Testament – Titans of Creation Album Review

What’s up guys! Time for album review number seven for 2020. This time around I’m digging into the thirteenth studio album from Thrash Metal legends Testament, who seem committed to only dropping new music while the country’s trying to pick a new president.

Looking back at 2016’s Brotherhood of the Snake (or in Testament’s terms, the “Trump album”), I significantly overrated it in my review. It was actually the band’s weakest release of the 21st century thus far, and I’ve been crossing my fingers that Titans of Creation (the “Trump v Kamala” album….ok fine, the “Trump/Biden/his secret female VP” album) blows it out of the water.

Well, did it? Is this Testament’s lucky thirteenth album? Check out my detailed thoughts below:

Trivium: Top 10 Deep Cuts!

What’s up guys! Ahead of the release of Trivium’s ninth album What the Dead Men Say next Friday, I decided to dive headfirst into the Trivium catalogue for another “Deep Cuts” video.

I did this with Slipknot and then Avenged Sevenfold and had an absolute blast both times, so I figured why not with Trivium too? But since Trivium have been so good to their fans in terms of keeping their live setlists interesting and always playing under-appreciated songs, I had to switch up the criteria this time for what exactly a “deep cut” is, which will likely spark some lively debate in and of itself.

But I’m super proud of this list I’ve put together – it runs the gamut of the band’s near 20-year career and serves as a great warmup for my forthcoming What the Dead Men Say review. Check out the full video below:

Annihilator – Ballistic, Sadistic Album Review

What’s up guys – coming at ya with another review! This one is a must-watch for the Thrash fanatics.

In this video I dissect album number 17 from Canadian Thrash Metal veterans Annihilator. As I talked about years ago, Jeff Waters and co.’s 1989 debut Alice in Hell remains a high water mark for the genre’s more technically proficient Second Wave. Though I’ve popped my head in on a few of the band’s recent releases – most notably 2015’s Suicide Society – Ballistic, Sadistic was my first time really SITTING with a full-length Annihilator release in quite some time.

So how did it stack up? Is this the swift kick in the ass 2020 needed in order to hit the ground running? Watch the full review here:

 

Machine Head – Do Or Die Track Review

God, this was so fun.

As anybody in the Metal universe knows, the release of Machine Head’s brand new clunker “Do Or Die”, has caused an absolute shitstorm. Between the extremely childish “beef” that ensued between frontman Robb Flynn and Edsel Dope, to the band’s own fans turning on them, to Flynn’s remarkably poor grammar in his Instagram tirades, it’s been a long week for Machine Head fans. And here to break it all down is yours truly.

The main goal of this video was to point out all the things that are wrong with “Do or Die” that nobody else seemed to catch, amidst the (admittedly) highly entertaining level of petty in the various fan reactions to this track.

Also, if you’re a Machine Head fan, I’ve published a lot of content on the band. Be sure to check out my Catharsis review, my Machine Head Discography Ranking, the Name That Machine Head Song segment, and other rants where I respond to Flynn’s often politically-charged lyrics.

Full “Do or Die” track review below:

Essential Metal: Testament – The Gathering

What’s up, guys! Hope you’re having a great Labor Day weekend.

Today I’m super excited to resurrect my Essential Metal series, in which I dissect Metal albums from all subgenres that I believe every metalhead MUST own! This time around it’s Testament’s stone cold classic The Gathering – which, as I explain in detail, is a modern Thrash Metal benchmark that directly paved the way for The New Wave of American Heavy Metal, as well as supercharged Thrash revivalists like Vektor.

I also dig briefly into some Big Four talk, as well as Testament’s broader history as one of the so-called “Next Big Four”. You don’t want to miss this one! Check it out here:

 

Top 10 Mid-Year Albums of 2019: METAL EDITION

Hey guys, it’s finally time for our Mid-Year Lists! I actually put these together in late June, but July got crazy and I haven’t had time to edit the footage and get it up on YouTube. Part 1 is our Metal list, featuring an AMAZING slew of releases ranging from heavy-hitters like Periphery and Baroness to criminally underrated music from the likes of Astronoid and Numenorean. Also featuring the…ehm…”colorful” commentary from yours truly, as always.

Check out the full video below, and let me know your picks! Non-Metal list coming soon too!

 

Justin Bieber vs. Tool: RANT

Hey guys, so just in case you were doing productive and valuable things with your time over the weekend, you missed a bit of a “news story”. No seriously. Apparently this was news-worthy, given that Billboard and a whole other host of outlets devoted “news stories” to it (which basically consisted of screenshot-ing a tweet and adding in a snarky joke or two).

Anyway, I was triggered by this whole Bieber/Tool situation. Not because of anything that happened here necessarily, but it set me off about Metalheads, Metal culture, Alex Skolnick, and a bunch of other shit I just needed to get off my chest. Below is the full rant:

Machine Head’s “Catharsis”: Four Singles Deep

Guys, Machine Head are about to be polarizing again. I couldn’t be more excited.

Since the much-maligned Nu Metal detours that nearly destroyed this band’s career in the late ‘90s and early 2000s, Machine Head’s last fifteen years have been nothing but smooth sailing, both critically and commercially – 2003’s Through the Ashes of Empires was the ferocious comeback record that brought them back from the dead, 2007’s The Blackening was labeled a modern Thrash “masterpiece” by well, several pretty important people (e.g. James fucking Hetfield), and 2011’s Unto the Locust and 2014’s Bloodstone & Diamonds were also pretty much unilaterally well received. Well, the buck stops here. Enter the Bay Area titans’ ninth LP, Catharsis.

 It’s not even out yet and everyone’s already up in arms. For God’s sake, Blabbermouth reviewed the record and gave it a 5.5/10. I haven’t read the actual review (because I prefer to read, you know, WRITING…not whatever those hacks on that site try to pass off as music criticism), but on a site that gives everything a 9.5, a 5.5. is like a 0.

So far, the general public has only been made privy to four of the album’s fifteen tracks, and personally, I think the debate is just getting started. Based on what I’m hearing, I still think Catharsis has a chance to be good. I really do. Machine Head are clearly taking some risks, but that’s not inherently a bad thing. It’s too early to tell whether all of this vitriol is justified.

I’m just excited as hell to review this album – I can tell that it’s gonna create a big fissure in the group’s fanbase, and that whole process of watching everybody fight it out and figuring out what side you fall on…well, it doesn’t get any more fun than that. Look out for the full review coming soon to my YouTube channel!

In the meantime, here are my thoughts on the four pre-album singles, in the order they were released:

Beyond the Pale

Released back in mid-November, “Beyond the Pale” was the public’s first taste of Catharsis, and it was immediately greeted with a tidal wave of negativity, particularly regarding the main riff’s striking similarity to the Strapping Young Lad classic, “Love?”. Personally, the whole plagiarism thing actually didn’t phase me – what did bother me was how quickly the riff gets watered down by such incessant repetition (after all, it’s used for the verses AND the chorus). And sadly, that riff is the only memorable aspect of this otherwise underwhelming single. The pre-chorus is sluggish, the dual harmonic guitar solo could’ve been recycled from any of the band’s last four records, and lyrics like “I found my heroes/the freaks and zeroes” are a turn-off as well. Though far from a disaster, “Beyond the Pale” was not a good first look.

Catharsis

Despite feeling like the Internet is constantly looking over my shoulder and shaming me for it, I have been enjoying the fuck out of the title track. Not only is it far and away the best of these four singles, it’s an excellent Machine Head song period. With an inspired vocal performance from Robb Flynn (who seesaws between the heavy and melodic like the seasoned veteran he is), an infectious verse riff, a rousing breakdown, and a future staple for live sing-a-longs (“can you feel my Catharsis?”), this one is a home run. And to be quite frank, for all the talk about Machine Head changing their sound, “Catharsis” does very little to tamper with the band’s formula. This is classic Machine Head. Everyone who says otherwise is buggin’.

Bastards

So “Bastards”, which I recently used to make a larger point about music and politics, might be the most “different” track of Machine Head’s entire career. The divisive anti-Trump lyrics aside, the way this song begins by layering spoken-word vocals, folky acoustic guitars and finger-tapped electric guitars is undeniably unique. And to complicate things further, the tune is based around one of the poppiest chord progressions in all of music – so if it occasionally feels like a Pop song, that’s because it was written like one.

I had no idea how to feel about this little ditty for a solid week, but after about 25 fucking listens, I’ve finally decided that I like it. Sure, I could definitely do without the “no no no no” bridge, and I could do without the good guy/bad guy liberalisms, but the messages that this track ultimately sends – messages of love, inclusivity and optimism in the face of this nation’s uncertain future – are something I can get behind 100 percent. And, let’s be honest, when Flynn sings “don’t let the bastards grind ya down”, I can’t help smile as I think of Lemmy from Motorhead grunting that same refrain on the band’s classic Iron Fist album.

Kaleidoscope

Is the cringe-inducing “get your middle fingers in the air refrain” a tough pill to swallow? Sure. Is the hand clapping that goes along with it even worse? Definitely. But in between the cracks, “Kaleidoscope” does manage to squeeze in some trademark Machine Head riffing – the rhythm guitars bring a walloping Thrash/Groove Metal mixture and even throw in some of their signature “alarm clock” harmonics in the bridge for good measure. I also enjoy how Flynn and Co. are not afraid to add a little grandeur to the song in the form of some tastefully placed key and string parts. Though it’s not without its low points, overall “Kaleidoscope” comes out on top for me.

Trivium’s “The Sin and the Sentence” Single

Nearly two years since 2015’s risky, deliberately minimal Silence in the Snow, the most hateable Metal band on the planet is back with LP number eight, and – I can only assume – another polarizing sound.

Silence in the Snow was perhaps Trivium’s sharpest, ballsiest left turn since 2006’s wildly controversial The Crusade, the infamous record that saw vocalist Matt Heafy abandon the heaven-and-hell scream/sing approach that was prevalent at the time for an opportunity to do his best James Hetfield impersonation. Silence of the Snow found the band once again scrapping their signature screamed vocals from the playbook and intentionally writing simpler, more melodic songs as a way to emulate ‘70s and ‘80s greats like Rainbow and Iron Maiden. The experiment had mixed results, but I admired the effort. I always prefer bands try something new.

Fast-forward to August 2017, and we have “The Sin and the Sentence”, the first single from the Floridians’ as-of-yet untitled eighth album. Being the rebellious, mischievous bunch that they are, they decided to put it out on a Tuesday instead of, you know, Friday, the widely designated day of the week to launch new music. So punk rock.

As with pretty much every Trivium release, you can’t compare this new sound to any one record of theirs. While the “The Sin and the Sentence” maintains the emphasis on Heafy’s (increasingly powerful) clean vocals, the music is significantly heavier this time around. New drummer Alex Bent brings an urgent intensity to the track, complete with rapid-fire bursts of double bass and even a few traditional blast beats tossed in for good measure. His relentless athletics in the song’s epic twin-guitar intro give it a bit of an Arch Enemy flavor.

The catchy, groovy chorus finds Heafy in a duet with himself, as he overlaps clean and harsh vocals in a snappy call-and-response. To be honest, this memorable section helps distract from some of the track’s shortcomings; for starters, from a guitar standpoint, many of the musical ideas presented here are blatantly derivative. The pedal tone riff at 3:05 is not only boring but CERTAINLY recycled, as is the similarly generic riff at 5:25 (also, during the latter, why does he feel the need to randomly yell “FUCK!” for no reason?)

The harmonized neo-classical lead riff at 3:37 is also suspect, and adds to my growing suspicion based on recent albums that the band are simply OUT of new solo ideas. Lastly, I gotta take issue with that dumb three-chord palm-muted progression that kicks off the first verse; it makes me feel like I’m listening to a Pop-Punk band.

All things considered, however, “The Sin and the Sentence” is a step in the right direction for the band. I don’t want to speak too soon, but on my first handful of listens, I’d consider this the best Trivium song since 2011. It brings melody and aggression in equal doses, it’s a bit more indulgent and technical, and it re-introduces some exciting elements to the Trivium sound, most notably Alex Bent’s blast beats and some good ol’ Metalcore riffing (if a bit unoriginal). Looking forward to hearing more from Trivium in the coming months!

June 2017 Album Round Up!

Wow, we’re halfway through 2017?! It feels like just yesterday that I was at a Virginia Tech New Year’s party making tasteless school shooter jokes.

What a crazy year 2017 is so far. I’ve probably been the busiest I’ve ever been in my entire life. Psychology says that busier people are happier, but I think the jury’s still out on that! I wouldn’t have it any other way though. The older I get, the more the whole “free time” thing starts to feel toxic to me. We’ve got such finite time to do everything we wanna do, so unless I’m hanging out with friends I always have to be working on something. Even if it’s re-listening to the first three Carcass records for the billionth time trying to rank how much I like them.

By the way, if reading this Round Up just isn’t enough for you, and you need more Panny in your life, you should definitely check out my guest appearance on the Surreal Resolution podcast, where I participated in….well, a June 2017 Album Round Up! (ya boy starts rambling at the 01:24:00 mark).

For real though, this was a fantastic month for new music! If you’re a Metalhead, there was Goatwhore, Dying Fetus, and Iced Earth. If you’re a Hip-Hop head, there was 2 Chainz and Vince Staples. If you like Pop music, Lorde dropped a gem. Pop-Punkers got some new music from All Time Low, indie folk got some Portugal the Man….we’re all sitting pretty right now. So thank you, music industry. You don’t always let me down.

 

 Last Young Renegade – All Time Low

 Having skipped over these Pop-Punkers’ last couple outings, I decided to pop my head back in and check out Last Young Renegade, their seventh album. And while it’s a pretty lightweight, run-of-the-mill Pop-Punk-but-mostly-Pop affair, there are a few exceptional standouts that make it worthwhile, like the hungover rockstar identity crisis of “Life of the Party”, or the Tegan and Sara collab “Ground Control”, one of my favorite songs of the year. Here is a full review. RECOMMENDED

 BEAUTIFUL THUGGER GIRLS – Young Thug

 He may be one of the most polarizing figures in Hip-Hop right now, but regardless of how you feel about him, you can’t deny that Young Thug has been fun to watch. BEAUTIFUL THUGGER GIRLS is the eccentric cross-dressing MC’s much-discussed “singing album”. Although the cover art is ominously reminiscent of Lil’ Wayne’s disastrous “rock album” Rebirth, BEAUTIFUL THUGGER GIRLS is actually awesome! I was shocked that I liked it, but Thugger’s playful experimentation and impressive sense of melody carry these tunes effortlessly. Cut out a few filler tracks, and this would’ve been one of my favorite albums of the year. Here is a full review. RECOMMENDED 

Incorruptible – Iced Earth

 On their twelfth studio album, Jon Schaffer and Co. are still churning out quality classic-leaning Metal with an extra Thrashy kick to it. This record can get downright ferocious (“Seven Headed Whore”), but the band can bring it down for some powerful melodic moments as well (“The Veil”). Definitely give this a listen if you’re on the hunt for vintage-sounding Metal with heavier, more modern production. RECOMMENDED

 Wrong One to Fuck With – Dying Fetus

 The first release in five years from these Death Metal titans is as relentless and crushing as the genre gets. My favorite thing about Dying Fetus is how they balance different shades of aggression – this record is super noodl-y and tech-y in spots (check the middle of a song like “Seething with Disdain”, for instance), but it’s also got a ‘90s Death Metal stomp at times (“Panic Amongst the Herd”), it’s got slam parts, and perhaps my favorite Dying Fetus signature, the Hardcore-influenced mosh riffs. One of my favorite Metal albums of the year so far. Here is a full review. HIGHLY RECOMMENDED

 Evolve – Imagine Dragons

 Though an improvement on 2015’s Smoke + Mirrors (which I found to be an uninspired dud), Imagine Dragon’s third record still leaves a lot to desired. The choruses are repetitive, the singles (“Believer” and “Thunder”) are unbearably corny, and even though this LP was supposedly born out of a period of emotional turmoil for frontman Dan Reynolds, the heartache doesn’t translate into something I can connect with. Here is a full review. NOT RECOMMENDED

 Pretty Girls Like Trap Music – 2 Chainz

 “I got a bank account/got anotha bank account/got anotha bank account,” boasts 2 Chainz in the single greatest line of his career. Kidding aside, Pretty Girls Like Trap Music is the unexpected artistic peak of this man’s career. It takes everything the Trap genre strives for – banging beats, swaggering flows, hard-hitting hooks, and a rugged, hyper-masculine aesthetic – and rolls it into one record. I’ve never been a 2 Chainz fan, but he sold me with this one. HIGHLY RECOMMENDED

Heart Break – Lady Antebellum

 Every month I try to give a couple Country records a chance in the hopes that I’ll be pleasantly surprised. A couple Mondays ago I was mowing my lawn and needed a soundtrack, so I picked this one. To my delight, I enjoyed a lot of what I heard. It’s definitely cut from the same cloth as a lot of the Pop-Country that I’ve been bashing for years, but the male-female vocal interplay adds a little extra, and I’ve found myself hypocritically enjoying simple, hook-heavy cuts like “The Stars” and “Heart Break”. RECOMMENDED

 Return of the Don – Kool G Rap

 At nearly fifty years old, Kool G Rap proves once again on Return of the Don that he is one of the most vicious MCs to ever touch a mic. Though not as narrative-driven as some of his classic ‘90s output like Live and Let Die or Roots of Evil, G Rap still brings his signature brand of ultra-violent technical rhyming over some the of the best beats of his career courtesy of MoSS, who produced the entire thing. Here is a full review. RECOMMENDED

 Hydrograd – Stone Sour

 So frontman Corey Taylor went ON AND ON AND ON in the press about this being a big departure for Stone Sour in that it’s a “straight ahead rock and roll album”. He’s kind of right – parts of this album really fulfill that promise, and others are an awkward mish-mash of Rock and Metal elements. But despite that, and the fact that the track list takes a nosedive in quality towards the end, Hydrograd has enough highs – the anthemic title track, the moody mid-tempo number “The Witness Trees”, the lovely steel-guitar tinged ballad “St. Marie” – to outweigh its lows. Here is a full review. RECOMMENDED

 Boomiverse – Big Boi

 Even though Big Boi is one of my favorite MCs of all time (a while back I TALKED ABOUT how important his first solo album Sir Lucious Left Foot is to me), I had a tough time getting into this one. I got soured early on it by a cringeworthy Adam Levine appearance on “Mic Jack” (for God’s sake, keep this man AWAY from Hip-Hop!) and the album’s lack of strong hooks only gets more apparent from there. Big Boi’s rapping is still on point – great at times, on tracks like “Order of Operations” – but I don’t find any of the songs sticking with me. NOT RECOMMENDED

A FEW MORE:

LIKE:

Vengeful Ascension – Goatwhore

Woodstock – Portugal. The Man

Funk Wav Bounces Vol. 1 – Calvin Harris

Unparalleled Universe – Origin

Big Fish Theory – Vince Staples

Melodrama – Lorde

DON’T LIKE:

Hopeless Fountain Kingdom – Halsey

Wolves – Rise Against

Witness – Katy Perry

Grateful – DJ Khaled