LIZZY BORDEN - Appointment With Death

Artist:  Lizzy Borden
Song:  Abnormal
Year:  2007
Genre:  Heavy Metal

I’ve had a fascination with longstanding, metal shock rockers Lizzy Borden since I was 13 years old.  I’m not quite certain what drew me to this band because I never heard a single note before tracking down their debut slab Give ‘Em The Axe.  I’m sure Lizzy being a Metal Blade Records band and the fact that they were named after one of the most famous American murderesses initially piqued my interest.  Sorry, acquitted murderess; a fact I always forget.  Lizzy Borden combined speed and power metal without cementing themselves into either category.  They weren’t commercial enough to have a huge “hit” but not always heavy enough ride the recently arrived thrash wave that was gaining momentum at the time.  The Brothers Harges (singer and drummer) have maintained this metal powerhouse for 40 years and have consistently surrounded themselves with incredible musicians.  This band ALWAYS has blazing guitar players that will often use the Maiden-esque dual guitar lead.  Lizzy Borden has the ability to write a musically challenging song without having to make it an epic.  The songs are compact and to the point; lacking the more drawn out, European feel most bands assimilate when playing this style.  The true make or break point of the band is the vocal performance.  Lizzy, the man himself, has an unconventional, sometimes shrill, tone and style.  He has a crazy octave range and control and utilizes it all to soar high above the music.  This can be a turn off for some listeners.  On the other hand, his grasp of melody and the harmonization skills he’s developed are unparalleled in metal; almost a mix of Rob Halford’s reach and Blackie Lawless’ harmonies.  His vocals are truly astounding if you can accept them. 

For three decades Lizzy and crew have brought their “Murderess Metal Road Show” to the masses, which includes lots of blood, creepy costumes, the occasional decapitation and even the beat down of Santa Claus. To this day I am a gigantic fan of their first two full length albums Love You To Pieces and Menace To Society, but by the late 80s my interest started to wane as each subsequent release didn’t sustain the high standards they set early on, although many will disagree with me and claim 1987’s Visual Lies is the ultimate Borden record.   In 2007, Lizzy Borden swung the axe again and hit a blood-spurting bull’s-eye with Appointment With Death.   There’s a sinister aura to this record as far as the visual presentation involving the title, artwork to the grim reaper meets “Road Warrior” look of the band.  But, more importantly, when I played the first song, “Abnormal,” I was literally shocked by what I was hearing.  This album is a return-to-form; mean, aggressive, flawlessly performed and bursting at the seams with every Lizzy Borden trademark that made me love this band so long ago.  Like any true heavy metal record should, Appointment With Death seethes and snarls through 11 songs that combine melody and rage perfectly.  The songwriting is raw in the places it needs to be and tones it down at the right time to give the whole album quite a varied and lively presence.  The more I listened to it, the more I found myself wanting to hear it again…the true sign of a great record!

Listen to "Abnormal" here.

D.A.D. - No Fuel Left For The Pilgrims

Artist:  D.A.D.

Album:  No Fuel Left For The Pilgrims

Year:  1989

Genre:  Hard Rock

I usually don’t classify a record as “fun” since I think it trivializes artists and what they’ve created; but damn if this isn’t one of the most energetic, entertaining and enjoyable rock albums around.  To my knowledge, Denmark is not exactly known for their burgeoning hard rock scene, yet, D.A.D. comes to us directly from “happiest nation in the world."  Maybe that explains the cheerful demeanor of this record a bit.  My initial exposure to D.A.D. was on a famous music cable station.  My anger and pettiness prohibits me from saying the name of the station that once altered the way people listened to music, but now only exists to dumb down the human race.  Anyways, “Sleeping My Day Away” was the song that hooked me and is a first-rate example of what these Danes are all about.  D.A.D. had a unique approach to hard rock.  They didn’t stray down the overly heavy or aggressive road.  In fact, this record isn't "heavy" at all.  They draw upon and reflect the styles of AC/DC, Nazareth, Thin Lizzy, Golden Earring and early Kiss, yet in no way, shape or form do they sound like any one of them.  All the standard elements are present; gravely, melodic vocals, solid rhythms, catchy guitar riffs and excellent songwriting.  What truly stands out are many of the lead licks.  D.A.D. incorporates an uncommon approach to guitar by applying a clean, slightly reverberated tone that establishes the melody many of their songs.  They don’t overdo the technique, which only enhances the effectiveness of the style.  Hard rock fans that missed this band need to check out No Fuel Left For The Pilgrims.  I probably haven't done a good enough job hyping this record up.  It's easily one of my favorite records from 1989!

Listen to "Point Of View" here.

Songs You Should Know #38 – Nog Watt, Reptilian Brain & Grandma Moses

Artist: Nog Watt

Song: Wish That You Could Feel

Genre: Hardcore Punk

Artist: Reptilian Brain

Song: Blue Jean Simmons

Genre: Grindcore

Artist: Grandma Moses

Song: Sad Life

Genre: Heavy Rock

EXORCIST - Nightmare Theater

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.

Listen to "Riding To Hell" here.

TOP 6 ALBUMS OF 2024

Album Of The Year: The Cure Songs Of A Lost World

 
Top 5 Contenders:
Anciients Beyond The Reach Of The Sun
Cavalera Schizophrenia
Ihsahn Ihsahn
Leprous Melodies Of Atonement
Ulcerate Cutting 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!

THE CURE - Songs Of A Lost World

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 14^th 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.

Listen to "And Nothing Is Forever" here.

LEPROUS - Melodies Of Atonement

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.

Listen to "Like A Sunken Ship" here.

SCORPIONS - In Trance

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.

Listen to "In Trance" here.

IHSAHN - Ihsahn

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.   

Listen to "A Taste Of The Ambrosia" here.

ELDOPA / 1332 - Skinless

Artist: Eldopa / 1332
Album: Skinless
Year: 1996
Genre: Hardcore Punk

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.

Listen to "Skinless" here.

Songs You Should Know #37 – Uada, A Day To Remember & Basement 5

Artist: Uada

Song: Devoid Of Light

Genre: Black Metal

Artist: A Day To Remember

Song: Fast Forward To 2012

Genre: Melodic Hardcore

Artist: Basement 5

Song: Last White Christmas

Genre: Post Punk / Dub

FRONT LINE ASSEMBLY - Caustic Grip

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.

Listen to "Provision" here.

Video Mix Tape 19

Mix 19

0:00  Backyard Babies

2:43  Brutal Truth

4:12  Doggy Style

6:24  Def Leppard

12:20  Cloud Rat

14:10  Sugar

18:00  The Almighty Strut

21:53  Weep

26:00  Zipgun

28:06  New Order

A Flock Of Seagulls - A Flock Of Seagulls

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.

Listen to "Messages" here.

SLAYER - Reign In Blood

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.”  

Listen to "Criminally Insane" here.

WORMROT - Dirge

Artist:  Wormrot
Album:  Dirge
Year:  2011
Genre:  Grindcore

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.

Listen to "Compulsive Disposition" here.

Songs You Should Know #36 – Hazel, Troller & Atrophia Red Sun

Artist: Troller

Song: Sundowner

Genre: Post Punk

Artist: Atrophia Red Sun

Song: Code Word (Personal) Cold World

Genre: Melodic Death Metal

Artist: Hazel

Song: She’s Supersonic

Genre: Alternative / Indie Rock

TOP 6 ALBUMS OF 2023

 

Album Of The Year: Cavalera Bestial Devastation / Morbid Visions

Top 5 Contenders:

The Damned Darkadelic

Grove Street The Path To Righteousness

Home Front Games Of Power

Ren Sick Boi

Trespasser ἈΠΟΚΆΛΥΨΙΣ

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!

JUMPIN' JESUS - The Art Of Crucifying

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.

Listen to "Out Of The Unknown" here.