Artist: Exorcist Album: Nightmare Theater Year: 1986 Genre: Thrash Metal
Exorcist is a band I stumbled upon through what I will fondly refer to as “experimental
purchasing.” During the period from the
mid-1980s to the early 1990s, I was essentially purchasing everything under the
sun that bore even a slight connection to the genres I loved. For example, I would buy an unknown band’s
record if I saw another band wearing their t-shirt. Or I would buy a
band just because of the label they were associated with, or how they wrote
their name, or if they had an ad that I saw, or if they looked cool, and on and
on and on. Sounds crazy in 2025, right? These seemingly
ridiculous qualifiers played such a huge part of what we had back then when it
came to underground music. Compilations
were useful, but not every band ended up on one. Reviews in zines definitely helped, but they
couldn’t cover everything. There was
tape trading, which, at least for me, got old after a couple years. The main point is that there weren’t any real
ways to hear a band before your purchase.
Luckily there were a few incredible independent record stores in my area
that carried bands that were very much off the beaten path. Your hard-earned money was constantly at
risk, but it was also fun and exciting! The
phenomenally gory, Savini-esque cover art was the driving force behind me picking
up Exorcist’s Nightmare Theater and I’ve never regretted it for a
second. Horror-drenched thrash metal that owes a lot to the
influence of Venom, Exciter and Kill ‘Em All era
Metallica. Lyrically, everything on this record plays out like
Saturday afternoon, low budget, silver screen horror movie; witches,
sacrifices, the devil, possessions, priests, flames, motorcycles all get into
the act while being delivered in a faux death metal style. The
legend and lore about Exorcist being a real “band” was part of the fun, but now
the truth is now well documented. Real, or fake, or whatever they
were, the world ended up with an album of barbaric old school metal that will
put a smile on any thrasher’s face.
Top 5 Contenders: AnciientsBeyond The Reach Of The Sun CavaleraSchizophrenia IhsahnIhsahn LeprousMelodies Of Atonement UlcerateCutting The Throat Of God
As I stumble into my fourth
time of doing this Top 6 album list, I’m seeing a pattern emerge since 2021. I don’t think it’s because I only like
certain bands, but I suppose it could be. This year I have two bands repeating in my Top 6. I guess they’re just that good! For certain, Cavalera and Leprous are that
good. Previously, Ihsahn placed as the
best of 2016 with Arktis in my Favorite Albums From 1970 Through 2024
post so it’s no shock he’s included this year.
Maybe I’m just not inclined to venture beyond my established preferences
these days. Maybe other bands should be
putting out better records. I’ll roll
with that. I’ve changed my choice for
Album Of The Year 3 times already, but easily and without a doubt my favorite
album of 2024 goes to The Cure.
They sent a huge lightning bolt with Songs Of A Lost World to cut
through my confusion. It’s not often
that we are graced with a new record by the world’s most revered
alternative band. With a lengthy 16-year
hiatus, it better be great, right? Be
assured, it is and it’s everything you want from them; especially for those who
appreciate their duskier aesthetic. Songs
Of A Lost World is their best material since 1992’s Wish and can
easily hang with their other pinnacle releases.
I’m captivated by The Cure’s greatness and this album. My initial pick for top album was from Ihsahn. His self-titled opus is a swirling adventure
in avantgarde black metal. As I noted in
my review, he embodies innovation, relevance, uniqueness, and danger. It’s how he writes and it’s exactly what
defines him. The album is phenomenal and
breathes life into a sometimes stagnant metal realm. The second time I changed my pick for top
spot was when Leprous dropped Melodies Of Atonement. This freaking record lived on my turntable
for at least a month straight. The power
and dynamics conveyed on this recording are bananas; off-the-charts, next-level
stuff from Einar and company. Their
prog-pop amalgam becomes stronger every record.
Next…I’ve made my negative opinions about re-recorded albums known, but,
yet again, another re-recorded album from Cavalera is in my favorites of
the year. I felt that Schizophrenia
was right on that boarder of, “yes, we should record it one more time” and “no,
it doesn’t need it.” Well, they made the
absolute correct choice since it crushes the original. Now they can stop. I truly have appreciated the three
re-recordings they’ve done, but please, Max and Igor, leave Beneath The
Remains alone. Out of nowhere Anciients
delivered a knockout with Beyond The Reach Of The Sun. Rising from the dead after 8 years of
silence, the band returns with what is easily their best album. They’ve dropped much of the overly obvious
early-Mastodon influence and now focus on
their progressive tendencies while embracing a even more aggressive sound. This is heavy.
I
cannot say enough positive things about this album! The song structures are amazing and the use
of clean and death metal vocals are executed flawlessly. I’ll go here...I was under the impression I’d
be writing about the new Opeth album in my top 6. Well, Anciients wrote the Opeth album I was hoping
for this year. While prog metal often
risks sounding contrived or overly complex, Anciients strike a perfect balance
between sophisticated composition and maintaining a high level of energy, ensuring
the listener’s engagement throughout.
With an album this good, I’m willing to wait another 8 years for the
next one. I’m writing about Ulcerate
last, but they are definitely not least.
This year, every extreme metalhead is drooling on themselves about the
new Blood Incantation release, while Uclerate’s Cutting The Throat Of God
is seething and pacing frantically in its cage waiting to escape and annihilate
any death metal record released in 2024.
For the fucking life of me I cannot understand how this band isn’t one
of the larger acts of the genre. Their
quality of output is relatively unrivaled and they just continue their upward
trend on every release. The relentless
nature of this record is accompanied so well by the melody intertwined in the
technical and avantgarde chaos. Although this is Ulcerate through and through, I'm hearing hints of Deathspell Omega which is neither a bad thing nor easy to accomplish. Ulcerate
have created their heaviest, moodiest and most violent release of their career. For those who haven’t dared delve into their
world just yet, buckle up because this will ravage your senses. That’s it from 2024. Happy New Year!
Artist: The Cure Album: Songs Of A Lost World Year: 2024 Genre: Alternative / Goth Rock
As I find myself at a juncture in life where the
years behind me outnumber those ahead, I’ve
unwillingly realized and only slightly accepted how heavily the uncontrollable gift of time weighs on our emotions and
that the further we travel on this journey the less of everything time has to
give us.The adage “timing is
everything” is real and truly governs our joy and sorrow.Believe me, I am absolutely aware of how a
statement like that sounds when introducing a new record by The Cure; darker
side of life bullshit, whiney “life is so bad” garbage, typical goth “I’m so
sad” stuff, blah, blah, blah. Just mere
existential musings over the hardships of life.No, it’s not that.It’s deeper.I know it’s been 16 years since The Cure put out a record, but, for me, Songs
Of A Lost World reflects the experiences and emotions that have unfolded in
my life since the pandemic.This is
about to get personal.I still haven’t
fully processed the loss of dearly beloved, prominent family members that have
left an indelible mark on my heart.I am
witness to the gradual mental and physical decline of another dearly loved
family member.I now have what feels
like irreparable separation from family I’ve known since my birth.The world has developed into a place of
uncertainty which causes me to question why I brought children into it.Most recently, I have watched progress come
to a halt in my country as a deplorable human with zero moral fiber coupled
with histrionic and narcissistic disorders was once again elected to lead the
free world.These disheartening
experiences only amplify my reflections on time, loss, and the state of our planet.When I use music as a means of catharsis, it
frequently mirrors my current emotional state.As related to the issues listed above, Songs Of A Lost World may
not be the album I wanted from The Cure, but it may be the album I needed.
When
The Cure is mentioned, anyone even remotely familiar with the band immediately conjure images of the
legendary front man distinguished by his wild hair and makeup streaked from what
looks like tears. Their memories go to songs saturated with overpowering emotional
depth and layered instrumentation that create a vast backdrop for lyrics that
often teeter on the edge of despair and heartache. Even their radio friendly
songs contain undertones of cynicism and gloom. After 45 years of releasing music, The Cure stands as a seminal and pioneering figure in gothic and
alternative rock and as one of the most respected and influential bands in the world.
Songs
Of A Lost World is the band’s 14th full length release and embodies
their identity as perceived by the casual listener.Initially slated for release in 2019, it is an
expressive reflection of Robert Smith’s hopelessness he experienced at that
time revolving around the death of his mother, father and brother.As time has passed, it seems that he has
begun to concentrate on his own mortality and what it signifies for him
personally.Not since the Faith
album has the band so deeply embraced their dejected tendencies in every song. “And Nothing
Is Forever” profoundly demonstrates the heart-wrenching spirit found throughout
this album. All the lyrics carry some heavy weight to them and are perfectly
reflected in the music.The sentiment in
“I Can Never Say Goodbye” resonates so deeply that it’s difficult keeping them
separate from my own experiences.The
Cure has consistently guided their audience through somber and shadowy pathways,
but would lift the listener out of the murkiness from time-to-time with
pop-oriented tracks providing moments of levity and balance.This doesn’t exist on Songs Of A Lost
World.Although, songs such as “Drone:Nodrone”
and “All I Ever Am” have the bounce and energy reminiscent of their other pop
sensations, both songs lean more towards “The Hanging Garden” than they do their MTV hit “High.”Robert Smith has always been able to find
middle ground between lowkey tenderness and noisy angst.This time, the addition of Reeves Gabrels,
who has been part of The Cure since 2012 but hasn’t previously recorded with the band, has
taken the guitar wall-of-sound to My Bloody Valentine levels on certain
occasions; almost to a point where there is not a discernable guitar riff, yet
Smith continues weaving his vocal melodies over the beautiful chaos.
Simply put, I am loving Songs Of A Lost World
and think that this is their strongest release since 1992’s Wish.A bad Cure album does not exist.Rather, there are those that dig a bit deeper
with me more than others.There is
nothing wrong with any of the albums released after Wish, but Songs
Of A Lost World distinctively rises above their 1996-2008 output.When it comes to The Cure, my fascination
with them always leans toward the dark, broody, bleak side of their music, and
this record delivers that in droves.For
the third time in just months, my 2024 album of the year may have changed.
Artist: Leprous Album: Melodies Of
Atonement Year: 2024 Genre: Progressive Rock / Metal
/ Pop
I spoke
too soon. Before I even heard a note, my
prediction earlier this year was that the new Ihsan album would be my pinnacle
of 2024. Then Leprous released their new
one. Well, I’m almost certain it took
over the top spot. It’s a little bit
funny since the connection between Ihsahn and Leprous is well documented. Just for the record, there is a chance I fuck
up a second, possibly third, time since new Opeth, Tribulation and Cure records will be out
this coming out before the end of the year.
I suppose there could also be someone else waiting in the wings. We’ll see.
Melodies Of Atonement is the most “leprous” album
Leprous has ever recorded. I realize
that’s a strange statement for those unfamiliar with the band, but to those in
the know, it makes complete sense.
Describing this Norwegian musical beast is a daunting task. They are rock. They are pop.
They are metal. They are experimental. They are art.
Here’s the kicker…they sound like none of that and therein lies the
genius of their craft. Not many bands
exist that have a distinctive sound and song writing structures unto themselves,
but I am willing to go on record and declare that no one sounds like
Leprous. Much akin to my review of the
last Ihsahn album, I see this as extreme music, but not for the reasons people
in the “extreme” music community relate to the description. Leprous are not the heaviest, fastest, most
offensive or brutal or anything like that.
So how can they be extreme? By
taking those above-mentioned genres and pushing innovation and contentment past
typical limits. I don’t believe Leprous
have any intent on making a listener uncomfortable, but it happens naturally
with the severe flux they employ. The
dynamics on this album are bananas. Those
dynamics are based upon two major features of the band: the overwhelming talent
of the players and the extraordinary vocals.
How Leprous writes an album
always makes me curious. Do they huddle
together and choose the path they want to travel? Is it just an organic thing that develops as
the band writes? Each of their albums
has a distinct personality. This time it
feels like the guys are focused on power.
People will say this album is “heavier” than their last couple, but I
believe the word really is power. This power
doesn’t come from raw speed, or chainsaw HM2 distorted tones, or gigantic palm-muted
riffs. Rather, it comes from the way
they forge the quiet / loud exchange in the songs. The quieter they go in a part, the louder the
next one will be. It’s something The
Pixies taught us long ago and can be applied to any type of music. You can tell how much time was taken to get
every tone and sound in place. The
percussion arrangements are insane but so calculated. Leprous intentionally place drum-less gaps
filled with instrumentation, samples or vocals to lay the groundwork to sway in
and out of gentle melodies that crash seamlessly into a monstrous, forceful
storm of sound. Listening to Einar go
from singing a part that could be a bedtime lullaby to a stentorian blast at
the peak of his vocal range is amazing. It’s all over this album and creates beautifully
jarring tension. Listen to “My Spector”
to hear what I mean. As with their other
records, it becomes easy to focus on the vocals and miss the genius playing
happening. Not to take away from anyone
in the band’s immense talent, but, for my money, Baard Kolstad is one of the
best and most diverse drummers walking the planet right now. His playing alone is worth the price of
admission.
Admittedly, even with all the
superb aspects of this album, it isn’t bulletproof. The dominant songwriting formula is to start
off slow and crush with a sonic payoff coming later in the song. Not a bad choice, but the album isn’t quite
as distinctive song-wise as their other releases. Some of the quiet vocal parts are not lighting
my world on fire, but when they slam into that chorus, LOOK OUT! “Limbo” is a perfect example. I can take or leave the verse, but the chorus
is just mammoth and worth wading through the rest of the song. The album is full of greatness, with “Like A
Sunken Ship” now being my favorite song written this year. It has every aspect of the Leprous musical
palate, including an Einar growl we haven’t heard in quite a while. Melodies Of Atonement has been in a
consistent rotation since it was released.
Is it the best Leprous record so far?
That’s tough, but my answer is no as Congregation is still
holding the crown.
Artist: Scorpions Album: In Trance Year: 1975 Genre:
Heavy Rock
Growing up as a hard rock /
heavy metal kid in the very early 80s, I couldn’t help but love Scorpions.In the youthful days of MTV, I was introduced
to them through their classic video “No One Like You.”The song was loaded with stinging solos, bullying
guitar riffs and a voice that was relatively unrivaled.Plus, the video had a beautiful woman in
leather, limos, sharks, Alcatraz, death row and some crazy guy who looked like
the cloth-wrapped invisible man with forks over his eyes losing his shit and
smashing a guitar.Of course, the video
made zero sense for the song, but that’s all it took for 11 year old me to get
hooked. I bought the phenomenal Blackout
album and anything that was released previously that I could find.I also purchased every album they put out after
that release and did so through the Savage Amusement record.By 1988, so much of my musical tastes had
changed and Scorpions new material was no longer on my radar.Yet, my adoration for what I owned never
faded.Compared to the other bands that
were considered their peers, Scorpions always stood out due to style and
presentation.They were a formidable and
physical live band giving off enough energy to light a city block.Check out their Rockpop In Concert from 1983 or their Rock In Rio performance in
1985 and tell me what band could compete with them; there weren’t many.More importantly, their songs were just
different, separating them from the rest of the rock and metal bands of that era. They are one of those bands you’ll recognize
even before that iconic voice of Klaus Meine kicks in to high gear.
Preceding their worldwide fame,
Scorpions started just like any other band of that era and gained popularity
album by album, tour by tour, which was the standard for building and audience
when record labels had patience and belief in an artist.Anyone else miss that formula?That’s a rant for another day.Scorpions had a much smaller existence with
their seven studio albums before 1982 but obtained superstardom and beyond
starting with Blackout, rose even higher with Love At First Sting
and remained a force in the 80s and early 90s.Their origin dates all the way back to 1965 but they didn’t begin to
release albums until 1972.Originally,
the music was rock, but not necessarily hard.Their first two albums displayed faint hints of what was to become their
signature sound, but they were buried in a sea of progressive rock with psychedelic
tendencies and extremely tame songwriting. In 1975 the band shed the prog ways of their
first two lumbering releases and became a fire-breathing, heavy rock monster.
I am resolute in the belief
that In Trance is where the version of Scorpions we all know and adore
truly began.The trademark sound that they
would continue to develop are all over this album; the throbbing bass lines,
the forceful riffs, the blisteringly infectious solos.And then there’s the voice.Klaus
Meine is a phenom.He has the range, the
tone, the charisma and the melody.I say
“has” because he’s still blasting it out at 76 years old with the rest of the
band.I remember Lita Ford saying
somewhere, “He could sing me the phonebook.”I totally get what she’s getting at.I’ve always felt his only true competition was the great Ronnie James
Dio.If I’m able to be honest and don’t
get people looking to crucify me, Klaus was the better singer and showman.From the very first note of this record you
know the Scorps upped their game as “Dark Lady” burst from the speakers
showcasing the more focused and aggressive persona of the band which then leads
into the remarkable title track where there’s no avoiding the delicate verse
leading into the crushing chorus riffs and beautiful harmonies of Rudolph Schenker.In Trance ebbs and flows with peaks
and valley of emotion and dynamics.Scorpions
are one of the few heavy bands I trusted with a ballad.Yes, they knew how to bulldoze with the heavy
sound, but they fully understood how to display their melancholy side without
sounding cheesy or contrived.
In Trance was the beginning of a stellar
run of albums. Anything they released
from 1975 through 1984, which included 7 studio records and 2 live records, was not only great, but some bordered on
bulletproof. Others will tell you their
releases from 1988 and 1990 should also be included in that list. Looking back at everything, when Scorpions
were at the top of their game, they were invincible, but in the history of
rock, it feels like their accomplishments fall in the shadow of other large,
successful bands. They are even often
left off “top selling” lists. I know the 110 million (Source: BMG) people
that have bought their albums disagree.
Artist: Ihsahn Album: Ihsahn Year: 2024 Genre: Black Metal / Progressive
Without hearing a single note off this record, I made a bold prediction that Ihsahn would be my favorite record of 2024. Once I learned of this album, the hype engine in my head skyrocketed. Ihsahn is a revelation in music. He’s innovative. He’s relevant. He’s unique. He’s dangerous.
At the age of 53, I’m finding it more and more difficult to get stoked over a new release. For a few years now I’ve been trying to unravel what the hell my problem is…and I’ve come up with nothing except I’m a cynical old fuck. Well, I’m not completely dead on the inside yet because this is a record I’ve had high anticipation to hear and I was counting down the days until its release.
Ihsahn is a master. From his brutal beginnings in an embryonic black metal scene to the progressive metal innovator he is now, there is no denying the ferocious persistence to his craft. He will keep you guessing, but no matter what direction he chooses to go in, it is always top tier quality. When you expect him to turn left, he goes right. When you expect him to go right, he runs you over. Ihsahn has never abandoned his barbaric black metal roots; he’s just surrounded them with advancing and experimental intricacies that show the growth of a professional musician. This is extreme music. Dare I say more extreme than his previous work in Emperor due to the challenging nature of what he’s presenting. No, not because it’s the fastest, heaviest or most deranged. It’s extreme because of the bold and adventurous compositions. These are not just songs, but deep creations put to tape. There are peaks and valleys. There is hostility and meekness. There is dark and there is light. Ihsahn’s musical brain is just different than many of his peers as proven by the orchestral version of Ihsahn that was released simultaneously as this record. I know the word “refreshing” probably isn’t a term metal fans like to hear, but after watching many hours of interviews with the man, I believe he’d appreciate that descriptor of his music. This eponymous album may just be his best work to date. It’s complex but doesn’t ever lose the listener. For those wondering if he’s given up his signature black metal voice yet, there’s plenty of it on this record and he is still as virulent and terrifying as he ever was. So far, “A Taste Of Ambrosia” is my favorite song of the year with virtuoso writing that balances melody and bleak emotion. There are generational artists in every genre of music and my prediction is that his name will be chiseled in stone along with the other innovative greats in music history.
Pure. Audio. Violence. Eldopa, or 1332, whatever your preference is to call them (Thanks lawsuit! I'm gonna stick with Eldopa for the rest of this) were a godly hardcore punk band straight our of the thriving Bay Area scene of the 90s. The pedigree of members of this band includes Econochrist, Grimple and Watch Them Die, so, there is zero surprise what you're going to get, right? Well, that's possibly wrong. I'll explain.
The first full length by this band is a favorite of mine. It's an incredible mix of hardcore crust punk with some heavier, almost dreary elements ala Neurosis. Recently, I played this 7". I wore this thing out when it was first released, but, like a lot of 7"s these days, I don't take the time to put them on much. When the title track kicked in, it was almost as if I was listening to it again for the first time. If you see my review of Reign In Blood, this also recently happened with that album. My ears were then pulverized for the next ten minutes and I came to a stark realization, "Wow, this really reminds me of the first Die Kreuzen album!" I have no idea why this didn't hit me previously. With that said, that is one of the highest compliments I can give any record. The first Die Kreuzen record is one of the best albums of the 80s independent music scene as it's originality, aggression and overall genius was rarely matched or duplicated. In four songs, Eldopa twist and turn in and out of slower, harrowing rhythms and furious speed. Anger is the name of the game here and it drips from every second of the record. The vocals only intensify what is happening musically and screech in a way Dan Kubinski would be proud of hearing. There is nothing fake about this. These guys don't like you and want to scare the hell out of you. After ten minutes, I'm beat up in the best way. I'm not waiting so long between plays with this one again.
Artist: Front Line Assembly Album: Caustic Grip Year: 1990 Genre: Industrial
Front Line Assembly is tied with Ministry as my second favorite industrial band. Yet, if the high caliber of a body of work counts, they would knock Al and crew right to the bronze podium. (any reader willing to delve into my previous posts can discover who the reigning gold medalist of my electro world is). Coincidently, Front Line Assembly founder and constant, Bill Leeb, was once a member of that band. Leeb has spearheaded a 37 year journey for Front Line Assembly. Strangely enough, he has instituted very few member changes or major contributors throughout the years, unlike the aforementioned Ministry, and other genre icons such as Nine Inch Nails, Killing Joke, KMFDM, and My Life With The Thrill Kill Cult who seem to have a revolving door for members. I believe this consistency keeps the focus of Front Line Assembly strong and the music solid. Firmly rooted in what could be considered “textbook” industrial, Front Line Assembly are masters of layering sounds and samples over up-tempo, dare I say dance oriented, rhythms. Don’t let that statement frighten you. These are not the friendly, bass thumping techno beats that get your butt moving out of a chair, but rather aggressive patterns that push each song into a mechanical and bleak direction. Leeb rarely strays from his harsh, ghost-in-the-machine vocalizations, which adds another dimension to the soundscape. I truly mean it when I say I listen to every Front Line Assembly record and enjoy each one of them. The record I find myself coming back to time and time again is 1990's Caustic Grip. I easily put it in the same class at Pretty Hate Machine, Land Of Rape And Honey, and Too Dark Park. That's some hefty, yet well deserved, company.
Artist: A Flock Of Seagulls Album: A Flock Of Seagulls Year: 1982 Genre: New Wave
I have the sneaking suspicion that there is not one kid who grew up in the 80s that isn't familiar with A Flock Of Seagulls. Could it be because it was impossible to turn the radio on without hearing the two mind-invading songs "I Ran (So Far Away)" and "Space Age Love Song" from their debut album? Perhaps. Maybe because they were huge at the dawn of MTV? Sure. My theory is most people will remember the band for the unique haircut one of the members sported, which, even by new wave and punk standards was a touch unusual. To put it bluntly, keyboard player and singer Mike Score looked like a horned owl. It might sound silly, but it sure created a lasting impression. So, we have an image laden group with pop songs on FM radio who were MTV darlings. I knew both the hits well and even spun “I Ran (So Far Away)” on the Blast Off comp on K-Tel my sister and I had, but I wouldn't have given their full album two seconds of thought no matter how difficult it was to avoid their presence. As posted earlier on my review of Shock Therapy, my musical life and outlook changed in 1987. No longer was I inundating myself solely in hard rock, heavy metal, punk and hardcore, so bands like A Flock Of Seagulls were now welcome in my world even if it was five years later from the release of this album. Good thing, as A Flock Of Seagulls has been my long-standing, favorite synthpop / new wave record ever made. People will make an argument that this high praise and distinction belongs to Devo, Duran Duran, Blondie or a handful of others, but my vote goes to the boys from Liverpool.
Closely following the blueprint laid out by The Tubeway Army, A Flock Of Seagulls put their forever stamp on the new wave genre by incorporating pop and technology while not forgetting their punk predecessors in the process. The guitars fall somewhere between the most complex U2 riffs and the most melodic Joy Division riffs with leads that stand on their head. Therein lies the magic of this band. So much of the synthpop movement in the 80s was a bit too happy, or sappy, for my tastes. Bands were straddling the line between saccharine-infused bubble gum pop and overdramatized sentimental garbage to make the best attempt to become, at minimum, a one-hit-wonder. The result was exceedingly tame music with ultra-happy songs or ultra-boring ballads. This is the exact reason bands such as Yaz, Spandau Ballet, ABC, Heaven 17, OMD and others never resonated with me. A Flock Of A Seagulls is a guitar-driven band that propels the songs in much more of a late 70s new wave, bordering on post-punk, direction which I absolutely love. Even in the pop realm, my aggressive side still needs to be entertained and songs like “Messages” or “Modern Love Is Automatic” do absolutely that.
A Flock Of Seagulls created something exceptional on their debut. They became an icon of their genre and forever ingrained themselves into pop culture. Three less successful albums later, the 80s were done with the band and the band was done with itself. Does that forever condemn them to the realm of the famous 80’s one hit wonders? I suppose it could if one were to look so narrowly at only their successful songs. There was so much more to A Flock Of Seagulls and they proved it on this stellar release.
Artist: Slayer Album: Reign In Blood Year: 1986 Genre: Thrash Metal
Why on Earth am I writing anything about Reign In Blood? Other than possibly Ride The Lightning or Master Of Puppets, is there another metal album held in higher regard by millions? Let’s be realistic at this point, not even the mighty Black Sabbath or Iron Maiden have albums that command the reverence of those three pinnacles of thrash. They changed the world and set metal on a new course which, to the chagrin of some, included worldwide fame. Not much else to be said about this record, right? Well, here’s the deal. I recently threw a copy of the album on my turntable to play test. I’ve owned this album since the day it was released, but I came across another copy that I am going to sell. To be a diligent record dealer, I play-test expensive items. It was late at night. Everyone was asleep at my house. I had nothing to do. I sat in a chair right in front of my overly large speakers and listened to this monumental album from the first note to the last. I haven’t enjoyed Reign In Blood as much as I did in that short 30 minutes in many years.
This is where the reason for writing this comes into play and raises a pivotal question with classic albums that you burned into your brain enough times that it’s now part of your DNA: what albums have you heard so much that you almost feel you don’t need to play them again? It sounds strange, but after listening to an album for just under 40 years, it might not be an unreasonable inquiry. I imagine it’s akin to riding any thrill ride over and over and over and each time the thrill lessens a bit. You may even have to take some time off so your memory of experience fades to allow it to become exciting once again. I cannot begin to count the times I’ve played Reign In Blood. Whether it was listening while riding my bike, being stupid at a friend’s house, repulsing some random girl in my car, or hiding under the covers with my off-brand Walkman when I should have been sleeping, it was in constant rotation in my life for quite a long time.
The title of this blog is named Every Note, Every Word, Every Chord for a specific reason. Reign In Blood falls comfortably in the parameters of knowing every note, word and chord. That means I’ve studied every inch of the album like I was going to be given an enjoyable test. It also means I know it so well that I don’t find myself going to listen to it very often as more time passes. It’s a possibility that I’ve amassed a huge amount of music since 1986 so it gets lost in the shuffle, or it’s made such a sizable imprint on me that I don’t need to listen to it much. Either way, this listening session hit me like a ton of bricks dropping on my head from a 747. I found myself mesmerized by the songs and actively realizing how fucking brutal this album is…again. Not that it ever wasn’t brutal, but music has gone in such and extreme direction that the forefathers could be viewed as a bit more tame in comparison. I focused on the speed and the precision of the playing. I was once again amazed with the stripped-down production and the razor-sharp clarity of the recording resulting in each instrument standing alone only to converge into an aural killing machine. I also was reminding myself that I was a couple weeks away from getting my driver’s license when this was released. Reign In Blood was a revolution in many ways including: label, producer / production, Billboard chart, lyrics, and most importantly, its continuing legacy and profound impact on heavy metal. It’s an astounding sliver of music history that cannot be outdone or reproduced.
I’m going to make a sharp left turn here. I have a small story. In 1991 I ended up in the same room as Slayer, backstage during their Michigan show for the Clash of the Titans tour. The guys in Anthrax were cool and friendly. Alice In Chains were very drunk in a corner. Megadeth were on stage unknowingly being made fun of by the other bands as they watched Dave and company on the TV monitors. Then Slayer walked in the room to celebrate an Anthrax roadie’s birthday and I just sat there, staring, in complete silence. My friend who took me to the show tried like hell to encourage me to talk with them. I refused. What could a guy with a devilock wearing a Gorilla Biscuits shirt possibly say to them that they haven’t heard before? Yes, I remember my shirt because Scott Ian commented that he heard of them and asked, “Aren’t they from where we are?” Anyways, it might mean more now in 2024 than it would’ve back then, but, if I could have that moment in time back, I would just say, “Thank you.”
Grindcore
still feels like the red-headed stepchild of the hardcore punk and metal
world. 35+ years later it continues to
stand as the genre too extreme for even the most seasoned underground fan of
the wildest, least commercial bands.
Seth Putnam wrote a song called “Grindcore Is Very Terrifying.” Well...yeah…it is. I think anyone in a grindcore band would
agree. Grindcore
has zero boundaries and doesn’t give one flying fuck about restraint.
For example:
-Go
slow, go slower, go fast, go faster.
-Guitars…clean
or dirty…who cares?
-Recording
sucks? Oh well.
-Lyrical
subject matter from politics to porn.
-Throw
in a saxophone, kazoo, or some other random instrument.
-Have
one or multiple inaudible singers.
-Use
samples.
-Play
tight or sloppy.
-Add a
shitload of noise.
-Write
a 5 second song.
-Use a
drum machine.
Basically,
be punk as fuck in attitude and do anything you want. It doesn’t matter. That’s the glory of the genre. Yet, it’s also
what keeps most bands buried well below the level of popularity that other
extreme music, such as what many death and black metal bands, has achieved. Singapore’s Wormrot choose the very direct approach that rattles my head just like nineties stalwarts Insult, Assuck and Spazz did previously. They don’t pull any huge surprises reflected in the list above; just pure speed and brutality. There is so much auditory violence happening
in these songs which are just brief moments in time as most barely reach the 1
minute mark. 25 songs in 18 minutes
leaves no time to breathe. Wormrot are
tight players, but the humble production of the album feels like you are right
in a room with them giving the record a live feel that could go off the rails
at any time. They do utilize a bit of
hardcore influence to divert slightly from blasting away at blinding speeds. It becomes difficult to speak at length about
an album like Dirge. It’s going
to be one of those black and white things; either you like it, or you
don’t. It’s not going to be the album
that breaks grindcore out to the masses, but it is an extremely strong output
by a tremendous band.
Album Of The Year:CavaleraBestial Devastation / Morbid Visions
Top 5 Contenders:
The DamnedDarkadelic
Grove StreetThe Path To Righteousness
Home FrontGames Of Power
RenSick Boi
TrespasserἈΠΟΚΆΛΥΨΙΣ
For the few weeks I have been genuinely questioning my choice for the best album of 2023. I finally settled my internal argument between some excellent releases. My choice turned out to be rather odd. Not only am I choosing two albums for the top spot, but I am also choosing two albums that have been re-recorded. The world is officially spinning in the opposite direction. If you seek out my full review of Cavalera’s redo of Bestial Devastation and Morbid Visions, you’ll get a dose of my disdain for re-recordings. I don’t like them and don’t think they’re necessary. In this case, I was wrong. So wrong, in fact, that Bestial Devastation and Morbid Visions albums are my favorite and most listened to records of the year. What the Cavalera brothers pulled off needs to be the future blueprint and standard for what a re-recording should be if a band decides to go that route. Not only did they keep the aesthetics of the original recordings, but they modernized in all the right ways. If these two records sounded like this in 1986, we’d be talking about them as a couple of the greatest death / thrash metal records in history. Kudos, Max and Igor! Next…The Damned are a gift to the world! 47 fucking years later they remain a force when they play live and consistently release wonderful albums. I know when bands get a bit long in the tooth, the tendency to put out a record that is a poor facsimile of their glory days becomes a real thing. Well, Captain and company prove that wrong with Darkadelic. No, they don’t play as aggressively as they once did, but boy do they come off with major style and atmosphere on this record. Mr. Vanian turned in a stellar vocal performance and sounds like he’s 25 again. It definitely takes me back to their Phantasmagoria / Anything era and, as any Damned fan knows, there’s zero wrong with that. The Path To Righteousness by UK’s hardcore unit Grove Street entered my world very late this year. It’s been a while since a pure, street-level hardcore record has caught my ear. Upon my initial listen, I instantly heard the best parts of Leeway and Biohazard. The riffs are super and take the songs back and forth between traditional stomping hardcore and some thrashy, crossover vibes. I feel like you could throw a rock at the hardcore scene and hit 10 bands that play this style, but Grove Street have something special happening. Canada’s aggro unit Home Front absolutely killed it with their second release, Games Of Power. They seamlessly incorporate aspects of industrial, post-punk and new wave and wrap it up in an anarcho punk rock blanket without falling directly into any one of the genres. They are so energetic live, and that same vigor just jumps off this record. This album is insanely infectious. Wrapping up my Top 6 was the biggest contender for the number one spot. For those not in-the-know, Ren is a multi-instrumentalist artist from the UK that has gained well-earned fame and respect through YouTube the last year or so. His phenomenal yet harrowing video for the mesmerizing song “Hi Ren” hooked me immediately and since April of this year I have been studying Ren’s music like it’s a test. Sick Boi, his deep stab into the hip hop / electronic world, is only scratching the surface of his talent. I have a full-scale review of the record posted that goes into much more detail because the music is too difficult to explain in this short commentary. It's been quite a while since a new artist has dominated my attention like he has. Ren is someone that I truly believe could become a generational musician and I am feverishly anticipating what he does next. Just because their name falls late in the alphabet, it doesn’t mean Trespasser are in 6th place. Yet, another record that I found further into the year which makes me realize that I need to pay way more attention to new releases. Nowadays it takes quite a bit for a typical/true, more straight-forward style black metal band to remain at the top of the heap. Usually, it’s a new Deathspell Omega, Spektr or Blut Aus Nord and their mangled, maniacal sounds that gain my attention. That should tell you a lot about Trespasser’s sophomore effort ἈΠΟΚΆΛΥΨΙΣ (don’t ask…I have zero idea). This is HEAVY black metal with lyrics that don’t rely on fascism or satanic idiocy. Death metal tones enhance the incredible riffs. Some people call Trespasser melodic. No, they aren’t. What’s being mistaken for melody are their top tier arrangements which make each song memorable and individualized. Trust me, they are quite pulverizing and vicious. If I had more time with this album, it may have crept up to first place. Now, I’m not usually a “honorable mention” type person, but it you haven’t checked out Dolenz Sings R.E.M. and you are a fan of The Monkees or R.E.M., you’re missing out! Happy New Year everyone and stay safe out there!
Artist: Jumpin’ Jesus Album: The Art Of Crucifying Year: 1991 Genre: Death Metal
THIS
is the reason I still seek out and open my ears to old, unfamiliar music!I don’t know what it is with me, but even at
what now is a slightly advanced age, I continue to look for bands from the past
that have never crossed my path with the hopes that I find something that
knocks me for a loop.I look at it as
finding undiscovered treasure.Jumpin’
Jesus only existed for only 2 years and released a demo and one album, so they
were easy to miss.With a relatively
stupid name like Jumpin’ Jesus, there may have been a chance I would’ve skipped
over them even if I was aware of their existence.Since I’m so much more open-minded now (ha!)
I was very eager to spin this record when it walked through the doors of the
record store where I still put in a whole 3 hours a week.Dumb names don’t even stop me now when an
album I’ve never heard of is available to me.I borrowed this record to take home and spin on my turntable with zero
expectations.The cover art is
great.The guys look pretty cool on the
back.It’s from a superb, relatively
uncharted era of death metal.Oof…but
that name!?!Any apprehension was put to
rest within the first minute and a half of the album.Jumpin’ Jesus is classic, early 90s death
metal with a heavy concentration on instrumentation.Depending which way your fandom sways, you’re
going to think of Morbid Angel, Deicide, Immolation, Hellwitch when listening
to this German wrecking crew.
This
is a pretty technical album for extreme metal standards in 1991. The playing and the avantgarde nature of the
songs really make their mark. Maybe only
Atheist’s debut proceeds this record in the technical category, but the overall
styles of the two bands aren’t comparable.
Death wasn’t even doing the overtly tech technical style until the Human
album. So, not only is this album a nice
surprise, but it’s also rather innovative. Jumpin’ Jesus got a whole lot right on The
Art Of Crucifying. The production is
raw and unrelenting. The vocals are very
convincing and don’t just stick directly to the typical grunting so prominent
in early death metal. The playing is the
right balance of musical and unrelenting brutality. As I said, there is some flashy stuff
happening mixed in with the chaos. The
songs twist in all sorts of directions that aren’t expected and there isn’t a
dull moment on the record. Except for
one 7+ minute epic, they keep things shorter and to the point. I’ll say it, I’m impressed. Wish I would’ve discovered them years ago.
Artist: Ren Album: Sick Boi Year: 2023 Genre: Hip Hop / Alternative / Electronic / Acoustic
This is a new one for me. Previous to stumbling upon the multi-instrumentalist sensation Ren, I’ve never been wrangled in by a YouTube sensation. Obviously, since I’m writing this, I’m not against it. I’ve just never fallen into the trappings of an artist whose main platform is YouTube. My relationship with Ren’s music began in April this year. I started with his uber-talented busking cover band The Big Push whose fantastic cover of Black Sabbath’s “Paranoid” made me listen further and I soon landed on the breakout solo video, “Hi Ren.” What he achieved on “Hi Ren” is one of the most artistic creations I have seen and heard in a very long time. Hell, maybe ever if we’re just talking about video. It’s a 9 minute, initially confusing, emotionally engrossing journey into the existence of a young man’s relatable struggles. I cannot count the times I’ve watched the performance and to this very day it’s still able to jar something emotionally in me. Everything about it fascinates me. The facts that it is played and recorded live, the raw story it tells, the unbridled talent on display, the minimal but effective use of scenery and camera angles and the self-reflection of his unfortunate medical history all play into what is a genius-level piece of art. After the first viewing, I knew this was a person I needed to dedicate attention to in the future and catapulted myself into a continual YouTube rabbit hole discovering the world of Ren’s music and his ever-increasing levels of artistry.
From that moment forward, I did my research into Ren’s back catalog and enthusiastically awaited every future release. The person running the Ren’s online street team sure knows what they are doing, from the timing of song releases, well-placed social media segments, multiple versions of songs, encouraging the viral song reactions market and even a rap battle propelled him toward his million plus subscribers and multiple millions of views. From the information I have, Ren oversees much of this. There have been 12 video releases leading up to this full album, which only has 18 songs total. Remarkably, he has 6 or 7 other current songs receiving above 5 million views that aren’t even on the album. He’s been a busy guy. The end result is him having the #1 album in the UK the week Sick Boi was released. It should also be proudly said that he has no major label backing him. He is an independent artist. It’s exactly what Prince dreamed of! Also, Ren is sick. I mean literally sick (way too long of a story to go into here) and has been recovering from ailments the last 10 years that have plagued his mental and physical health. His personal touch of giving health updates has also endeared him to people. He’s worked this whole time and has come out on top even with intimidating challenges.
Although Ren has touted Sick Boi as a hip hop album, it is much more than that. Certainly, hip hop is the at the heart of this record, especially the majority of the vocal delivery, but it incorporates aspects of alternative, reggae-fusion, new wave, EBM and straight up pop. The other important fact to know about Sick Boi is that Ren is the sole composer on the record. No producer. No engineer. It’s all him front to back. Due to my YouTube obsession with him, I had already heard all but 6 songs on this record, so there weren’t many surprises. Yet, listening to an album in its sequenced entirety is significantly different than hearing one-offs online. I love hearing the production value of the songs. There are aspects that listening on computer speakers don’t do justice in the recording and mixing. Musically, Ren’s songs run the gamut of simple to complex and there are plenty of subtleties in the instrumentation as he explores the use of synths, drum programming, sampled sounds, acoustic stringed instruments and piano.
The album is intensely vocal-centric and it is immediately recognizable that the music is only a backdrop for the vocal performance. What I found from his performances in The Big Push is that Ren commands an extraordinary range and is not one to be boxed in stylistically. He expands this even further with his solo outings on non-album songs such as “Chalk Outlines” and “Humble” which showcase his formidable capability. On this record he incorporates some major league MC skills along with a variety of singing / spoken word techniques. Ren is a talent and it comes to the forefront on the songs “Seven Sins,” “Su!cIde” and “Lost All Faith” which he utilizes multiple styles in a single song. That’s not to say the pure and brutish hip hop nature of the aggressive and semi-political “Animal Flow,” the horrorcore influenced “Masochist” or the somewhat lyrics-in-a-blender nature of “The Hunger” aren’t A-list songs, but they are singularly focused and glued directly to the genre. He also proves he likes to have fun and not everything has to be deathly serious as one will hear on the extremely Beastie Boys influenced “What You Want” and the slightly juvenile “Down On The Beat” will get you moving and smiling and proves he can flow with the some of the heavyweights. The most audacious piece on the album is “The Money Game Pt. 3” which almost seems out of place on the record since it dives more toward Ren’s madness-driven creativity he’s shown multiple times outside of this album. It' is part of a trio of the "Money Game" song and video series and it’s a song that’s very difficult to separate from the video and its stunning, powerfully brooding visuals that present a unique approach to the disease money can become when a person gives their life trying to obtain it. Much akin to “Hi Ren,” it works more like a play than it does a song. It’s definitely the pinnacle of the album.
After listening to the majority of these songs via YouTube, I was very interested in seeing how this album would come together. Due to Ren’s immense and unique talent, many fans give him a blanketed pass on everything he creates. While his innovation and talent cannot be knocked, not everything is exactly perfect. The record plays as a random collection of songs rather than a cohesive assembly with a purposeful scope and sequence. I find this odd since Ren pays so much attention to detail in everything he releases, especially the videos he creates with Samuel Perry-Falvey. The fact that the album’s opus, the aforementioned “The Money Game Pt 3,” is in the fourth spot and not ending the album is odd. I’m sure there is a reason, but it doesn’t flow sonically. The groupings of songs also feel off and doesn’t lead to much variety as the record progresses. The bangers hit hard, but their superiority over other songs make 18 tracks feel unnecessary. Songs such as “Loco,” “Genesis,” “Uninvited” and the album closer “Wicked Ways” hit like white noise amongst the other songs and feel like they’re there to expand the length of the record. Yes, even someone as talented as Ren is capable of having filler. It happens. Am I just being super picky? Yes, and that’s ok. It’s good to have high expectations of a potential generational talent. Does this have any effect on me listening to this album over and over again? Not in the slightest.
From the moment I heard the opening song on the reissued Bestial Devastation EP, I knew I was also going to enjoy what was to come on the reissued Morbid Visions LP. Little did I know how much I was going to love both of these releases and that they would both end up in my top albums of 2023. The Cavalera brothers did something magnificent that few are successful in pulling off.
Let’s go backwards a touch. Max and Igor Cavalera ranged from age 14-17 during the time the first two Sepultura records were recorded and released. If you’ve never heard either album, you can imagine what death metal by a couple of young teenagers from Brazil, not exactly the hot bed of extreme metal at that time, sounds like. Their effort should be commended, but the results were substandard at best. Many hold Morbid Visions as a “classic” thrash / death metal record, but I believe it has more to do with nostalgia and what Sepultura became than the actual recording. No one can tell me those original recordings sound good. Even when I was young, just discovering new bands in the same genre, these sounded like garbage. That shouldn’t be insulting. They were just kids and were miles ahead people their age.
I can only imagine the Cavaleras felt the same way and that’s why they decided to re-record both records. As a personal rule, I am against the re-recording of previous material. If a band wants to update a song here-and-there I don’t have a problem. But a whole album? One…it feels like a money grab. Two, and more importantly…it rarely turns out good. Yes Exodus, Twisted Sister and Suicidal Tendencies, you all screwed up. In fact, I think only Testament did this well on The First Strike Still Deadly, but that wasn’t a full album, just cherry-picked catalogue tracks. Well, I proudly stand corrected when it comes to Cavalera. Not only did they do their past justice, but they also greatly improved upon their humble beginnings with zeal and conviction. These recordings are fucking brilliant!
Improvement in production was most likely their main focus and they nailed it! This isn’t your typical “trying to sound dirty, but it’s super clean” extreme metal recording trap so many bands fall into now. Just because you slap an HM2 pedal on everything doesn’t mean it’s filthy or heavy. It’s an art to connect tones that all work with one another to sound like a band playing together instead of different instruments piled upon each other. This new recording is like a raw wound; stinging and vicious. This is the most feral the brothers have sounded in an extremely long time and not two 50+ year old men traveling down memory lane. You just know the blood was pumping hard and the sweat was hitting the ground during the recording. They kept the speed of the original recordings and even some of the original esthetics from back in 85/86. The vocals sound cavernous just like they did originally and it works so well with the new production. Which brings me to the biggest surprise, the songs themselves. As mentioned, I hate the way the originals sound, so I can truthfully say I didn’t put too much time into listening to them. One thing for sure, it really was the sound of those records that irritated me. Now hearing the songs, played exactly the same way they were almost 30 years ago, makes me realize the band was exceptional even at such a young age. I appreciate that the labels that signed them for having the foresight that my ears didn’t. The fucking riffs! They’re all so brutal. Paired with Igor’s primal drumming generates a mood and tension other bands only dream of creating. Granted, all the players are exceedingly more talented than their teenage selves, but I caught so many things that hinted at what was to come on their next few albums that I never recognized previously. These now sound like Sepultura records. Major props to everyone involved in this project. I will still stand against the concept of re-recording, but this is more than a welcomed surprise and shows the reverence the band has for their early work.
