Name That Pantera Song!

What’s up guys! Time for another long overdue “Name That Song!” challenge. I always forget that these are low key my favorite videos to make. Even though I detest the “reaction” video ecosystem of the Internet, I totally get why creators do it, because it’s really fun to just shoot the shit about music (or other content) AS you’re listening to it.

Pantera hit me the other day as an obvious choice for one of these, as their catalogue isn’t too huge (five albums), it’s almost universally loved by my viewers, and I have strong opinions about all of it, as you’ll see in the video.

Basically, the way this works is we compete to see who can identify that most out of 20 Pantera songs, using only the first 30 seconds of each track.

And if you’ve missed any of the other episodes in this series, be sure to check out the similar challenges I’ve done for Slipknot, Trivium, Machine Head, and Killswitch Engage.

Best of luck, and be sure to comment below the video with your score!

Ozzy Osbourne – Ordinary Man Album Review

The Ozzman Returneth! Well, sorta.

As I discuss below, Ozzy Osbourne’s 12th studio album is a complete standalone effort in his 40-year solo discography. It doesn’t share the sound of his other albums, it doesn’t share any of the personnel of his other albums, it doesn’t share the emotional messages of his other albums…it’s a truly singular moment for the legendary Heavy Metal frontman.

That being said, is the uniqueness of Ordinary Man a good thing or a bad thing? Considering I haven’t liked a single Ozzy Osbourne album not made in the ’80s, do the Roaring ’20s signal a new era for him? Watch the full review below:

 

Care Package is Way Better Than Drake’s REAL Albums

This past Friday, Aubrey Drake Graham dropped the clumsily titled Care Package, a collection of old b-sides, rarities, and unofficial singles that nobody asked for but everyone’s listening to. It’s set to debut at number one on the Billboard Charts this week.

Being the retrospective project that it is, Care Package reminds us of several things we might have forgotten. It reminds us that “Johnny Football” was once a thing (see: “Draft Day”). It reminds us that J. Cole once apologized for saying “retarded” in jest (see: “Jodeci Freestyle”). But here’s the one big fat reminder that Care Package serves up: Drake can’t make albums like he makes songs.

As a loose collection, the Care Package track-list arguably flows better than Drake’s last three albums (or FOUR, if God forbid you wanna separate Scorpion into two). It’s more lyrically proficient than Nothing Was the Same, it’s less narcissistic than Scorpion, and as for Views…well, there’s certainly less Dancehall pandering.

I love the lyrical toughness of tracks like “Dreams Money Can Buy”. I love the introspection of “4PM in Calabasas”. I love the biting bitterness of “How Bout Now”. I love hearing Drake trade bars with J. Cole on “Jodeci Freestyle” and Rick Ross on “Free Spirit”, and find myself wishing his real albums were more feature-friendly.

Now don’t get me wrong, this is by no means a wholesale endorsement of this project. Some cuts, like the plodding “My Side”, are flat-out terrible. And there are more than a couple of reminders on Care Package  that no matter what era we’re talking about, Singing Drizzy is never as good as Rapping Drizzy. Ever.

I’m merely pointing out the glaring contrast between the invigorated Drake on these b-sides who’s just, to quote his lyrics, “do(ing) it just to do it like it’s nothing”, and the tiresome insular self-obsession of Drake’s last few LPs. This guy has so much raw talent, but when he goes to put an ALBUM together, it’s like he’s trying too hard. Don’t believe me? It took him branding something a mixtape (If You’re Reading This) for it to garner deserved critical acclaim.

We’ll forever remember Drake for his great songs, of which there are many. If only he’d stop overthinking his albums, maybe we’ll have a chance to remember him for those too.

Top 10 Hip-Hop Albums of 2017

Happy holidays everyone!

Oh wait, we’re like a year into the whole “Donald Trump is president” thing. My bad.

In one of the most hilariously ridiculous speeches of his presidency thus far – bold statement, I know – Donald Trump made a promise that as a nation, we’re all gonna go back to saying “Merry Christmas” like we did before things got all politically correct. “Times have changed, but we’re changing them back,” he insisted. It reminded me of that infamous Jason Kidd speech where he said “we’re gonna turn this team around 360 degrees”.

Not surprisingly, Donald Trump talking all bigly about his yuuuuge plans for this great nation didn’t at all sway my December rhetoric. I did what I do every year – I wished an awkward mix of “Merry Christmas” and “Happy Holidays”, depending on what kind of mood I was in, who was around, and how Christian-y the vibe was.

Joking aside, whatever Winter holiday you and your family celebrate – whether it’s Christmas, Hanukkah, Kwanzaa, or one of those Pagan things – I hope you find joy, laughter, relaxation, and, of course, good food in the company of your loved ones, and I hope you head into 2018 with the wide-eyed optimism of a six-year-old boy.

Anyway, for my first of FIVE 2017 year-end lists – you’re gonna head over to my YouTube channel to see the rest of them in the next week and a half – we’re gonna talk Hip-Hop. And boy is there a lot of ground to cover.

2017 was another banner year for Rap music, sure. Any monkey with a Twitter account and @ComplexMusic and @XXL in his feed could piece that one together. But even better, it was a year defined by the unexpected. Both positive AND negative, I may add. Here are some things that happened in Hip-Hop this year that I couldn’t have possibly foreseen:

  • The Migos made a Trap album that is literally listenable (and enjoyable) from beginning to end
  • Eminem dropped a turd that makes 2004’s Encore look like a masterpiece
  • CyHi the Prynce’s long-awaited debut somehow lived up to over seven years of album-less hype
  • Jay-Z snapped out of his whole “I only rap to sponsor my art collection” mindset and made his best music since 2003
  • EDM superstar Calvin Harris put Snoop Dogg, Travis Scott, Migos, ScHoolboy Q, Lil’ Yachty, Future, Big Sean, Nicki Minaj, and Frank Ocean on one project. And it worked.
  • Macklemore and a mumble rapper made a song together and it ended up being ten times worse than my limited imagination could’ve even conjured up

So as you can see, it’s been an exciting 12 months. And I’m glad to be done making this list, ‘cause I spent DAYS stressing out about it (especially those #5 – #7 slots!). I really hope my thoughts are informative or, at the very least, mildly entertaining. Honorable Mentions are at the bottom. See you all in 2018!

10. THE AUTOBIOGRAPHY – VIC MENSA

 On his debut album for Roc Nation, after a few years of increasing buzz and the immense pressure and anticipation that comes with being a Kanye West protégé, Vic Mensa leapfrogs over the already-lofty expectations set for him with, well, one of the best Hip-Hop albums of the entire year. The Autobiography proves beyond a shadow of a doubt that Mensa’s got all of the makings of a bonafide Rap superstar. He can make rousing bangers with the best of them, as shown on the Kid-Cudi-meets- Travis-Scott party tune “Rollin’ Like a Stoner” as well as the Chief Keef-assisted hood anthem “Down for Some Ignorance”; he can tell stories (“Homewrecker”), he can be deeply introspective (“Wings”), and he can even make the ladies swoon when he steps out from under his self-loathing (“Gorgeous”).

Not to mention, the guy can collaborate too – the aforementioned tracks round up the likes of Chief Keef, Syd, Pharrell Williams, and even Rivers Cuomo from Weezer, making for a colorful but cohesive tracklist. Mensa’s one of the most promising young Hip-Hop artists in the game right now.

 Top 3 Tracks: “Homewrecker”, “Gorgeous”, “Wings”

9. PRETTY GIRLS LIKE TRAP MUSIC – 2 CHAINZ

 Perhaps the most unexpected entry on this list, 2 Chainz flushed over a decade of ratchet mediocrity down the toilet and knocked the clumsily-titled Pretty Girls Like Trap Music into the stratosphere. As a rapper, beat-picker, hook-crafter, and overall larger-than-life personality, 2 Chainz has never sounded sharper. While the over-the-top ridiculousness of his bars remains a key part of his charm – in particular, the line “I got a bank account, got anotha bank account, got anotha bank account” is my single favorite line of 2017 (which, by the way, given that the FDIC only insurances up to $250,000 per account, this is probably a financially savvy move on his part) – this time around, he has the endless flow and compelling rhymes to back it up.

And his ability to use the occasional guest to light a fire under his ass – Travis Scott Nicki Minaj, Swae Lee, Migos, and Drake all ANNIHILATE the tracks they show up on – helps propel Pretty Girls Like Trap Music into every worthwhile “Best Hip-Hop of 2017” conversation.

Top 3 Tracks: “Blue Cheese”, “Realize”, “Good Drank”

8. FLOWER BOY – TYLER, THE CREATOR

What beautiful irony that an artist like Tyler, The Creator – who rose to prominence by being infinitely rebellious and anti-everything – made his best material to date by softening his edges and buddying up with an industry juggernaut (Columbia Records) for its release.

Production-wise, Flower Boy is perhaps my favorite on this list, bringing together sounds that range from cinematic to insular to manic to just plain weird. Yet the true excellence of the LP lies in Tyler’s undeniable maturation.

By getting unapologetically sappy (“See You Again”), wistfully nostalgic (“November”) and heartbreakingly vulnerable (“911/Mr. Lonely”) alongside his usual aggression and quirks (“Who Dat Boy”, “I Ain’t Got Time!”), Tyler has successfully transitioned from odd-but-compelling enigma to fully formed, three-dimensional artist.

Top 3 Tracks: “November”, “911/Mr. Lonely”, “See You Again”

7. CAPTAIN CALIFORNIA – MURS

That my list will likely be the ONLY year-end Hip-Hop List to give Murs his due is nothing short of a tragedy. On his sixth LP and second for Tech N9ne’s Strange Music label, the California MC shows an elastic emotional range that is extremely hard to come by in Hip-Hop. On the opening track “Lemon Juice”, he and guest Curtiss King will have you cackling uncontrollably as they try to compete for a girl’s attention. Cuts like “God Bless Kanye West” and “G is for Gentrify” will have you mulling over today’s socioeconomic climate. On touching love songs like “1000 Suns” and “Another Round”, Murs will have you reflecting on your best romantic relationships or dreaming of ones like his. On “One Uh Those Days”, he’ll have you carefully following along with his detailed storytelling right up until the hilarious twist ending. It’s time people get their shit together and start paying attention to this talented motherfucker.

Top 3 Tracks: “Lemon Juice”, “1000 Suns”, “Colossus”

6. 4EVA IS A MIGHTY LONG TIME – BIG K.R.I.T.

 While it would’ve been virtually impossible to top 2014’s Cadillactica – an adventurous space-themed concept album that remains one of the finest moments of the genre this decade – Justin Scott continues to build his case as one of the great Southern rappers, filling the shoes of giants like UGK, Outkast and T.I. with ease. This sprawling double-album is split into a more bravado-driven “Big K.R.I.T. half” and a more introspective “Justin Scott half”, with both discs pulling their weight equally, from the most trunk-knocking moments (“ Subenstein”, “Big Bank”) to the most naked and confessional (“Price of Fame”, Mixed Messages”). As I continue to preach the gospel of Big K.R.I.T., I have yet another holy text to read from to convert people to the cause. And thanks to people like ANTHONY FANTANO, they really are doing so.

Top 3 Tracks: “Get Away”, “Mixed Messages”, “Miss Georgia Fornia”

5. NO DOPE ON SUNDAYS – CYHI THE PRYNCE

 I can’t think of a single Hip-Hop album that has been delayed as long as this one and actually LIVED UP to the impossible hype. But that’s exactly what Kanye’s finest protégé managed to do. Besides creating the most lyrically monstrous album on this whole list, on No Dope on Sundays Cyhi the Prynce still manages to stay focused on well-crafted songs, thought-provoking content, and carefully-placed features (in particular, Travis Scott, BJ the Chicago Kid, and ScHoolboy Q kill it here). And to top it all off, CyHi ties everything together with a powerful theme that contrasts spirituality and street life.

Plus, the amount of times I’ve used the expression “get your money and get out the game” in REAL LIFE since hearing this album….that alone earns it a spot in the Top five.

Top 3 Tracks: “I’m Fine”, “No Dope on Sundays”, “Movin’ Around”

4. LAST CALL – RITTZ

 On his final album for Strange Music, this double time-spittin’ white boy once again comes through with a body of work that feels like it’s been made specifically for me. Seriously, this motherfucker checks every box.

  • Emotionally, it covers the entire spectrum, from the tear-jerking “Fuck Cancer” to the ferocious “Into the Sky” (which, by the way, are back-to-back in the tracklist).
  • When appropriate, it’s as introspective as Hip-Hop can get, as showcased on the childhood woes of “Press Rewind” and the modern-day neuroses of “I’m Only Human”
  • From a technical rapping standpoint, Rittz once again has few equals – just check the standout single “Down for Mine” or the stirring opener “Middle of Nowhere” for proof
  • And yet again, Rittz’s ability to sing his own hooks makes him a complete, self-sufficient artist. No big features or name-dropping needed here; this one guy can keep you engaged for over an hour.

Top 3 Tracks: “Crash and Burn”, “Into the Sky”, Down for Mine”

3. DAMN. – KENDRICK LAMAR

 While 2015’s expansive, ambitious To Pimp a Butterfly endeared him to critics and solidified his place in Hip-Hop history, this time around it’s Kendrick Lamar’s fundamentals that make him stand out. At the end of the day, Kung Fu Kenny is just a dope fucking rapper. I never get tired of hearing him rap – his unending supply of creative flows, intricate rhyme structures, and nuanced perspectives ensure that Lamar can sound good on any beat.

But beyond Kendrick’s ability as an MC, my favorite thing about DAMN. is how emotionally raw it is. K-Dot’s music has always carried with it an underlying depression, anxiety and vicious inner conflict– which has been occasionally brought to the forefront on tracks like TPAB’s “u” – but DAMN. takes this to a whole new level. This is a 14-track therapy session, with intense feelings flying every which way like bullets during D-Day. And as a listener who prefers this type of psychological mayhem, I find it to be some of the most gripping work of Kendrick Lamar’s already-historic career.

Top 3 Tracks: “ELEMENT.”, “FEAR.”, “PRIDE.”

2. TRIAL BY FIRE – YELAWOLF

 Against all odds – and when I say ALL ODDS, I mean over seven years of artistic decline since his initial burst of hype and at least one race-related controversy – Rap’s most divisive white trash Hick-Hopper pulled through with, simply put, one of the most unique “Hip-Hop” records I’ve ever heard.

On Trial By Fire, the Alabama native weaves together various shades of Country, Folk, Rock, Blues – and yes, in the midst of all that, a guest appearance from Juicy motherfuckin’ J – into his well-studied rhyming abilities to make the kind of album that no one else could make. Sure, COUNTRY AND RAP MUSIC have had their history together (LINK), but not in a way that hasn’t compromised or caricaturized either side of the spectrum. That is, until exhilarating mish-mashes on this LP like “Punk”, which contains the aforementioned Juicy J feature.

Yelawolf also bares his soul on these 14 tracks, and has a novelists’ eye for storytelling (seriously, check the haunting “Sabrina” or the sentimentally autobiographical “Keeps Me Alive” for some hardcore evidence), bringing these Southern soundscapes to life with each and every verse. On “Ride or Die”, a heartfelt tribute to a day one friend, I can actually picture Yela sitting on a front porch somewhere in Alabama strumming his guitar and staring out into miles of farmland.

 And for me, there’s a personal angle to this as well. Trial by Fire represents the ultimate escapism. It’s an album that whisks me away from my Yuppie tri-state surroundings to long, winding dirt roads, musky dive bars with Harleys parked out front, and remote stretches of land with nothing but grass and the gentle breeze that nudges it from side to side. So I suppose my increasing infatuation with the rural South has fed my love of Trial by Fire. But still, whether you end up smitten like I am or deeply unimpressed, this is music you need to hear.

Top 3 Tracks: “Ride or Die”, “Punk”, “Son of a Gun”

 1. ALL THE BEAUTY IN THIS WHOLE LIFE – BROTHER ALI

As I gushed at the middle of the year, Brother Ali made the kind of special album that makes me happy to be alive. With top-notch production from Ant of Atmosphere ensuring that it’s sonically rapturous, Ali is free to tackle weighty subject matter; sensitive topics that he handles gracefully, I might add. Beauty covers everything from race (“Dear Black Son”, “Before They Called You White”) to pornography (“The Bitten Apple”) to suicide (“Out of Here”) to Ali’s own childhood struggles (“Pray For Me”) sending your emotions every which way in the process. When you combine Ali’s raw talent on the mic with food-for-thought content, gorgeous instrumentals, and hooks like the infectious single “Own Light”, it’s impossible to lose.

Top 3 Tracks: “Own Light (What Hearts Are For)”, “Out of Here”, “All the Beauty in This Whole Life”

Some Honorable Mentions:

Laila’s Wisdom – Rapsody

Big Fish Theory – Vince Staples

Culture – Migos

Radio Silence – Talib Kweli

All-Amerikkkan Bada$$ – Joey Bada$$

At What Cost – Goldlink

4:44 – Jay-Z

Brick Body Kids Still Daydream – Open Mike Eagle

Rather You Than Me – Rick Ross

Terror’s “The Walls Will Fall” EP

Calling all you mosh-thirsty punks! West Coast Hardcore stalwarts Terror are back with a brand new EP, The Walls Will Fall; their first new music in nearly two years. It’s five songs, it’s nine minutes, and – as expected – it rips.

This band has been cranking out punishing, sub-30 minute Hardcore releases for the better part of 15 years. They’re remarkably reliable, delivering a healthy mix of New York Hardcore, a bit of Crossover Thrash, and a bit of Metalcore with every biennial LP (2013’s Live by the Code might be my favorite at the moment). And The Walls Will Fall should once again satisfy the Hardcore purists – who from my experience, are even more fickle than those dreaded Metal purists – that flock to this band.

What’s most notable about The Walls Will Fall is its deliberate, even pacing. Opener “Balance the Odds” allows its slow-building intro to segue into urgent Crossover riffing before settling back into a mid-tempo mosh (that final breakdown is so sick – “the freedom of my life – I’ll take it back!!”). The title cut has a similarly smooth sequence, with grinding Thrash rhythms consuming its first half and a simplistic half-time pulse sending off its second half.

My favorite track by far is the closer, “Step to You”, which begins in blistering fashion but morphs into a four-chord, gang vocal-riddled Punk tune that is catchy as hell and could squeeze onto a ‘90s Madball release like you wouldn’t believe (the track “Pride” from Demonstrating My Style springs to mind for me).

Guitarists Martin Stewart and Jordan Posner once again bring an appropriately chunky, mean guitar tone (though I still think the best rhythm tone they’ve achieved was on Live By the Code – it had more of a raw “dryness” to it), and Scott Vogel continues to be a quintessential Hardcore frontman. These five tracks went straight on my gym playlist, and they deserve a spot on yours. Props to Terror for not tampering with a winning formula, and I look forward to the next full-length!

November 2016 Album Round Up!

Hey everyone! Nine days into December, I hope all the obnoxious repeats of Mariah Carey, Wham!, and God knows what else by your “spirited” friends and family haven’t broken you yet. I love how these fucking people try to make me feel like the Grinch just ‘cause I don’t want to hear the same five songs every day for a month. I actually love a lot of Christmas tunes, but as someone who will listen to Grindcore on Wednesday, Disco on Thursday, and Shoegaze on Friday, it’s the lack of variety that kills me.

Anyway, ya boy’s in full-on Year End List mode!!! “List Season”, as I deem it, is my favorite time of year every year! I have tons of fun holing myself up for hours on end listening, re-listening, and deliberating for hours on end about lists that 95% of people don’t give two fucks about. But I do give two fucks, and I’ve got a lot to say this year. I’ve already published one list on YouTube, and several more are on their way! Stay tuned! In the meantime, here are eight records I checked out last month. Keep it gangsta.

Battles – In Flames

Sometimes I seriously wonder who the In Flames fanbase consists of at this point. They’ve now spent over a decade making syrupy Metalcore-ish music that seems to have an inverse time-quality relationship (translation: it keeps getting shittier). This newest one, while not as terrible as 2014’s Siren Charms, takes some vocal cues from Bring Me the Horizon (the “melodic gang vocals” that show up in “The End”, “The Truth”, and the final chorus in “Here Until Forever”), puts some late-‘90s In Flames in the microwave, and then overproduces the shit out of it. I actually didn’t mind it that much, but I’ll be sticking with The Jester Race. Here is a full review. NOT RECOMMENDED

We Got It From Here…Thank You 4 Your Service – A Tribe Called Quest

The Queens legends’ swansong and first record in almost 18 years, We Got It From Here picks up RIGHT where classic Tribe albums like Midnight Marauders left off. I’m astonished at how effortlessly these three veterans manage to make music with the same charisma and gusto that they had a quarter of a century ago. This LP is loaded with all kinds of exciting features (Andre 3000, Talib Kweli, Kendrick Lamar, Busta Rhymes, and even Elton John), but ironically, it’s just icing on the cake – the core of the record is three of Hip-Hop’s (dare I say) elder statesmen taking the kids to school. I’m blown away. HIGHLY RECOMMENDED

24k Magic – Bruno Mars

I can’t believe Bruno Mars took almost four years to follow up Unorthodox Jukebox! It doesn’t feel that long ago at all, right? Well, he’s back with a third record that expands on the unapologetic throwback sound of “Uptown Funk”, his collaborative smash with producer Mark Ronson. 24K Magic is almost entirely rooted in nostalgia for the Pop and R & B of the ‘80s and ‘90s – much of the production is synth driven, with bombastic clapping snares and funky basslines.  Many of these songs have a brazen sexuality, a dose of braggadocio, and are fairly lighthearted, making for a simple, quick, and easy listen. For me, some of it connects and some of it doesn’t. “Chunky”, “That’s What I Like”, and “24K Magic” are three of my favorite Pop songs of 2016, while I could do without the obnoxious “Perm” and the dull closing ballad “Too Good to Say Goodbye”. Currently, the addictive title track is this LP’s only single, but I imagine that’ll change soon. Future single predictions: “Chunky” and “Versace on the Floor”. RECOMMENDED

Hardwired…To Self-Destruct – Metallica

God, my life was so fucking different the last time Metallica put out a record. Death Magnetic came out EIGHT FUCKING YEARS AGO! Wow. Well, the Thrash legends are finally back with another underwhelming but solid LP. My main issue with much of Metallica’s music remains intact: the meandering song structures. These songs are essentially just piles of riffs stacked on top of each other with little regard for concision or quality control. So there ends up being lots of wasted space. The upside, of course, is James Hetfield delivers a ton of riff gems amongst the wasted space. Fans should be (and seem) happy. Here is a full review. RECOMMENDED

Black America Again – Common

Common’s soulful 11th album is – as its title may suggest – loaded with impassioned social commentary, particularly as it pertains to race relations in America. The powerful title track addresses the Flint water crisis, refers to mass incarceration as “the new plantation”, and comments on racism in sports (“Maria Sharapova making more than Serena”). It all feels like a call-to-action for the black community. While profound and sobering, these weighty themes do start to take their toll on the listener, which is why light-hearted breathers like “Love Star”, “Unfamiliar”, and “Red Wine” are helpful. But for me, the best thing about Black America Again is Common’s bars! Look no further than the song “Pyramids” or the amazing first verse on “A Bigger Picture Called Free” for lyrical gymnastics that we haven’t heard from the Chicago OG in forever. He does some of the best rapping of his career on here. And content-wise, he has a lot to say. HIGHLY RECOMMENDED

Starboy – The Weeknd

 Cut out the filler, kids. The Weeknd’s third studio Starboy would’ve been one of the best albums of the year if he had done just that. There is so much FIRE on here, particularly on the first half of the record, but as a listener, I feel like he wastes a good 20 minutes of my time within these 18 tracks. “Attention, “Rockin”, Nothing Without You”, “All I Know”…these all could’ve gotten the axe. STILL, I have been bumping this LP non-stop since it came out – I really do love its tortured-partier themes, its butter smooth production, The Weeknd’s unique croon, and the night-time atmosphere the songs suck me into. The title track is one of 2016’s greatest moments, and there are a good eight or nine other bangers on here that I’m gonna continue to vibe with. RECOMMENDED

Atoma – Dark Tranquillity 

One of my favorite Metal bands of all time and I didn’t review this, even though I wrote about the singles and everything. Why? Well, I didn’t have much to say about it. If I reviewed it, I would’ve given it a strong 7/light 8 and said something to the effect of “this is another great DT album”. But at this point, there are already ten of those! So even though the music is solid on Atoma, it’s starting to feel like I’ve heard everything I’m gonna hear from them. So I cherry-picked my favorite tracks (“Atoma”, “Forward Momentum”, “Our Proof of Life”, “Clearing Skies”) and moved on. I’m hoping for a bit more surprises next go ‘round! RECOMMENDED

Built to Last – Hammerfall

Power Metal mainstays Hammerfall are on their tenth album now. And if you didn’t already expect a rehashing of the band’s other nine LPs, the third track “Sacred Vow” uses multiple previous song titles as lyrics. Look, if you’re into this type of Power Metal – Priest/Maiden throwback sound combined with corny lyrics about warriors, I can definitely recommend Hammerfall’s Steel Meets Steel compilation from 2007 (particularly the second disc). But this record here? You don’t need to hear it. It’s the exact same shit. I’m not gonna say Built to Last is a bad album, ‘cause it’s not a blatantly “bad” album. I just don’t particularly care that it exists. NOT RECOMMENDED

 

 

 

My Summer ’16 Soundtrack: The Top 20 Songs

Well guys, the first day of Fall – or the “autumnal equinox” if you’re pretentious – is upon us, as is our official goodbye to Summer Sixteen. What we’re left with, aside from a month-long hangover and a couple genital warts, is a bunch of memories. More specifically, we’re left with the memories and the songs that accompany them. Seriously, the sheer power of the music-memory connection is mindblowing. (Example: two years ago, I had a severe panic attack in the middle of the Taconic Parkway in upstate New York while Wiz Khalifa’s “Bout Y’all” was playing, and to this day, I still can’t hear that track without losing my shit. It’s a shame, ‘cause it’s a banger.) This potent connection is bested only by the smell-memory link (Olfaction to Hippocampus), which any Neuroscientist will get a sizable boner explaining to you.

So whenever a meaningful chapter in my life closes, it always gets me thinking: what was my soundtrack? What are the songs that, until my liver finally calls it quits or an ex-girlfriend stabs me in my sleep, are gonna be intertwined with the good, the bad, and the ugly of this time period in my life? With Summer Sixteen coming to an end, I reached into the depths of my neurotic mind and these are the songs I yanked out. Below are brief thoughts on each one, and I’ve even compiled a Spotify playlist at the bottom for your listening pleasure.

This is what my Summer sounded like, and consequently, it’s what soul crushing nostalgia is gonna sound like for me in 2040. What did yours sound like? Let me know in the comments. I hope you’ve already given day one of Autumn a swift kick in the ass! Peace out Summer Sixteen!

(Girl We Got A) Good Thing – Weezer

If you ever wondered what summer “sounds like”, here’s your answer.

Sometimes – Ariana Grande

My favorite Pop song of the entire year. Max Martin’s impossibly smooth production reminds me of his work on Backstreet Boys’ Millenium.

KISA – Rittz

On Rittz’s brilliant, hard-hitting Top of the Line, the sappy love song also happens to be my favorite. Bite me.

Roses – Carly Rae Jepsen

Every single track on last month’s Emotion: Side B EP is a contender, but “Roses” takes the cake for me. It’s moody by Carly Rae standards, and perhaps that’s why I have a slightly deeper connection with it than peppy songs like “First Time”.

Everything– Atmosphere

Slug’s hyper self-aware rhymes and Ant’s knocking production make this a quintessential Atmosphere track.

Do You Mind – DJ Khaled

I love this sensual banger from DJ Khaled’s absurdly hyped Major Key LP. The production is a bit of a call back to Rich Gang’s “Lifestyle”, and Future’s guest verse is low key one of the best moments of his career.

Collapse – Vektor

Vektor’s Progressive Thrash opus Terminal Redux is still my number one Metal album of 2016 thus far. And yes, it’s fucking blistering, but it’s actually the LP’s pseudo-ballad that I’ve found myself coming back to the most.

Shelter –Porter Robinson & Madeon

 My two favorite EDM artists broke the Internet with this collaborative single, and it sounds exactly how I had hoped – like Madeon’s Adventure and Porter’s Worlds enjoyed some good ol’ passionate shtupping.

John Muir – ScHoolboy Q

Q’s menacing delivery and Sounwave’s throbbing boom bap – complemented by a touch of Jazz in the hook – are a lethal combination.

Whatever, Wherever – Band of Horses

Another stare-up-at-the-stars-and-think-about-life song from Band of Horses. Gorgeous, calming…everything I’ve come to adore about “Factory”, “Infinite Arms”, “The Funeral”, and the softer moments in the band’s catalogue. I often wonder if other listeners extract the same mood from these songs that I do – if not, chalk another thing up to my weirdness.

Hologram – Crown the Empire

 Histrionic metalcore angst at its most shameless. Normally it doesn’t fly with me, but “Hologram” is so fucking catchy.

Night Drive Loneliness – Garbage

Over two decades after their self-titled masterpiece, Garbage are still killing it. This standout from their new record Strange Little Birds – which came out in June – is the perfect sonic execution of its titular concept.

Stranded – Gojira

In stripping down their pulverizing sound for something a bit hookier, Gojira took a huge risk with Magma, the band’s sixth album. But it’s the most commercial song on it that ended up being my favorite!

 Cleaving Giants of Ice – Revocation

The mammoth closing track from Great Is Our Sin proves that Death Metal and clean vocals DO mix when done right! Prominent Enslaved influence here.

Stole the Show – Kygo

Overall, I was pretty turned off by the excessively commercial sound of Kygo’s debut, but “Stole the Show” was, ironically, my most beat-to-death party song of the summer ‘16.

Dive In – Pierce the Veil

I’ll give Pierce the Veil the gold medal for biggest surprise of 2016 thus far. I usually avoid verb-the-noun bands like the plague, but their new record Misadventures and its explosive opening track are undeniable.

The Fighter – Keith Urban

As with Kygo, I hated the album, but fell in love with a select track. “The Fighter” is a powerful duet with Carrie Underwood.

Something’s Off – Hatebreed

One of the very best songs of Hatebreed’s two-decade career. What a monstrous main groove! And in the bridge section, Jamey Jasta’s foray into clean singing is an absolute triumph.

Ideology is Theft – Saosin

For some reason, the bridge in this song yanks a tremendous amount of emotion out of me every single time I hear it. That addicting lead guitar riff in the chorus doesn’t hurt either.

Love Drought – Beyonce

 This is the song Drizzy Drake wishes he could pull off

 

Volbeat’s “Seal the Deal & Let’s Boogie”: Three Singles Deep

Is Volbeat going to be Rock’s next arena act? It’s a conversation that needs to be had. If Five Finger Death Punch can do it, I don’t see why Volbeat couldn’t. In addition to having toured with the likes of Avenged Sevenfold Anthrax, and FFDP themselves, they’re coming off two straight highly acclaimed, exciting Hard Rock records. Both 2010’s Beyond Hell/Above Heaven and 2013’s Outlaw Gentlemen & Shady Ladies struck an impeccable balance between credibility and commercially viability.

Over 3 years since it came out, I still can’t get enough of Outlaw Gentlemen & Shady Ladies. It’s got infinite energy and endless hooks, and isn’t quite sure whether it wants to be a Rock or Metal record, which affords it considerable breathing room. Active Rock radio listeners eat it up, metalheads (particularly old-school ones) can vibe with it, and the occasional mainstream listener gets pulled in as well. I may be reaching a bit, but it all feels Foo Fighters-esque. I don’t think we’re anywhere close to the peak of Volbeat’s upward trajectory.

Of course, whether this momentum continues is dependent on Seal the Deal & Let’s Boogie, the band’s sixth album set to drop this Friday, June 3rd. Currently, all we have to go on is three pre-release singles. So how is Volbeat’s highly anticipated new LP looking thus far?

The Devil’s Bleeding Crown: I already discussed this one when it dropped in early April. It’s the first single and opening track on Seal the Deal & Let’s Boogie, and it keeps things basic: basic hooks, basic riffs, and predictable structure. It’s solid Rock and Roll through and through, just safe. Michael Poulsen’s voice is as powerful as ever, and this single’s Active Rock radio success is imminent, but I’m getting nothing new out of it. And I could definitely do without that horribly cheesy clapping section.

The Bliss: Self-replication in music is an interesting phenomenon. Is “ripping yourself off” against the rules? Considering the careers of AC/DC, Motorhead, and Slayer, I suppose not. So it shouldn’t matter that certain parts of “The Bliss” earn the song its “Lola Montez 2.0” moniker. The blatant similarities to “Lola Montez” did irk me at first, but the more I’ve listened, the less bothersome it becomes. “The Bliss” is distinct enough from its predecessor, and it’s a lot of fun. It’s a love song of sorts, bursting with positivity and sugar-sweet vocal harmonies. The thumping banjo-centric bridge is an adventurous yet appropriate breather. All in all, the track works. Not to say Volbeat hasn’t “done this before”, but at least it’s less bland than “The Devil’s Bleeding Crown”. Oh, and an alternate version titled “For Evigt” is also available. Check that one out too.

Seal the Deal: My favorite of these 3 singles. Its lead riff is fairly standard sleaze-rock, emitting copious party vibes. The energy never lets up, even as the bridge section slows the tempo momentarily. The chorus is fittingly hook-y, including a well-calculated key change for the song’s final moments. Rob Caggiano serves up a ripping solo as well. Again, not reinventing the wheel, but “Seal the Deal” executes so damn well.

If all thirteen tracks on the LP resemble what we’ve heard thus far, then redundancy is going to be a weighty issue on Seal the Deal & Let’s Boogie. This 3-track sampling suggests we’ll be in for something enjoyable, but nothing special. While we’d all prefer special, enjoyable is not the end of the world. I guess we’ll have to wait and see.

 

 

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.

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.