Post Malone "F-1 Trillion: Long Bed" (2024)

A year on from a toned down yet catchy Austin, Post Malone returns with passion, plunging gracefully into another love of his, Country music. Surprising to no one who knows of his passions, F-1 Trillion's shock and awe lies in authenticity. Bringing on a star studded cast of heavyweight producers, seasoned musicians and huge Country artists, a bright, cheery set of songs built for southern blue collar American life.

Pulling no surprises, themes of love and heartbreak, work and drive, booze and blues play out in typical fashion. Post's unique voice croons a snug fit for these glossy instrumentals, his soft wobble breezy and charming as ever. The music flows sweetly, rich, fleshed tunes layered with steel guitar, piano, strings and occasional harmonica.

Given my casual love of the Country mood, this hour flows like an easy day traveling in the sun. Great to ease the mind and keep things simple. Practically every song features a big name, including legends Dolly Parton and Hank Williams among plenty of younger names. With a large cast of songs, only California Sober leaps of the playlist with its powerful hook and lively instrumental venturing into Southern Rock.

Disc two, the Long Bed, adds nine additional tracks with Post going at it alone. These songs simply extend the mood, feeling like there is room for additional voices yet he holds out well on his own, well worth a listen. F-1 Trillion was about bringing the best musicians together to make a stellar country album. With such brilliant composing, its hard to imagine he alone is orchestrating such warm, cozy music. Thus I'm left with a sense that Post is a guest to his own show, which has created a fantastic record.

 

Rating: 7/10

Rina Sawayama "Hold The Girl" (2022)

 

Following up on a smashing debut, Hold The Girl's antidote lays in repetition as first impressions come stiffly poisoned by uncanny familiarity. This is Pop music after all, its broad appeal conjures the best radio has to offer. Admittedly, it took time to flourish into the ear worm monster it has become. Trading in the eclectic ensemble of debut Sawayama, Rina commits to an intoxicated romp of glossy bangers pulling from across the spectrum of popular music's finer offerings. Showing her hand, an obviously play is made for high octane Dance-Pop that also ushers in mild echo's of 80s Synthpop and driving percussive energy of the 90s UK Electronic scene. Along the way were treated to crooning ballads, a touch of Country Pop, R&B and Soft Rock.

Uncanny in nature, lacking originality, yet sparkling with a touch of magic, its Rina who makes the record whole. Track after track delivers stunning performances, soaring vocals, emotions flowing in infectious cadences. An emotional weight grips her lyrics of struggle and expression, entangle in the moment. Your Age hits hard, an anthemic reflection on predatory abuse. A dark undercurrent manifests into a shudder of glitched vocals. It plays beautifully against ascending cries on the tracks chorus hook.

She is simply on fire, as are the instrumentals. Most songs play fleshed out with charisma and craft, leaning hard into the concept at hand. Occasionally flaring up with a Glam Rock guitar solo. Dense and powerful, subtly is not the intended direction. These tunes know themselves well. Some tracks however boarder "plagiarism". Americana inspired Send My Love To John feels all too familiar. Perhaps a victim of is stripped down acoustic simplicity, if I had a broader recall, I feel as if I'd put my finger on it. Quite a few songs do this, however Catch Me In The Air's guitars are blatantly derivative of The Smashing Pumpkins' 1979. Holy is another ghost of the 90s Electronic scene. That Ethereal piano melody over the thumping bass is uncanny.

Despite all this, the record is utterly brilliant. More the half the songs hit like classics and the trailing tracks ain't far behind. Hold The Girl plays with fire. Does it get burnt? Yes but I couldn't care. Perhaps had they been a little less overt with influences, such thoughts could have been avoided. Lastly, I'd like to end on the album's closer, To Be Alive. Such beautiful lyrics, blossoming out of the darkness of youth, warmth emanating from within, a platonic love song of life. Its emotional build, shoegazing blurs, dance pianos along with the lofty choral voices is simply blissful.

Rating: 9/10

Alice In Chains "Sap" (1991)

Prior to their monumental sophomore record Dirt, Alice In Chains released this five track acoustic EP which I had previously glossed over. Reviving Sap to my playlist, It took me a few spins to get past the change in temperament. Then I found another charm this group possess, a side of them not felt from the acoustic compliment that creeps into their dominantly heavy music. In stripping back the distortion guitars, their Grunge and Groove Metal energy leaves a void filled by a range of influences. Folk, Blues Rock and Country all have leanings on these traditional, acoustic guitar led song styles, blossoming into a different and simply indulgent experience.

Its opening track Brother is almost unrecognizable. I believe it is Staley singing with a soft casual, breathy persona, a polar shift from his normally electric out-poor. Guest vocalist Ann Wilson of Heart harmonizes in a higher octave on the chorus for another unexpected spice. In getting familiar with it, a warm and tender song of sombre acceptance emerges and that emotional reverence flows onward. I believe Ann returns again on Am I Inside. Her small roll adds a keen flavor, much like the bright piano that creeps in under the haunting guitar. Aligned with shimmers of cymbals and brief bongo patters it speaks volumes to their musical ability and inspiration.

The bass guitar lays down some deep, warm rumblings to thicken out these sombre acoustic strokes. It gets a gritty pump of groove going on Got Me Wrong, the only track to deploy distortion guitars. In a strange way you can hear them being pulled back to the more expectant sound but the two styles just pull the slider back and forth, rather than gelling into something bigger. The last track is a joke track of skits, goofs and gaffs with comical musical arrangements. Its quite fun and a peek into a less serious side of the musicians, a nice something to throw in at the end.

Favorite Tracks: Brother, Am I Inside

Rating: 6/10

Cane Hill "Kill The Sun" (2019)

The year is off to a fantastic start as we follow up on Puppy's The Goat with an alarmingly different and brilliant EP from the Deathcore and Nu Metal inspired Cane Hill. A change in direction? Or a one off? Either way there is no doubting the exuberant experience that awaits as the band bring out Americana tones and influences to fuse traditional song writing with modern electronic aesthetics for emotionally charged sound that stands mightily tall. Only a single song musters distortion guitar for a brief period, bar the enigmatic use of lead guitars. This total shift in style lands the rockers in an strange place, echoing the glory of the 90s Alternative music scene, while pacing forward with an engulfing dreamy overtone.

Serine acoustic guitars with a country tang find themselves plucking smooth licks accompanied by slow, electronic, reverb soaked percussive lines. Its indulgent, degrees of synthesized details wage in the distant spaces. Save Me gets a beautiful inclusion of pianos alongside the acoustic foray. It is singer Elijah Witt who illuminates the already gleaming instrumentals with a performance to roll back the years and give reminiscence to many great singers of that era. Acid Rain in particular has strong Layne Staley vibe, the lyrics too as they dive into drug reliance. It is no disservice, his singing is charming, inviting and resonating with emotions, a peak on the summit.

Another fond aspect of the music its its swaying into briefly esoteric and Ethereal vibes that its steady and measured drum loops build structure for. The use of compounding reverbs and subtle synths organically weave in between traditional components with a fulfilling chemistry. The last track gets particularly into these experiments with a lively drum performance leading the music into darkly, ambiguous electronic madness. It closes the record as the sound rolls and rumbles into a cacophony of crazy. Its intense and that intensity Metal heads have is found elsewhere in climatic moments that take the gentle tunes and raise the tension with drums and guitar leads chiming in to expand the depth.

I can't flaw a thing with this project other than wondering why this is just six tracks? As a full album I believe it could contend for accolades and a place in the hearts of music fans for years to come. It really is striking just how natural and matured this sound is for them. It might be a side project but could easily be a main focus for them. I'm aware of many bands making heavy music but not so many with an edge like this! I hope I get to see this live at some time, I imagine it will be magic!

Rating: 8/10

Mazzy Star "Still" (2018)

I have mixed feelings about this record. After a fifteen year gap I was dead excited to get my hands on this new Mazzy Star record, however whats new about it is a little bit fuzzy. Consisting of just four tracks we have an alternate take to the noisy and psychedelic trip So Tonight That I Might See, admittedly the texture and mix of this performance is far more dynamic and engrossing. The first two tracks have been performed live for many years which leaves us with the title track Still, just two minutes of new material that doesn't make much of an impact alongside these other songs. I haven't read up on the status of the group, I am hoping this short EP is just a warm up for a record, getting back into the swing of things and letting fans known things are happening but I'm not hopeful.

Nothing about these four songs is out of the ordinary, the Californian group revive their breezy, soothing sound once again. Channeled through the quiet, soft and beautiful voice of Hope Sandoval the accompanying muted instrumentation plays with a cushioned grace, strumming gentle chords quietly and softly tapping of the keys of a piano, you may not even notice the drummer if it wasn't for the snare which pops in on time cautiously. It gets exciting when the final track rolls in, mustering moments of distortion guitar madness over its thick and foggy organ gloom, Hope whispering murmurs into the background, we have heard it before but it is far more absorbing in this re-recording. Although I love their sound this felt far to similar to just spinning an old record of theirs, hearing whats been heard before.

Rating: 3/10

First Aid Kit "Ruins" (2018)

Swedish sisters Klara and Johanna return for their fourth full length record, one I have highly anticipated as their previous release, Stay Gold, resonated with me deeply. Its such a joyous record that has provided me with much warmth in the few years since I discovered it, as much to say it would undoubtedly make a favorite albums of all time list. With the stakes set high and a familiar sound the duo show their influences boldly on a strong and unsurprisingly luscious album with a sense of era and character about it, the album cover reinforcing this concept with a striking chromatic gesture labled by its staple mark seventies font. You wouldn't blink an eyelid if you found this floating around in a box of old crinkled vinyl sleeves.

Ruins comes on strong with more Americana and Country influences the two wear on their sleeves. The slick country tang guitar accents in the opening songs set a strong southern undercurrent amidst a sweet and warm production full of rich instruments. Fleshing out the acoustic strumming, strings, country pianos, additional guitars and wholesome percussion enriches these simple heart felt folk songs. Often complimentary there is a couple of moments where it takes lead over their voices which, as we know, are soft, heavenly and the soul of the music.

Hem Of Her Dress embodies a flaw with this record. A rousing scream mid sentence feels out of place as the sentiment of the song falls misplaced. It slowly builds intensity to an eruption of group singing that lacks charm and a sense of purpose, perhaps in this moment their influences border imitation as the lyrics, in this song and others, feel recreational of the genre's known characteristics. That got me thinking about how little of the lyrics stuck in my mind. Stay Gold was like an introspective awakening, coming to embrace life's finite and ever changing experience, ever lyric offering a wealth of seniority. It felt from the heart where as Ruins references whisky, interstate highways and other topics steeped in a different familiarity.

I'm sad to say this one hasn't struck a chord with me, Its opening tracks start out strong and Fireworks has some surreal moonlight singing to tug at your heartstrings but as the record stretches on the spark fizzles out as the southern country feel outpaces the songwriting. Although a stunning sounding record, their beautiful voices only go so far to make these songs work. The lyrics don't resonate and so a very pretty sounding record dulls as it stretches on. Its unfortunate but that's just how I heard this one.

Favorite Track: Fireworks

Rating: 6/10

Danzig "II Lucifuge" (1990)

Two years off the back of the self titled debut, Glenn Danzig and his cronies reunite with Rick Ruben for another stab at their metallic tinged blues rock. Taking a vigorous stride forward, Lucifuge marks the solidifying of ideas heard on the first record while turning up the intensity, a nuance you could easily miss. Its a sweet and simple progression that has very much the same blueprint and aesthetics yet a learner, harder Heavy Metal approach brings out a touch more aggression and attitude in the guitars while Danzig himself revels in his voice, finding much comfort and ease in this tone he has carved for himself.

 Opening with meaty temperate grooves and harmonics loaded into classic metallic fretting, the rock and wail is illuminated with more intermittent guitar leads, mini solos and licks over the top of mighty power chords, raising the energy for Danzig to steal the show with his deep burly voice, flexing Country accents and tinges of Southern sounds in his bluesy performance. He sounds born of hell, weathered yet youthful, full of energy but engaged with life's burdens. It culminates with strings of classic lyrics and choruses to sing along too, as well as many big riffs which often come front and center when the songs shift to the slow and hellish elongated grooves reminiscent of Doom Metal and mainly Black Sabbath on a couple of tracks.

"I'm The One" goes full Country, an athletic acoustic guitar bustles in the silence between Danzig's musings, a lone hi hat holds the tempo down with its steady rattle. It feels as if the track will erupt into overdrive but it never quite comes. Its followed by a string of sterling songs that lead to "Blood And Tears", a slower, sorrowful song that plays like an old timers ballad, peaked by a solo and illuminated by the soft glow of a buried organ. The record is a shade better than its predecessor, my enjoyment still feels a little limited but it gets steadily more infectious with more exposure. I really get the impression these records would of dazzled be blind in my youth!

Favorite Tracks: Killer Wolf, Her Black Wings, Blood And Tears

Rating: 8/10

Metallica "Reload" (1997)

 Written in same period as its counterpart, Metallica split the bulk of their material into two halves and recorded them in separate sessions, returning to the studio after a brief touring period to promote the first, Load. Of this era I once dismissed I do remember being significantly fonder of Reload yet today It seems like the more varied of the two, a variety that has significant peaks and valleys. The openers "Fuel" and "The Memory Remains" are the most likely of all these songs, from both records, to make a set list.

 Followed by "Devil's Dance" we are treated to atmospheric brilliance as Metallica's creative juices yield stomping, crawling grooves and heat soaked shady leads from Kirk who drops in a marvelous solo, leaving his comfort zone and shredding wild screeches that revel in noise play. The vocal hooks are massive as James shows his harmonious range between monstrous "Yeah!" shouts. Laden with occasional effect drenched background vocal lines it oozes with charm from a band pushing their own boundaries. That high is followed by a low "The Unforgiven II", a sequel song that doesn't hit a mark, lurking in the shadow of the original its borrowed riffs and adjustments feel like a rearrangement rather than a second chapter, its all made unbearably worse by the "you're unforgiven too" pun, not a favorable lyric!

Too my ears this record definitely sounds like the second of a pair. If Load got all the first picks it explains its consistency and flow in comparison. Reload goes down a few different avenues, some yielding duller tracks like "Prince Charming" and "Attitude" which seem to lack a spark between sets of reasonable riffs. On the bright side it has some real wild cards like "Where The Wild Things Are", a song that narrows its metallic groove and surrounds it with sweet melodies, mostly from Hetfield who really shows a soft side of his voice. A big shout to "That's Not Metal" for noticing the similarity between this song and Ghost. You can definitely hear it as a precursor to their style.

Metallica get some stick for this era yet there's a lot about it that has contributed to the trajectory of Metal to come, especially the ditching of the strict "all black" metal-head uniform. The production, aesthetics and attitude of this record are much the same of what I said on my Load blog. I remember perhaps being critical of Kirk who felt a bit quite on that release yet here there are a fair few moments where he becomes a big focal point, especially when turning to big, steady atmospheric leads playing of reverb and slow bends like on the remarkable closer "Fixxer". Its hard to pick a favorite of the two, Load is the better album yet Reload has my favorite songs. Ultimately I'm now gasping for more of this era too many fans have dismissed! This era is a fantastic evolution for the band, unfortunately its the end of Metallica at the top of their game.

Favorite Tracks: Devil's Dance, Better Than You, Silther, Carpe Diem Baby Where The Wild Things Are, Fixxxer

Rating: 9/10

Metallica "Load" (1996)

 After the monumental success of the self titled "Black Album", the legendary Metallica took five years to find an artistic stride to new territory. Despite them selling multi-platinum copies and bringing hordes of new fans to the Heavy Metal culture, their back to back Load and Reload records have been the mockery of metalhead snobs from then till now. The sad reality is I was once one of them. Thankfully my journey of music discovery has led me to a place where I want to hear what the artist is about and not just what I think will satisfy my taste buds.

Metallica were right there at the formation of my passion for music, my first and still favorite record of theirs, Ride The Lightning, carved my passion for this music and being a young teen with Christmas on the horizon I had a chance to scoop up more. Visiting the local record shop I was captivated by the covers of Load & Reload and picked them as my next Metallica records, so imagine my disappointment not to hear more of that fast, dark and sleek Thrash Metal! Unfortunately that sour first experience and the rarity of encountering fans that liked these records solidified my opinion that they were garbage... I owe a big thanks to the "That's Not Metal" podcast for prodding back to these records, their epic ten hour talk covering every inch of history in detail and heaped praise on this period of the bands history. With the fire stoked again for this band Load has been on heavy rotation and with mature ears I can join them in their praise of a truly excellent musical period for the band.

Where the old guard may moan that the Thrash roots are gone, Metallica have moved on, evolving into a mature beast that channels the energy of old into hefty, momentous grooves and power throttling drives of weighty riffage that erupts among a band expanding their horizons. Broadening their pallet, the four horseman let the sounds of Blues, Country and Hard Rock accent the guitar tones, steady the pace to a strut and shift the "heavy" to the grooving backbone as their new expressions become a focal point. Songs like "Ain't My Bitch", "2X4" and "Wasting My Hate" stick to their guns but the rest of the record flourishes with the new pallet.

Hetfield has to be given major props for his performance on this record. If the riffs weren't hard, thick and jiving enough, his vocal performance soars on many moments of the record with fantastic harmonious deliveries that will have you singing along. His mannerisms, the "ooh"s and "yeah"s reach a new level of infectious attitude and enthusiasm for his art which just pours out on this record, most likely due to turning inwards for inspiration. The social, political commentaries of past are void, with practically every track carrying an introspective edge in his words. Like with the range of energy these songs carry, James matches it with endearing performances, like the emotional, ranged, Country power ballad "Mama Said" to the grit and gusto of the grisly "Poor Twisted Me".

At nearly eighty minutes the album is loaded, mind the pun, by a band producing gold that might of needed some refinement, one or two less favorable songs trimmed, some unnecessary length on tracks too but the reality is the atmosphere and drive Load has keeps its excitement from start to end. Maybe this lost treasure trove from one of my favorite bands is just too much for me at the moment as I haven't wanted to skip by a second of this yet. I think the variety the record offers has much to say, flexing chunky heavy grooves between diversions into Blues and Country let the songs wind into different territories all while maintaining the grit of the biker gang persona that resonates. Free spirit on the road man.

Production wise, we have an authentic aesthetic. You can feel the heat, sweat and sand of dusty winds and hot climates. Lars's drum kit is snappy, sharp and piercing, every strike is heard and his patterns are as always a strong fitting for Hetfield. Kirk and Jason sound somewhat underutilized, his fifteen years in the band leading to a criminal lack of creative input that finds most of the baselines backing the guitar with a warm, thick mirroring in the base that provides a meaty thud when James gets into the heavier riffs. Kirk's solo's haven't left much of a mark on me, his roll is heard emphasizing the accent and tone Metallica are coming from but his leads never overtook the expressions of Hetfield who drives everything forward with his riffs and singing.

If I were to be critical of anything it could never be the artwork, the change in image the band undertook. Metallica aimed to reinvent themselves and that's exactly what musicians should do when it calls for it. Retrospectively I can see how turning the axis on whats of expected of Metal music is so important for the genre to evolve and perhaps their choices here have had unfounded influences on the shape of modern Metal. Its quite the shame that none of these songs grace the live show anymore. This is a fantastic period for the band, evolving their artistic expression and hitting the mark in the process. Now to binge on Reload!

Favorite Tracks: Until It Sleeps, Bleeding Me, Cure, Mama Said

Rating: 9/10

Hope Sandoval & The Warm Inventions "Bavarian Fruit Bread" (2001)

Following up on Mazzy Starr's "Among My Swan" and subsequent hiatus, this Hope Sandoval record is mistakable for her main band. With the help of "The Warm Intentions", Hope continues on a similar path with a collection of dreamy and mysterious folk numbers that induce a laid back trance as Hope's seductive voice soothes the soul with her soft and dreamy singing voice. Whats different between the two projects is subtle, the trademark bells and harmonicas feature as if the same, but the hazy distortion tones and darker leaning of the sound are gone.

"Bavarian Fruit Bread" is a lighter incarnation that has the same breezy, dreamy nature. It gives a lot more light to Hope's voice in a complimenting manor. The instrumentals can be a touch sparse at times with the drum kit being a rare feature in many of these songs and its very much a case of hit and miss. When in full swing like "On The Low" everything is just right, mellow and rural, charming and delicate. Indulging, at other times the lone guitar and Hope get's a little to baron to spark the magic, but its also a case of mood. Sometimes I could drift right in, but not often.

Its a terrific sounding record with sparkling acoustic guitars and dreamy echos. There is a couple of more striking songs than on the previous record but its coupled with plenty of tiresome songs that get a little lost with the wind. Hope's voice is beautiful throughout but it doesn't come together as a full length, great in the perfect mood but often a bit of a drab. As much as I wanted to like this album its flaws were all to apparent.

Favorite Songs: Suzane, On The Low

Rating: 4/10

Mazzy Star "Among My Swan" (1996)

 Its been an absolute pleasure to enjoy this record which instantly grabbed my attention, singer Hope Sandoval's sleepy, dream like vocals washed over the hazy distortion and entrancing acoustic guitars to create a sound that felt right at home, yet new to me. Mazzy Star are an American band whos music is composed by the core duo of Hope's vocals and guitarist David Roback. The band released three albums in the nineties before a hiatus that left 17 years between this record and their 2013 release "Seasons Of Your Day". Their sound and style is distinctively blurry between Alternative Rock and Dream Pop with a subtle touch of Country too. 

This record struck me with a vivid image of simple life, maybe on a farm or working the land but with a deep respect for life. The mood and tone balances both beauty and sorrow on a mortal hinge that could be felt in either direction as a sombre undercurrent drifts through Hope's soft, sleepy words. In the distance hazy distortions play out ambiguous riffs as radiant acoustic tones strum out colorful melodies that dance around Hope's voice. On the first tracks bells feature in a slightly discordant manor, their presence is spellbinding and the additional instruments that pop up throughout the album add new dimensions, the harmonica in particular conveying that simplistic, yet emotional depth the music has.

 Across the twelve tracks theirs a mix of tones, moods and intensities to be found. The percussion sometimes fully involved with a light kit, occasionally a tambourine keeping pace, something I haven't heard in some time. The group get psychedelic on "Umbilical", a chilling slow drone with a haunting organ building atmospheric intensity from the guitar and drums. The distant, hazy distortion guitar brings the most unique flavor to their sound, but on every track if its present or not they play out truly charming, engulfing songs that wash over with a touch of tranquility. Bewitched by Hope's voice and the humble emotion the instruments serenade I find myself hooked on this record and the peace it brings.

Favorite Songs: Disappear, Take Everything, Ive Been Let Down, Roseblood, Happy, Umbilical

Rating: 7/10

Casualties Of Cool "Casualties Of Cool" (2014)

Casualties Of Cool is a concept album by Devin Townsend & Ché Aimee Dorval. Being a big Towsend fan i was pretty excited for this album, however i have found myself distracted and have only gotten around to listening to it properly this week! At first listen i was quite impressed, but with further listens i found this record to lack the depth that would bring me back to listen again.

This record has a warm and loving tone soaked in re-verb and ambiance that very much compliments the voice of Dorval, however beyond the tone and sound there isn't much going on musically that is really interesting to me. Having listened to Ki & Ghost many times over i wonder if Devin's ambient charm has worn off on me with this record, but i don't think its that, there really isn't a lot of substance in the songs.

The opening track "Daddy" shows everything this record has to offer, but every track after this just continues in the same vibe with no "moments" like in this track where Dorval comes in with "Two by two they pass you by". Its the only part of this record that sticks in my mind, and with the 14 tracks that follow it doesn't happen again for me. Lovely sound, but something was missing in the musicianship for me.

Favorite Track: Daddy

Rating 4/10