The Best Of 2022

The Best Of 2022

As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.

Enjoy.

Queensrÿche – Digital Noise Alliance (Century Media/Sony Music Entertainment)

I don’t generally single favourites in my yearly rundowns, but on this occasion, I’m willing to admit that Queensrÿche’s latest release has been on high rotation since its release, and is without a doubt a firm favourite of mine in 2022. Taking on a greater degree of melody, and pushing the progressive side of their sound a little more into the forefront, “Digital Noise Alliance” is step in the right direction for the band that were merely a shadow of their past greatness a decade ago. “Behind The Walls” and “Nocturnal Light” are tense numbers that echoes some of the band’s past sounds without sounding like they’re rehashing old history, while “Sicdeath”, “Out Of The Black”, “Realms”, “In Extremis” and “Hold On” ensures listeners that the band still have a lot more to give. Four albums in, and the Todd La Torre era of Queensrÿche proves naysayers wrong with a continued growth of strength upon strength with each new release.

Stabbing Westward – Chasing Ghosts (COP International)

As a follower of Stabbing Westward, it’s hard not to have some high expectations on their first new album in 20 years. But all fears were cast aside the moment “Chasing Ghosts” was given a single run through. The band’s core duo (Vocalist Christopher Hall and guitarist/keyboardist Walter Flakus) have managed to retain the sound that defined Stabbing Westward in the late 90’s, and push it enough to emerge with something new. “I Am Nothing” is a powerful opener with its dark themes, heavy guitars and industrial flourishes, while tracks such as “Damaged Goods”, “Wasteland” and “Cold” follow through with the classic Stabbing Westward sound. “Control Z” and “Ghost” are detours into new soundscapes with their industrialised beats and guitars working in tandem over catchy choruses, while the sweeping closer “The End” is as haunting as it is cinematic. Reunions these days can sometimes leave you feeling that the past should have remained in the past. This is definitely not the case here.

Wolf – Shadowland (Century Media Records/Sony Music Entertainment)

When it comes to traditional straight down the line heavy metal, there’s few that sound like Swedish outfit Wolf. And to some extent, few do it better. In a lot of ways, “Shadowland” is a return to form for the band, with their latest release comparable to the band’s highly regarded “Evil Star” (2004) and “The Black Flame” (2006) albums in its sound and approach. The songwriting has tightened up, and there’s a passion heard this time around that was somewhat lacking a little over the last few releases. The faster paced “Evil Lives”, “Visions For The Blind”, “Exit Sign” and the blistering opener “Dust” are all worthy of being singled out, while “The Time Machine” and “The Ill-Fated Mr. Mordrake” allow the band to stretch out with some more progressive elements into the mix. Wolf haven’t yet made an album that fans have out and out dismissed as a disaster, but “Shadowland” is certainly one of the band’s strongest in some time, and worthy of adding to the collection.

The Dead Daisies – Radiance (SPV/Steamhammer/Spitfire Music)

Back with their second album with Glen Hughes out front, The Dead Daisies have once again put together another heavy slab of classic hard rock, and prove there’s still plenty of fire in both the band and Hughes. Things get off to a thumping riff led start with “Face Your Fear”, and it sets the tone from the bulk of the album. Hughes clearly still has the voice, and the guitar tandem of David Lowy and Doug Aldrich is a force to be reckoned with. I could easily list everything on this album given how consistent the release is from start to finish, but noteworthy tracks tagged as essential would attached to the slower grooved “Radiance”, “Born To Fly”, “Cascade”, the driving “Not Human” and the orchestrated enhanced/semi acoustic closing number “Roll On”. The Dead Daisies have survived numerous line-up changes throughout their decade long career, but I’m really hoping this current formation of the band can survive long enough to make a follow-up release.

Ty Tabor – Shades (Rat Pak Records)

Given how big a fan of King’s X I am, it won’t came as a surprise the new Ty Tabor album in my top ten for this year. As expected, Tabor has once again crafted another album’s worth of material that big on melody, and equally big on guitars and tones. A lot of moods and styles are covered on this album, with “Come Home”, “Shallow”, “What You’re Thinking” and “Insane” some of the more straight-forward rock numbers. On “Sister Genocide”, Tabor stretches out things to allow for a little light and shade in volume, while showcasing his trademark guitar sound in the extended solo breaks, while the slower paced “Your Fantasy”, “Doesn’t Linger”, “Best Day In A While” and the emotive “Ashes” keeps the album interesting throughout. Tabor isn’t about to attract a whole new audience with “Shades”, but existing fans will find plenty to enjoy here.

Tony Martin – Thorns (Dark Star Records)

Tony Martin has never completely disappeared from the hard rock/metal scene since his departure from Black Sabbath 25 years ago, with Martin appearing on a number releases as a guest vocalist or as a member of a number of short lived groups. But in terms of solo releases, it’s been a long wait for fans since 2005’s critically acclaimed “Scream”. But after a several years of false starts and delays, Martin is back with his long awaited third release “Thorns”. This is without a doubt one of the heaviest releases to date for Martin, with the opening duo of “As The World Burns” and “Black Widow Angel” ramming home to listeners of Martin’s return to the spotlight. From here, the guitars take a step back to allow for a little breathing room for the rest of the group, which can be heard in the choir enhanced “Book Of Shadows”, the blues influenced “Damned By You”, the groovy “No Shame At All”, “Passion Killer” and “Run Like The Devil”. “Crying Wolf” is a definite stand out with its acoustic backdrop and strong sense of melodies, while on “This Is Your Damnation” proves Martin isn’t afraid to challenge expectations and lead listeners into the unexpected. The production is little mixed in places, and a couple of songs sound a little out of context on the album as a whole, but overall, this is a long overdue return for Martin.

Amorphis – Halo (Atomic Fire)

There’s a true sense of familiarity with Amorphis latest release, and it’s not surprising since the album concludes a trilogy of albums that began with 2015’s “Under The Red Cloud” and 2018’s “Queen Of Time”. But while there’s not a real lot that separates the three albums, there’s a consistency of the Finn’s latest album that edges it into my top ten list for this year. Sounding a little heavier at times, and yet more focusing more on keeping the choruses more melodic, Amorphis have yet again served up another winner. Picking out songs that resonates more than others is somewhat of a challenge given that everything on offer here is of high calibre, but noteworthy tracks include the opening trio “Northwinds”, “On The Dark Waters” and “The Moon”, while the folk/twin guitar dual sound works a treat on “When The Gods Came”. The choir embellishments on “War” help add an extra shade on the album, while the intensive riffing on “Wolf” and the Katatonia like slower, atmospheric and acoustic driven “My Name Is Night” closes the album beautifully. Amorphis have managed to retain their position at the top, and here’s hoping they continue to do so in the future.

Ginger Wildheart – The Pessimist’s Companion (Wicked Cool Records)

O.K., so this album was technically released in 2018, the album has been given a remix and a remaster, a reshuffled track listing, some additional material added and re-released this year to a wider audience. In short, I missed its release the first time around, and I’m claiming this as a 2022 release. Following on in the same sonic fashion as 2017’s “Ghost In The Tanglewood”, “The Pessimist’s Companion” is a largely acoustic based effort with country and folk influenced weaving in and out of the album’s fifteen tracks, but all tied together with Ginger’s remarkable sense of melody, and deeply personal, dark and melancholy lyrics. It sounds like a bit of a mess, but despite the eclectic nature of the album, it actually works surprisingly well. “Why Aye (Oh You)”, despite its rather depressing lyrical stance, is an upbeat opener that gets the album off to a bouncing start, while the country based “I Love You So Much I'm Leaving”, the stunning “In Reverse” and “You Will Let Me Down Again” complete the uptempo reinvention of this version of the album. From here, the middle of the album takes a more sombre tone with tracks such as “Detachment”, “A Better Love”, “The Pessimist's Companion” and “Barbed Wire & Roses” really high moments. Areas of inspired songwriting finishing up the album appear in “There Is A House” and “May The Restless Find Peace”. This is one heartbreakingly miserable album which sees Ginger pours his heartache and flaws out to downbeat country/acoustic backdrops. Personally, even at his lowest, Ginger is a genius.

King’s X – Three Sides Of One (Inside Out Music/Sony Music)

Now this one was a long time coming. 14 years between studio releases only heightened expectation from fans (Including yours truly), and the band almost managed to live up to them. While the album falls short of classic status, it does provide enough delights to warrant its position in my top ten. The heavy opening of “Let It Rain” is everything you could want from a King’s X song. Sure, Dug Pinnick’s vocals are showing their age a little, and there’s a simplicity in the song structure, but there’s an undeniable groove, a trademark Ty Tabor solo that unmistakably his, and its catchy as hell. “Flood Pt. 1” is no less impressive with its djent like groove and three way harmonies, while the soulful “Nothing But The Truth” is elevated to a whole new level with Tabor’s inspired solo. From here, the album really splinters off in a lot of directions. There’s a bit of funk (“Give It Up”), some punk rock (“Festival”), shades of Beatles-like harmonised pop/rock (“Take The Time”, “Holidays” and “She Called Me Home”, which all feature Jerry Gaskill on lead vocals), and some tracks that sit inbetween them all (“All God‘s Children”, “Watcher” and “Every Everywhere”). There a bit of everything on offer here, and while it’s not best the band’s has offered up over their four decade long career, they have returned, and I am grateful for that.

Ghost - Impera (Loma Vista Recordings/Virgin Music Australia)

It took me a few spins to warm to Ghost’s new album, and it’s not a perfect release by any means, but there’s plenty on here I do enjoy. Pushing the theatrics even further, and toning back the metal aspect of their sound to make way for more pop/rock influences to infiltrate the songs, Ghost have created an album designed to mass appeal, and it works a treat. “Kaisarion” (Which is preceded by the short instrumental piece “Imperium”) opens the album perfectly with its 80’s high scream and classic rock riff, and sets the tone for what is for the most part a real fun album. “Spillways” is unashemedly pop influenced with its heavy keyboard presence, but catchy as hell, while “Call Me Little Sunshine”, “Hunter's Moon”, “Watcher In The Sky” and the quirky “Twenties” adds some darkened moods and menace to the songwriting with great results. “Darkness At The Heart Of My Love” is a ballad of sorts that does work if attention is paid, as too does the closing track “Respite On The Spitalfields”. Failure to take in the finer points of the songs can give the feel that they’re a bit on the weak side, which is unfortunate. Again, this is another solid effort from Ghost, and I look forward to hearing what’s next.

Top Ten Songs Of 2021

The rest is this list made up of albums that didn’t quite mark the grade on the whole, but are otherwise great album’s worth checking out. Again, they're listed in no particular order.

Nefariym - Succubus (From “Morbid Delusions” on Inverse Records)

I’m going to say up front that this release first came out digitally in 2021, but only got a physical release in 2022, so I’m allowing this one into my list, even though it technically shouldn’t. Featuring Mark Kelson and Richie Poate from The Eternal, Nefariym is an old school death metal album that lives and breathes the Swedish sound, and it’s a great album from start to finish. Picking out one track is challenge, but I’m going with “Succubus” as it’s one of the faster numbers on offer here, and when it slows down, there’s an undeniable groove that absolutely crushes. This song is so authentic sounding, from the production, the songwriting, the riffs, and all the way through to the lyrics. In short, if you worship old school Swedish death metal, get your hands on this release.

Def Leppard – Goodbye For Good This Time (From “Diamond Star Halos” on Bludgeon Riffola/UMC)

I asked a good friend of mine what his hopes were for the new Def Leppard album prior to its release, and his response was, “If I can enjoy it without it pissing me off, then that’s the best I can hope for”. And it’s a sentiment I couldn’t agree more with. Given the band’s output over the last 20 years, it’s hard to get excited with the idea of a new album from the Brits. But to my surprise, I actually did enjoy most of it, and it got quite a few spins long after its purchase. As I said, not everything here is a winner, but one song that really stood out for me was “Goodbye For Good This Time”. The subtle strings are a nice touch that gives the tracks an air of drama, as too does the Latin flavoured acoustic guitar work and the piano, but it’s the chorus that really holds it all together. I wouldn’t normally pick a ballad as a highlight (And neither would anyone else I guess), but this is such a great song from Joe Elliott.

Alter Bridge – Fable Of The Silent Son (From “Pawns & Kings” on Napalm Records)

I’m a big fan of Alter Bridge, and I have followed them throughout the years with keen interest. But it was a couple of albums ago that I started to get the feeling that as much as I enjoy the band, there’s a sense of familiarity that’s creeping into their releases that will ultimately lead to me dropping them off my radar. So it’s not surprising that as much as I enjoy “Pawns & Kings”, I feel that I’ve heard it all before. The exception is “Fable Of The Silent Son”, which is a track that I feel the band varies their songwriting formula just enough to make the sound of the track sound different enough to stand out on its own. There’s not a huge change of style, but just enough. I still like Alter Bridge, and will keep an eye on what they are doing, but I do hope they take a little longer between releases, and that they find the courage to challenge themselves and their audience by experimenting a little with their well established sound.

Smith/Kotzen – Got A Hold On Me (Live) (From “Better Days... And Nights” on BMG)

Given that half of this album is a re-release of their “Better Days” vinyl only release from 2021, this didn’t get a look in on my top ten list this year. But that’s not to say it’s bad. It’s great to have the studio tracks re-released here, but it’s the live material that stand out as the really good stuff here, and none more so than “Got A Hold On Me”. Fleshed out with band, and performed in front of a live audience, the song really does come to life with the instruments sounding more realistic, and the extended solos from Richie Kotzen and Adrian Smith distinctly separated and unique. “Better Days... And Nights” is a great album, but it’s the live material that shines the brightest here. I’ll be definitely looking forward to their next release.

Voïvod – Holographic Thinking (From “Synchro Anarchy” on Century Media Records/Sony Music Entertainment)

Voïvod’s 2018 release “The Wake” was certainly a favourite of mind, so when it came to getting their new release, I was hoping the Canadian’s could keep up the same high standard, and release another killer release. “Synchro Anarchy” is an excellent release from the band, and worthy of Voïvod’s reputation as a one of a kind band. As good as the album is, it doesn’t quite reach the same level as “The Wake” for me. Some of the songs are best described as Voïvod keeping within their safe confines, and therefore lie in the really good category, rather than being great. “Holographic Thinking” is one of the tracks on the album where Voïvod really exceed at giving that something extra, and elevate well beyond the predictable. Pinning down the exact reasons why this song works over others is hard as there’s a fine line between good and great, but the combined riff/bass structure (From Chewy and Away) shift quite frequently which keeps things interesting throughout, while Snake’s melodies definitely stick in the mind. There’s not much to complain about here. Voïvod still exist, and make good music. And that’s good enough for me.

Alice Cooper - Desperado (From “Live From The Astroturf” on Ear Music/Edel/Alive)

I’m a nut for Alice Cooper, and will buy anything released (Provided of course that I can afford it!). So when this recording of the original Alice Cooper group live appeared as a re-release on C.D./D.V.D. (This release originally came out in 2018), I snapped it up. The recording is filmed in front of 200 fans, so it’s intimate. And it’s pretty rough. Not everything sounds perfect (Michael Bruce, I’m looking at you), but there’s a certain charm to the whole thing that makes you forgive the obvious flaws in the live performances. The set list doesn’t provide any real surprises, which is a shame, but the track I tend to come back to time to time is the instrumental version of “Desperado”. I’ve always loved the song, and even though there are no vocals, and the run through hits more a few bumps, there’s a primitive charm I really like here.

Decapitated - Hours As Battlegrounds (From “Cancer Culture” on Nuclear Blast/Universal Music Australia/Virgin Music Australia)

 

Decapitated almost made it into my top ten this year, and the reason for its absence was most likely not spending enough time with it to truly appreciate just how good the album is. Even now as I listen to the album, I’m really getting the impression that it’s me, and not them that’s the issue here. Having said that, things are what they are, and they’re on the secondary top ten list for this year. The one track that really catches my ear with every listen is “Hours As Battlegrounds”. The light and shade of the lone drumming moments that are then broken by the wall of sound guitars really is effective. And then there’s the same minimalist approach taken during the solo’s that I really like. It’s nothing new for Decapitated as it’s a trick they’ve masted over the last four albums, but it does suck me in every time without fail.

Big Wreck – Spit It Out (From “7.2” on Big Wreck Music)

Much like the band’s previous E.P. (2021’s “7.1”), “7.2” is filled with a lot of different sounds and styles, making the E.P. sound very much like a collection of different songs, rather than a cohesive listen from start to finish. That’s not necessarily a bad thing, but it does mean that something the songs take a little longer to stay in the mind. That’s certainly the case for me. I like all the songs on offer here, but for me, “Spit It Out” is easily the stand out. The Led Zeppelin influence is a strong feature throughout the song, but primarily on the musical front. Vocally, Ian Thornley still manages to produce a sound that has an air of Chris Cornell about it, without sounding entirely like him at the same time. Needless to say, if you like a bit of Soundgarden and a bit of Led Zeppelin, this E.P. is one I’d highly recommend.

Grand Theft Audio – Scrub Up (From “Pass Me The Conch” on Technical Foul)

Comebacks are all the rage, and 2022 was no different in that respect. Cue the return of British outfit Grand Theft Audio who emerged from a hibernation of 22 years to emerge with their second full-length album “Pass The Conch”. I was curious to see what the band would come up with, and the end results were a bit patchy to be honest. Maybe it was to do with only half the line-up of the first album being present, or the different approach the band took with their music this time around. Who knows? Anyway, the only song to really resemble their past was the opening track “Scrub Up”. Big guitars, driving guitars and distortion effects, but with a little push of influences from the last 20 years creeping in to keep things fresh. Overall, a great song from a so-so album. Maybe next time.

Meshuggah – They Move Below (From “Immutable” on Atomic Fire Records)

I’m a big fan of Meshuggah, but I need to live with their album for some time to be able to decipher what differences there are from one album to the next. In a lot of ways, the issue I had with Decapitated’s latest release applies here in that I haven’t spent anywhere enough time with this album to really let it sink in. So to be clear, this isn’t necessary a disappointing release, I’m just unsure of where it stands in amongst the band’s expansive output. But even after giving the album a few spins, the lengthy “They Move Below” was a highlight. Some of the guitar effects and the overall rhythm of the song itself reminded me of their “Nothing” (2002) era, without sounding like a carbon copy. To these ears, Meshuggah isn’t a band that progresses or radically changes direction much from album to album, but there are changes made that can be noticed over time. I may not have picked up on them all yet, but I can certainly hear enough new nuances within “They Move Below” to know that nothing remains still within Meshuggah.

The Best Book Of 2022

Horseshoes And Hand Grenades - John Corabi With Paul Miles (Rare Bird Books)

John Corabi has lived the rock ‘n’ roll life, and has a lot of stories to tell. And there’s no further proof than within the pages of “Horseshoes And Hand Grenades”. I love a good rock autobiography, and being a huge fan of Corabi meant that I had to pick this up as soon as it was released. And it didn’t disappoint one bit. Corabi (Along with Miles) manages to put down his life story in a way that really doesn’t come across as laboured for the reader, and it’s written in a manner that’s not only down to earth, but forthright and brutally honest. There’s plenty of stories on his early years, and they’re all an entertaining read, which is a credit to not only the stories, but the authors. In term of the musical side of things, Corabi details his early days in Angora, the slow rise of The Scream, and hitting the big time with Mötley Crüe when he replaced Vince Neil. Of course, his move to Mötley Crüe was short lived, and the book fills in some of the rather large blanks that were evident in the band’s autobiography “The Dirt” in 2001. Of course, the Mötley Crüe is only a small part of Corabi’s musical story, and there’s plenty of reading to be had in regards to his teaming up with ex-Kiss guitarist Bruce Kulick in Union, his time in The Dead Daisies, his solo releases and the numerous other short lived projects he was involved in over the years. But outside of the music, it’s Corabi’s personal story that really keeps the story together. There’s plenty of drama, tragedy and triumphs throughout, and throughout it all, Corabi comes across as the right guy who happens to be in the right place, only at the wrong time. But even if things haven’t gone quite according to the plan at the start, there’s a gratefulness of the good things that makes Corabi a survivor, a legend and an all-round good man.

Biggest Disappointment Of 2022

Megadeth - The Sick, The Dying... And The Dead! (T-Boy Records/Tradecraft/Universal Music Australia)

As a longtime fan of Megadeth, I’m gotten used to the ups and downs of the group’s output, particularly after the break up of the “Rust In Peace” line-up around 1999. Fast forward to 2016, and with the release of “Dystopia”, while it’s hardly a classic, it was a huge step in the right direction for the band after 2013’s absolutely dreadful “Super Collider”. So with plenty of time between releases, I was hoping for a solid release from the veteran thrash outfit. Unfortunately, what I received fell well below my expectations. The songwriting on this new album is, to be blunt, uninspired. Sure, there’s a whole lot of fast paced guitars and drums (Which is a credit to Mustaine, Kiko Loureiro and Dirk Verbeuren), but it doesn't amount to much when the songs themselves are fairly run of the mill and unadventurous. Even Loureiro's guitar work on the solos can lift proceedings. I guess on a positive note, Mustaine’s voice sounds a lot stronger than it did on “Dystopia”, but the snarl of old seems to have all but disappeared. Ideally I’d like to think there’s still life somewhere in the band, but in order for that happen, Megadeth really have to stretch out and produce something a little more adventurous on the writing front.

© Justin Donnelly.

The Best Of 2021

 The Best Of 2021

2021 was pretty much like 2020 with the world in the grip of the pandemic, so there’s nothing new to add there. But I guess one significant difference was that I bought more C.D.’s than last year!

As per usual, this is a personal list of my favourite releases, and they’re in no particular order of preference.

Todd La Torre – Rejoice In The Suffering (Rat Pak Records)

After three albums with Queensrÿche under his belt, vocalist Todd La Torre has ventured out on his own solo release, and what a release it is. Unlike his work with Queensrÿche, “Rejoice In The Suffering” is a straight forward heavy metal album, and it’s just the kind of vehicle suited to La Torre’s talents. Hard and heavy, but with a modern sheen and a sharp production, La Torre’s solo effort brings to mind Judas Priest and Nevermore, but never sounding like a carbon copy at any point. The opening track “Dogmata” is a good indication of what’s on offer, and “Vanguards Of The Dawn Wall”, “Pretenders”, the mid paced “Darkened Majesty” and “One By One” follow through in punishing form. Far from being one dimensional, La Torre showcases his impressive range on the emotive “Crossroads To Insanity”, and veers more towards the progressive metal side of things on the powerful “Vexed”. There’s no mistaking La Torre’s talents here. Here’s hoping some of this carries through to the next Queensrÿche.

Armored Saint – Punching The Sky (Metal Blade Records)

Armored Saint may be the underdogs of the metal scene, but I’ll be damned if I didn’t think their last album (2015’s “Win Hands Down”) wasn’t the greatest release of that year, and up there as one of the band’s best. So I eagerly awaiting what the band would come up with this time around. And as per usual, the band has well and truly delivered. The band come out in true fighting form with “Standing On The Shoulders Of Giants”, and continue their winning streak with “End Of The Attention Span”, “Missile To Gun”, the biting “Bark, No Bite” and the metallic assault of “Never You Fret”. Armored Saint have always been one of the more reliable and consistent bands in the scene, and fans can count on “Punching The Sky” giving listeners exactly what they want.

Jason Bieler And The Baron Von Bielski Orchestra - Songs For The Apocalypse (An Auditory Excursion Of Whimsical Delirium) (Frontiers Music SRL)

As much as I am a fan of Saigon Kick, I didn’t always dig Jason Bieler’s solo work. Sometimes it was the production, and sometimes it was the songs. So I approached this album knowing that it might not hit the mark for me. Well I was wrong, and in a good way! Bieler has thrown literally everything in the mix here, and invited everyone to the party to join in, and the results are strange, but amazing at the same time. “Apology” is like a dense and heavy pop song that is dark as it catchy, while David Ellefson’s prominent bass on “Bring Out Your Dead” adds an air of heaviness the clashes against the pure pop nature of Bieler’s vocal melodies. And it’s this odd mix of styles that shouldn’t work that really gives the album a unique feel, and brings out a whole new side to Bieler previously unheard before. Other tracks of note include “Down In A Hole”, “Crab Claw Dan” (Both bringing to mind “The Lizard” era Saigon Kick), “Anthem For Losers” (Remember Shuttlecock?), “Alone In The World” (Featuring Jeff Scott Soto) and the instrumental “Horror Wobbles The Hippo”. On the strength of this album, I sure hope there’s more to come from Bieler.

Del Amitri – Fatal Mistakes (Cooking Vinyl)

I was surprised just how low key the return of Del Amitri was after so many years. In fact I wasn’t aware of their return to the studio until I stumbled upon this album, and it was a pleasant surprise. Typically grim lyrically, and a little more pop/rock orientated than their previous last couple of releases, the album does time to grow on you. But once it does, there’s no denying tracks such as “You Can't Go Back”, “All Hail Blind Love”, “Losing The Will To Die”, the poptastic “It's Feelings” and personal favourites “I'm So Scared Of Dying” and “Missing Person”. The stripped back “Lonely” is something a bit different for Del Amitri, which showcases growth in their time away, while the slow building “Nation Of Caners” makes for a perfect closer. “Fatal Mistakes” is not an immediate release, and a far cry from the sound that was all over the band’s well known releases. But if you give this album time, it’ll soon reveal itself in all its cynical, self depreciating glory.

The Dead Daisies – Holy Ground (SPV/Steamhammer/Spitfire Music)

As a fan of The Dead Daisies, I was disappointed when John Corabi left the band. But I had no doubt that the band would return with a new vocalist, and deliver another knockout. What I didn’t expect was the recruitment of Glenn Hughes. I was really excited by the joining of the two (I’m a huge Glenn Hughes fan too!), and they didn’t let me down one bit. Again, this is another one of those albums where I could reel off every number on the album as a track worth checking out, but that would be counterproductive. But I will make note of the rocking opening number “Holy Ground (Shake The Memory)”, the driving soul infused “Like No Other (Bassline)”, the heavy “Bustle And Flow”, the straight forward rocker “Unspoken” and the epic closer “Far Away” (This one is a personal favourite). With an album as good under their belts, they would be short-changing themselves and fans if there wasn’t a follow up in the future.

Alice Cooper – Detroit Stories (Ear Music/Sony Music)

As a long time follower of The Coop, you get used to the ups and downs of his studio releases. For every classic, there’s another that doesn’t quite hit the mark. But thankfully, “Detroit Stories” is on par with the excellent “Paranormal” (2017), even if it’s gear further towards the classic garage rock sound of the Alice Cooper band’s early sound. Opening with the cover of Lou Reed’s “Rock & Roll”, Cooper sets the tone of the album sound wise, and gives listeners a clear idea of what to expect throughout the album. The 60’s influenced “Our Love Will Change The World” is fun, while “$1000 High Heel Shoes” and “Independence Dave” injects a bit of funk and soul to the mix. Favourite tracks include “Shut Up And Rock”, “East Side Story” and “Sister Anne”. This is a throwback release, but rocking all the same, and a whole lot of fun. Long live The Coop!

Steven Wilson – The Future Bites (Caroline International/Arts & Crafts)

Steven Wilson has never been afraid to push his music beyond listeners perceptions, and “The Future Bites” truly does that. Opting for a more keyboard driven approach over guitars, the album is certainly one of Wilson’s more accessible solo efforts to date, and yet remains very typical of what fans would expect of Wilson at its heart. Shades of Porcupine Tree’s “Stupid Dream” can be heard in “12 Things I Forgot”, while “Self”, “Eminent Sleaze” and “Personal Shopper” are experimental pieces of modern dance/pop, but underlined with biting lyrics that give the tracks an edge. Of course, not everything on offer here is alien and new, as both “Man Of The People” and “Count Of Unease” mine more familiar territory with their dreamlike music backdrop. It took a while to truly absorb “The Future Bites”, but the end result is an album I can accept and enjoy immensely from Wilson.

Liquid Tension Experiment – Liquid Tension Experiment 3 (Inside Out Music/Sony Music)

After much talk of making a follow up to their 1999 release, Liquid Tension Experiment finally delivered a new opus, and it was worth the wait. My tastes have obviously changed in the two decades since they last delivered an album, but I actually enjoyed this album. As per usual, the album opener with a blistering track that shred at a hundred miles an hour in “Hypersonic”. The band maintain a sense of melody that can sometimes missed in this kind of music, but all the while amazing with their technical prowess on their chosen instruments. From here, the band keep things varied throughout, with “Beating The Odds” and “The Passage Of Time” keeping things melodic and rocking in parts, and “Liquid Evolution” and “Shades Of Hope” slowing down the speed for more chilled atmospherics. Capping off the album in fine form is the epic “Key To The Imagination”. This isn’t the kind of album I’d listen to always, but for this style of music, I’d choose this as there’s precious few that do it as well.

Times Of Grace – Songs Of Loss And Separation (Wicked Good Records)

In the decade since the release of Times Of Grace’s Debut, vocalist Jesse David Leach has rejoined Killswitch Engage, which meant that a need for a second release from seemed somewhat redundant. Not according to the duo it would seem, as “Songs Of Loss And Separation” proves. Rather than mine the metalcore angle of Killswitch Engage, the pair (The other half being Adam Dutkiewicz) veer more towards an alternative/post-rock/metal sound on their second album together, and it works like a charm. The opener “The Burden Of Belief” is an early highlight with its country flavoured musical backdrop, while the emotive “Bleed Me” follows a similar path direction wise. Elsewhere the band up the aggression at times on “Rescue”, the blues tinged “Medusa” and “Currents”, successfully avoiding and Killswitch Engage comparisons, before closing out the album in perfection with the duo of “Cold” and “Forever”. Here’s hoping Times Of Grace continue to exist in the future.

Ricky Warwick – When Life Was Hard And Fast (Nuclear Blast)

Ricky Warwick has rarely let me down with his solo efforts. And sure enough, his seventh solo effort is another winner. Never one to stay too far from the path laid down by his previous efforts, “When Life Was Hard And Fast” features plenty of rocking tunes, while a whole host of friends to help out. The opening trio “When Life Was Hard And Fast”, “You Don't Love Me” (Featuring Thunder’s Luke Morley on solo duty) and “I'd Rather Be Hit” (With Andy Taylor on the guitar solo) get the album off to a hard rocking start, while the cover of Willy DeVille’s “Gunslinger” and the faster paced “Never Corner A Rat” inject a bit of a punk influence into the mix. The acoustic “Time Don't Seem To Matter” is heartfelt, and the kind of material Warwick excels at, leaving the single “Fighting Heart”, “Still Alive” and the self explanatory “You're My Rock 'N' Roll” rounding up what is another Warwick classic to add to his every growing catalogue of first class releases.

Top Ten Songs Of 2021

I bought a few E.P.’s this year, so they don’t qualify as albums, so it gives me an excuse to include them here. The rest is made up of album that didn’t quite mark the grade, but are otherwise great album’s worth checking out.

Billy Idol – Bitter Taste (From “The Roadside EP” on Dark Horse Records)

Being the Billy Idol fan that I am, there was no question about me buying this new E.P. But prior to purchase, I had no idea what to expect. But what I got was a pleasant surprise. The E.P. is a mix of all songs, but there’s no doubt that that “Bitter Taste” was the stand out cut. While the song doesn’t sound anything alike to “Summer Running” (From 2004’s “Devil’s Playground”), it does bring to mind the ‘out of left field’ feel that the track had on me. In layman’s terms, while I feel there are some great songs on the E.P., I feel that this is modern day Idol at his best. I’m looking forward to what’s next.

The Night Flight Orchestra – Change (From “Aeromantic II” on Nuclear Blast)

The Night Flight Orchestra’s latest effort isn’t a bad album at all, and perhaps I need to give it some more time, but I can’t help but feel there’s a couple of filler tracks on the album that made it miss my top ten. But one track that really stood out for me was “Change”. The song doesn’t have the biggest and catchiest chorus, but it does have that heavy handed keyboard presence that can’t be ignored, and that solo that weaves into the mind after a few listens. It’s unlikely to be one of the band’s well known songs, but it’s a very meaning of a deep track on my mind.

Evile – Gore (From “Hell Unleashed” on Napalm Records)

I was chomping at the bit to hear Evile’s comeback album after eight long years away. In terms of modern day thrash acts, Evile was my favourite. And musically, the band didn’t disappoint one bit. The music is fast, technical and more lethal sounding than ever. The sticking point for me were the vocals. Sure, Ol Drake delivers a solid performance, but I really missed Matt Drake’s approach at the microphone. But despite this, I still enjoyed the album, particularly “Gore”, which is a great example of the band’s relentless approach to skull crushing forward thinking thrash. Overall “Hell Unleashed” was a good album, but just misses the mark for me on the vocal front.

The Wildhearts – 21st Century Love Songs (From “21st Century Love Songs” on Graphite Records)

This album, much like the band’s previous effort (2019’s “Renaissance Men”) is a sonic assault to the senses for the moment you hit play. There’s a lot to take in, and there’s virtually no reprieve throughout the tracks on offer. I love The Wildhearts, but the direction on the last couple of releases is a bit suffocating at times. But there’s plenty of gems to be found here, and it’s the title track that will earns its place on my list this year. There’s a catchiness in the chorus amongst the chaos, and there’s a ton of riffs to pick up on, and the dual vocals is a nice touch too. It’s a raucous singalong that sounds like it’s about to collapse under its own weight, but somehow keeps on track. Given the band’s rocky history, I’m just thankful they managed to release a new album this year.

Moonspell – Common Prayers (From “Hermitage” on Napalm Records)

Moonspell really are unpredictable. The change from one album to the next keeps listeners on their toes, and can often mean that fans will enjoy selected albums from the band’s discography, rather than an era. With the band’s latest release, I’ll admit I was underwhelmed. But over time, the has grown on me, but not as much as their previous release (2017’s “1755”). But it has to be said that Moonspell don’t make bad albums, just different ones. And to these ears, the album is a mix of everything they’ve done, all mixed into one album. One of the good examples of this is “Common Prayers” which incorporates heavy guitar riffs, melodic/aggressive vocal passages and sweeping keyboards, all of which showcase the band’s full scope of sounds in one. “Hermitage” is a good album, but falling short of the brilliance the band have clearly achieved in the past.

Tomahawk – Predators And Scavengers (From “Tonic Immobility” on Ipecac Recordings)

2021 boasted quite a few reunions and returns, and Tomahawk was another such act that re-emerged after a lengthy hiatus to release their fifth album “Tonic Immobility”. The album is another mixed bag of the odd and the wonderful, but from the first moment I heard the song, “Predators And Scavengers” is a firm favourite. Mike Patton provides vocals/sounds that sound slightly off when blended with the galloping riff in the backdrop, but it works exceeding well at retaining that off kilter appeal that only the band can produce.

Myles Kennedy – The Ides Of March (From “The Ides Of March” on Napalm Records)

Myles Kennedy’s second solo release is a completely different beast to his debut “Year Of The Tiger” (2018), but then that no real surprise given the circumstances behind the recording of the album. As you’d expect, “The Ides Of Arch” is very much a rock album, and a good one at that. The title track earns its place as the favourite with Kennedy allowing the song to stretch beyond the four minute mark, which in turn gives the album its centrepiece. Kennedy does an incredible job here on the guitar and vocals, proving he really is at his prime. Overall this is a great song, lifted off a terrific album.

Exodus - The Fires Of Division (From “Persona Non Grata” on Napalm Records)

Having Exodus back is a great thing, and I was really looking forward to this new album. But even though I’m still getting familiar with the album, I feel it’s a little too long, and Steve “Zetro” Souza’s vocals grate after a while - Hence it missed the top ten. But it’s not all bad news, as there’s plenty of killer tracks on offer here. One such track is “The Fires Of Division”. This mid-paced track has the technically and brutality we’ve come to expect from Exodus, but with enough space in the track to allow the riffs to stand out alongside the bass and drums, and it’s one of the better examples of “Zetro” providing variation on the vocal front. “Persona Non Grata” is a good album from Exodus, but like latter day Death Angel, they’ve possibly offer more without realizing that sometimes less is more.

Big Wreck – High On The Hog (From “7.1” on Warner Music)

The new release from classic heavy rocker’s Big Wreck is an E.P., so it doesn’t qualify for the top ten. And that’s a shame because all five on offer here rock. Choosing a favourite was a tough task, but I’m going with “High On The Hog”, which doesn’t hide the Led Zeppelin influences within Ian Thornley, who delivers some of best riffs not to be written by Jimmy Page. But aside from the riffs, there’s also plenty going on in the back, with some great bass and drum work underpinning everything. Big Wreck are such a great band, and “7.1” didn’t let me down one bit.

Shihad – The Wreckage (From “Old Gods” on Warner Music Australia)

I’ll admit I’m still getting into Shihad’s new album given it was released so late in the year, but I already know that I’m really digging the guitar tones in a big way, and the band seem to be really on things with this album. Almost everything on the album sounds great, but there’s that edge of heaviness and sinister edge on the tones of the verses of “The Wreckage” that I’m really picking up on and really like. It doesn’t have the Killing Joke vibe of the last album, but more of a big heavy guitar/bass bottom edge and a clarity in the production which Shihad seem to do really well. Another great album, that I’m sure could have been in my top ten had there been more time to let it sink in.

Best Book Of 2021

Rainbow in the Dark: The Autobiography - Ronnie James Dio with Mick Wall and Wendy Dio (Permuted Press)

It’s another year, and another biography comes out that gets added to the yearly list. This year it’s Dio’s autobiography that’s been a long time coming. Written by Dio himself several years before passed away, and filled out with extra details by Mick Wall and fleshed out by personal perspectives by wife/manager Wendy Dio, the book covers extensively Dio’s early years and his pre-fame bands (Ronnie And The Prophets, The Electric Elves and Elf) before joining former Deep Purple guitarist Ritchie Blackmore in Ritchie Blackmore’s Rainbow. From here, most will know the story, only this time told from Dio’s perspective. I won’t spoil the details on what’s contained, but it’s certainly a no-holds-barred opinion on who he joined, played with and was dismissed from the band. The same details surround his joining of Black Sabbath, before launching his solo career. Unfortunately, at the time of his death (May 2010), Dio had only written his biography up to 1986, just after the release of “Intermission”. The book is a good read, and Dio is a solid storyteller who manages to still to the facts rather than filling out facts with anecdotes. It’s a little frustrating that the story ends in 1986, but fingers crossed that the notes left behind are enough for Wendy Dio and Mick Wall to piece together the remainder of Dio’s life in print form for all to enjoy

© Justin Donnelly.

The Best Of 2020

The Best Of 2020

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.

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.

Pure Revolution Reason – Eupnea (Inside Out Music/Sony Music)

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.

Testament – Titans Of Creation (Nuclear Blast)

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.

Mr. Bungle - The Raging Wrath Of The Easter Bunny Demo (Ipecac Recordings/Liberator Music)

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.

The Night Flight Orchestra – Aeromantic (Nuclear Blast)

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.

Sepultura - Quadra (Nuclear Blast)

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.

Deep Purple - Whoosh! (Ear Music/Sony Music)

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.

Warbringer – Weapons Of Tomorrow (Napalm Records)

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”.

Chaos Divine – Legacies (Chaos Divine Self-Released)

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.

Stone Temple Pilots – Perdida (Rhino Records)

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.

Biffy Clyro – A Celebration Of Endings (14th Floor Records/Warner Records)

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.

Best Book Of 2020

Rob Halford With Ian Gittins – Confess: The Autobiography (Hachette Books)

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.

© Justin Donnelly.