April 2017 Album Round Up!

So, another month came and went. The first week of April (right around the time the Chainsmokers released once of the worst albums of the year) kicked off the month in exciting fashion for me – my band hit the studio with Joe Cocchi from Within the Ruins and cranked out a couple killer tunes that I can’t wait to unleash on the world. After that? Well, I worked 50-hour weeks, squeezed out some YouTube videos, and socialized approximately zero times. I’ve currently been sober for 31 days, which is the longest I’ve gone without booze since I first started drinking when I was 15. It’s not an AA type thing – lately I’ve just found myself growing out of that lifestyle.

I’d like to report that laying off the sauce has drastically improved my day-to-day existence and forever altered the course of my life, but I’m pretty sure it’s just made me marginally less cranky and a lot more boring. But I still by no means endorse drinking – after all, have you seen the absolute rape of a markup that bars get away with on Jack and Cokes and other well drinks? Sheesh. Save your money, kids.

There was also the Kendrick Lamar album, which, now that I think of it, formed the nucleus of April 2017 in many ways. My GOD are we witnessing history with that guy. He fucking delivered again.

Anyway, here are my monthly biased-as-all-hell musings on some new music. I gotta say, 2017’s got some serious momentum now –  I couldn’t be more excited heading into May’s stacked release schedule!

Memories…Do Not Open – The Chainsmokers

This is…just, lowest common denominator everything. Lyrically, it has the depth of a sixth grader’s diary – “opener “The One” is SERIOUSLY about not being able to go to a friend’s party, and “Bloodstream” begins with the declaration, “I’ve been drunk three times this week” (not to mention this gem on “Last Day Alive”: “the night is young and we are young”) – and musically, it has the depth of, well, a sixth grader’s diary. The beat to “Break Up Every Night” sounds like a commercial for a Chuck E Cheese, while the drop in “Wake Up Alone” is mind-bogglingly juvenile. In all honesty, I feel like the frat party music/EDM crossover is a wonderful niche (one The Chainsmokers have successfully exploited with songs like “Roses”) but this is, like, teeny bop shit! It’s horribly dumbed down even by Pop standards! NOT RECOMMENDED

All Amerikkkan Bada$$ – Joey Bada$$

While some people may point to the likes of Kendrick Lamar and J. Cole as “ old school Hip-Hop revivalists”, I couldn’t disagree more. When I think of that term in its purest sense, I think of Joey Bada$$ the Brooklyn MC who may have born in 1995, but spits like that’s the current calendar year. Given my affinity for ‘90s Hip-Hop, his debut B4.Da.$$ was one of my favorite Hip-Hop albums of 2015, and its follow-up is even better (and way hookier). Gritty standout “Rockabye Baby” is the epitome of the aforementioned revivalism; anybody from The Lox to Mobb Deep to Nas to Big Pun would sound great on that instrumental (ScHoolboy Q ultimately steals the show with its guest spot). The melodic, almost serene ”For My People”, meanwhile, might be my favorite Hip-Hop track of 2017 thus far. My only gripe with this album is that Joey tackles familiar race issues without having any sort of unique perspective – it’s all the same “cops are out to kill me”, “racism is bad” “government is evil” kind of shit. It’s important shit to talk about, but it needs a new spin. Other than that, the dude is proving to be the real deal. RECOMMENDED

The Search for Everything – John Mayer

After forays into Country and Folk music with his last two LPs, John Mayer’s glorious return to the Pop world is an enjoyable but somewhat fluffy affair. While I dug the hell out of the mushy, relatable romance of “Love on the Weekend”, the wonderful break-up fodder of tracks like “Never on the Day You Leave” and “Moving on and Getting Over”, as well as the crunchy rocker “Helpless”, there were also a few empty, excessively dumbed down cuts like “In the Blood” and “Changing” that made this album underwhelming for me. Knowing Mayer’s talent, I’d prefer to be challenged as a listener. But he still hits his mark more often than not. Here is a full review. RECOMMENDED

 DAMN. – Kendrick Lamar

If you want some extended thoughts on this album, it’s best to go here, but I gotta say this: we are witnessing Hip-Hop history here. What many other artist in the history of the genre has come right out of the gate with FOUR INCREDIBLE RECORDS?? Outkast? Maybe. Eric B. and Rakim? Perhaps. But it’s a fucking select few. So when this dropped, I just soaked up the moment. This guy will go down as one of the greats. HIGHLY RECOMMENDED

Season High – Little Dragon

This Swedish Electronic group’s 5th studio album was my first outing with them. And to be blunt, I didn’t care for the slow-moving, campy, anti-climatic music that I came across. Maybe I just lack the necessary nuance in my taste for dance music, but these songs didn’t have the rousing energy that I look for in the genre. It was more like a goofy video game soundtrack with grating vocals. NOT RECOMMENDED

The Assassination of Julius Caesar – Ulver

Listening back to their classic debut album Bergtatt, I can’t think of a Metal band that has undergone as dramatic a transformation as Ulver over the years. In 2017, over 23 years after that seminal Black Metal release, they’re not even classifiably “Metal” anymore. The Assassination of Julius Caesar dips its toes into dance, a bit of new wave, and a whole lot of moody, nocturnal soundscapes. The spacey, mesmerizing “Southern Gothic” is a favorite of mine, as is the opening track “Nemoralia”, with its smooth electro strut and gorgeous vocals from Kristoffer Rygg. Whatever the fuck the genre is, these guys continue to wow me. HIGHLY RECOMMENDED

The Seven – Talib Kweli & Styles P

These two Hip-Hop veterans came together for seven fun yet thought-provoking tracks that delicately balance a carefree cypher spirit with uncompromising sociopolitical commentary, particularly as it retains to race issues. Here is a full review. You should watch it, given that Talib himself loved it. HIGHLY RECOMMENDED

Coming Home – Falling in Reverse

It makes me chuckle that I spent way more time unpacking this record than I thought I would. ‘Cause to be honest, I went into it with a sorta snobby, scornful dismissiveness, but when early cuts like “I Hate Everyone” and the title track were genuinely catchy, I was shocked. Was this album going to be the ultimate sleeper?? I started to get excited. The answer, though, was a resounding NO as I was introduced to songs like “Superhero” and “Hanging On”, and simultaneously realized that all of these childish lyrics were being sung by a 33-year-old man (in case you didn’t know, Falling in Reverse is fronted by ex-Escape the Fate frontman Ronnie Radke). Plus, I don’t see how the supposed “space theme” ties in except for a few corny Starset-lite studio effects. NOT RECOMMENDED

Madness – All That Remains

In what could be the final nail in the coffin for many of their older fans, All That Remains completed their descent into radio rock mediocrity with this LP. Featuring three of the sappiest, shittiest ballads I have ever heard (“If I’m Honest”, “Far From Home”, and “Back To You”) as well as neutered, passionless production from Howard Benson (who likewise ruined In Flames’ last record), Madness is everything fans have been afraid of as the band has teetered on the edge of Pop-Metal. Personally, since All That Remains has never been a “brutal” band anyway, I’d encourage them to keep going in this direction. If they just drop the ballads and write some better songs next time, maybe this could work out. Here is a full review. NOT RECOMMENDED

 Makes Me Sick – New Found Glory

These pop-punk pioneers came roaring back with an album that reaffirms their position as one of the very best at the genre they helped usher in. These tunes are just brimming with sugar sweet hooks and carefree, spunky energy. Listening to the sheepish innocence on display during “Short and Sweet” – where frontman Jordan Pundik gushes to his crush, “I don’t deserve someone as beautiful as you” – these guys haven’t aged a bit. The youthful spirit of this record is not forced at all. Special shout out to standout cut “Sound of Two Voices”, which is like….I don’t even know….Tropical-Pop-Dance-Punk? I love it! HIGHLY RECOMMENDED

A FEW MORE:

LIKE:

Back to the Basics – Rich Homie Quan

Lovely Little Lonely – The Maine

Long Live Nut – YFN Lucci

How Will You Know If You Never Try – COIN

Pure Comedy – Father John Misty

DON’T LIKE:

Extinction – Harlott

Humanz – Gorillaz

Youth – Tinie Tempah

Embodiment – Enterprise Earth

SHINE – Wale

Slayer, Lamb of God, and Behemoth: The Metal Tour of the Summer?

As Metalheads stare down our first summer with President Code Orange in office, our second straight summer without a Mayhem Festival, and our third straight summer without an Uproar Festival (the latter of which…good riddance), we got a big piece of news this past weekend. A piece of news that gives Summer ’17 a bit more meaning than just another three warm months where it’s easier to get laid. This past weekend, a must-see tour was announced: Lamb of God, Behemoth, and Slayer will be hitting the road together.

I can hardly contain my fucking excitement. Somewhere in America there’s a concert promoter who deserves a serious promotion (see what I did there?). This is the kind of lineup where the powers at be could get away with Ticket Price Rape. Not only does this lineup consist of three of Metal’s indisputable giants, but it’s also a) three of Metal’s indisputable giants of the LIVE arena, and b) it brings together three distinct fanbases that strike the perfect balance in terms of overlapping enough as to avoid polarizing the audience, but being different enough to draw headbangers from all walks of life.

I suppose in terms of pure album sales, Behemoth’s going to have to perform first, which is a bit depressing in the way that watching Megadeth go second on the Big Four was. Behemoth – whose last album The Satanist has already worked its way up into my favorite Extreme Metal albums of ALL TIME – are the one band I’ve yet to see live, so catching their set will be priority numero uno. As for Slayer, I haven’t caught a show since the 2010 American Carnage tour, where they played Seasons in the Abyss in its entirety, so I’m due for some thrashin’ about in the pit to a more well-rounded set. And Lamb of God….I saw them last spring and they fucking destroyed – provided they’ve tweaked their setlist a bit, I’ll be just as stoked to see them this time around.

Start saving your money NOW. Spend a sober weekend away from the bar, break up with your girlfriend right before her birthday….do whatever it takes to set aside the cash, ‘cause this is NOT a show you will want to miss. And if you’re somehow inexcusably behind the eightball on any these three bands, familiarize yourself with their catalogues – not only will your concert experience be greatly enhanced, but so will your overall quality of life.

Supposedly, the tour dates will be announced later this week. SEE YOU IN THE PIT!

January 2017 Album Round Up!

Greetings to all you lovebirds out there 😉

If you’ve got a special someone in your life, hope you and your bank account are gearing up for some good ol’ Valentine’s Day lovin’ next week . If that special someone is still finding their way to you, or if they already did and you fucking blew it, hope the ice cream, tears, and rom com re-runs are good to you. But for most of the single guys out there, hope you enjoy another typical Tuesday with a pointless cultural label where getting laid might be slightly easier.

As for me, I hope to spend Valentine’s Day VERY erotically – listening to that new Marilyn Manson record he’s hinted at (literally the opposite of coincidentally) releasing on that day. It’s supposed to be called Say10. If that title doesn’t strike a chord with you, slowly pronounce it out loud until it clicks. Don’t worry, it took me an embarrassing amount of time to put two and two together, too.

So while you make the necessary preparations (read: purchases) for a drama-free and sex-filled Valentine’s Day, here are some thoughts on what the first month of 2017 had to offer music-wise! We’re off to a pretty good start if you ask me!

Forever – Code Orange

 The hottest act in Metalcore unleashed their third record this month to frenzied excitement. Me? Just a contrarian son of a bitch, I guess. I LIKE album – furious cuts like “Real”, “Spy” and the title track are bone-crushing rushes of adrenaline, and my biggest praise is the LP’s mindboggling variety, with “Bleeding In the Blur” bringing some melodic Post-Hardcore to the table and “Ugly” fusing together ‘90s Alt-Rock with gruff Hard Rock – but the barrage of not-so-special breakdowns does get tiresome and a couple cuts (“The Mud”, “Hurt Goes On”) miss their mark. So yeah. Cool record but I didn’t go head-over-heels for it like everybody else did. Here is a full review. RECOMMENDED

Vessels – Starset

 I went against the grain with this new Starset record too, the band’s second. Vessels fuses together Electronic Music, Butt Rock, and some djent-y modern Metalcore for a sugar sweet but unfulfilling outing full of excessively angsty hooks, non-guitar riffs, and such a thick layer of production that it’s impossible to tell if a single thing is performed by a human being. It’s unbelievably catchy at points, and I understand the appeal, but it’s not gonna be anything more than an occasional guilty pleasure for me. Here is a full review. NOT RECOMMENDED

Return of the Cool – Nick Grant

After stumbling across this Billboard article on Nick Grant last year, Return of the Cool quickly became one of my most anticipated debuts of 2017. With the momentum the 28-year-old Grant has behind him right now, I was ready to bear witness to the meteoric rise of Hip-Hop’s next breakout star – and most of all, I was ready to hear soul and lyricism reinstated in Southern Hip-Hop (not to say I dislike what’s going on down there right now, but, I did grow up with ATLIENS as my bible). On Return of the Cool, the South Carolina native shows some promise and a bit of an old school flair, but the project disappointed the hell out of me. The painfully generic “Bouncin’” could’ve been made by ANY of Grant’s contemporaries (Logic, J. Cole, Big Sean Kendrick, etc.). And despite references to icons like Lauryn Hill and Nas, Grant doesn’t do much to uphold their standards with lines like “curves driving me crazy, I need some counseling”. NOT RECOMMENDED

The Search For Everything (Wave One) – John Mayer

 My fellow Pretentious Fairfield County, CT Douchebag is employing an adventurous and exciting release strategy for his seventh LP – he’s releasing four songs at a time in monthly “waves”. In the uncertain and uneasy free-for-all that is music promotion in 2017, I’m so glad to see someone with Mayer’s clout try a different approach. As for the music on “Wave One”? Simply put, three out of four songs connected for me. Most notably, however, I was psyched to see Mayer take a break from the genre gymnastics of his last few releases and just pen some straight ahead, no frills Pop tunes. Here is a full review. RECOMMENDED

Machine Messiah – Sepultura

 Growing up, I thought all you had to know about Sepultura occurred in the less-than-4-hour combined run time of Beneath the Remains, Chaos A.D., Arise, and Roots. I still sorta feel that way, but I was curious to hear Machine Messiah, which is now the band’s eighth (!) as Sepultura 2.0 since Derrick Green took over on vocals in 1997 (by comparison, they only made six LPs with Max Cavalera). So I felt behind.And I gotta say, I’m impressed with this current incarnation’s mix of Thrash, Groove Metal, a bit of Extreme Metal,, and the most thrilling surprise, a symphonic element on tracks like “Sworn Oath” and “Resistant Parasites”! Worth checking out if you’re like me and have only ever known “classic Sepultura”. Here is a full review. RECOMMENDED

 Culture – Migos

Around 20 million people were watching the Golden Globes when, two weeks before the release of their sophomore album, Donald Glover unexpectedly shouted out the Migos during an acceptance speech (his PHENOMENAL tv show Atlanta took home two awards that night). And with Culture, it’s safe to say the Migos are seizing their moment in the sun. This LP is the EPITOME of the Atlanta-based trap sound: Quavo, Offset, and Takeoff hop on these knocking instrumentals (one of the best collections of trap beats I have ever heard) with colorful ad-libs, tons of charisma, and memorable refrains. I mean, how could you not just throw on a track like “T-Shirt” or “Call Casting” and vibe out? Historically , I’m into Rap like this, so I’m gonna need some more time with it, but Culture just might be an unexpected 2017 favorite. RECOMMENDED

Gods of Violence – Kreator

 On album number fourteen from the legendary German thrashers, they delivered a collection of powerhouse Metal anthems and did so without being restricted by that old school Thrash “leash” that some of their veteran peers seem to be hindered by. As with its predecessor Phantom Antichrist, Gods of Violence draws on not just Thrash but Melodic Death Metal, streaks of classic NWOBHM, and a bit of lyrical inspiration from Viking Metal for a well-rounded listen. Here is a full review. HIGHLY RECOMMENDED

I See You – The xx

The third LP from these British indie poppers is chalk full of seductive nocturnal vibes that range from slightly spacey (“A Violent Noise”) to hipster nightclub-y (“Dangerous”) to just plain heart-wrenching (“Performance). While these guys’ music has never really “clicked” with me, I actually found myself enjoying a good chunk of this album! Unfortunately, one thing that bugs me is how overwhelmingly seriously these guys take themselves – at times, they oversell their emotions in an almost histrionic fashion that leaves me feeling a bit drained, like I’m not allowed to enjoy myself or something. Plus, Romy and Oliver just AREN’T the best singers from a technical standpoint. But it’s still a solid LP, definitely The xx’s best yet! RECOMMENDED

AFI (The Blood Album) – AFI

 Call it nostalgia, call it glass half full, call it “a retard who knows nothing about anything” like you all love to do on YouTube, but AFI fucking BROUGHT it this time around, in a way they haven’t in over a decade! I’m serious. “White Offerings” is PURE Sing the Sorrow (the band’s landmark 2003 release – a childhood favorite of mine), while the sharp riffing in “Hidden Knives” does the song’s title justice, and tracks like “Pink Eyes” and “Snow Cats” have all the makings of hit songs (particularly the latter, with its irresistible call-and-response chorus). I’m just shocked at how into this record I am. The Blood Album is the OGs sending the new bucks back to the drawing board. These songs completely justify my endless shit talking about all these wack ass “emo” bands that are coming up on Warped Tour – this is what they should shoot for. A thoughtful melding of Punk, Post-Hardcore, and Hard Rock, The Blood Album proves that AFI still set the standard. HIGHLY RECOMMENDED

Migration – Bonobo

As easy on the ears as this record is, it DOES tend to drift to the background as you listen to it. The gentle, serene touch of “Break Apart” and the ambience of “Grains” are some of the most pleasant sounds you’re likely to hear from Electronic Music all year, but Migration is not the most outwardly engaging of listens. Of course, you could take that in whatever connotation you’d like! ‘Cause I don’t have any “critiques” here – just my personal experience with this LP, which is that it’s a more passive listen than his early works like Dial “M” for Monkey, which was my favorite album when I was sixteen. Don’t get me wrong – there’s a lot to like here, and it’s 100 percent worth a listen, but it hasn’t gotten much repeated love from me. RECOMMENDED

October 2016 Album Round Up!

Back in August I forecasted music release bedlam for the month of October, and boy was I right! Among the albums I heard but didn’t write up here: The Dillinger Escape Plan, Meshuggah, Jimmy Eat World, Darkthrone, and OneRepublic.

Among the albums I didn’t even get to hear yet: Candiria, Red Fang, Wormrot, The Game, Serpentine Dominion, NxWorries, and many, many more!

But I’m sure I’ll have some time to catch up next in the next few weeks – thankfully, the music industry’s about to lightly tap the brakes. But for now, I present to you my musings on what October 2016 had to offer!

The Last Hero – Alter Bridge

2013’s Fortress was Alter Bridge’s magnum opus – it found the band fully integrating a metallic edge into their accessible Hard Rock approach, walking a line only a select few have done successfully (white album Avenged Sevenfold, maybe?).Topping it was going to be next to impossible, but The Last Hero is an excellent follow-up. Once again, anthemic melody is co-existing harmoniously assaultive battering – just listen to “My Champion” and “Island of Fools back-to-back. I also gotta shout out the title track, which is a vast stylistic collage that even brings in some Extreme Metal elements. Aside from two misfires (“Twilight”, “You Will Be Remembered”), Alter Bridge hit another home run. Here is a full review. HIGHLY RECOMMENDED

The Stage – Avenged Sevenfold

Out of nowhere, A7X released a bonafide masterpiece that I had no idea they were capable of making. Back in a monstrous way is the wild experimentation that made City of Evil and the White Album so special. The band weaves every mood, every tempo, every groove, and every instrument imaginable into these 70-plus minutes. The dark lyrical concepts running through the LP – dystopia, the dangers of science, the human ego – are as riveting and emotionally potent as anything we’ve heard all year. Not to mention the tear-jerking narration from renowned scientist Neil Degrasse Tyson that closes out the record. An absolutely essential listen. Here is a full review. HIGHLY RECOMMENDED

Hotel EP – Yelawolf

Yelawolf’s surprise EP takes the bluesy Folk Rap of last year’s Love Story LP – a record that was too bloated and self-indulgent for its own good – and marries it with the gritty, speedy, and wildly charismatic bars that made him famous in the first place. It’s the first full project I’ve enjoyed from Yela in several years, and it reignited my interest in what’s next for ol’ Catfish Billy. Here is a full review. HIGHLY RECOMMENDED

Revolution Radio – Green Day

I’m absolutely baffled by how much I’m into this record! I went in with zero expectations, and was pleasantly surprised with a set of high-energy Pop-Punk offerings that made me feel like I’m in middle school again! (That feeling is nearly impossible to come by these days). Other than some poor lyrics (“Youngblood”) and some filler (“Too Dumb to Die”, “Forever Now”), I’m digging Green Day’s latest – the first album of theirs I’ve enjoyed since American Idiot. RECOMMENDED

Two Vines – Empire of the Sun

The Australian Electro duo’s best album yet! Compared with 2013’s Ice on the Dune – an album that has been the soundtrack to so many incredibly fun times for me – Two Vines is less banger-centric and more laid back and unassuming. It’s interesting that this LP came out in late October, because compared to its predecessor, it’s way less Summer-y and more tailored towards chilly late night drives. “ZZZ”, “Way To Go”, and “Before” are my favorite cuts on here. HIGHLY RECOMMENDED

The Serenity of Suffering – Korn

Rolling Stone called this thing “turn-of-the-millenium Korn-by-numbers”, and they’re not wrong. There are zero new ideas on this album. That being said, it’s earning a lot of praise from Metalheads because it’s Korn “returning to form”, per se. And on tracks like “Black is the Soul”, with its dissonant riffage, and lead single “Insane”, with its brooding refrain, that rings true. But its detractors also have a point, especially in the latter half of the LP – you can’t seriously argue that the chorus to “When You’re Not There”, for instance, is anything but a snoozefest. But if you’re looking for an intense, cathartic expulsion of all of your fucked up feelings, or you’re just curious what late-90s Korn would sound like with modern, cleaner production, give this thing a whirl. RECOMMENDED

Joanne – Lady GaGa

 What a colossal fucking disappointment. GaGa dulled her edges, stripped away all the kooky eccentricity, and what’s left is a record with zero personality. Vocally she delivers some great performances, but everything feels so lifeless and uninspired. It’s tough to explain, honestly, ‘cause the songs seem like they should “work”, but when I try and  connect with them, they feel stiff and aloof. I was totally ready to embrace a mature GaGa, but I’m astonished at how much I didn’t like Joanne. Maybe it’ll grow on me, but for now? BLEHHH. NOT RECOMMENDED

The Brotherhood of the Snake – Testament

If you’re on the prowl for 45 minutes of straight Thrash action from one of the Bay Area OGs, Brotherhood of the Snake cannot possibly let you down. But this LP is not nearly as catchy, intricate or dynamic as the band’s 2012 masterpiece Dark Roots of Earth. Not to say it doesn’t perform as advertised – it’s got some ripping thrashers in the vein of their classic records – but it offers nothing beyond that, which left me (ever so slightly) disappointed, especially in comparison with Dark Roots. Here is a full review. RECOMMENDED

Rage & the Machine – Joe Budden 

Even though I dug his last album (2015’s All Love Lost), I was pleasantly surprised to find that Rage & the Machine isn’t another complete mopefest exclusively about breakups, depression, and self-pity (believe me, I love that shit though). On album number six, Joey diversifies things – there’s sample-heavy boom bap, hype trap-influenced shit, and R&B-tinged moments as well, all providing a soundscape for his usual dense rhymes. “Wrong One” is a slapper and a half – ArraabMusik’s beat (he produced basically the whole project) goes SO fucking hard. “Serious” is a menacing duet with Budden’s Slaughterhouse compatriot Joell Ortiz. But there are several misses too – Fabolous’ sing-song flow on “Flex” is terrible enough to drag the entire album down on its own, and “By Law” bores me to tears. As a big Budden fan, I got some great new jams out of this, but I’m still waiting for the hooks, the narrative, the bars, and the beats to all add up into a single classic project. RECOMMENDED

 Three – Phantogram

 Phantogram’s dramatic, occasionally theatrical third LP is their best yet. I especially enjoy how the often bleak lyrics pair equally well with hard-hitting synths, dreamy, shoegaze-y landscapes, and some of the more Hip-Hop based production. But I’m not in love with everything here – namely, the irritating hook on “You Don’t Get Me High Anymore” and the plodding “Barking Dog”. Overall, Three is a concise crash course in the many facets of the Phantogram sound, which you can broadly label as “Alternative”, but which gets pretty sophisticated when you try and whittle the versatile duo down to a single subgenre. RECOMMENDED

DC4 – Meek Mill

Zzzz……I usually listen to these albums at least three to five times, but I made it through three songs on this one. Same ol’ same ol’. NOT RECOMMENDED

The Whole of the Law – Anaal Nathrakh

Listening to Anaal Nathrakh’s eclectic, everything-but-the-kitchen-sink approach to Extreme Metal is like playing subgenre I Spy. In a matter of seconds, these motherfuckers will cycle through Grindcore, Black Metal, Death Metal, Power Metal, and God knows what else, making for a uniquely exhilarating listening experience. There has yet to be a major misstep in the band’s catalogue, but “The Whole of the Law” might just be their best in a decade. Sure, you can criticize this record for being a bit wonky and over-the-top, but that’s EXACTLY why I love it. HIGHLY RECOMMENDED

Breathe in the Water – Kyng

Kyng’s throwback blend of Hard Rock and Metal continues to work on album number three. You can find Breathe in the Water at a delightful intersection between Black Sabbath, Thin Lizzy, and Baronness.“Pristine Warning”, “Bipolar Schemes”, and the title track all pack quite the punch in the riff category. I just wish this band would get the fucking attention they deserve! RECOMMENDED

 

 

 

 

September 2016 Album Round Up!

Since I was three years old – to put that in context, since BEFORE the world witnessed Kate Winslet and Leo DiCaprio bang on the Titanic and her subsequent refusal to share a rather spacious floating door, choosing instead to let him die – this was the first non-Summer month that I have not spent in a classroom. That’s almost 20 years of steady structure tossed out the fucking window. It’s almost surreal, but in the immortal words of Blink-182, “I guess this is growing up.” And growing up meant that in September 2016 I was busier than I have ever been, working and interning for absurd hours, scrambling to find time for quality, in-depth listens of all of these new records, and trying to somehow squeeze out a social life and some gym hours. The whole listening-to-new-music thing worked out reasonably well, although the true release mayhem came RIGHT on September 30th, so I’m still catching my breath. But I’ve got a bunch of great stuff to recommend! Enjoy my ramblings, and hope you’re all looking forward to October as much as I am – it’s gonna be fucking STACKED!

Bad Vibrations – A Day To Remember

This Metalcore/Pop-Punk band’s last effort – 2013’s Common Courtesy – is one of my favorite albums ever. So I didn’t expect Bad Vibrations to meet that high water mark. In the end, I’m walking away feeling positive yet slightly underwhelmed. The first half of this LP is packed with some of ADTR’s best material to date, like “Bullfight”, “Naviety” (showcasing their poppier side), and the title track (showcasing their more aggressive side), but there are a few duds and filler tracks in the latter half (“Turn Off the Radio”, “Forgive and Forget”, “We Got This”) weighing it down. Here is a full review. RECOMMENDED

Birds in the Trap Sing McKnight – Travis Scott

I was a bit late to the Travis Scott party, so the peculiarly titled Birds in the Trap Sing McKnight is the first time I’m experiencing his new music alongside the rest of the world. Scott’s hugely hyped sophomore full-length is not perfect, but it’s PACKED with bangers, and it’s been my go-to party album for the entire month. Particular highlights include “Coordinate”, “Goosebumps”, “Pick Up the Phone”, and “Through the Late Night”, the latter of which is the best thing Kid Cudi has been involved with in over half a decade. Between Birds and Young Thug’s Jeffery project last month, Hip-Hop is incredibly turnt right now. RECOMMENDED

Winter’s Gate – Insomnium 

I haven’t disliked a single album from these Finnish Melodeath masters, but “Winter’s Gate” is special. It’s a conceptual behemoth that meets the highest of Melodic Death Metal standards without ever getting ahead of itself. Along with Be’Lakor’s excellent Vessels LP this past June, Winter’s Gate proves that this style of Metal is as vital as it ever has been. You might see this one again when the time comes for “Best Albums of 2016” discussions. HIGHLY RECOMMENDED

Natural Causes – Skylar Grey

For her second album as Skylar Grey, the “Love the Way You Lie” songstress took a bold leap from the cookie cutter Pop of 2013’s Don’t Look Down into something much more spacey and ethereal. I was psyched about the transition and wanted more than anything to be blown away by the whole record, but in reality, I fell in love with a handful of tracks and could take or leave the rest. Here is a full review. RECOMMENDED

Yellowcard – Yellowcard

Even though they’re one of my all-time favorites, Yellowcard’s swansong left me indifferent. There are some flashes of the Yellowcard that I grew up loving, but the track list suffers from what I call “ballad syndrome” – of 11 songs, 5 or 6 of them venture into ballad territory. That’s not ok for a Pop-Punk album, or any album for that matter. These slow cuts aren’t terrible, but it makes for a strange and uneven listen. Rather than going out with a bang or a whimper, Yellowcard went out with a polite wave goodbye. Here is a full review. NOT RECOMMENDED

The Atrocity Exhibition – Danny Brown

On his fourth project, Danny Brown is once again an utterly singular Hip-Hop artist, from his unmistakable delivery, to his slightly avant-garde production, to his eccentric, drug-riddled storytelling. Don’t be fooled by his abrasive persona though; the guy can rap his ass off. Just check the gritty “Lost” or the star-studded “Really Doe”, the latter of which finds Brown holding his own with heavyweights like Kendrick Lamar, Ab-Soul, and Earl Sweatshirt. On second thought, scratch that “Really Doe” analysis, ‘cause “heavyweight” now describes Danny Brown too – he’s not only at the top of HIS game, he’s one of the most compelling rappers on the planet right now.

Creatures Watching Over the Dead – Charred Walls of the Damned

 Richard Christy, Steve DiGiorgio, Jason Suecof, and Tim “Ripper” Owens fire up their Metal supergroup again for album number three. This is BY FAR my favorite record of theirs. Hearing Ripper’s soaring, melodic vocals over some legitimately heavy riffs is particularly refreshing – I don’t know about you, but I get tired of the same throat-gurgling screams over everything. I love to hear a singer with old school PIPES, and the ex-Judas Priest frontman really brings it here. The melodies don’t stop at Ripper either – the track “Lies” is sent off with an ultra poppy riff and a sugary guitar solo that sounds like a Pop-Punk band got parachuted into a Metal anthem. Elsewhere, shit can get crushingly heavy (“The Soulless”), technically dazzling (Jason Suecof’s harmonized lead in “Tear Me Down”), and even thoughtful (“My Eyes”).The songs aren’t ALWAYS there, but the mastery these veterans exhibit over the genre is a true joy to listen to. RECOMMENDED

The Altar – Banks

Banks sophomore LP is a noticeable improvement over Goddess, her super hyped but slightly underwhelming debut. Plodding moments like “To the Hilt” and “Poltergeist” hurt the track list in its latter stages, but I’ll be damned if there’s aren’t some bonafide Alt-Pop smashes on here. “Gemini Feed” has proven to be a wise choice for a single, and “Trainwreck” continues in a similar vein. “This Is Not About Us” veers more toward the Electro-Pop route, while “Fuck With Myself” contains explicit Hip-Hop nods – the latter a display of swaggering attitude previously absent in Banks’ music. She’s definitely headed in the right direction; in the future, I’d love to see her further explore the edgier side that she began to tap into with The Altar. RECOMMENDED

The Divine Feminine – Mac Miller

Mac Miller’s best album to date is vulnerable, sensual, and loosely conceptual, dealing almost exclusively with love, sex, relationships, and women. Never an MC who could quite carry a full-length on his own, Mac leans on his talented guests with the perfect amount of weight, whether it’s Anderson .Paak on the fun and upbeat “Dang!”, Ty Dolla $ign on the DJ Dahi-produced “Cinderella” (the LP’s best song by far), Kendrick Lamar on the closer “God Is Fair Sexy Nasty”, or his boo thang Ariana Grande on “My Favorite Part”. I am beyond impressed with Mac’s wholehearted commitment to exploring, developing and delivering something totally different from the rest of his catalogue. Love it or hate it, you’re unlikely to hear another Hip-Hop record quite like this one in 2016. RECOMMENDED

Sorceress – Opeth

It’s a crying shame that I haven’t had the time to give this album the full review treatment, but October’s going to be the busiest fucking month of the year and I don’t want to fall behind. It’s only been out for a week, but here are my two cents: if I want Still Life or Blackwater Park Opeth, I can continue to wear out those fucking records to death. I ENCOURAGE stylistic change, as long as the music is up to par. And Sorceress is easily the best of Opeth’s 2010s output – that dramatic, fan-dividing shift in Mikael’s vocal delivery finally feels at home amongst these proggy yet catchy tunes. At the time of the initial transition on 2011’s Heritage, it felt like career suicide, but Sorceress justifies the creative decisions Opeth have made these past few years. HIGHLY RECOMMENDED

Schmilco – Wilco

Wilco’s tenth album is delivered with the same modest indie spirit that I’ve associated with them since I first heard AM as a 14-year-old. Schmilco is laid back, chill as fuck, and most importantly, it’s folky without those big cheesy pop hooks vacuuming the life out of it (looking at you, Mumford & Sons, how’s it going?). It didn’t knock my world off its axis or anything, but it’s exactly what I anticipated. Can’t be mad at that. RECOMMENDED

 

Hatebreed’s “A.D.” and Volbeat’s “The Devil’s Bleeding Crown” Singles

Happy April 8th, 2016 everyone! Time to grab your copies of Deftones’ Gore and Zakk Wylde’s Book of Shadows II to celebrate! In addition, I’ve written up a pair of new singles from Hatebreed and Volbeat below:

 A.D. – Hatebreed

Connecticut’s own Hatebreed will unleash their seventh album The Concrete Confessional on May 13th – a Friday the 13th already jam-packed with high-profile releases (Devildriver, Gorguts, Pierce the Veil, and the very brutal Meaghan Trainor, just to name a few). The LP’s opening track “A.D.” is our first complete taste of what’s to come, and it finds the veterans placing their Hardcore influences on the backburner for a majority of the song in favor of mid-80s Thrash, even tossing in a shred-laced guitar solo for good measure.

Even vocalist/motivational coach Jamey Jasta knows that not every Hatebreed song needs to be uplifting, positive, or hopeful – if the state of the union (or the world) is chewing at him for whatever reason, there’s no better platform. And Jasta takes advantage – A.D. is jam-packed with venomous quotables that address the crumbling of the American dream.

The latter portion of the track deals with the inaction and subsequent profiting of media and government outfits from violent shootings, acts of terrorism, and the like. Here’s a choice quote that prompted a tweet of mine (and a subsequent retweet from Hatebreed themselves): “thoughts and prayers again, is that what it’ll take? Which industries profit while lives are at stake?” HARD.

The Devil’s Bleeding Crown – Volbeat

Seal the Deal & Let’s Boogie….that’s what Volbeat chose to title their new album? Hey, no complaints here – it made me chuckle, and quite frankly, anything that’s not a fucking self-titled record is fine in my book. Seal the Deal & Let’s Boogie will follow two Metal-tinged Rock LPs that are absurdly well-constructed – 2010’s Beyond Hell/Above Heaven and 2013’s Outlaw Gentlemen & Shady Ladies. A band still very much in the midst of their ascent – let’s be honest, we have virtually no idea how big this could get – they could put out a by-the-book replication of their last two efforts and still receive resounding acclaim. They have become one of Rock’s most beloved and likable acts.

“The Devil’s Bleeding Crown” retains Volbeat’s familiar mammoth sound. As expected it’s completely old school, the main riff calling to mind a chunkier Wolfmother. And I suppose the ghost of Black Sabbath’s “Children of the Grave” will continue to hover over the genre for all of eternity, so no need for any painfully obvious insights in that regard.

The bottom line: fans of Volbeat anthems like “A Warrior’s Call” will be fully satiated by this single. But here’s to hoping there are a few twists and turns on the full record, out June 3rd.

March 2016 Album Round Up!

What did I think of what the music industry had to offer in March 2016? Meh. There was the excitement of some new Kendrick Lamar (which I didn’t include here since it wasn’t an official LP per se) in addition to a few other high profile Hip-Hop releases. There was a pair of excellent albums from Metal staples Killswitch Engage and Amon Amarth. There was The Knocks. And then there was a whole lot of uninteresting shit. Regardless, below is a recap of eight records I was checking out in the midst of obsessing over my college basketball bracket.

Incarnate – Killswitch Engage

The roaring return of original vocalist Jesse Leach for 2013’s Disarm the Descent set a new standard for Killswitch Engage. Incarnate, that LP’s follow-up, smacks its remarkably high expectations right on the nose. Tracks like “The Great Deceit”, “Hate By Design”, and “Alone I Stand” have the makings of future Killswitch classics. And while Howard Jones-era albums The End of Heartache and As Daylight Dies are excellent, the three Leach records (not including the original self-titled effort) have floated to the top of the KSE discography for me. Here is a full review (I also did a print one here). HIGHLY RECOMMENDED.

This Is What the Truth Feels Like – Gwen Stefani

Between “Naughty” and “Red Flag”, Gwen Stefani has two of 2016’s worst pop songs, and we’re only three months in. The latter is an especially horrifying Iggy Azalea-meets-Fergie attempt sure to leave helpless ears in varying states of deformity. It’s a shame, because “Make Me Like You”, “Used to Love You”, and “Truth” are all highly listenable, radio-ready pop tunes. But then the 46-year-old Stefani makes a cringe worthy song like “Send Me a Picture”, and any album highlights are immediately drowned out. Here is a full review. NOT RECOMMENDED.

3001: A Laced Odyssey – Flatbush Zombies

Full disclosure here. I am brand new to Flatbush Zombies and have yet to hear their highly regarded BetterOffDead mixtape. But an act’s full-length debut is as good a place to start, isn’t it? Well, maybe not in Hip-Hop, but you get my point. Anyway, it didn’t take long for Flatbush Zombies to win me over, as Zombie Juice attacks the album’s first verse with a frantic inflection and a Grandmaster Flash shout out. Erick the Architect and Meechy Darko immediately follow with nimble flows and I was swoon. I have no context surrounding this LP aside from the group’s association with high profile collaborators like Joey Bada$$ and Action Bronson (appearances they shy away from on here). What I can say, however, is 3001 is chalk full of charisma, grade-A lyricism, and unique production. If this is the future of Hip-Hop, the genre is in quite capable hands. HIGHLY RECOMMENDED

55 – The Knocks

It’s hard to believe we’re a year and a half removed from when “Classic” dropped, isn’t it? Either way, a fuck ton of A-listers grace this duo’s highly anticipated debut. While there’s certainly tracks like “Tied to You” and the X Ambassadors collaboration “Comfortable” that I don’t care for, 55 has a remarkably high batting average. The track list comes out of the gate 5 for 5 and doesn’t really slow up. And most importantly, the guest appearances actually do the LP a service rather than simply get in its way. Cam’ron kills it. Wyclef kills it. Later on, Carly Rae kills it. 55 is diverse yet focused. It’s instantly likeable. It’s truly how EDM and Pop SHOULD merge (I’m looking directly at you, Avicii!). HIGHLY RECOMMENDED

Jomsviking – Amon Amarth

Amon Amarth’s tenth studio album and first full-blown concept record just might be their best in a decade. The Viking Metallers’ tried-and-true formula is accompanied by a trio of stylistic risks – the singalong chorus in “Raise Your Horns”, the blatant Maiden worship of “At Dawn’s First Light”, and a vocal duet with Doro Pesch in “A Dream that Cannot Be” – that ultimately pay off and help diversify the band’s sound. The cohesive storyline enriches the listening experience, recalling Amon Amarth’s best story-based moments (“Prediction of Warfare”, anyone?). Doro’s guest vocal appearance at the narrative’s climax (the aforementioned “A Dream That Cannot Be”) generated perhaps the most unique moment in Amon Amarth’s discography to date. Here is a full review. HIGHLY RECOMMENDED

The Black – Asking Alexandria

Sometimes a simple lineup change is enough to shove a new record into my ears from a band I have loathed from the beginning. And many a time I regret this morbid curiosity getting the best of me. Such is the case with Asking Alexandria’s fourth album The Black, their first with new vocalist Denis Stoff. Despite all the hype about stylistic departures and whatnot, it’s still more or less the faceless Metalcore of their first two LPs, albeit with a bit of traditional Hard Rock and Heavy Metal hastily thrown in. For instance, those chunky verse riffs in “Just a Slave to Rock ‘n Roll” have no business alongside the overly sappy melodic chorus – the track is completely Frankenstein’d together. In general, The Black offers a lot in the way of melodrama, but little in the way of thoughtful song construction or compelling musicianship. Hey, I did give this one a fair shot though. NOT RECOMMENDED

Collegrove – 2 Chainz & Lil’ Wayne

2 Chainz and Lil’ Wayne’s collaborative album (on 8 of the 13 tracks, at least) feels more like a mixtape most of the time, but in 2016 what the fuck is the difference anymore? Whatever label you feel is appropriate, this project is jam packed with lazy fucking hooks that tested my attention span and my nerves (see “Blue C-Note”, “Bentley Truck”, or “Not Invited”). It’s especially disappointing since the effective lead single “Gotta Lotta” surpasses any post-Carter IV music Wayne has dropped. And I did enjoy the cinematic trap beat and clever Weezy verse on “Smell Like Money”, as well as the production on “Dedication”, which sounded like something Wiz Khalifa would’ve spit over five years ago. But beyond that, Collegrove didn’t hold my interest. But I did learn the magnificently pretentious word “portmanteau” from its title. NOT RECOMMENDED.

That’s Hip Hop – Joell Ortiz

The four members of Slaughterhouse have been dropping projects as if they’re actively trying to outpace each other. Joell Ortiz did the !llmind collaboration Human last summer, Joe Budden dropped All Love Lost, Crooked I (aka Kxng Crooked) put out Statik Kxng with Statik Selektah, and now Royce da 5’9 has a new mixtape Trust the Shooter out that directly precedes Layers (out April 15th), and supposedly has ANOTHER full-length album on the way. Whew. I’ve never had to take a deep breath after typing something before. What caught my eye about Joell Ortiz’s new record That’s Hip Hop– aside from my Slaughterhouse fandom – is that he coaxed one of my favorites, the legendary Kool G Rap, onto a song with him! So I had to listen to the album. At 30 minutes and nine real songs, it’s got the feel of either Illmatic or a brief mixtape – whichever comparison you goons prefer. It’s also exponentially more aggressive than 2014’s House Slippers ,the last Ortiz project I gave thorough, repeated listens. While I did enjoy House Slippers, the Puerto Rican is rapping like he has something to prove again. That’s Hip Hop lives up to its name and then some! RECOMMENDED.

 

 

 

A Day To Remember’s “Paranoia” Single

Nearly two and a half years after Common Courtesy, and an impossibly ugly cage match with Victory Records over contract discrepancies, the world finally has new music from A Day To Remember – yeah, a whopping 3 minutes and 22 seconds, but still. It’s a single called “Paranoia”, which, while it has been made clear it doesn’t necessarily mark the beginning of an album cycle ramp-up, is exciting enough on its own.

2013’s Common Courtesy was, in this narcissist’s opinion, far away ADTR’s best record to date. Their fifth LP found the Ocala, FL quintet simultaneously mastering Pop-Punk and Metalcore – the Pop-Punk moments were livelier and the Metalcore moments were devastating (particularly on “Violence”…my God). So I guess after publicly squaring off with Victory over Common Courtesy, ADTR Records is still a thing. And the band has my wholehearted support. The way the industry is structured in 2016, with only a few independent labels for aggressive music still standing that haven’t been conglomerated, the more DIY shit you can pull off successfully, the better. But on to this new single “Paranoia”.

The tune kicks off with a bit of a volley between a dissonant guitar lick and markedly punk-y explosions of rhythm. It terms of power, adrenaline, and attitude, it wastes no time. Nor does it waste time arriving at the ultra-catchy chorus, which stitches together the frantic verses that surround it.

And like every ADTR studio effort from For Those Who Have Heart onward, “Paranoia” is a meticulously produced tidal wave of sound. The Thrash-informed breakdown is the particular highlight, with the chunky guitars, drums, and bass working in tandem in the mix rather than stepping on each other’s toes. While calling this tune “groundbreaking” in the ADTR world might get you laughed out of the room, it’s a powerful “we’re back” statement – nay, exclamation – that has me drooling at the thought of Common Courtesy’s follow-up.

Song Dissection: Avenged Sevenfold’s “Eternal Rest”

Jesus Christ, I bought this song on ITunes in 2007. Let me translate: TWO THOUSAND SEVEN. As in before IPhones were publicly released. As in before anybody knew who Justin Bieber was. As in before my first kiss. And yet, its impact still strengthens every time I hear it.

What makes this early Avenged Sevenfold masterpiece so special is its ability to drag your mind through radically different places within the context of one five-minute piece of music. “Eternal Rest” functions like three different songs in one. It begins with a chaotic Slayer-meets-punk-rock opening: 41 seconds that are as terrifying as they are exhilarating . It then abruptly switches gears, launching into a Pantera-esque groove metal song that is nothing short of aural steroids. If the first “movement” was a panic-inducing barrage of fear, movement two is where you gather your thoughts, dive into the pit, and start beating the shit out of everybody around you. Yet even as the second movement brings the song to a more focused aggression, it’s just as menacing. Lead singer M. Shadow’s demonic howls are the only appropriate delivery for lyrics like: “dark in their hearts/I can feel it burn inside of me/tormented young with no souls watching me/pain in their lives, all they know is misery”. Not to mention the evil guitar harmonies from Synyster Gates and Zacky Vengeance that lurk behind him.

And just when Satan couldn’t find a better soundtrack, the song transitions into its third movement, the very embodiment of morbidity and despair. As a spooky organ creeps into the arrangement, M. Shadows switches to a clean vocal passage that is even more haunting than his screams. All at once, the conceptual reality of eternal rest bludgeons the listener. The inevitable end we all face. The possibility of no afterlife, the possibility that one fateful night we may close our eyes and begin to rot for the rest of existence, with no hope of ever returning. I sound a bit disturbed, don’t I? Listen to the song and try not feeling that way. It’s frightening and it’s infinitely depressing, two emotions that weave in and out seamlessly as the latter half of “Eternal Rest” darkens the mind of the listener.

After quickly reprising the heaviness of the second movement, the song closes out with the bleakest musical passage yet, bringing doomy thoughts of mortality full circle, leaving in its wake an inescapable feeling of emptiness. A twisted tour through fear, rage, death, and hopelessness, the metal perfection of “Eternal Rest” helps explain why Avenged Sevenfold’s ascension in the mid-2000’s was as meteoric as it was.