Another week where I don’t feel like writing. Deal with it, suckers.
Another week where I don’t feel like writing. Deal with it, suckers.
Not a high-traffic music time again, and writing’s just not something I feel like doing. Better luck next week!
Alter Bridge – One Day Remains: Although One Day Remains is the Creed-est of Alter Bridge’s albums, there’s a muscular heft to the heavy songs which Creed never managed believably and, as a rock vocalist, Myles Kennedy’s a lot more Ian Thornley than Scott Stapp on this one.
Nightingale – White Darkness: The least interesting but most expensively out of print Nightingale album. White Darkness has a share of good songs — “The Fields of Life”, “Trial and Error”, “Wounded Soul” — but it also feels like a puzzle missing the pieces which would bring its picture into focus.
Anathema – The Optimist: Still planning to edit together a new version with the bonus demos and live tracks replacing (most of) the final studio versions. The Optimist is not an album which has stuck with me in any other sense.
Alice Cooper – Hey Stoopid: Dipping a toe into Alice Cooper’s pop-metal run. After one trip through every album between Constrictor and this one, I’d say they all bank some highlights, but Hey Stoopid is the best and most consistent of the batch.
Alice Cooper – Trash: Whereas Trash peaks right off the bat with “Poison”, then spends the next nine songs clutching for its brass ring and failing to take hold.
Mutoid Man – War Moans: Week two.
Art of Anarchy – Art of Anarchy: The one with Scott Weiland. A surprisingly nothing record where Weiland sounds indifferent and sings plodding, go-nowhere songs from behind a battery of effects and filters.
Art of Anarchy – The Madness: The one with Scott Stapp, which has his highest average rating at RateYourMusic and in many ways represents a substantial step up for Art of Anarchy. If you’re into radio metal — I have my moments — then you’d actually want to hear about half of this again, although the second side gets bogged down too hard in cloying balladry about Stapp’s latest self-pitying rise from the ashes.
Nightingale – Alive Again: Much better than White Darkness.
Real talk: was not in a musical mood for most of the week, am not in a musical discussion mood tonight.
Mutoid Man – War Moans: Where Cave In and Motörhead converge to get ripped to the tits on wild psychotronics, that’s where you’ll find Mutoid Man’s War Moans snorting rails in the back. You think, by the end of “Melt Your Mind”, that this might be a great record. By the time the ashes of the album-closing sort-of-ballad “Bandages” have finished smoldering, you’re sure that it is.
Unleash the Archers – Apex: Yup. Again.
Ten – Gothica: Sure, the last few albums had bodacious Celtic war-babes or pirate wenches on the covers, and check-out-that-hot-babe-in-stockings horniness has maintained a fairly consistent percentage of Ten’s songwriting down the decades. But there’s something about dropping “In My Dreams” — a rolling name-drop of fictional pop culture babes young Gary Hughes either did have wet dreams about or could have had wet dreams about — between an epic historical song about Henry VIII (“Man for All Seasons”) and one which surprisingly captures some of the melodic mid-80s King Diamond chug (“The Last King of Winter”) which feels like a far-too-revealing cry for help. That’s not the only song on here worth digging into on those terms… nor really even the only one which makes you wince like Gothica is melodic rock’s very own answer to Pinkerton. Gonna be interesting spending more time with this over the weeks to come.
Life of Agony – A Place Where There’s No More Pain: It’s their best album since Soul Searching Sun, at the very least. Considering the long road Life of Agony’s walked over the last twenty years, that’s actually saying quite a lot.
Brother Firetribe – Sunbound: So many iconic rock figures died in 2016, even throwback-AOR guys like Brother Firetribe are writing songs commemorating their lives and legacies.
Night Ranger – Don’t Let Up: Some of this is a really good album… and some of this is an album I’d be quite happy not to hear again. Which side will win out over time? Stay tuned, maybe. Who knows.
One Desire – One Desire: This week it became very clear that if you reworked a couple of lyrics, and had a bunch of plucky, focus-grouped teenagers performing it instead of hairy Finnish dudes, One Desire could be making mad fucking bank as a Radio Disney pop band. Just listen to “Love Injection” and tell me I’m wrong.
Nightingale – I: The third album in the Breathing Shadow story cycle, a prequel to the first two albums, and — oddly enough — the one from the early going about which I have the least opinion. It’s… good. If you like hard rock, if you like prog rock, if you like AOR, or if you like Dan Swanö, you should seek it out. But I heard this thing two times in a row one day and I swear the only thing I really remember about it is the organ groove on “Remorse & Regret”… and that probably ’cause I took time out to mention it on Facebook.
Anathema – The Optimist: An interesting phenomenon: I paid out for the deluxe hardback limited edition version of The Optimist, right? Turns out, I actually like the various demos and live versions of the songs which come on that exclusive bonus more than their full album counterparts. Songs which leave no impression at all on the album seem larger and more resonant in those scaled-back forms. Gonna keep listening to try and figure this out, ’cause this is not my usual listening experience.
I’ve been spending a lot of money on CDs and Bandcamp downloads lately, and that’s a lot of new-to-me music to parse and process. As a result, this week’s grid, next week’s grid, and who knows how many more grids in a row might be more eccentric and irregular when it comes to what’s getting played.
One of the reasons this first part of last year’s favorites list hasn’t been posted yet — writing this introduction. Trying to find a narrative among your musical choices is sort of what you have to do if you’re going to write these up, but this is music we’re talking about here. In broad terms, the medium’s expanding so fast in all directions these days we may eventually see the entire market Big Rip itself to heat death. What narrative?
My best-fit alternative: heavy metal, my fallback musical fix of choice, has so many albums being released across so many styles that there’s no feasible way to gatekeep. Complain about Deafheaven as the death of metal if you must, but there are so many other things to listen to that if you can’t find enough to enjoy, it’s probably more to do with you than with “the scene” being dead.
And as far as obligations to be “objective”, well, hell with that. In 1987, there were about 150 metal LPs released. You could have had an objective education in everything released by the end of the year, at least enough to render a subjective opinion about what’s good and what’s not good. Three to four times that many metal albums came out last month alone. It would take more than eight albums a day, every day, all year — no second spins, no exceptions — to hear even half of what was released in 2016. To be a truly well-schooled authority nowadays is a physiological impossibility.
So, the prescription: don’t worry so much about all the different metal critics and writers having different discussions about different bands entirely. Don’t worry about people declaring a scene this exhaustively alive to be dead. Don’t even worry about your list coming out on time. Just… like what you like. Hold fast to what you love. Don’t be afraid just to treat your list as a necessarily limited record of “stuff what I liked in the preceding year”.
At this point, that’s pretty much all it’s going to be good for, anyway. Continue reading “Favorite Albums of 2016: Part I”
Unleash the Archers – Apex: Difficult to find something else to say about an album after something like four weeks on the grid. Its continued spot on the top pretty much speaks for itself, anyway.
Algiers – The Underside of Power: On The Underside of Power, Algiers’ churning blend of righteous gospel fire and buzzing, paranoid post-punk gets kicked into the next level. Basically, they’re taking a great, angry bite out of the traumatically fucked-up last couple of years of life on this backwards ball of slowly overheating rock and air we call home, and they’re staring us down with every furious chew.
The Night Flight Orchestra – Amber Galactic: Given my affections for AOR and certain forms of throwback rock, it’s a wonder I’ve managed to avoid hearing a single note recorded by the Night Flight Orchestra before Amber Galactic. Five seconds into the video for “Gemini” on YouTube, however, something inside of me was rising to meet the music like a cat lifting its head to rub against its owner’s hand.
Inglorious – II: I’m not sure if I like II quite as much as the debut, but even if I come down on the “not quite as good” side at the end of this appraisal period, it’s still high-grade, high-octane rock which does nothing to slow Inglorious’ ascent up the Mountain of the New Classic Rock Gods. They’re even on the right side of the brick wall this time, sonically speaking.
Walpyrgus – Walpyrgus Nights: Walpyrgus are situated at the surprising intersection of pop-punk and traditional metal, streaked here and there with AOR highlights. It’s the kind of thing you might have listened to with your pedigree chums on a boombox in the woods in autumn 1987, sitting on your Trans Am’s hood, drinking beer you stole from your dad’s fridge, whiling away your hours on shitty campfire stories. Or it’s the kind of thing you might listen to alone in a dim room on a July night in 2017, finding its lyrical cavalcade of cheerfully guignol horrors an agreeable alternative to brooding in the dark. Either way, you’ll want to punch the air and chant along every time the gang vocals shout “dead girls” on the song of the same name.
Mercyful Fate – Melissa: What you notice, when you go back to Mercyful Fate’s classic albums, is how little any of the bands trying to follow in Mercyful Fate’s footsteps actually sound like Mercyful Fate. There’s more to it than occult lyrics and a singer shrieking out vocals in a bat-like falsetto. There’s Fate’s classic rock riffing — a bit of AC/DC, a bit of UFO, a bit of Motörhead. There’s Fate’s confident mid-tempo stride rather than just blasting along with the double guns as fast as the drummer’s triggered kicks can keep up with. And then there’s Kim Ruzz’s characteristic falling-down-the-stairs drum fills which he plays on almost every song and pretty much no successor — not even Mercyful Fate’s ’90s reunion — has ever bothered to include.
Power Trip – Nightmare Logic: Power Trip rips your shit up like a man in a top hat on a Whitechapel night. Additional note: after crunching numbers on various sites and blogs’ best-of-the-year-so-far lists, Nightmare Logic looks like the closest thing to a consensus album of the year heavy metal has produced so far in 2017… and it’s not even on a third of the lists I’ve collated..
Elder – Reflections of a Floating World: On which Elder follows their stoner-meets-Yes muse even farther off the map. Lore was a damn good album. Reflections of a Floating World is better.
One Desire – One Desire: One of Frontiers’ new sudden-wunderkind AOR bands. Heard it once. Sounded pretty good, although several early tracks were crunched up in the mastering process like a getaway car with a body in the trunk. Have not doubled back to check it again, so who knows where return visits will leave us.
To see Monday Muzaks #1 through 58, go here. Since this is a cross-post, the old numbering system remains intact even though you’re looking at it at a whole new
world blog. Confused? You won’t be after this week’s episode of Soap!
No write-ups accompanying the grid this week. I’m too written-out from half-completed drafts of other things, tell you the truth.