2BDeath.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Napalm Death – Apex Predator – Easy Meat (Century Media
Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Grindcore isn’t a genre that’s known for its innovation
or reinvention, but then Napalm Death isn’t your average grindcore outfit. With
every new release, Napalm Death seems to deliver the goods with every new
album, and ‘Apex Predator – Easy Meat’ is another stellar release from the
veteran act. There’s a bit of everything on offer here, from the somewhat
melodic (‘Smash A Single Digit’), the experimental (‘Dear Slum Landlord...’ and
‘Adversarial / Copulating Snakes’) and the downright crushing (‘Timeless
Flogging’ and ‘Stubborn Stains’), with an overall effect that both crushing and
thoroughly enjoyable at the same time.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-spJlCeLGt-Q/VrhxE70QSXI/AAAAAAAABlg/NDRO-xDBTUY/s1600/The%2BNeal%2BMorse%2BBand.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-spJlCeLGt-Q/VrhxE70QSXI/AAAAAAAABlg/NDRO-xDBTUY/s320/The%2BNeal%2BMorse%2BBand.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
The Neal Morse Band – The Grand Experiment (Inside Out
Records)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
As good as Neal Morse’s solo efforts have been, I can’t
help but feel a little magic is missing on them over the last few years. So
entering into ‘The Grand Experiment’, I wasn’t expecting too much. But damn me
if Morse hasn’t delivered one of his best in years. There’s something to be
said for capturing that something special on the spur of the moment in the
studio, and this album has plenty of energy, spark and creativity to prove it.
‘The Call’ is without a doubt a great opener, but it’s the title track and
‘Waterfall’ that really stand out.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-39a-g1ZvSZA/VrhxQ-66DHI/AAAAAAAABlk/ogtSO_nlfG0/s1600/The%2BWinery%2BDogs.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-39a-g1ZvSZA/VrhxQ-66DHI/AAAAAAAABlk/ogtSO_nlfG0/s320/The%2BWinery%2BDogs.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
The Winery Dogs – Hot Streak (Three Dog Music)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
The Winery Dogs’ debut effort was a solid release, but
primary sounded exactly like it did on paper. That is Richie Kotzen’s vocals
and guitars blended with Billy Sheehan’s trademark bass drills and Mike
Portnoy’s drumming. But on ‘Hot Streak’, the trio has well and truly pushed
their sound forward, and delivered an album that boasts a bit more of a unique
personality and identity. Top picks include ‘War Machine’, the title track,
‘Oblivion’ and the totally rocking ‘Captain Love’. Fans of the band’s debut
have to pick this one up!</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Top Ten Songs For 2015</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
O.K., so this is really a list of my top twenty releases
for 2015. But unlike the albums that made up my top ten list, these releases
weren’t quite as strong as a whole to make the final cut. But having said that
there are some great songs on these albums, which make them more than worthy of
a special mention.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Ho-bAFolbD8/Vrhxhcie5VI/AAAAAAAABlo/y-v1C7dwAQM/s1600/Ghost.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-Ho-bAFolbD8/Vrhxhcie5VI/AAAAAAAABlo/y-v1C7dwAQM/s320/Ghost.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Ghost - His Is (From ‘Meliora’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
I’ll freely admit that Ghost’s third full-length release
missed the mark with me. I can’t quite put my finger on why, but it just hasn’t
grabbed me like the two former releases did. But if there’s one track that does
stand out it’s ‘He Is’. How could you not love a song dedicated to Statan
delivered in what can only be described as pure pop genius? Love the guitar
work, the harmonies and the lyrics on this one.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-lsvPCgtU6JI/VrhyBXyij9I/AAAAAAAABlw/4jYRBPYbzrg/s1600/Blackberry%2BSmoke.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-lsvPCgtU6JI/VrhyBXyij9I/AAAAAAAABlw/4jYRBPYbzrg/s320/Blackberry%2BSmoke.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Blackberry Smoke - Let Me Help You (Find The Door) (From
‘Holding All The Roses’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
I’m not a huge fan of country rock, but Blackberry Smoke
is one of the few exceptions. The acoustic direction of their latest album
suits them well, and this opening track is an absolute blast! I particularly
love it when the guitar solos kick in, and the message within the song.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-qyOJ-Xqi_zM/VrhyL79BrjI/AAAAAAAABl0/-TAP8hM-jU0/s1600/Black%2BStar%2BRiders.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-qyOJ-Xqi_zM/VrhyL79BrjI/AAAAAAAABl0/-TAP8hM-jU0/s320/Black%2BStar%2BRiders.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Black Star Riders – Blindsided (From ‘The Killer
Instinct’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
This was without a doubt a solid second release from
Black Star Riders, but perhaps a little too similar in sound and direction to
their debut to really stand out enough. But when the band did step out of their
comfort zone, they came up with some great stuff. ‘Blindsided’ is a prime
example of this. Ricky Warwick is at his best on tracks like this, and the band
is in moody classic rock form throughout.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-wE8zOWXGZ8g/Vrhy7CL_bDI/AAAAAAAABl8/jdtg2FYuBvk/s1600/Moonspell.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-wE8zOWXGZ8g/Vrhy7CL_bDI/AAAAAAAABl8/jdtg2FYuBvk/s320/Moonspell.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Moonspell – Extinct (From ‘Extinct’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Portugal’s Moonspell can be a bit hit and miss at times,
but when they get it right, they really do get in right. The title track from
their latest release is the perfect balance of gothic metal and melodic death
metal, with subtle progressive/symphonic influences seeping into the mix. Harsh
guitars, Fernando Ribeiro’s varied vocal approaches and the eclectic mix of
musical diversity on this one track is everything you could ask from the band.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-eB3BMkNtHSw/VrhzXrr-2_I/AAAAAAAABmE/2Lmc83UnzJ4/s1600/Clutch.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-eB3BMkNtHSw/VrhzXrr-2_I/AAAAAAAABmE/2Lmc83UnzJ4/s320/Clutch.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Clutch – Firebirds! (From ‘Psychic Warware’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
There’s not a real lot to say here. When Clutch is on
fire, they’re on fire! They’re one of the few bands out there that can deliver classic
guitar driven hard rock without sounding like it’s been done before (Even if
everything has been done under the sun!). Another great album from the band,
and ‘Firebirds!’ is a good indication of what’s offered throughout.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-MoiwKGpeLP8/Vrhzg84S45I/AAAAAAAABmI/lwhZkEhypAA/s1600/Bill%2BWard.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-MoiwKGpeLP8/Vrhzg84S45I/AAAAAAAABmI/lwhZkEhypAA/s320/Bill%2BWard.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Bill Ward – Ashes (From ‘Accountable Beasts’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Bill Ward has always been somewhat left of centre on the
musical scale, and ‘Accountable Beasts’ is no exception. Quite experimental and
different from what Black Sabbath fans would expect, I have grown to love all
of Ward’s sole releases, including his latest effort. ‘Ashes’ is the most
aggressive and metallic anything Ward has ever released, and just one of my
favourites on the new album, even if the production and mix are a bit off
putting.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-AlG8YBoJ8-M/Vrhzs0DlGpI/AAAAAAAABmM/0qRveMX7LiI/s1600/Soto.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-AlG8YBoJ8-M/Vrhzs0DlGpI/AAAAAAAABmM/0qRveMX7LiI/s320/Soto.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Soto – The Fall (From ‘Inside The Vertigo’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Jeff Scott Soto is quite the chameleon, with his vast
resume covering everything from pop/rock, progressive rock, power metal and
everything in-between. His latest project (Simply titled Soto) is more along
the lines of hard rock with a modern edge, and it’s a rocker. ‘The Fall’ is a
good taste of what this outfit has to offer, with plenty of guitar riffs,
powerful vocals (Of course) and lots of modern groove.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-_Hs_MnOwIds/Vrhz4rIxoPI/AAAAAAAABmQ/brZHe9b9oH8/s1600/Tremonti.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-_Hs_MnOwIds/Vrhz4rIxoPI/AAAAAAAABmQ/brZHe9b9oH8/s320/Tremonti.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Tremonti – Arm Yourself (From ‘Cauterize’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Mark Tremonti has certainly been working around the
clock, with barely a moment spared between releases from Alter Bridge and his
own solo efforts. Not unlike 2012’s ‘All I Was’, ‘Cauterize’ is an album of
tracks that are primarily guitar driven and rock hard. Although there no huge
leap of sound from his first album and this new one, tracks such as ‘Arm
Yourself’ do stand out enough to overlook any real disappointment.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-LkeJjRNft-k/Vrh0FMpmhfI/AAAAAAAABmY/T7nJztHYa3c/s1600/Queensr%25C3%25BFche.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-LkeJjRNft-k/Vrh0FMpmhfI/AAAAAAAABmY/T7nJztHYa3c/s320/Queensr%25C3%25BFche.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Queensrÿche – Hellfire (From ‘Condition Hüman’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
I had high hopes for the new Queensrÿche album, but while
it’s a good album, it doesn’t quite eclipse their self-titled release from a
couple of years ago (Except on the production side of things). But that’s not
to say that it doesn’t have its great moments. ‘Hellfire’ is an absolute
throwback to the band’s glory days (1984 through to 1994), but with a distinct
lean towards the future in places. Great vocals from Todd La Torre, some nice
lead breaks and a catchy chorus cleverly masking the dark undertones in the
verses, all of which sounds like classic Queensrÿche.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-7TnLbAnaef8/Vrh0275CjPI/AAAAAAAABmg/7Em9fPWIISk/s1600/Steven%2BWilson.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-7TnLbAnaef8/Vrh0275CjPI/AAAAAAAABmg/7Em9fPWIISk/s320/Steven%2BWilson.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Steven Wilson – ‘Happy Returns’ (From ‘Hand. Cannot.
Erase.’)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
I love Steven Wilson, but for some reason, I found his
latest effort a bit of a struggle to fully enjoy from start to finish. Maybe it’s
just me and where my head has been at (Or isn’t?) whenever I go to listen to the
album. But either way, I can still find a lot of favourite moments on the
album, and its songs like ‘Happy Returns’ where Wilson really shows what he’s
capable of. All of Wilson’s trademarks are here - Beautiful melodies, haunting
lyrics and some truly outstanding guitar work. In short – Genius!</div>
Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-66450300997487254522015-01-23T21:21:00.001+11:002023-02-12T19:29:16.228+11:00Mark Kelson - Resurgence<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-0ZKbBvZoYa8/VMIf93luQ3I/AAAAAAAABjg/hgUlTopK-bI/s1600/Mark%2BKelson%2BCover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="319" src="http://3.bp.blogspot.com/-0ZKbBvZoYa8/VMIf93luQ3I/AAAAAAAABjg/hgUlTopK-bI/s1600/Mark%2BKelson%2BCover.jpg" width="320" /></a></div>
Mark Kelson<br />
Resurgence<br />
Audio Cave<br />
<br />
Having spent his twenty year career in a various musical groups (Most notably The Eternal, and to a lesser extent Cryptal Darkness, Alternative 4 and InSomnius Dei), vocalist/multi-instrumentalist, songwriter, engineer, producer, mixer Mark Kelson has decided to take a step into the unknown and try his hand as a solo artist.<br />
After The Eternal completed their touring commitment in support of 2013’s ‘When The Circle Of Light Begins To Fade’, Kelson locked himself away in his studio (Kelsonic Studios) and started work on his debut solo offering. Almost a year later, Kelson has emerged with ‘Resurgence’. And as expected, it’s another first class effort from the Melbourne (Victoria, Australia) based musician.<br />
Upon first listen, it would be fair to say that ‘Resurgence’ doesn’t stray all that far from the sound and direction Kelson took The Eternal. But to describe the album outright as such would be doing the album a disservice, because if the listen truly allows the album to sink in, there’s no mistaking the differences between Kelson’s other band, and Kelson as a solo artist.<br />
The album begins in a stirring fashion with the mostly instrumental piece ‘Samana (Part I)’. The gradual rise in keyboards and piano give a very Pink Floyd feel, while the spoken word piece and the introduction of drums only add to the overall experience.<br />
After the short opener, the album truly gets underway with ‘The Only Way Out Is In’. Clocking in at over ten minutes, this track is somewhat of an epic, but not the kind of track that overstays its welcome. Vocally and lyrically, Kelson digs deep and covers some fairly deep and personal issues, and the music reflects this personal journey perfectly. Initially starting out with Kelson on guitar, the song soon evolves into classic rock with a distinctly ‘70’s vibe (Again, influences from Pink Floyd and David Gilmour are evident), with Kelson really stretching out on the guitar front, and from a song writing sense, almost pushing his sound into progressive rock territory.<br />
‘My Own Degradation’ takes on a heavier and more driven edge, with Kelson exercising his inner guitar demons with harsh riffing, powerful hard hitting drums and some extensive solo passages, all the while ensuring that the choruses literally jump out at the listener. Meanwhile, ‘Ocean Blue’ is an emotive and heartfelt track that maintains an ambience throughout without losing any of its singer/songwriter vibe, while ‘Ācariya’ (Which is preceded by the short sound effect laden piece ‘Wide Awake’) comes from the other end of the spectrum where its perhaps the album’s most straight forward sounding heavy rock track with a slow and relaxed pace.<br />
Although it’s hard to pin down one particular favourite from the album (The album is designed to be listened to as a whole, rather than by their individual track selections), I’d select ‘The Aftermath Of Apathy’ as one of the albums stronger cuts. From its slow building Pink Floyd/Porcupine Tree like keyboard introduction, Kelson introduces a steady drum pattern that’s as addictive as his vocal melodies, before bringing it all home with a stunning chorus that sticks in the mind long after the song has finished. In short, this song ranks as one of Kelson’s best, and a taste of his own unique style.<br />
Finishing up is the short ‘Samana (Part II)’, which follows the same vein as the opener, and closes the album perfectly.<br />
In conclusion, while Kelson has rarely let me down, ‘Resurgence’ is an absolute triumph for him as a songwriter, a performer and a producer. Fans of Kelson’s former efforts should hunt this album down. It’s guaranteed to live up to expectations.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/6qu1P-ahihY" width="585"></iframe><div><br /></div><div>For more information on Mark Kelson, check out - <a href="https://www.facebook.com/MarkKelsonAus">https://www.facebook.com/MarkKelsonAus</a>.<br /><br />© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-59800480893840373112015-01-23T21:16:00.000+11:002015-01-24T15:23:16.267+11:00Segression - Painted In Blood<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-mgdXKu2-pO8/VMIe4oAiDoI/AAAAAAAABjY/UfcCUNSFXpI/s1600/Segression%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-mgdXKu2-pO8/VMIe4oAiDoI/AAAAAAAABjY/UfcCUNSFXpI/s1600/Segression%2BCover.jpg" height="320" width="320" /></a></div>
Segression<br />
Painted In Blood<br />
Murder Machine Records<br />
<br />
I’ll be the first to admit that Wollongong (N.S.W., Australia) based outfit Segression have never really impressed me that much. Sure, there have been moments where I’ve found the odd song enjoyable, but for the most part, I couldn’t help but feel that the band have been nothing more than a band that’s struggled to find an identity that they could truly call their own. Instead, they seemed to adopt whatever style happened to be popular at the time, which ultimately makes them look like a second rate copy of something far stronger sounding.<br />
Three years on from their comeback album (2011’s ‘Never Dead’), Segression (Who now comprise of vocalist/bassist Chris Rand, guitarists Mick “MK” Katselos and Sven Sellin and drummer Adam “ADZ” Bunnell) has returned with their sixth full-length effort ‘Painted In Blood’. And it’s the kind of album that’s bound to take many by surprise.<br />
The opening title track ‘Painted In Blood’ (Which is also the first song to be given the promotional video clip treatment) is a crushing effort that clearly sets the tone of the album in both style and direction. Laced with thick Lamb Of God like grooves, and boasting some truly aggressive growls from Rand (The likes of which have never been heard before on any Segression album in the past); ‘Painted In Blood’ is by far the heaviest the band have ever sounded. Thankfully, the rap influences of the bands past work have been ditched, and Rand’s clean vocal harmonies in the choruses sound stronger and work well at giving the song a bit of change from the relentless bludgeoning assault.<br />
The follow-up track ‘Refuse To React’ and the faster paced ‘Killing Kingdom’ follow a similar path laid down by the opener, but with a touch more variation on the guitar riff front, while the catchy/heavily grooved ‘Grounded’ is as close to anything the band get to in terms of revisiting their past. And yet it’s still head and shoulders stronger in song writing quality than anything they’ve done previously.<br />
A personal favourite on the album is ‘Pale Beneath’ with its tribal infused drum patterns, broader sense of dynamics in the production and impressive solo, while ‘War Cry’, the melodic ‘Scar Me Now’, ‘Higher’ (Which again showcases some great clean vocals from Rand) and the slow building closer ‘Burn This Ending’ are further picks worthy of pointing out.<br />
While ‘Painted In Blood’ is far from a perfect album (The album’s overall Lamb Of God sound is a little too much at times, and the production from Rand and Sellin comes across as a little uneven at times), it is without any doubt the strongest sounding release to emerge from Segression to date.<br />
<br />
For more information on Segression, check out - <a href="https://www.facebook.com/Segression">https://www.facebook.com/Segression</a><br />
<br />
© Justin Donnelly<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/WzIpJw86_sc" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-44959136525861140422014-12-28T22:49:00.001+11:002017-02-08T10:26:14.453+11:00The Best Of 2014The Best Of 2014<br />
<div class="MsoNoSpacing">
<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Despite the best of intentions, I didn’t
get to write much this year. The growing demands from work, a move in homes,
the ongoing failures of my chosen internet provider - and more recently, a
newly discovered fault in the telephone line – have all contributed to my
absence from the worldwide web.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<br />
<div class="MsoNoSpacing">
But while I’ve been absent from the
keyboard, I haven’t forsaken music one bit. I still managed to find the time to
listen to new music. And like every year, 2014 produced its fair share of magnificent
gems, or disappointments. As so without further ado, he’s what I consider my
personal favourite of 2014.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-wBLt6Di1oFc/VJ_mkio1_QI/AAAAAAAABfw/kYpjJxaZQXQ/s1600/Big%2BWreck%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-wBLt6Di1oFc/VJ_mkio1_QI/AAAAAAAABfw/kYpjJxaZQXQ/s1600/Big%2BWreck%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Big Wreck – Ghosts (Anthem Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
The second post reunion album from the
Canadian’s proved to be a bit of a sleeper for me. Initially, I though the
album was a little too slow and moody compared to their former efforts. But
after giving the album time to grow, it turned out to be an absolute winner.
The album’s worth owning for ‘Hey Mama’ alone.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-vVGWrZ3tDa8/VJ_m0G7JNlI/AAAAAAAABf4/ThyN51HeKEg/s1600/Comeback%2BKid%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-vVGWrZ3tDa8/VJ_m0G7JNlI/AAAAAAAABf4/ThyN51HeKEg/s1600/Comeback%2BKid%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Comeback Kid – Die Knowing (Victory
Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Canada’s Comeback Kid has always
impressed me, but there’s something about this fifth studio album from them
that totally blew me away. Maybe it’s the infectious melodies, or the
catchiness and brutality of the riffs. Either way, this is without a doubt one
of my favourite hardcore/punk album’s for 2014.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-U28mhIk-pC8/VJ_m_XYAL6I/AAAAAAAABgA/iWbSvEb4YlU/s1600/Winger%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-U28mhIk-pC8/VJ_m_XYAL6I/AAAAAAAABgA/iWbSvEb4YlU/s1600/Winger%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Winger - Better Days Comin’ (Frontiers
Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Hard rockers Winger have always been a
bit hit and miss with me – especially since their reformation. But if truth be
told, the band’s releases seem to be getting stronger, and ‘Better Days Comin’’
is evidence to support this. Although it does have a couple of less than
stellar tracks, ‘Midnight Driver Of A Love Machine’, ‘Rat Race’ and ‘Tin
Soldier’ are up there with the best the band has ever offered.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-HT_5QN4_yzU/VJ_nLRRTvMI/AAAAAAAABgI/v-vuRKDHSZE/s1600/KXM%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-HT_5QN4_yzU/VJ_nLRRTvMI/AAAAAAAABgI/v-vuRKDHSZE/s1600/KXM%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
KXM – KXM (Rat Pak Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
I’m always wary of the so-called
supergroup. But lo and behold, here’s one that not just lives up to the hype –
but exceeds it. Surprisingly enough, while King's X bassist/vocalist Doug
Pinnick and Lynch Mob/ex-Dokken guitarist George Lynch are the big names
involved, it’s actually Army Of Anyone/Korn drummer Ray Luzier that steak the
show. Part hard rock, part groove and experimental in places, KXM’s debut
effort turned out to be beyond my expectations.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-p67Nygn475g/VJ_nYJfRi1I/AAAAAAAABgQ/qJlBUnuS9Qo/s1600/Flying%2BColors%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-p67Nygn475g/VJ_nYJfRi1I/AAAAAAAABgQ/qJlBUnuS9Qo/s1600/Flying%2BColors%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Flying Colors – Second Nature (Mascot
Label Group)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Although strong in places, I couldn’t
help but be a little underwhelmed by all-star neo progressive rock outfit
Flying Color’s self titled debut effort. But on the second album, the issues
that plagued the first album (In particular the album’s inconsistent direction
and songwriting) are all issues relegated to the past. The opening trio of
‘Open Up Your Eyes’, the heavier ‘Mask Machine’ and ‘Bombs Away’ showcase the
band at their best.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-eAwiXB5ikIw/VJ_nijb7FwI/AAAAAAAABgY/eTmTnnrDWDQ/s1600/California%2BBreed%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-eAwiXB5ikIw/VJ_nijb7FwI/AAAAAAAABgY/eTmTnnrDWDQ/s1600/California%2BBreed%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
California Breed – California Breed
(Frontiers Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
From the ashes of the critically
acclaimed Black Country Communion comes California Breed. Although featuring
half of the former group (Bassist/Front Man Glenn Hughes and drummer Jason
Bonham), this isn’t a carbon copy of their former act. Heavier, funkier and
rooted in 70’s groove, the album is another Glenn Hughes vehicle worthy of his
legendary status.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-1C6s7z04Zf4/VJ_ntw2HUrI/AAAAAAAABgg/rRXi9QPO7Rs/s1600/Ginger%2BWildheart%2BCover.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-1C6s7z04Zf4/VJ_ntw2HUrI/AAAAAAAABgg/rRXi9QPO7Rs/s1600/Ginger%2BWildheart%2BCover.jpeg" width="320" /></a></div>
<div class="MsoNoSpacing">
Ginger Wildheart - Albion (Pledge
Edition) (Independent Release)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
This was a bit of a tricky release for
me, because as much as I love Ginger’s output, this isn’t one of his more
memorable releases as a whole. But while some of the tracks fall flat on their
face, the good tracks are absolutely stellar. And that’s because this is
something of a band release rather than a true solo effort, and it’s clearly
evident in what the album offers overall. Tracks worthy of genius status
include ‘Drive’, ‘The Order Of The Dog’, ‘Burn This City Down’ and the title
track ‘Albion’.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-fsCAUZ6zM6s/VJ_oQZaQ1HI/AAAAAAAABgo/Ib2J5YM3Uyw/s1600/Sanctuary%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-fsCAUZ6zM6s/VJ_oQZaQ1HI/AAAAAAAABgo/Ib2J5YM3Uyw/s1600/Sanctuary%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Sanctuary – The Year The Sun Died
(Century Media Records)</div>
<div class="MsoNoSpacing">
<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
O.K., so this new album from the
reactivated Sanctuary isn’t all that far from the sadly defunct Nevermore. And
yes, this album will never sit stack against the bands past efforts in the eyes
of the diehards. But I don’t care. A good album is a good album, and this one
is a real surprise winner for me. Yes, Warrel Dane’s vocals can’t hit the high
notes of the likes heard the last time Sanctuary were an active band (Some
twenty-five years ago!), but Dane is in terrific form, and so is the band.
Check out the slamming opener ‘Arise And Purify’, the moody ‘Exitium (Anthem Of
The Living)’ and the shredding ‘Frozen’. This is not an album to disappoint
Nevermore fans.<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-tyxztRQ5rHM/VJ_ofchxDOI/AAAAAAAABgw/rszfUj5XOec/s1600/Mark%2BKelson%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="319" src="https://1.bp.blogspot.com/-tyxztRQ5rHM/VJ_ofchxDOI/AAAAAAAABgw/rszfUj5XOec/s1600/Mark%2BKelson%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Mark Kelson – Resurgence (Audio Cave)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Having been a huge fan of The Eternal throughout
the years, I was keen to hear what front man Mark Kelson would come up with on
his debut effort as a solo artist. It’s again another one of those albums that
takes a little while to sink in, but when it does, it blew me away. The album
takes a bit of Pink Floyd, adds in a dash of The Tea Party, spices thinks up
with equal parts progressive rock and hard rock, laid on a base of The Eternal
and wrapped in plenty of melancholy. Essentially, it’s Kelson through and
though. I’d single out a track, but this is the kind of album that truly needs
to be listened to from start to finish to really appreciate.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-qCL2z9yg0oM/VJ_otGC_SgI/AAAAAAAABg4/DvNpp7_1_Kc/s1600/Triptykon%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-qCL2z9yg0oM/VJ_otGC_SgI/AAAAAAAABg4/DvNpp7_1_Kc/s1600/Triptykon%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Triptykon - Melana Chasmata (Century
Media Records)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNoSpacing">
After writing up a review of this album,
a friend of mind stated that there wasn’t really a question of whether the
album was a move forward for the band, but more a statement. This release
really is a defiant statement of who they are. And I totally agree. I rarely
accept more of the same without progression, but in Triptykon’s case, I’ll
gladly settle for what’s on offer. This is grim, primate, suffocating and morbid.
And really, what else would you want from Thomas Gabriel Fischer.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Top Ten Songs For 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
This is really an excuse for me to make a top
twenty list for the year. These album’s didn’t quite make the top list, but
they’re worthy of an honourable mention because they all at least boast a few
absolutely awesome tracks. So here it goes...<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ERmPe6cLjUA/VJ_o8f3Mm7I/AAAAAAAABhA/2d-nPxMftj8/s1600/Wolf%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-ERmPe6cLjUA/VJ_o8f3Mm7I/AAAAAAAABhA/2d-nPxMftj8/s1600/Wolf%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Wolf – Shark Attack (From ‘Devil Seed’)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNoSpacing">
As much as I love it when band’s push
beyond the realms of expectations, there are times when all I want is a bit of
traditional heavy metal. And one of the best at it is Sweden’s Wolf. ‘Devil
Seed’ (The band’s seventh effort) is up there with the band’s best, and one of
the best tracks on offer certainly has to be the belting ‘Shark Attack’.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-FYt41IegBtI/VJ_pGYQhz9I/AAAAAAAABhI/EuPv_VnqYGU/s1600/Decapitated%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-FYt41IegBtI/VJ_pGYQhz9I/AAAAAAAABhI/EuPv_VnqYGU/s1600/Decapitated%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Decapitated – Moth Defect (From ‘Blood Mantra’)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
I was one of the few who genuinely loved 2011’s
‘Carnival Is Forever’. So it’s would come as no surprise to find I was really
hanging out to hear ‘Blood Mantra’. And while I think the band sound better
than ever, I still feel that there’s something about the previous album that
stands out as my favourite. Despite that, ‘Moth Defect’, the limited edition
bonus track from ‘Blood Mantra’, is a definite favourite from the band. The
track is brutal, progressive and delivered with perfection. And really, what
more could you ask for?<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-8VsQUsnpR9U/VJ_pQ86WotI/AAAAAAAABhQ/SpUww_6AdVk/s1600/Tantric%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-8VsQUsnpR9U/VJ_pQ86WotI/AAAAAAAABhQ/SpUww_6AdVk/s1600/Tantric%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Tantric – Cynical (From ‘Blue Room Archives’)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
At this point in their career, I pretty much know
what I’m going to get from a Tantric release. But with ‘Blue Room Archives’,
Tantric front man Hugo Ferreira has put together a compilation of sorts that
brings together a variety of songs under the Tantric banner that didn’t fit any
of the band’s former releases in the feel sense. It makes sense, but a shame
nonetheless because ‘Cynical’ (Which also features ex-Dark New Day vocalist Brett
Hestla) is a great track.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-NIz3SDDpJr8/VJ_pZdg25tI/AAAAAAAABhY/py0oPTXxg10/s1600/Skindred%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-NIz3SDDpJr8/VJ_pZdg25tI/AAAAAAAABhY/py0oPTXxg10/s1600/Skindred%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Skindred – Kill The Power (From ‘Kill The
Power’)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNoSpacing">
The follow-up to 2011’s ‘Union Black’ was
a bit of a middling affair for me. There were too many slow and atmospheric
efforts and not enough rock for my taste. But ‘Kill The Power’ did have its
moment, and no more so than with the title track.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-UtNeNqOzzaQ/VJ_pkpiFb0I/AAAAAAAABhg/kz-vn2uzc_4/s1600/IQ%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-UtNeNqOzzaQ/VJ_pkpiFb0I/AAAAAAAABhg/kz-vn2uzc_4/s1600/IQ%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
IQ – Knucklehead (From ‘The Road Of Bones’
(Special Edition))<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
As much as I love British neo-progressive
rock outfit IQ, sometimes their album don’t quite hit me in the same way as
some of their others. ‘The Road Of Bones’ is an O.K. album, but it’s the bonus
disc that really won me over. A prime example is ‘Knucklehead’, which is
uncharacteristically heavy sounding for the band, and a truly unique track from
the band. As you would have already guessed, it’s only available on the bonus
disc.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-aDG-20ekPPU/VJ_qJulZVuI/AAAAAAAABhs/Px0HxV7kvFU/s1600/Transatlantic%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-aDG-20ekPPU/VJ_qJulZVuI/AAAAAAAABhs/Px0HxV7kvFU/s1600/Transatlantic%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Transatlantic – Black As The Sky (From
‘Kaleidoscope’)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<span id="goog_793024079"></span><span id="goog_793024080"></span>
<br />
<div class="MsoNoSpacing">
Much like IQ, I actually found the bonus
disc on the new Transatlantic album more enticing than the album itself (In
particular the band’s take on Yes’ ‘And You And I’ and Procol Harum’s ‘Conquistador’).
But after allowing the album to really sink in, I found ‘Kaleidoscope’ was a
true return to form for the band, and easily a more satisfying album than
2009’s ‘The Whirlwind’. My personal favourite is without a doubt the truly
collaborative ‘Black As The Sky’.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-TQ1ZbijzuzE/VJ_qmdUOCcI/AAAAAAAABh0/HH5FDFv17eo/s1600/Sevendust%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-TQ1ZbijzuzE/VJ_qmdUOCcI/AAAAAAAABh0/HH5FDFv17eo/s1600/Sevendust%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Sevendust – Upbeat Sugar (From ‘Time
Travellers & Bonfires’)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
This album is somewhat of a filler
release from the band until they release a new album. Half the album is
acoustic renditions of old classic efforts from the band, and half are newer
efforts. So while it sounds cool, it’s not entirely satisfying. But if there’s
one track that stands out, it’s ‘Upbeat Sugar’. Don’t be surprised if this gets
the electric treatment somewhere down the track given how much it rocks already
in acoustic form!<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-5vUpqQXhNxg/VJ_qtNfXbsI/AAAAAAAABh8/vcCVaX6pX4o/s1600/Anathema%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-5vUpqQXhNxg/VJ_qtNfXbsI/AAAAAAAABh8/vcCVaX6pX4o/s1600/Anathema%2BCover.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Anathema – You’re Not Alone (From ‘Distant
Satellites’)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Anathema has hit a formula, and they’re
not willing to let it go just yet. What that means is that while I enjoyed
‘Distant Satellites’, I found that after three album’s of the same thing, it
doesn’t have the same impact that it did when I first heard 2010’s ‘We’re Here
Because We’re here’. But that’s not to say that the band can throw the odd
curveball every now and then. Much like ‘Panic’ from 2001’s ‘A Fine Day To Exit’,
‘You’re Not Alone’ is completely different from anything from anything else on
the album, and is a reminder that Anathema can sometimes break free of their
self imposed style and song writing cell.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-J0iat__f_3k/VJ_q1Ve4NZI/AAAAAAAABiE/szi9ItcZtr8/s1600/Soundgarden%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-J0iat__f_3k/VJ_q1Ve4NZI/AAAAAAAABiE/szi9ItcZtr8/s1600/Soundgarden%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Soundgarden – Kristi (From ‘Echo Of Miles:
Scattered Tracks Across The Path’)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
O.K., so this is lifted from a compilation, but of
the previously unreleased material featured on the expansive three disc set,
‘Kristi’ is classic old-school Soundgarden. Downbeat, heavy and dense and
impassioned with Chris Cornell’s unique vocals, this track is a must have for
true Soundgarden fans.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-KZfj-bm9fh4/VJ_rCd0mqpI/AAAAAAAABiM/pI4qZKaJY7g/s1600/Pain%2BOf%2BSalvation%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-KZfj-bm9fh4/VJ_rCd0mqpI/AAAAAAAABiM/pI4qZKaJY7g/s1600/Pain%2BOf%2BSalvation%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Pain Of Salvation – Falling Home (From ‘Falling
Home’)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Much like the Sevendust release listed above,
‘Falling Home’ is a release which sees Pain Of Salvation reinterpret some of
their recent vintage material in acoustic form. While some don’t quite hit the
mark, some work like a wonder. But the real stand out cut is the new title
track ‘Falling Home’. Daniel Gildenlöw, despite his flaws, is still a genius
song writer when he puts his mind to it.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
The Best D.V.D. Of 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-8uIIUhmLZpY/VJ_rpoM3IEI/AAAAAAAABiU/uhibl5Ewu1I/s1600/Peter%2BGabriel%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-8uIIUhmLZpY/VJ_rpoM3IEI/AAAAAAAABiU/uhibl5Ewu1I/s1600/Peter%2BGabriel%2BCover.jpg" width="225" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Peter Gabriel – Back To Front (Peter Gabriel Ltd
And Real World Productions Ltd/Eagle Rock Entertainment Ltd)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
As a fan of Peter Gabriel, I’ll admit to be a
little frustrated with his lack of studio work in recent years. But despite my
grumbles about his studio ventures (Or lack thereof), it’s hard to criticise
the legend’s efforts on the visual front. ‘Back To Front’, which celebrated the
twenty-fifth anniversary of his watershed ‘So’ release from 1986, is another
step forward in terms of concert performance. Rather than just deliver the
album in its entirety and some greatest hits selection to bolster the set,
Gabriel divides the concert in the three thirds, with each set building up in
members and momentum to what can only be described as a true fans’ fantasy. The
film is filmed with an intensity I’ve never seen before, and the musicianship
is absolutely second to none. Sure Gabriel is showing his age in places, but
that’s easily overlooked given the stunning results of the performance shown.
Does this compensate for a true studio release from Gabriel? No (Even if it
does feature one new song – ‘Show Yourself’). But given the likelihood of Gabriel
producing a new full-length album, this is a more than worthy filler effort for
the meantime.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
The Best Book Of 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-67ndROVjJ4Y/VJ_r4SO2wiI/AAAAAAAABic/qQyobNMpgQw/s1600/Billy%2BIdol%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-67ndROVjJ4Y/VJ_r4SO2wiI/AAAAAAAABic/qQyobNMpgQw/s1600/Billy%2BIdol%2BCover.jpg" width="213" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Billy Idol – Dancing With Myself (Simon &
Schuster)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Billy Idol may have made my 2014 for the biggest
disappointment on the album front, but he won me over on the book front. With
his self penned autobiography, Idol lays done his story (Which is his version
of events I might add) from his early days in England, Chelsea and Generation
X, through to his glory days as a pin-up and MTV icon. Idol is quite candid and
detailed about his formative years helping establish the growing punk movement,
and sheds light on his fast rise to fame within a couple of years after
returning to the U.S. in the early ‘80’s. But what really captivated me was
Idol’s tale of growing drug dependency in the late ‘80’s, his personal insight
into particular songs, his failures (1993’s ‘Cyberpunk’, and his relationship
with guitarist Steve Stevens and partner Perri Lister), his explanation for his
absence from the music scene for twelve years and his ultimate triumph that saw
him return to splendour in grandiose form. The book does lack a bit of detail
(There’s no mention of ‘Don’t Need A Gun’, his reunion with Stevens in 2002 on
VH1 Storytellers, his 2006 Christmas album and his contributions to various
other artists), and does feel a little rushed from around 1990 onwards, but is
solid enough to answer most of the questions I’ve always had about the
legendary rocker since I first seriously invested in his brand of
rock/soul/punk rock way back in 1986.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Biggest Surprise Of 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-qKKp6_P2JRk/VJ_sEyxwHHI/AAAAAAAABik/SQI4mrR8qmA/s1600/Jason%2BNewsted%2BImage.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://1.bp.blogspot.com/-qKKp6_P2JRk/VJ_sEyxwHHI/AAAAAAAABik/SQI4mrR8qmA/s1600/Jason%2BNewsted%2BImage.jpg" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
2014 saw a lot of surprises, but none more so than
the retreat of Jason Newsted from all things related to the public eye. Despite
some well received releases in 2013 (The E.P. ‘Metal’ and the full-length
follow up ‘Heavy Metal Music’), Newsted laid his band to rest and closed down
all his social network sites in September without any real reason. What
triggered Newsted’s retreat from the spotlight is anyone’s guess, but the speed
at which it was carried out does cause some concern. On a personal note, I
think it’s a real shame. Newsted’s band released some great releases, and I was
seriously looking forward to hear what the band was going to come up with next.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Best Newcomer Of 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-6-oPmvur1L8/VJ_s7btPAnI/AAAAAAAABis/oEZt1m1iubs/s1600/Icecocoon%2BPhoto.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="166" src="https://1.bp.blogspot.com/-6-oPmvur1L8/VJ_s7btPAnI/AAAAAAAABis/oEZt1m1iubs/s1600/Icecocoon%2BPhoto.jpg" width="320" /></a></div>
<div class="MsoNoSpacing">
Icecocoon<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNoSpacing">
O.K., so technically ‘Deepest Crystal
Black’ isn’t the band’s first album and the album was officially released at
the very tail end of 2013. But let’s overlook the technicalities and focus on
what matters here. And that is that Icecocoon’s ‘Deepest Crystal Black’ is
without a doubt one of the strongest independent Australian releases I’ve heard
in the last year. Multi-instrumentalist/songwriter Owen Gillett has put
together an album that’s hard to pigeonhole, but could be best described as a
unique take on a hybrid post rock/progressive sound. This is an
album that needs to be heard from start to finish to fully appreciate. Tracks
worthy of a listen include ‘It’s All On The Line’ and ‘About Loving Someone’.
Here’s hoping there’s more to come from the band in 2015.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Biggest Disappointment Of 2014<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-g7dmTIiJzzs/VJ_tIaj2SUI/AAAAAAAABi0/43rJK0vmdbU/s1600/Billy%2BIdol%2BCD%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-g7dmTIiJzzs/VJ_tIaj2SUI/AAAAAAAABi0/43rJK0vmdbU/s1600/Billy%2BIdol%2BCD%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
This award really had me torn this year. For the better part
of the year, the dubious honour of disappointment of the year was bestowed upon
Def Leppard for their so-called deluxe edition of ‘Slang’. But given that I
found the time to write up a review of the band’s re-release, and have already
found an avenue to vent my opinion on all the things that the definitive
re-release lacked (From a huge fan of the said album and from a diehard’s
perspective), the decision kind of made itself. As a lifelong follower of Billy Idol, I
have to say that ‘Kings & Queens Of The Underground’ is a real letdown
after his huge return to form on 2005’s ‘Devil’s Playground’ (Barring the god
awful ‘Yellin’ At The Xmas Tree’). Rather than follow his rock/punk strengths
and trademark sound, Idol instead tried to reinvent himself for a new
generation. And the results are bland at best. The album starts off with some
solid tracks (In particular ‘Bitter Pill’, ‘Can’t break Me Down’ and ‘Save Me
Now’), but eventually things go from bland to blander with most of the album
sounding too middle of the road, modern (Both in terms of production and in
musical delivery) and forgettable. And don’t even start on me about the absence
of guitarist Steve Stevens throughout the course of the album. Idol has always
been a bit patchy on album, and admittedly, some albums (1986’s ‘Whiplash
Smile’ and 1990’s ‘Charmed Life’) are stronger than some of his others (1993’s
‘Cyberpunk’). I was really looking forward to this album, but after giving it
some time, I honestly feel that this is one of Idol’s inconsistent and
disappointing releases to date.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Most Anticipated Album Of 2015<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-4v70bJLxjQs/VJ_tYau0fXI/AAAAAAAABi8/U7m1NF8tmdI/s1600/Travis%2BMeeks%2BPhoto.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-4v70bJLxjQs/VJ_tYau0fXI/AAAAAAAABi8/U7m1NF8tmdI/s1600/Travis%2BMeeks%2BPhoto.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
There’s a lot of album’s I’m looking forward to in
2014, but the one I’m most looking forward to is the possibility of something new
from Travis Meeks/Days Of The New in 2015. Meeks has some serious personal
issues over the years, but apparently he’s back to playing, and in more recent
times, back to recording. 2001 was the last we heard anything new from Meeks,
and while the reunion of the original line-up may have sidetracked things for a
little bit (The band has since split once again after completing the tour), I’m
hoping Meeks (Who was once again in the news with a brush with the law in
October, which put the reunion line-up celebration to an abrupt halt) is ready to
face his demons, and finally put something new together and break the fan’s
long running drought of anything new from the troubled musical genius.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
© Justin Donnelly<o:p></o:p></div>
</div>
</div>
Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-17717413792423560412014-11-08T21:06:00.001+11:002023-05-06T19:00:03.396+10:00Tombe - Longbarn<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-cr3-x_cbVLM/VMIdIWIMakI/AAAAAAAABjM/CB_rbMaBshA/s1600/Tombe%2BCover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-cr3-x_cbVLM/VMIdIWIMakI/AAAAAAAABjM/CB_rbMaBshA/s1600/Tombe%2BCover.jpg" width="320" /></a></div>
Tombe<br />
Longbarn<br />
Labyrinth Productions<br />
<br />
My introduction to Tombe comes via Black Trillium – a Sydney (N.S.W., Australia) based doom band, and whose two members (Namely guitarist/percussionist/keyboardist Zach J. Carlsson and guitarist/autoharp player Simon Skipper) make up half of this newly formed outfit. Unlike the decidedly doom-like direction of Black Trillium, Tombe (Who also comprise of ex-Ministerium drummer/keyboardist/principal songwriter Thomas Lockwood and Hucker & Bird/The Campervan Dancers violinist Elise Carpio) is probably best described as heavy post-southern/experimental rock. It’s a genre tag that doesn’t really do the band much justice after listening to their debut effort ‘Longbarn’ from start to finish, but it is a description that gives you some idea of where the band are at in the musical sense.<br />
The album begins with ‘Chapel Of The Earth’, which gives you some idea of what the band are capable of producing sonically. There’s a touch of southern rock, a touch of country (Courtesy of the twang on the guitars and the flourishes of violin in places) and heavy rock (The guitar riffs are upfront and guide the track throughout). The instrumental track isn’t overly complex in its structure, but nonetheless captivating in its delivery with the track continuously ebbing and flowing in quieter moments and louder passages – all the while maintaining its gentle riff structures and spirit of jammed experimentation.<br />
The follow-up track ‘Dawn Over The Meadows’, which also happens to be the first single lifted from the album, is one of only two tracks on the album with vocals, with indie/pop artist Caity Dee contributing this time around. Although the song itself is a good one, it isn’t one of my favourites on the album as I can’t help but feel that the music and vocals tend to clash a little in places.<br />
Tombe get things back on track with the rather lengthy instrumental title track ‘Longbarn’, which goes to extremes with its gentle violin passages and heavy guitar/bass/psychedelic keyboard riffed passages, while the slow paced and haunting ‘Portrait Under The Sun’ is more akin to the doom like sounds of Black Trillium, albeit without the heavy handed guitar work.<br />
The acoustic based ‘Adrift The Waters’ provides a short and welcome breather moment for the listener, before Julian Cartwright (Who is a member of rock outfit Red Gazelle with Skipper) injects a bit of heavy rock into personal favourite ‘The Forgotten Traveller’.<br />
‘Wild Horses Across The Plain’ is an interesting foray into something a little more challenging structure wise on the song writing front, with the song featuring some angular riffing on the guitar front alongside some lengthier solo work, while the closer ‘The Outrider’ is another truly standout track with the added harmonica (Courtesy of Kelvin Carlsson) and the heavier end of the guitars adding a whole new fold to the band’s wide reaching sound spectrum.<br />
Tombe are a hard band to pin down in the genre sense, but if post-rock mixed with a touch of heavy southern rock, country and the slightest hint of doom sounds appealing, then ‘Longbarn’ is an album you should definitely check out.<br /><br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/FON5gBwRxR4" width="585"></iframe><div><br /></div><div>For more information on Tombe, check out - <a href="https://www.facebook.com/drovine">https://www.facebook.com/drovine</a>.<br /><br />© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-38215583272683220172014-10-12T18:32:00.000+11:002014-10-12T18:32:08.807+11:00Order Of Chaos - Deadweight Undertow<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-f0XowTttKHk/VDouGQ-xHVI/AAAAAAAABe8/CX5fxulW-Nk/s1600/Order%2BOf%2BChaos%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-f0XowTttKHk/VDouGQ-xHVI/AAAAAAAABe8/CX5fxulW-Nk/s1600/Order%2BOf%2BChaos%2BCover.jpg" height="320" width="320" /></a></div>
Order Of Chaos<br />
Deadweight Undertow<br />
Independent Release<br />
<br />
Despite marking their return to the scene after a five year absence with their long overdue sophomore effort ‘Eyehate Swansongs’ in late 2008, reactivated Melbourne (Victoria, Australia) based outfit Order Of Chaos certainly haven’t been in any rush to make up for any lost time with anything new from the studio.<br />
But after a lengthy six years, the three piece act (Who comprise of ex-The Eternal/InSomnius Dei/ Damaged/Earth vocalist/bassist Terry Vainoras, ex-Canyonaero guitarist/backing vocalist Evan Coops and ex-Long Voyage Back/Blood Duster/Hellspawn/Abramelin drummer/backing vocalist Matt ‘Rizzo’ Maidhorn) have once again returned with a new full-length effort in the form of ‘Deadweight Undertow’.<br />
Anyone who’s remotely familiar with the band’s work in the past will be aware of how difficult it is to pigeonhole their sound. And true to their past sound, ‘Deadweight Undertow’ is no different, with the band fusing elements of metal, hardcore and punk into one almighty sound that’s as primitive as it is direct.<br />
The fast paced ‘Dead On Arrival’ gets the album off to a bludgeoning start, with strong sense of punk influences coming through the onslaught of metallic guitars. Vainoras’ near indecipherable guttural growls and howls compliments the harsh nature of the music, and gives the song an air of menace that Order Of Chaos has built their reputation on.<br />
The follow up track ‘No Passion To The Grind’ is a surprisingly groove based effort that sees the band inject a liberal dose of melody to the usual mix of chaos (Which at times brings to mind Pantera), which earns the song a place as one of the album’s real stand outs, while ‘Fail Me Not’ is a full on assault with some great sounding riff structures, with only respite offered during the slower chorus passages.<br />
Despite a less than impressive start, the dense sounding stoner grooved ‘Shadow Saviour’ manages to pick up eventually to inevitably transform into a likeable tune, but it’s the frantic blast of the catchy/punk edged ‘Hand Over Fist’, the cacophonous title track ‘Deadweight Undertow’ and the ever menacing and twisted ‘Losing Limbs’ where the band produce the real winners.<br />
Not unlike ‘Shadow Saviour’, ‘Home’ took a while to really unveil its true self to me. But despite its slower and illusive melody, the song did eventually win me over (Although it has to be said that the unexpected Van Halen salute at the tail end of the song grabbed me from the first time I heard it!).<br />
‘Smoke And Mirrors’ is another firm favourite with the band managing to work a strong sense of groove and melody into their brand of punk rock/hardcore/metal (And the rather brief and decidedly different sounding solo that pops us around the three quarter mark doesn’t hurt either), while the band’s take on Blag Flag’s ‘My War’ (Which originally appeared on the band’s 1984 album of the same name) is an absolute storming cover, and a worthy addition to the album.<br />
Finishing things up is ‘Primrose Path’, which is not only the album’s longest track (Clocking in at just past the five minute mark), but also one of the album’s thought out tracks in terms of structured song writing, varying tempo shifts and a seething anger that builds and builds toward a climatic end.<br />
Overall, ‘Deadweight Undertow’ is another step for the band from ‘Eyehate Swansongs’. Production wise, the band’s latest effort sounds a little more refined (The album was mixed and mastered by Blood Duster’s Jason P.C at his Melbourne based Goatsound Studio), as too does the song writing, without any real change of style evident throughout from what the band have delivered in the past. But as a whole, Order Of Chaos’ latest release is a far more enjoyable effort, and that’s enough to rate ‘Deadweight Undertow’ as hands down the stronger Order Of Chaos release to date.<br />
<br />
For more information on Order Of Chaos, check out - <a href="https://www.facebook.com/OrderofChaosAustralia">https://www.facebook.com/OrderofChaosAustralia</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/_HIvzJV4sCM" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-51614768622281690712014-09-28T21:30:00.002+10:002014-09-28T21:30:38.700+10:00Mutagenocide - Devolve<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-CLnlqwBiHNc/VCfw8v69o7I/AAAAAAAABek/A5S5v6vepsc/s1600/Mutagenocide%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-CLnlqwBiHNc/VCfw8v69o7I/AAAAAAAABek/A5S5v6vepsc/s1600/Mutagenocide%2BCover.jpg" height="320" width="320" /></a></div>
Mutagenocide<br />
Devolve<br />
Rad Nauseam Records/Code 7 Distribution<br />
<br />
Although having only been together for four years, Oxford/Witney/Northampton (U.K.) based outfit Mutagenocide have certainly made their presence felt in a major way, with their self titled E.P. release (Which came out in 2012) garnishing plenty of high praise in the metal underground.<br />
In the two years since the release of the E.P., the band has undergone a slight line-up change, with Jay Taylor taking over the vocals following the departure of Freddie Savory soon after the band released their debut. But despite the change of guard, Mutagenocide (Who also comprise of guitarists Patrick Scott and Paul Clayton, bassist Thomas Greenway and drummer Ben Wilsker) have toured as much as possible in support of their E.P. release, all the while refining material for a long awaited sophomore release.<br />
Well, after lengthy and sporadic recording sessions over the last couple of years, Mutagenocide have finally delivered their new E.P. effort ‘Devolve’. And true to the potential evident on their debut effort, ‘Devolve’ is one devastatingly punishing listen from start to finish.<br />
The band opens up the six track effort with ‘Hysteria’, which immediately gives you an idea of what’s in store for most of this new release. The band’s sound is best described as a thrashing groove that perfectly blends hardcore elements with a technical proficiency. In other words, there’s traces of Pantera’s groove based riffs, Lamb Of God’s modern metalcore styled caustic vocals, but delivered with a technical proficiency that keeps things interesting throughout.<br />
The follow up title track ‘Devolve’ (Which is also the first promotional video clip filmed for the E.P.) is a savage and assaulting effort that features plenty of speedier passages intertwined with pockets of catchy groove, while ‘Entombed And Swallowed’ is one of the more experimental efforts on the E.P. with its two minute instrumental introduction showcasing a, dare I say it, bluesier side to the band’s sound. Of course, it isn’t long until the band return to their trademark sound after the intro is finished, but traces of the band’s use of atmospherics and dynamics at the start of the song filter through around the tail end when the guitarists take centre stage to bring things to a close. Without a doubt, this track is certainly the E.P’s. real stand out track.<br />
‘Half-Born’ is another favourite with its strong use of groove and melody without compromising on heaviness (And the spoken word atmospheric breakdown passage around the tail end doesn’t hurt one bit either), while the more straightforward metal based ‘Remeron Nightmares’ and the technically challenging all-out-rage of ‘Wretched’ close out the E.P. in an impressive fashion.<br />
Although I’d be hard pressed to brand Mutagenocide’s sound as truly original or ground-breaking, I have to admit that what the band do in terms of the technical thrash/groove metal genre, they do damn well.<br />
And while I’m not sure what the band offer up here could translate as effectively as it would over the course of a whole full length album, what Mutagenocide offer up with ‘Devolve’ works a treat in its condensed and compact form.<br />
In short, Mutagenocide is certainly a band to keep an eye out for in the future, and ‘Devolve’ comes very highly recommended.<br />
<br />
For more information on Mutagenocide, check out - <a href="https://www.facebook.com/mutagenocide">https://www.facebook.com/mutagenocide</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/gxHEhyJcxAI" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-69464954854842289382014-08-11T19:52:00.000+10:002014-08-11T19:52:13.093+10:00Evil United - Honored By Fire<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-vdcdg88mOf8/U-iRyqCA0TI/AAAAAAAABa0/8A_zDGJ0RMY/s1600/Evil+United+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-vdcdg88mOf8/U-iRyqCA0TI/AAAAAAAABa0/8A_zDGJ0RMY/s1600/Evil+United+Cover.jpg" height="320" width="315" /></a></div>
Evil United<br />
Honored By Fire<br />
MVD Audio<br />
<br />
San Antonio/Austin (Texas, U.S.) based outfit Evil United is an outfit that’s been kicking around for some years. Primarily formed out of the ashes of industrialised metal outfit Pitbull Daycare, the group (Comprising of ex-Pitbull Daycare/Uriel lead guitarist T.C. ‘Bird’ Connally, rhythm guitarist John ‘JV4’ Valenzuela, Riot/ex-Pitbull Daycare/The Devil’s Jukebox bassist Don Van Stavern and ex-Pitbull Daycare/Wednesday 13 drummer Jason ‘Shakes’ West) officially became a band as such when they secured the talent of vocalist Jason McMaster (Who is somewhat of an underground legend within the metal scene with his involvement in bands such as Ignitor, Dangerous Toys, Watchtower and Broken Teeth).<br />
With a full line-up in place, the band set to work on their songs, and released their self-titled debut effort in 2011. Although the album passed under the radar of most, those who managed to hear the album considered it a solid enough release.<br />
It’s been three years since then, and the five piece outfit are back once again with their long awaited second album ‘Honored by Fire’. And much like their debut, it’s a solid and likeable album – if a little flawed in places.<br />
Evil United open their album with ‘Dead Can See’, which is a perfect example of what kind of heavy thrash metal the band offer listeners for the most part. Beginning with a classic thrash-like intro, ‘Dead Can See’ soon settles into a fast paced groove that reveals a touch of modern groove metal delivered in amongst the thrash overtones. I can only assume the band was aiming for a raw sound, as McMaster’s vocals are savagely delivered and rough in some places. But while it all sounds a little unrefined, the song does retain a sense of urgency and energy throughout, which is one of the song’s strong points. Unfortunately, as good as the song is (Not to mention some great shredding guitar work from Connally), the song does overstay it’s welcome a bit towards the end. Had it had a minute edited off the end, the song would have been a killer opener. But as it stands, it’s one of the album’s O.K. numbers, and nothing more.<br />
The follow-up track ‘Caesar’ is introduced via a long build-up, but once it kicks in, it really kicks in! Fast paced, some memorable guitar tones on the guitar front and a top performance from McMaster (Both vocally and melody wise), ‘Caesar’ is definitely one of the album’s true highlights.<br />
Maintaining the consistency of the former track is ‘Ripping Flesh’, which lives up to its title in venomous form and earns its place as another of the album’s real memorable efforts, while ‘Tombspawn’ (Which is preceded by the short acoustic/electric guitar piece instrumental ‘Grave’, and features a guest contribution from drumming legend Gene Hoglan on the lyrical front) and ‘Viking Funeral’ (Which was release as a single in 2013) keeps the momentum moving ever forward.<br />
As mentioned earlier, Evil United’s latest release isn’t without its flawed moments.<br />
Although interesting and well executed, the short instrumental pieces ‘Ab Initio’ and ‘The Cottage’ seems to be placed on the album at random (If anything, ‘Ab Initio’ would have been a great album introduction), and only succeed at breaking up the consistency of the album as a whole with their inclusion. And as for the two hidden efforts at the tail end of the album (Both of which are short untitled instrumentals), their inclusion seems a little tacked on and out of place.<br />
Then there are the songs that don’t quite stand out. ‘Mind Over Pain’ is a good song, but lacks a truly identifiable riff, while the bass heavy ‘Ghost Crushed’ (Again, lyrically co-written with Hoglan) and the speedier album closer ‘Bloody Water’ just isn’t all that memorable.<br />
In some ways, Evil United has what some bands don’t; and that’s an energetic vibe and raw quality captured in the studio. But it’s what’s missing that lets the band down, and that’s evident in the song writing.<br />
Overall, ‘Honored By Fire’ has its moments. It’s a solid album, but far from a truly modern thrash classic by a long short.<br />
<br />
For more information on Evil United, check out - <a href="http://www.evilunited.net/">http://www.evilunited.net/</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/7fyLPZmHFUE" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-31642395541828639842014-08-03T17:09:00.001+10:002022-01-04T12:47:32.167+11:00Age Of Artemis - The Waking Hour<div><div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-4u-mm9HfHQU/U93fwSKj84I/AAAAAAAABak/R4KWMj46l2A/s1600/Age+Of+Artemis+Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-4u-mm9HfHQU/U93fwSKj84I/AAAAAAAABak/R4KWMj46l2A/s1600/Age+Of+Artemis+Cover.jpg" width="320" /></a></div>
Age Of Artemis<br />
The Waking Hour<br />
Power Prog Records<br />
<br />
When Brazilian outfit Age Of Artemis released their debut full-length effort ‘Overcoming Limits’ back in 2011 (Through Brazil based label MS Metal Records), the album was overwhelmingly well received by most, with many predicting the band would be the next big act to come out of Brazil’s thriving progressive/power metal scene since fellow Brazilian power metal act Angra first hit the scene back in the early ‘90’s. Three years on, and Age Of Artemis (Comprising of vocalist Alírio Netto, guitarists Gabriel ‘T-Bone’ Soto and Nathan Grego, bassist Giovanni Sena and drummer Pedro Sena) have returned with their long awaited sophomore effort ‘The Waking Hour’.<br />
Given how acclaimed the band’s debut was, it wouldn’t have come as any surprise to hear the band produce a similar effort a second time around. But with ‘The Waking Hour’, it’s clear the band isn’t interested in rehashing the past. While ‘The Waking Hour’ features some shades of the past, there’s also a lot of new sounds on the album, which is something that sometimes works quite well, and other times, is something that clearly doesn’t work.<br />
The album is opened up with ‘Penance’; a short acoustic/sound effects driven piece that eventually bleeds into some Latin tribal rhythms that serve as a thundering introduction to the powerful ‘Under The Sun’. Combining traditional Brazilian rhythms, power metal, touches of progressive metal and a strong sense of melody, ‘Under The Sun’ is the perfect example of the talent that lies within Age Of Artemis. Melodic, powerful, but never over the top, ‘Under The Sun’ is the perfect opener, and one of the band’s finest compositions to date.<br />
Although a little slower in tempo, the follow up track ‘Broken Bridges’ is another great track, with Netto putting in a great performance (At times he reminds me of ex-Firewind/Spiritual Beggars front man Apollo Papathanasio and Iron Maiden’s Bruce Dickinson) alongside the guitarists (This song boasts some of the more memorable solos on the album), while the title track ‘The Waking Hour’ is one of the album’s heavier offerings on the vocal front, but melodic and memorable nonetheless.<br />
It’s around the fifth track that the band hit their first hurdle. The ballad ‘Hunger And Shame’ isn’t necessarily a terrible song as such, but it’s not exactly one of the album’s shining moments either. Sounding a little Dream Theater stylistically, the song seems to drift by without really hitting its mark with its lack of character. Thankfully, the guitar heavy groove based ‘Melted In Charisma’ and the rather accessible ‘Childhood’ puts the album back on the right course with Netto’s strong melodies and the song’s overall progressive/Brazilian rhythm underpinning instrumentation.<br />
Unfortunately, for all the obvious strengths of the album, there are some serious weaknesses that undermine ‘The Waking Hour’ towards the tail end. The first real misstep is ‘Your Smile’. Clearly the band are making an attempt to broaden their sound, but this acoustic piece of pop rock sounds completely out of place on the album with its melodic rock/AOR direction. Not unlike the former track, ‘Exile’ doesn’t work completely with the addition of symphonic influences turning what could have been a great song into something fairly typical of what you would expect from traditional power metal fare. The follow up track ‘New Revolution’ appears to have been moulded on the same template with the addition of symphonic elements, and while it’s not one the album’s strongest cuts, the lengthier progressive instrumental passages means it works far better than ‘Exile’.<br />
Finishing up the album is the ballad ‘Winding Road’ (Which sounds reminiscent of Pink Floyd, and is something quite different for the band style wise) and a piano version of ‘Take Me Home’ (Which originally appeared on ‘Overcoming Limits’). Again, both songs are quite good, but I can’t help but feel that they give the album a weak and forgettable finish.<br />
Overall, it’s clear that Age Of Artemis have progressed stylistically in their three years since the release of their first album, with ‘The Waking Hour’ boasting plenty of great songs, and some bold new sounds from the band as well.<br />
But for all of the good points ‘The Waking Hour’ has, you can’t disguise the album’s one big flaw. And that’s its consistency. The album starts off with a bang, but ends in a whimper with the inclusion of too many slower/ballad like numbers towards the tail end.<br />
In the end, Age Of Artemis has produced a worthy follow up album in ‘The Waking Hour’. Sure, it has some issues, but if the band keeps moving forward as they have done in the past, there’s every chance that with their next album, the band will definitely produce a real first class gem.<br />
<br />
For more information on Age Of Artemis, check out - <a href="https://www.facebook.com/ageofartemis">https://www.facebook.com/ageofartemis</a>.<br />
<br />
© Justin Donnelly.<br />
<br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="475" src="https://www.youtube.com/embed/IMMDTCCjna4" width="572" youtube-src-id="IMMDTCCjna4"></iframe></div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-41011233817125135092014-07-26T16:12:00.001+10:002014-07-26T16:12:32.746+10:00Caliban - Ghost Empire<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-7gMOBkhv5k4/U9NGXHUxZZI/AAAAAAAABaU/s8YEGZLUC6I/s1600/Caliban+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-7gMOBkhv5k4/U9NGXHUxZZI/AAAAAAAABaU/s8YEGZLUC6I/s1600/Caliban+Cover.jpg" height="320" width="320" /></a></div>
Caliban<br />
Ghost Empire<br />
Century Media Records/E.M.I. Music Australia<br />
<br />
There’s no denying Caliban played a part in founding the modern metalcore scene; their first couple of albums were the template on what was emerging as a bold and new sound that forged metal and hardcore together, and served as model sound that many acts were to mimic in years to come. But for all of their forwarding thinking experimentation in their formative years, the German outfit has had a chequered past at best, with their studio output a mix of the exceptional, and the uninspired.<br />
After a few years in the wilderness, Caliban took many by surprise with their 2012 release ‘I Am Nemesis’. The album was a huge return to form for the band, and proved that while the band wasn’t about to reinvent the wheel in terms of what metalcore sounds like, they could at least reignite their inspiration and release a truly memorable release. Obviously keen to keep the momentum going, the five piece outfit (Comprising of vocalist Andreas Dörner, guitarist/vocalist Denis Schmidt, guitarist/co-producer Marc Görtz, bassist Marco Schaller and drummer Patrick Grün) are back after a short two years away with their ninth full-length effort ‘Ghost Empire’.<br />
And as expected, the new album is another worthy effort from the long running metalcore outfit, with the band maintaining the standard set with their last album, but with enough changed to showcase a move forward.<br />
The album is opened up in heavy fashion with ‘King’, which features some Djent styled thick grooves and some aggressive guttural growls from Dörner. Of course, Schmidt’s clean vocal efforts are out in full force through the choruses, which provides a perfect counterbalance to the band’s heavier sounds. Production wise, the sound is heavy, but still retains plenty of dynamics. And the brief inclusion of studio effects around the breakdown is a welcome addition too. Overall, it’s a hard hitting song, and the perfect way to introduce ‘Ghost Empire’ to listeners.<br />
Although a little slower in tempo, ‘Chaos – Creation’ is another winner with its twisted riffing, hammering drums, thick grooves and memorable choruses, while ‘Wolves And Rats’ follows a similar path to its predecessor, but with some additional gang vocals in the choruses and strings and piano to emphasis the heavier and more intense moments within the song.<br />
Although fairly formula like, the German sung ‘nebeL’ (Which is German for fog, and features a guest vocal appearance from German metalcore outfit Callejon’s front man Bastian ‘BastiBasti’ Sobtzick) is melodic and heavy enough to enjoy for what it is, while ‘I Am Ghost’ is another example of a solid song that is good, but not what you would call one of the album’s strongest or memorable efforts.<br />
After a couple of misses, the band once again hits the mark with ‘Devil’s Night’ and the fan-rallying ‘yOUR Song’, which has the perfect balance of soaring melodic choruses, crushing groove structures and twists in the song’s structures to keep things interesting (Even if the chorus in the latter borders on the cheesy side of cliché).<br />
‘Cries And Whispers’ is a personal favourite, and is probably the closest the band come to replicating the kind of sound and song writing that featured throughout ‘I Am Nemesis’, while the moody and decidedly experimental effort (At least for Caliban) ‘I Am Rebellion’ is another firm favourite.<br />
Unfortunately, the album does have a couple of misfires towards the tail end. ‘Good Man’ (Which features a guest appearance from Callejon guitarist Christoph Koterzina on vocals) bears a striking resemblance to Nine Inch Nails’ ‘Hurt’ for its first minute, which overshadows the rest of the song (Which is typically Caliban sounding), while ‘Who We Are’ is a little too In Flames sounding for me, to be considered a true indication of what makes up the true Caliban sound.<br />
But for all of the hiccups, the band finishes the album off in fine form with ‘My Vertigo’, which stands out for its melodic death metal like riff, melodic choruses and its clever use of effects throughout.<br />
In light of how strong ‘I Am Nemesis’ was, ‘Ghost Empire’ is a worthy follow up. Sure, it does have some songs that don’t quite met the high standard set, but there’s plenty which do. And in light of what the band has produced in the years prior to their album from a couple of years ago, ‘Ghost Empire’ is easily one of Caliban’s worthier efforts.<br />
<br />
For more information on Caliban, check out - <a href="http://www.calibanmetal.com/">http://www.calibanmetal.com/</a><br />
<br />
© Justin Donnelly<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/jwbLDiATifE" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-1178333654092073542014-07-11T17:12:00.003+10:002014-07-11T17:12:59.392+10:00Aisles - 4:45 AM<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-MvsreDhoYc8/U7-OInoDRDI/AAAAAAAABZ0/XTiBiMbUoe4/s1600/Aisles+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-MvsreDhoYc8/U7-OInoDRDI/AAAAAAAABZ0/XTiBiMbUoe4/s1600/Aisles+Cover.jpg" height="319" width="320" /></a></div>
Aisles<br />
4:45 AM<br />
Presagio Records<br />
<br />
Within any genre of music you care to name, you’ll always find a few select leaders, and a whole lot of followers. That’s to say that there’s a few that do what they do exceptionally well, and the rest merely mimic the same sound, without really endeavouring to add anything new to the formula.<br />
But every now and then, you come across some acts that could be coined as innovators. They’re the rare few that take a particular sound or style of music and twist it into a new form that doesn’t sound quite like anything else, and yet sounds strangely familiar. As I said, it’s a rare find, but every now and then, a band presents themselves with a new release that really doesn’t fit the preconceived mould. One such act that has managed to do that is Santiago (Chile) based outfit Aisles, who have managed to produce something altogether different within the realm of neo-progressive/fusion rock on their latest release ‘4:45 AM’.<br />
Following on in the tradition of their two former full-length efforts (Namely 2005’s ‘The Yearning’ and 2009’s ‘In Sudden Walks’), ‘4:45 AM’ is another conceptual effort that is centred around the multitude of emotional challenges that can face ordinary people at 4:45 AM (The time perceived as being on the cusp of night and day), and within the hours that follow. And as you would expect, the abstract conceptual themes behind the album translate through to the music, which seems to encompass a bit of everything.<br />
The opening title track ‘4:45 AM’ (Which is also the album’s first single) is certainly one of the album’s truly stand out moments, with the six piece outfit (Comprising of lead vocalist/keyboardist Sebastián Vergara, guitarist/keyboardist/vocalist Germán Vergara, guitarist/backing vocalist Rodrigo Sepúlveda, bassist Daniel Baird-Kerr, keyboardist Alejandro Meléndez and drummer/percussionist Felipe Candia) channelling shades of Arena (Particularly on the vocal front at times) with a bit of ‘80’s Yes (Albeit with less keyboards). With great vocals, catchy choruses, distinctive riffs and innovative song writing, ‘4:45 AM’ has everything you could want from a neo-progressive rock act, and then some.<br />
The follow on track ‘Gallarda Yarura’ opens with a short spoken word cinematic piece before drifting into a Genesis-like instrumental (I’m thinking Steve Hackett era given the guitar work), but with a touch of Latin influence thrown in to give the song that something different from most. In complete contrast to the first couple of tracks on the album, ‘Shallow And Daft’ is rooted more in ‘80’s synth-pop than anything progressive rock related, but strangely enough is every bit as infectious and appealing as the opener.<br />
‘Back My Strength’ is one of the tracks that initially didn’t do much for me. There’s no denying the emotion that Germán injects into the song, but he sounds at times like he’s straining to hit the notes required (It’s evident more at the beginning of the song than anywhere else). And around the middle of the song, the guitars tend to sound a little harsher than I thought they should. But after a while, this ballad-like number did grow on me. But it’s the latter half of the track where the band delves into more familiar progressive rock territory that really sold the song to me.<br />
The simple acoustics and orchestration on ‘The Sacrifice’ allows the band to bring forth their strong Latin influences to the surfaces in what can be described as a song of strong emotional turmoil, while the guitar work on the atmospheric instrumental ‘Intermission’ (Which is bridged by the short cinematic piece ‘The Ship’) brings to mind King Crimson.<br />
‘Sorrow’, not unlike ‘The Sacrifice’, is an acoustic driven/Latin influenced song that is strong on melodic passages on the vocal front with Constanza Maulén giving plenty of support to Sebastián on the vocal front, while the follow-up instrumental track ‘Hero’ sees the band go to the other extreme genre-wise with influences from the likes of Steven Wilson, Queen (If only for the briefest of moments), John Petrucci, IQ and Arena evident throughout its eight minutes in length. Again, the band proves they’re both great musicians and song writers.<br />
Finishing up the album is the epic ‘Melancholia’, which is every bit as emotive as it is haunting, ever-changing musically and one of Sebastián strongest performances on the album. Much like the way the title track opens the album, the band finish the album with another clear stand out cut.<br />
Finding something unique amongst the masses is no easy task these days. But every now and then, a group does stand out for all the right reasons. In short, Aisles is one of those rare finds, and one that comes highly recommended.<br />
<br />
For more information on Aisles, check out - <a href="http://www.aislesproject.com/">http://www.aislesproject.com/</a><br />
<br />
© Justin Donnelly<br />
<div>
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/VcfWapoyQFw" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-40586538764246773692014-07-11T17:01:00.003+10:002023-08-19T20:10:55.393+10:00Snake Sixx - Itz All About The Riff<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-U6YPjwbZL50/U7-LcXRB6xI/AAAAAAAABZo/nvf-4sDUvRs/s1600/Snake+Sixx+Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-U6YPjwbZL50/U7-LcXRB6xI/AAAAAAAABZo/nvf-4sDUvRs/s1600/Snake+Sixx+Cover.jpg" width="320" /></a></div>
Snake Sixx<br />
Itz All About The Riff<br />
Snake Sixx Productions<br />
<br />
Leif Gregory isn’t what you would call a household name amongst metal fans. But if you happen to be an avid fan of the underground Australian metal scene, you’ll no doubt know the Sydney based artist through his guitar work in groups such as Aftermath, Destrier, Dark Order, Total Abuse and Nazxul. Having played his part in the group scenario for most of his professional career, Gregory decided the time was right to step out on his own, and under the pseudonym Snake Sixx, he released the covers E.P. ‘Dethroned Emperor’ in 2012. While the release passed under the radar by most, it was an interesting (If a bit flawed) release that saw guest contributions from none other than ex-Celtic Frost drummer Steve Priestly, Morgoth/Insidious Disease/ex-Comecon vocalist Marc Grewe, Tourettes/ex-Meldrum vocalist Michele Madden and the iconic Henry Rollins.<br />
It’s been a long two years since then, but Sixx has finally returned with his long overdue full-length effort ‘Itz All About The Riff’. And much like his E.P. release, ‘Itz All About The Riff’ is another hit and miss affair.<br />
Recorded over twenty-five months, over three continents and hailed as the biggest independent music project of its kind in Australian music history, ‘Itz All About The Riff’ sounds like an interesting prospect on paper. After all, this covers album boasts a collection of Australian classics, and features no less than thirty-three rock/metal legends from both here and from overseas. But while it all sounds impressive, not all the guests and the songs themselves translate all that well in their reworked form.<br />
The first track covered by Sixx is the AC/DC classic ‘Let There Be Rock’, with Anthony ‘Skenie’ Skene of The Poor/ex-Lump on the vocals. Musically, the song is given a bit more punch with an added edge of aggression of the guitars, and Skene’s vocals have more than enough grit to pull the whole thing off admirably. Next up is Icehouse’s ‘Great Southern Land’ with Johnathan Devoy (Ex-Jerk Johnathan/Melody Black/Ink) on the vocals. Devoy’s performance is solid, but it’s the combination of guitarist/keyboardist Sixx, guitarist Adam Aguis (Ex-Alchemist/The Levitation Hex) and bassist Leeno Dee (Ex-Candy Harlots/Jerk/Melody Black/INK) that really gives the song its own individuality.<br />
Unfortunately, things take a turn for the worst with the Skyhooks cover ‘Horror Movie’. Shane Sparks (Enemy Me/My Therapy) on vocals just doesn’t seem to fit with the arrangements provided, and the song itself doesn’t stand up with its heavier reinterpretation.<br />
The cover of INXS’ ‘Don’t Change’ (With Darker Half’s Steven ‘Vo’ Simpson on vocals) remains fairy true to the original, and is therefore unremarkable (Apart from the shredding solo from Empires Of Eden/Dungeon/Pain Division guitarist Stu Marshall), while The Divinyls’ ‘Boys In Town’ (With Lillye/Peter Northcote Band vocalist Virginia Lillye) is further evidence of the vocalist struggling to fit what is clearly a musical arrangement prepared beforehand.<br />
Sixx’s cover of Rose Tattoo’s ‘Nice Boys’ and The Angels’ ‘Take A Long Line’ (Both with Devoy once again out front) are definite highlights, and two of the album’s seriously heavy and energetic numbers, while the punked up reinterpretation of The Radiators’ ‘Coming Home’ (Featuring ex-Frozen Doberman vocalist Adam Marsh) is a fairly rough and ready affair, but also worthy of a mention.<br />
But for all of the solid efforts featured on the album, there are just as many disasters as well. Those tracks that don’t fare so well include Gangajang’s ‘Sounds Of Then (This Is Australia)’ with Saint Lucifer/Paindivision/The Harlots’ Jordon Howe on vocals (The slow and droning pace of the arrangement simply doesn’t work), Split Enz’ ‘I Got You’ with Heaven The Axe’s Phoebe Pinnock on vocals and Midnight Oil’s ‘Beds Are Burning’ with Simpson once again on vocals. Sure, the riffs are there, but the arrangements and how the vocalists are slotted into those said arrangements seriously let these reinterpretations down.<br />
Things do liven up a touch with the cover of The Atlantics’ ‘Bombora’ and AC/DC’s ‘Hell Ain’t A Bad Place To Be’ (With Marsh once again out front), while the stripped back cover of The Church’s ‘Milky Way’ with Devoy is one of the rare experiments of complete reworking that works exceptionally well.<br />
In terms of the bonus tracks, there’s the Industrial Stomp Mix of ‘Great Southern Land’ by Cubanate/Pig’s mastermind Marc Heal and Sixx’s cover of Celtic Frost’s ‘Dethroned Emperor’. The remix is interesting, and worthy of checking out, while the Celtic Frost cover (Featuring Aguis and ex-Damaged/Terrorust/Walk The Earth front man James Ludbrook on vocals) is a worthy addition, but hardly a cover that’s likely to rival to the original.<br />
Aside from the album, ‘Itz All About The Riff’ also comes with a D.V.D. entitled ‘One Mans Journey’. And as you would expect, it’s as every bit as patchy as the album itself.<br />
The two hour D.V.D. begins with the promotional video clip for ‘Great Southern Land’ (Which in all honesty is fairly primitive in its homemade glory), and is followed with an interview with ex-Apollyon Sun/Hellhammer/Celtic Frost drummer Steve Priestly. While the interview with Priestly is worthy (As too is the archival footage of Celtic Frost live), the sound is terrible, and makes it difficult to enjoy.<br />
From here, there are interviews with Shane Sparks (Enemy Me/My Therapy), bassist Dave Colless (Skuldugory/Grungeon/Tribe Maelstrom/Apostasy) and an alternate (Studio) promotional video clip for ‘Great Southern Land’ (Which I personally feel is the superior of the two).<br />
Given that Devoy plays a large part on the album, it’s not surprising to see him given a fairly extensive interview here. But once again, the sound isn’t all that great (What do you expect when you’re interviewed in a club!). But at least the live footage of Devoy onstage sounds O.K.<br />
The interview with drummers Steve Hughes (Slaughter Lord/Mortal Sin/Nazxul) and Mick O’Shea (Dragon/Rose Tattoo/Judge Mercy) are further disappointment due to sound issues, but at least the segments with guitarist Rick Rozz (Death/Massacre/(‘M’) Inc.), vocalists Adam Marsh (Frozen Doberman) and Jordon Howe (Saint Lucifer/Pain Division/The Harlots), bassist Zoran Mrakic (Killrazor/Devine Electric/Dark Order), vocalist Anthony ‘Skenie’ Skene (The Poor/ex-Lump) and guitarist Craig Martin (Aggressa/Twin City Riot) fare a bit better.<br />
Finishing up the D.V.D. is the promotional video clip for ‘Nice Boys’ and Virginia Lillye singing ‘Highway To Hell’ on the television show ‘The Voice’.<br />
The concept behind ‘Itz All About The Riff’ is a bold one to say the least. But to pull it all off is another thing. And to be honest, Sixx hasn’t quite succeeded in creating the ultimate covers album that lives up to its long list of guest appearances.<br /><br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/sudMmpY62Ag" width="585"></iframe><div><br /></div><div>For more information on Snake Sixx, check out - <a href="http://www.snakesixx.com/">http://www.snakesixx.com/</a>.<br /><br />© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-74199488238063389432014-07-11T16:39:00.000+10:002014-07-11T16:39:01.665+10:00Winterun - Winterun<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-71S2oVHffN8/U7-FqJLbqKI/AAAAAAAABZY/c0edKyczHLk/s1600/Winterun+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-71S2oVHffN8/U7-FqJLbqKI/AAAAAAAABZY/c0edKyczHLk/s1600/Winterun+Cover.jpg" height="320" width="319" /></a></div>
Winterun<br />
Winterun<br />
Independent Release<br />
<br />
When Melbourne (Victoria, Australia) based outfit Winterun launched themselves onto the scene with their debut full-length effort ‘The Full Effect’ way back in 2004, they did so in impressive style. The band manages to effortlessly blur the lines between their stoner influences and their heavier rock tendencies, all the while managing to carve a unique sound that was one of their own making.<br />
No sooner had their debut been released, the four piece outfit released follow up efforts in ‘Welcome To...’ (2005) and ‘Into The Underground’ (2007), both of which attracted plenty of critical acclaim from fans and press alike.<br />
A change within the ranks saw the band take their time before entering the studio again. But the resulting E.P. ‘Shadow’ (2011) proved to be worth the wait, with the combined new songs and re-recorded favourites showcasing a further step forward in the band’s sound. It also built up anticipation for the band’s soon to follow new studio album.<br />
Well, that was three years ago. For all intents and purposes, it would appear as though Winterun had withdrawn into a self-imposed hiatus. But from out of shadows, Winterun (Who comprise of vocalist/rhythm guitarist Nick Dunstan, lead guitarist Guy Martin, bassist Matt Taylor and drummer Joel Schneidruk) has finally re-emerged with their long awaited fourth full-length effort ‘Winterun’.<br />
The band opens the album in explosive fashion with the riff heavy ‘To The Sky’. Sounding heavier than ever, the band are keen to announce their return, and no song on the album could have made the statement any louder than this track. Short and to the point, ‘To The Sky’ may not boast the catchiest choruses, but I’m guessing that’s not the point. I’m assuming it’s designed to get the audience moving and the blood pumping, and it more than succeeds in getting that job done.<br />
‘Tomahawk’ (Which originally appeared on ‘Shadow’) is another aggressive and harder edged tune that sees the band taper the full-on assault of guitar riffs to explore some areas of dynamics, while ‘Shadow’ (Another tune from ‘Shadow’) steers more towards Kyuss influenced stoner rock with an array of echoed guitar riffs and infectious melodies on the vocal front.<br />
‘Ships Of Gaillimh’ is a driving number that has some noteworthy riff structures and great breakdowns (Which allows Schneidruk to show what he’s capable of), but falls a little short on the melody side of things. On the other hand, the rocking ‘All Fury’, the slower paced ‘Holiest Of Smoke’ and the mellow ‘Stitches’ are great songs that have all the promise of the former track, but with killer choruses that really help make the song stand out. While there’s an undeniable Pearl Jam influence found in the band’s song writing at times (One only needs to listen to ‘Dawn’), and it’s certainly evident in the three tracks mentioned. But as the saying says, ‘A good song is a good song’. And these three alone stand out as some of the most thought out and strongest material the band has penned to date.<br />
‘Bad Laark’ is another favourite with its heavy powerful groove and equally simple approach to vocal lines, while ‘8X10’ (Again, resurrected from ‘Shadow’) is another high point on the album with the band slipping in a bit of the blues into the stoner rock sound with great results.<br />
Finishing up the album is the semi-acoustic instrumental piece ‘Burn This Day’, which initially starts off gently before building towards a heavy climax close.<br />
Despite sounding a little rough around the edges, and featuring a couple of numbers that could have benefitted from a little more work, ‘Winterun’ is hands down the band’s strongest and most consistent sounding release to date.<br />
<br />
For more information on Winterun, check out - <a href="http://www.winterun.com/">http://www.winterun.com/</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="510" src="//www.youtube.com/embed/FXFGbZxE6XE" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-65162187259412145212014-06-28T14:15:00.001+10:002014-06-28T14:15:22.263+10:00Skindred - Kill The Power<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-GOkxXDXkkOU/U65AQZYZNWI/AAAAAAAABZI/FxdhsrK5xHI/s1600/Skindred+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-GOkxXDXkkOU/U65AQZYZNWI/AAAAAAAABZI/FxdhsrK5xHI/s1600/Skindred+Cover.jpg" height="320" width="320" /></a></div>
Skindred<br />
Kill The Power<br />
DoubleCross Records/Cooking Vinyl Limited<br />
<br />
It’s been a long three years since Newport outfit Skindred last graced us with something new. And given how much I enjoyed 2011’s ‘Union Black’, I was really looking forward to seeing what the Welsh act had to offer on their latest effort ‘Kill The Power’.<br />
Skindred (Who comprise of vocalist/keyboardist Benji Webbe, guitarist/backing vocalist Mikey Demus, bassist Daniel Pugsley and drummer Arya Goggin) have never been afraid to mixing things up from release to release. And true to form, the band’s fifth album is another step into new territory, while maintaining the band’s eclectic mish-mash of alternative metal, reggae rock, electronic rock and drum and bass. But while ‘Kill The Power’ is a solid Skindred album, I can’t help but feel that the band may be drifting into sonic territory that could potentially alienate some of their audience.<br />
The opening title track ‘Kill The Power’ gets the album off a promising start, with the punchy track boasting the right amount of heavy riffs, bouncing reggae beats and a strong sing along chorus. In other words, it’s the kind of song that sums up the trademark Skindred sound in a single track in first class form.<br />
But for all the promise the opener offered, the band stumble a little on the follow up track ‘Ruling Force’. The song isn’t terrible, but the band’s attempts to mix heavier passages alongside Prodigy like electronica sounds a little too forced and ill-fitting, which only comes across as confused. There’s a song in there somewhere, but it’s a little lost in the delivery.<br />
The slower paced dubstep ‘Playing With The Devil’ doesn’t help matters much with its leaden vibe and lack of punch on the guitar front (Which is a shame because the lyrics on offer are some of the best on the album), but the album does eventually take a turn towards familiar terrain with the double punch of ‘Worlds On Fire’ and the heavy duty/Jamaican laced ‘Ninja’ (Which features a booming vocal introduction courtesy of Arthur Brown).<br />
One track that really stood out for me is ‘The Kids Are Right Now’. Webbe tones down his accent quite a bit on this track, and when it’s coupled with a rather stripped back rock soundtrack and some dominant drums in the mix, it all comes across as a hit in the making. Perhaps on ‘Union Black’, this track would have worked quite well. But here, it sounds completely lost. It’s a rare case of the right song being placed on the wrong album.<br />
Although solid enough, ‘We Live’ suffers the same fate as the former with its standard rock structures, power ballad-like tempo and repetitive choruses, and again comes across as another serious misstep. But as evident as it has been earlier in the album, the band strike back with a vengeance – this time with the guitar driven ‘Open Eyed’. Boasting a guest vocal appearance from former Un-Cut front woman Jenna G, ‘Open Eyed’ is classic Skindred, albeit with a greater melodic edge on the chorus front.<br />
The reggae influenced ‘Dollars & Dimes’ and the acoustic based ‘More Fire’ are lightweight fillers apart from a bit of heavy guitars on the former, and are ultimately forgettable once their finished their run through. But once again, it’s the rocking ska-driven anthem ‘Saturday’ and the heavy blast of ‘Proceed With Caution’ that saves the tail end of the album from complete disaster.<br />
‘Kill The Power’ isn’t a bad album, but it’s certainly one of Skindred’s weakest. The band’s willingness to push the boundaries is more than welcome, but when that push is towards mainstream pop/reggae/dubstep that’s lacking in inspiration, you just wish the band would stick to what they know and do best.<br />
Skindred’s latest effort is a bit of a mixed bag, and if truth be told, a bit of a disappointment as a follow up to 2011’s rather impressive ‘Union Black’.<br />
<br />
For more information on Skindred, check out - <a href="https://www.facebook.com/skindredofficial">https://www.facebook.com/skindredofficial</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/DSFnygzsLnk?feature=player_detailpage" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-1842762236633099282014-06-28T14:09:00.007+10:002023-02-12T19:44:15.938+11:00Ginger Wildheart - Albion (Pledge Edition)<div><div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-XeGmFpaFhkM/U64_ygLZYeI/AAAAAAAABZA/ylWZMoKx03s/s1600/Ginger+Wildheart+Cover.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-XeGmFpaFhkM/U64_ygLZYeI/AAAAAAAABZA/ylWZMoKx03s/s1600/Ginger+Wildheart+Cover.jpeg" width="320" /></a></div>
Ginger Wildheart<br />
Albion (Pledge Edition)<br />
Round Records<br />
<br />
The last three years has without a doubt been the busiest Ginger Wildheart has ever been, with the singer/songwriter releasing no less than six studio albums in that time (2012’s triple album ‘555%’, 2013’s ‘Frankenstein Effect’ and ‘Error 500’ under the guise of Mutation and the self-titled debut effort from his Hey! Hello! Project in 2013). Obviously keen to continue striking while the iron’s still hot, Ginger has returned with his seventh album in three years – this time a solo effort entitled ‘Albion’.<br />
Unlike the studio efforts Ginger has produced in recent times, ‘Albion’ is much more of a collaborative effort, with the album being performed by Ginger’s band from the last couple of years The Ginger Wildheart Band (Who otherwise comprise of vocalist/guitarist Ginger, Eureka Machines vocalist/guitarist/harmonium/percussionist Chris Catalyst, ex-Amen/Black Halos vocalist/guitarist Rich Jones, ex-Tragedy/Hey! Hello! vocalist Victoria Liedtke, ex-Cardiacs/The Wildhearts bassist/guitarist/vocalist/keyboardist ‘Random’ Jon Poole, Evil Arrows keyboardist/vocalist/string arranger Bryan Scary and Losers/Young Legionnaire drummer Dean ‘Denzel’ Pearson). And as you would expect, it’s the band that gives Ginger’s latest album a wholly different sound from what we’ve been offered from Ginger in recent years.<br />
Opening with a riff that sounds like it’s been lifted from The Who’s ‘Baba O’Reilly’, ‘Drive’ quickly transforms into a straight ahead sing along rocker that’s as catchy as anything Ginger has ever written on the solo front (In particular the material on ‘555%’), but with enough twists and turns and differing sounds thrown into the mix to give the song a hugely epic feel. Lyrically, the song is about getting away from it all to find yourself, and really, Ginger couldn’t have picked a more perfect way to start the album both lyrically and musically.<br />
The follow-up track ‘Cambria’ is something completely different altogether to the opener, with the pile-driving heaviness of the verses sounding like it could have slotted on the Mutation albums with considerable ease. But it’s during the choruses that things mellow out (In a Hey! Hello! Kind of way courtesy of Liedtke’s gorgeous vocals), and provide the song schizophrenic duality in full. Initially, the song didn’t grab me. But after a while, it’s certainly become a firm favourite.<br />
‘The Road To Apple Cross’ follows a similar path to the former, albeit with a sound that’s more akin to The Wildhearts in the heavier parts, and a chorus that’s impossible not to sing along too, while Ginger’s ode to depression in ‘Order Of The Dog’ is reminiscent of the sweeping epic soundtrack styled songs found on 2008’s ‘Market Harbour’ with a chorus to match. This track is hands down one of my personal favourites on the album.<br />
‘Chill, Motherfucker Chill’ is a chilled out anthem that is easy on the ears with its pop-like delivery, while Catalyst’s co-lead vocals on the progressive tinged rock anthem ‘Burn This City Down’ managed to deliver something completely new to Ginger’s vast musical repertoire.<br />
One track that I’m not entirely in love with is the first single ‘Body Parts’. Perhaps it’s the deliberately cheesy keyboards, the throwaway lyrics or the somewhat obvious bass lines (There’s a definite nod to The Knack’s ‘My Sharona’), but either way I can’t help but feel that the song is one of the weaker efforts on the album. Another tragic misfire to my ears is the offbeat rocker/Silver Ginger 5-like follow-up track ‘The Beat Goes On (Caledonia)’. It’s not that it’s a bad track as such, but it’s a song that doesn’t grab me in the same way that most of the tracks on ‘Albion’ does.<br />
‘After All You Said About Cowboys’ (Which was initially considered for recording during the sessions for ‘555%’) is the album’s sole ballad, and could have easily slotted on 2007’s ‘Yoni’ with its sparse instrumentation and lush backing vocals, while the disco-tinged full on tongue-in-cheek rocker ‘Grow A Pair’ and the semi-acoustic up-tempo ‘70’s blast of ‘I Need You’ are another couple of personal favourites.<br />
The two minute blast of ‘Capital Anxiety’ is a punked up thrasher that could have easily slotted onto the Mutation albums with considerable ease, which is typically followed up with something completely different with The Beatles influenced/strings enhanced/psychedelic ‘Into This’. If anything, the two tracks side by side show the contrasts and breadth within Ginger’s song writing.<br />
‘Creepers’ is a bit of an oddity in the structural sense, with the six minute track boasting complex arrangements and some great vocal play-offs between Ginger and Liedtke, while the closing title track ‘Albion’ is a lengthy ten minute number that brings to mind The Wildhearts at their most epic, albeit with a greater collection of differing and varying influences (Another borrowed riff from The Who, progressive rock passages, Liedtke’s convincing imitation of ‘30’s girl group vocals, Charlie Chaplin spoken word samples from ‘The Dictator’ and some quirky pop). ‘Creepers’ and ‘Albion’ are by far the album’s strangest and adventurous tracks, but also the best examples of just what Ginger is able to achieve in terms of delivering the unexpected.<br />
As mentioned above, this is a review of the Pledge version of ‘Albion’, which is packaged with a bonus D.V.D.<br />
The D.V.D. is split up into two halves, with the first a compilation of the entire studio updates pledges received about the upcoming ‘The Practical Musician’ album (Which eventually became known as ‘Albion’). Running for a touch over fifty minutes, the updates has its share of insightful moments. But the ones worthy of a special mention is the revisiting of ‘After All You Said About Cowboys’, the piecing together of ‘Body Parts’ and producer Kevin Vanbergen’s reflections as the assistant engineer on The Wildheart’s ‘Endless Nameless’ album from 1997.<br />
The second half of the D.V.D. is ‘Albion – The Road Movie’. Of the two offerings, this is the pick. Over the course of its fifty-three minute running time, Ginger takes the viewer on a journey around the British coastline for three weeks (Albion is the oldest known name for the island of Great Britain), with the aim of finding inspiration for some new material (The aim was to write twenty-four tracks in twenty-four days!). There’s plenty of highlights, but those worthy of singling out include a quick first draft run through ‘Drive’, a rough rendition of Steve Earl’s ‘Valentine’s Day’ and Ginger’s brief rundown through his nightly/morning rituals.<br />
Overall, ‘Albion’ is another triumph for Ginger as a song writer, and a credit to the talent that lies within the members of The Ginger Wildheart Band.<br />
<br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="480" src="https://www.youtube.com/embed/qRB9g8EvvDw" width="577" youtube-src-id="qRB9g8EvvDw"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">For more information on Ginger Wildheart, check out - <a href="https://www.facebook.com/officialginger">https://www.facebook.com/officialginger</a>.<br /><br />© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-38280738277717318832014-06-13T20:26:00.001+10:002022-01-04T12:53:56.909+11:00Crosson - Spreading The Rock ‘N’ Roll Disease<div><div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-dSlAUMKWOrQ/U5rQ_ELHzdI/AAAAAAAABYw/3J2dYg-jRzE/s1600/Crosson+Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-dSlAUMKWOrQ/U5rQ_ELHzdI/AAAAAAAABYw/3J2dYg-jRzE/s1600/Crosson+Cover.jpg" width="312" /></a></div>
Crosson<br />
Spreading The Rock ‘N’ Roll Disease<br />
Galaxy Records<br />
<br />
For an outfit that’s been doing the rounds for the better part of the last eight years, and have two previous releases to their name (2008’s ‘We Are The Future’ and 2011’s ‘Dreamer’), I’m surprised that I haven’t heard Sydney (Australia) based outfit Crosson before now. But as they say, it’s better late than never and here I am with Crosson’s latest E.P. effort ‘Spreading The Rock ‘N’ Roll Disease’.<br />
Crosson (Who comprise of band members vocalist/guitarist Jason Crosson, guitarist Joel McDonald, bassist/backing vocalist John Katirtsides, drummer Jordan McDonald and backing vocalist Amanda Easton) have described themselves as theatrical rock, and if you were to judge a book by its cover, then they wouldn’t be far off the mark. But if you delve a little deeper and listen to what the band have to offer, then you’ll find it’s something completely different altogether.<br />
The opening title track ‘Spreading The Rock ‘N’ Roll Disease’ gives a clear indication of what kind of music Crosson has to offer listeners, and it’s hard rock with a distinctly ‘80’s edge. But while it sounds appealing, Crosson don’t quite pull it off completely. Sure, the guitar solo is noteworthy, and the reverse cymbal effects during the breakdown is a cool blast from the past (I’m thinking of a track from Poison, and delivered courtesy of legendary mixer Duane Baron), but overall the song sounds flat and generic (Particularly on the lyrical front). Crosson’s vocals don’t help matters much with his Doc Neeson (The Angels) like snarl, which is at best, something that takes some getting used to.<br />
The follow-up track ‘All About The Music’ (Which is the first promotional video clip filmed from the E.P.) fares a little better than the opener with its Kiss-like influences and female backing vocals, but is dragged down with Crosson’s lower register vocals (Which brings to mind a poor man’s Andrew Eldritch), while ‘Lies’, although still adhering to standard ‘80’s hard rock clichés, is without a doubt the strongest cut on the E.P. with its catchy anthem-like choruses and solid riffs.<br />
Despite the band’s best attempts to keep the consistency of the former track flowing through to ‘Take Another Shot’, the song drifts without anything remarkable being added to make it stand out, while the attempt at adding a punk touch to ‘Taxman’ on the vocals is a complete disaster.<br />
Finishing up the E.P. is ‘I’m Not Afraid’, which is again a good example of the lead guitar work on the E.P. that’s executed with class, but also the lack of song writing finesse to back it up.<br />
While the band don’t take themselves too serious, it has to be said that the song writing is cliché and unremarkable, and Crosson’s vocals are sometimes hard to take.<br />
In the end, I can’t say that ‘Spreading The Rock N Roll Disease’ is entirely terrible. It has its moments, even if they only appear briefly. But at the end of the day, this is hardly the kind of release that I’m likely to play after writing up this review, and that says more about the E.P. than anything else I could possible add here.<br />
<br />
For more information on Crosson, check out - <a href="http://www.crosson.com.au/">http://www.crosson.com.au/</a>.<br />
<br />
© Justin Donnelly.<br />
<div>
<br /></div>
</div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="482" src="https://www.youtube.com/embed/RQ602WfouzI" width="579" youtube-src-id="RQ602WfouzI"></iframe></div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-75484077452719179472014-06-13T20:19:00.001+10:002014-06-13T20:19:37.344+10:00Wicked City - Worsted Yarn<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-e9ZWT9KBVtU/U5rPenKPzFI/AAAAAAAABYk/9eCT_zB8DZY/s1600/Wicked+City+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-e9ZWT9KBVtU/U5rPenKPzFI/AAAAAAAABYk/9eCT_zB8DZY/s1600/Wicked+City+Cover.jpg" height="320" width="313" /></a></div>
Wicked City<br />
Worsted Yarn<br />
Independent Release<br />
<br />
Long running Brunswick (Melbourne, Victoria, Australia) based heavy/stoner/punk/grunge rock outfit Wicked City have been long absent from the studio since the release of their second full-length album ‘With Wings’ (Which was released through Impedance Records) way back in 2009. But after a self imposed hiatus (Although the trio did release a bits and pieces/curio collection last year entitled ‘Jams, Ideas, Gags’ for fans), the band is back with their long awaited third full-length effort ‘Worsted Yarn’. And it’s another impressive slab of the band’s unpredictable brand of rock ‘n’ roll.<br />
Wicked City (Who comprise of guitarist/vocalist Nick Grammenos, bassist/vocalist Patto Warner and drummer/lead vocalist Paddy Millman) launch their latest album with ‘Applegate’, which begins with a series of angular riffs, a thumping bass line and plenty of melody on the vocal front to keep the track somewhat on track for the listener. The band makes good use of incorporating highs and lows in both instrumentation and vibe, which helps to emphasise the band’s powerful array of dynamics. Quite simply, ‘Applegate’ is an explosive opener that showcases the band’s musicianship.<br />
The follow on track ‘Slipstream’ is a fast paced effort that fuses elements of stoner groove and punk, and is perhaps one of the album’s more immediate tracks, while ‘Dog’s Life’ is a bludgeoning, raucous and somewhat odd stoner grooved tune that has the band turning things up a notch on the volume side of the musical equation, but keeping things melodic enough (Particularly in regards to the short but sweet guitar solos) to retain the listeners attention throughout.<br />
‘Dead Friends’ is a slow burning turn towards doom territory, and is one of the rare tracks on the album that doesn’t quite hit the mark for me. Perhaps it’s the repetitiveness of the riff, the slow moving pace or the echoed effects on the vocals, but either way, the song doesn’t quite have ideas or changes in tempo to really go anywhere in general.<br />
Things pick up with the shorter, fast paced and sci-fi themed ‘Planet X’, while the lengthy ‘Badlands’ is a perfect example of where the band allows themselves to stretch out and incorporate a wide variety of ideas into the one song to create a mini-epic of sorts. Shades of psychedelic rock, grunge and stoner grooves (Early Kyuss comes to mind in places) can be heard through the track’s seven minutes, and while it all sounds a little confused and messy, Wicked City manage to make it sound natural and free flowing throughout.<br />
Like ‘Dog’s Life’, the punk influenced grunge-like ‘Grindstone’ is another immediate track for listeners with its fairly straightforward song writing framework and musical/vocal accompaniment, while the closer ‘Violent Mind’ is stylistically not to dissimilar to the opener with the song featuring plenty of ebb and flow on the dynamics front, but with a twisted aggression on the vocal front to add an air of menace to send the album off in a unhinged fashion.<br />
Wicked City has never been the kind of band to cater to the masses. Their music isn’t always easy to dissect, and takes time to fully appreciate. But once you get your head around the music, it’s not hard to see why the band is hailed as one of the best outfits within the Melbourne underground scene.<br />
It’s taken Wicked City a long time to return with their third album, but there’s no doubt that it’s a big step up from what was offered on ‘With Wings’, and an album worth seeking out.<br />
<br />
For more information on Wicked City, check out - <a href="https://www.facebook.com/wickedcitymelbs">https://www.facebook.com/wickedcitymelbs</a><br />
<br />
© Justin Donnelly<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="390" src="//www.youtube.com/embed/bTlVonyVMZ8" width="585"></iframe>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0tag:blogger.com,1999:blog-3801805370020560369.post-42901661038916115302014-06-01T16:19:00.001+10:002023-08-31T19:24:16.692+10:00Brainstorm - Firesoul (Limited Edition)<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-5xwLGGp__T0/U4rFCKpR4XI/AAAAAAAABYU/bjRLjWU-OCA/s1600/Brainstorm+Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-5xwLGGp__T0/U4rFCKpR4XI/AAAAAAAABYU/bjRLjWU-OCA/s1600/Brainstorm+Cover.jpg" width="320" /></a></div>
Brainstorm<br />
Firesoul (Limited Edition)<br />
AFM Records<br />
<br />
If there’s one word that sums up Brainstorm’s output over the last seventeen years, it would be consistent. Although the German power metal outfit has occasionally experimented outside of its comfort zone, it has to be said that the band have yet to release an album that would be considered a complete disaster. Following on from 2011’s ‘On The Spur Of The Moment’, the five piece outfit (Comprising of ex-Ivanhoe/Symphorce vocalist Andy B. Franck, guitarists/backing vocalists Torsten Ihlenfeld and Milan Loncaric, bassist Antonio Ieva and drummer Dieter Bernert) are back with tenth full-length effort ‘Firesoul’.<br />
According to the band, 2014 marks the band’s twenty-fifth anniversary, even though the band didn’t officially release their first album until 1997 (‘Hungry’). While some may debate the merits of the band’s anniversary, there’s no denying that ‘Firesoul’ is a worthy release to mark the occasion – especially in light of the direction the band took their sound over the last few releases.<br />
The band gets the album underway in a particularly heavy fashion with the opening track ‘Erased By The Dark’, which is everything you would expect from Brainstorm, and then some! Franck is in exceptional form in terms of projecting power and offering soaring melodies, while the band pounds out some meaty riffs and driving rhythms to compliment the vocal efforts. The subtle keyboard orchestration (Delivered by long-time keyboard contributor Michael ‘Miro’ Rodenberg) adds an epic touch to proceedings, which only adds to the song’s overall powerful sound.<br />
The title track ‘Firesoul’ is an instant favourite with its riff driven framing and Franck’s incredible melodies (The dual vocals Franck provides on this track are really impressive), while follow-up efforts ‘Descendants Of The Fire’, ‘Shadowseeker’, ‘Feed Me Lies’ and the darker toned ‘What Grows Inside’ represent some faster paced songs that boast the classic Brainstorm sound that fans have come to expect from the band over the years.<br />
On the moodier and slower side of things, Brainstorm are no less potent, with the traditional metal anthem ‘Entering Solitude’, the outstanding ‘The Chosen’ (Which again sees the use of keyboard orchestration to give the song an epic feel) and the soaring melodic power of the album closer ‘...And I Wonder’ all showcasing a real return to form for Brainstorm on their tenth album.<br />
In fact the only track that didn’t sit all that well with me was ‘Recall The Real’, which is a good song, but hindered with some rather awkward choral vocal efforts from Franck.<br />
As mentioned above, this is a review for the limited edition version of ‘Firesoul’, which comes with an additional two tracks on the first disc. The first is ‘Disappeared’, which is an O.K. sounding faster paced track, but falls short on hitting the mark on the chorus front. The second effort is ‘Strangled’, which is a great track with its heavy riffing, dark vibe and powerful melodies. Although the feel of the song wouldn’t have fit perfectly with the album as a whole, as a bonus, it’s certainly a worthy track to seek out.<br />
The limited edition version of ‘Firesoul’ also comes with a bonus live disc entitled ‘…12 Moments To Remember - Live At The BYH!?’, which as the title suggests, is an official live bootleg recording of the band’s 2011 performance from the renown German festival Bang Your Head!.<br />
Anyone who’s been fortunate enough to catch the band playing live (Or has otherwise seen their live D.V.D. ‘Honey From The B’s (Beasting Around The Bush)’ from 2007), will know that Brainstorm can deliver on stage what they do on album, and this recording is no exception. Although the whole disc is of great quality, highlights include ‘Hollow Hideaway’, ‘Shiva’s Tears’, ‘All Those Words’ and ‘How Do You Feel’.<br />
Brainstorm have always been a consistent and solid act, even if the band’s last few releases have seen the band stray a little from the sound that fans have hailed as the band’s true sound. But with ‘Firesoul’, the band have returned to form in a major way, and given fans an album that’s sure to be hailed as one of their finest since 2005’s ‘Liquid Monster’.<br /><div><br /></div>
<iframe allowfullscreen="" frameborder="0" height="390" src="//www.youtube.com/embed/UiarMaNvKK8" width="585"></iframe><div><br /></div><div>For more information on Brainstorm, check out - <a href="https://www.facebook.com/officialbrainstorm">https://www.facebook.com/officialbrainstorm</a>.<br /><br />© Justin Donnelly.</div>Justinhttp://www.blogger.com/profile/09143153278500825129noreply@blogger.com0