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.

The Best Of 2019

The Best Of 2019

As I’ve mentioned in the past, this is a personal list of my favourite releases, and they’re in no particular order of preference.

Queensrÿche – The Verdict (Century Media Records)

The Todd La Torre fronted version of the band hit the ground running with their self titled release from 2013, but seemed to lose direction and drive on their 2015 follow up release “Condition Hüman”. Thankfully “The Verdict” has the band back on track in a major way. Almost every track here rivals the high standard of their 2013 release, but with an obvious progression that shows growth. Highlights worth mentioning are “Propaganda Fashion”, “Dark Reverie” and “Blood Of The Levant”.

Big Wreck - ...But For The Sun (Warner Music Canada)

It baffles me why Big Wreck isn’t one of the biggest hard rock bands of the modern age. For more than twenty years, the band has delivered with every album, and their latest lives up to expectations. Opting for a harder and heavier edge, while retaining the hooks, tracks such as “Voices”, “Locomotive”, “Alibi” and “One More Chance” demonstrate the band’s ability to deliver heavy rock better than most.

Sights & Sounds – No Virtue (Static Era Records)

I wasn’t sure about this album upon first listen given how different the album sounds compared to 2009’s “Monolith”. But given it’s been ten years between full length releases, it’s not surprising. But the album has grown on me, alongside the diverse range of influences the band has drawn from to deliver ten very diverse songs. The picks of the album can be found “Resurface”, “Serpentine” and the melodic and subtle “Undertow”.

No-Man – Love You To Bits (Caroline International)

The imagery on the cover kind of gives you an idea of how much No-Man have moved sound wise, with the duo (Steven Wilson and Tim Bowness) incorporating their downbeat alternative rock into a more dance orientated direction. Comprising of two long pieces, there’s no point in favouring one over the other. Instead, this is an album that’s best enjoyed as a whole.

The Wildhearts – Renaissance Men (Graphite Records)

In the battlefield of rock ‘n’ roll, The Wildhearts are true survivors. Ten years after the release of their last album (2009’s “¡Chutzpah!”), the band have reunited with their “Fishing For Luckies” line-up from 1994, and returned with a vengeance on the aptly titled “Renaissance Men”. The album is loud, heavy and as catchy as hell. The title track “The Renaissance Men” is a high spirited anthem that soars above the volume, while the slow burning “Diagnosis”, “Emergency (Fentanyl Babylon)” and “My Side Of The Bed” are sure to go down an absolute storm during the upcoming tour.

Tesla – Shock (Ume/Universal Music Group)

After three decades in the game, you can’t blame a band for shaking up the formula and trying something new. And that’s exactly what Tesla offer on “Shock” – something different. That difference is Def Leppard’s Phil Collen, who brings out the best in the band, but also gives the band a sound that is fresh and vibrant, and a litte Def Leppard sounding at times. While a couple of tracks miss the mark, tracks such as “You Won’t Take Me Alive”, “Shock”, “The Mission” and the blues based “Tied To The Tracks” hit the bullseye, and make the album worth checking out.

Duff McKagan – Tenderness (Universal Music Enterprises)

For some artists, the release of a roots/Americana/country influenced album that is steeped in social and political lyrics would ultimately signal a death of their career. But if there’s anyone that can pull it off with style it’s Duff McKagan. Backed by Shooter Jennings and his band, “Tenderness” is an album that requires time for the true nature of the songs to sink in. The title track really stands out as a McKagan classic, while “It’s Not Too Late”, the rocking swagger of “Chip Away” “Feel” and the emotive “Parkland” are where McKagan excels as a songwriter.

Alter Bridge – Walk The Sky (Napalm Records)

Six albums in, and Alter Bridge are still able in top form, and further cementing their place in one of the world’s great hard rock bands. Obviously with as many as five previous albums under their belts, there’s no real change in the formula that’s worked so well in the past. While this could work against most bands, it’s worked in Alter Bridge’s favour. There’s not a real lot not to like here, except that it’s possibly a couple of songs too long. Regardless of this, “Wouldn’t You Rather”, the straight forward rocker “Native Son” and the soaring closer “Dying Light” are examples of Alter Bridge in top form.

Steve Hackett – At The Edge Of Light (Inside Out Music/Sony Music)

No top list of the year would be complete without a progressive rock album of some sort, and this year, Steve Hackett takes an honourable place amongst the best. And this is one album that’s hard to pin down. Throwing together a bit of everything Hackett has done in the past, along with some gospel moments and some world music, Hackett delivers something new and exciting to the fore, rather than relying on past glories. “Under The Eye Of The Sky” and the conceptually based trio at the end of the album (“Descent”, “Conflict” and “Peace”) are proof enough that Hackett is still relevant in today’s progressive rock scene.

Soilwork - Verkligheten (Nuclear Blast)

Soilwork’s on form streak continues through to the band’s latest effort “Verkligheten”. Alternating between heavy melodic rockers (“The Nurturing Glance”, “Stålfågel” and “The Wolves Are Back In Town”) and their melodic death metal front (“Bleeder Despoiler”, “When The Universe Spoke” and “Needles And Kin”), Soilwork manage to keep things interesting throughout the album, and keep listeners engaged throughout proceedings.

Top Ten Songs For 2019

As has been said in the past by yours truly, the top ten below is allocated to albums that have some great songs, but fall a bit short as a whole.

Death Angel – Revelation Song (From “Humanicide” on Nuclear Blast)

“Humanicide” is a solid album from Death Angel, but sounding a little too familiar given their last couple of releases. Having said that, “Revelation Song” is a definite stand out from the pack with its oh-so-subtle progressive structure, and the mid paced tempo that allows for a little more breathing space for solos. The album is a bit formulaic, but it does have some moments where the band breaks free of the routine. This is a perfect example of this.

Dream Theater – Pale Blue Dot (From “Distance Over Time” on Inside Out Music/Sony Music)

I love Dream Theater, and there have been some albums that have blown me away, some that haven’t. This is one of those albums that did do it for me. The musicianship is there, but song wise, the band appear to be autopilot. Expect for “Pale Blue Dot”. It’s on this track that the band manage to add a touch of sole and variation to the song writing mix. Sure, it’s a little chaotic and packed with everything under the sun in terms of solos, but it’s a far cry from the rather safe and predictable material heard elsewhere on the album.

Whitesnake – Heart Of Stone (From “Flesh & Blood” on Frontiers Music SRL)

As much as I like David Coverdale, I can’t help but feel that Whitesnake is close to wearing out their welcome. Coverdale’s vocals are not what they once were, and it’s become clearer with every album. But every now and then, he’s does show some signs of inspiration. “Heart Of Stone” is a good example of what the kind of material Coverdale should produce here on in. Vocally, he’s not trying to reach outside his current range, and the music is a step back to the blues influenced rock of years before.

Leprous – Below (From “Pitfalls” on Inside Out Music/Sony Music)

“Pitfalls” is far from a disastrous album, but once that just doesn’t seem to resonate with me as much as their past releases. I commend the band’s move to new territory, but I just can’t seem to commit many to the some to memory. “Below” does however remain a favourite. Slow building, and definitely vocal driven, the song is a sweeping epic that is slower paced, but punctuated with a heavy string presence and gentle tempo changes.

S.O.T.O. – Dance With The Devil (From “Origami” on Inside Out Music/Sony Music)

“Origami” is a solid third outing for S.O.T.O., but hardly an album that breaks new ground. Again, I like to hear growth and progression, and unfortunately I’m not hearing much of either here. But if there’s a track that I enjoy every time I give the album a spin, it’s “Dance With The Devil”. There’s some tight riffing and drumming on offer, but it’s the solos from Tony Dickinson and Ron “Bumblefoot” Thal that provides the fireworks here. Solid song, and Jeff Scott Soto is on target here, but it’s the guitarists that steal the show here.

Misery Loves Co. – Dead Streets (From "Zero” on Black Lodge Records)

With a long nineteen years between releases, it’s hard not to have expectations. And I had my expectations set high for this release. And the band also fulfilled them, so much so that this almost sat in my top ten. But the album is a little scattered, and inconsistent to truly feel like it flows. “Dead Streets” is a track that kind of bridges their first two albums with its driving industrialised rhythms and melodic choruses, and a firm favourite from my first listen. I hope the band continues, and builds upon this rather impressive return effort.

KXM – Lightning (From “Circle Of Dolls” on Rat Pak Records)

It’s no real surprise upon listening to the new KXM that the band has once again push their sound beyond the direction of their first two albums, but it’s not a direction I find easy to warm to. The arrangements appear to be somewhat sparse and experimental, and at times the trio seem to be pulling in different directions. “Lightning” is one of the few experiments here that seems to work in their favour, with George Lynch’s guitar work really the highlight here. Maybe next time around it’ll have a different effect on me (Provided there is a next time).

Black Star Riders – Underneath The Afterglow (From “Another State Of Grace” on Nuclear Blast)

Like the above submission, this album almost made my top ten, but I can’t help that feel like something is a little missing here. What that this is, I just don’t know. But regardless of the missing ingredient, there are some truly great tracks on this album. “Underneath The Underglow” is one such track that seems to sit between Black Star Riders brand of hard rock, and Ricky Warwick’s past in The Almighty. As you can image, it’s the best of both worlds, as stands out for that reason.

Silversun Pickups - Songbirds (From “Widow’s Weeds” on New Machine Records)

I think the days of Silversun Pickups recapturing the highs of “Swoon” are long gone, but I’d like to think they could get somewhere near it with each new release. Unfortunately, “Widow’s Weeds” is patchy, and there are some moments of highs, but there’s also just as many lows too. “Songbirds” may not be totally original and new, it does at leave have some drive, jagged instrumentation and a huge chorus. It’s a shame the album does add a few of these kinds of tracks in place of the few underwhelming tracks.

Slipknot – Birth Of The Cruel (From “We Are Not Your Kind” on Roadrunner Records)

I actually bought this album on my son’s recommendation, and while I’ve enjoyed some of the band’s work, their two previous releases did nothing for me. So after giving the album a good listen, I came to the conclusion that the band has certainly produced a stronger album, but not a completely consistent one. “Birth Of The Cruel” could be viewed as an easy pick purely due to its aggression and somewhat throwback sound, which isn’t a bad thing.

Best Book Of 2019

Greg Prato - King’s X: The Oral History (Jawbone Press)

Despise high praise and admiration from both fans and musicians alike, King’s X has never hit the big time, which is a shame given the band deserve it. Celebrating some thirty odd years of making music (As a band, and as solo artists), author Greg Prato teamed up with the trio to put their story down on paper. And what a story it is. The story covers everything from the band’s formation to the current day, and literally every musical piece the band has released is placed under the microscope, making for a real page turner for fans. Prato has done an amazing job of keeping the story on track, and the band themselves put down a compelling tale that documents the band’s highs, lows and mix of good and back luck. But despite the band’s limited success, there’s no bitterness of what could or should have been, but there’s plenty of gratefulness and positivity on what they have achieved, and that’s what really keeps the reader engaged throughout. Lines like ‘A must have for fans’ is always thrown around, but in this case, it definitely applies.

© Justin Donnelly.