Queen "Jazz" (1978)

Now embarking on their seventh full length, the eclectic music of Queen is starting to to sound more compartmentalized. No longer an organic tapestry that ebbs and flows from theatrical pantomime to hard guitar grooves and all in between, the group have split their styles and experiments into distinct songs that had me feeling like I had a bias to the ones I knew. The reality is Jazz has a mix of stinkers and classics among its thirteen tracks. Where time has dwindled out the mediocre, the classics have lived on which leads me to believe its no bias but an album of mixed fruits, some of which are rotten and many listens couldn't sweeten the taste for me.

The album kicks off with the stale and jarring Mustapha. It conjures Arabic dialect to foster a middle eastern atmosphere. Then its dense and swaying rock guitars rub up against the stark tone with contrasting vibes. Its production is drab in halves and the song rather dull. Bicycle Race and Fat Bottomed Girls are classics that need no introduction, the latter revives the arena rock anthem ideals of News Of The World's opening songs. If You Can't Beat Them seems contrived to reach the same anthemic chorus ideals but its execution is so underwhelming, it doesn't have any juice or pizzazz. Don't Stop Me Now is a beautiful eruption of piano led music, trusted forth by Freddie's unforgettable expressions. Similar ideas can be heard on the ballad Jealousy and In Only Seven Days but again, its a template now and they don't deliver.

Many Queen tropes are being recycled, even guitar tones too. Its a creatively stagnant point but their collective genius lands on occasions. Jazz does end on a creative high with More Of That Jazz, deploying slick metallic guitar licks that gel into atmospheric vocal layering. Its a delight, played on a loop with snippets of songs from earlier in the record, a cool way to bow the album out. If Ive sounded critical it may be that opening song setting the wrong tone for the following music. At this point I just think the band have bared their fruits and its obvious what they are attempting, so when it doesn't hit the mark it falls flat in comparison to the high standard they have created for themselves.

Favorite Tracks: Fat Bottomed Girls, Bicycle Race, Dead On Time, Don't Stop Me Now, More Of That Jazz

Rating: 6/10

Queen "Queen" (1973)

Arriving at their debut release, my expectations had been lowered by the underwhelming Symphonic Rock of Queen II. Surprisingly, this is an easier to digest record. Full of the eclectic diversity and variety that Queen are known for however its yet to find distinction. The production is clunky and dated, the musical influences obvious, worn on the sleeve, yet the songs it births at this point in the bands infancy are much more distinguished and fun than the following record. Brian May also kicks the record into gear with burst of Heavy Metal eruption on Doing All Right very akin to some of his best moments. He quite often finds stirs of Heavy Metal energy to inject.

The song swings between polarizing styles in a playful manor and whats encapsulated in that one track can be heard throughout as the band sway from soft and folksy Progressive Rock into bursts of Heavy Metal and Classic American Rock. The song Son & Daughter even goes into Doom Metal territory as the slow, sludgy guitar grooves carry their texture into the light, very Black Sabbath. Much of the record plays with these obvious familiarities but they always come with a spice of instrumental playfulness as keys and guitar leads add colorful upheavals in practically every song.

Some of the lyrics take on a biblical tone, the track Jesus being a prime example. I am unsure if its a song of praise or a mockery but the tone is a shambles, making an ugly appraisal out of layered voicings which had been used beforehand so effectively as burst of immediacy on songs like Liar. Overall its far better than its predecessor but not exactly its own animal yet. All the markings of what make this band so fantastic are here, ready to be developed. From here onward we only have the 80s and 90s albums left to explore!

Favorite Tracks: Doing All Right, Seven Seas Of Rhye

Rating: 6/10

Queen "News Of The World" (1977)

It may be home to two of Queen's defining Arena Rock anthems known the world over but News Of The World is a haphazard record of eclectic directions lacking any cohesion. On their own these songs ain't so bad but they tend to fumble over one another. After opening anthems We Will Rock You and We Are The Champions, the rest of the run time seems stitched on with nothing resembling the amped up, cheer along style of these two numbers. Named after Sheer Heart Attack, track three blares into Punk influenced guitar tones thrashing at a monotone Industrial pacing. It deploys some rather bizarre feedback noise towards the end and the whole production sounds rather uninspired. Not a bad song but its coloring is drab. The record as a whole feels a step backwards.

From here the energy dissipates as ballads lull the flow and switch gears. Fight From The Inside makes it mark with Roger Taylor putting his stamp on the vocals. In general the tracks keep shifting in tone and the mediocrity of these songs has the bands diversity feel at odds with itself. It hits a low with Who Needs You. Exotic Spanish guitar makes for a sunny sandy song that lays its intentions bare. Its wildly out of place and lacks any subtly as even the percussion shakes it up with Maracas. You'd expect it to become something more that a simple mirroring of worldly musics.

Without fluidity and subtlety these lesser inspired songs just drift all over the place. They may be well written songs but the strands of these musicians influences tend to imitate rather than birth something new. Even the more typically Queen and theatrical songs lack the spark heard before. Freddie's voice may be a charm throughout but with Brian May being quiet on his guitar its lacking. I suspect with two smash songs under their belt the label may of pressured the group into releasing what feels like a set of B-Sides to bolster a record to sell alongside these cultural anthems.

Favorite Tracks: We Will Rock You, We Are The Champions

Rating: 5/10

Queen "Queen II" (1974)

The iconic cover art of the British Rock legendss second full length is an infamous one but that is mostly thanks to its revival within the Bohemian Rhapsody music video. This record may have otherwise fallen peril to the sands of time if Queen had ended the road here. That is just speculation of course, its a reasonable collection of songs that seem to relish in experimentation and the freedoms of Progressive song writing but little of it goes above and beyond. For me the genius of their sound is closer to an embryonic form, the tones Progressive Rock and a strong shimmer of Glam Rock overwhelm and restrain the diversity that would unfold in albums to come. I could be alone in this though as it seems critics adore this record. Is that retroactive or of the time? Either way I think hearing whats to come has dulled the spark in this second chapter as the styles of Rock and Metal of the era dominate the overall tone at play.

Queen II has a very strong vocal element with many layers of over dubbing creating a sense of grandiose and theater which would be done tastefully later on. In this instance its use is a little excessive and interjects the music like a synth instrument. There are times when it works and others not so much but it is certainly a showcase for Freddie's voice who gets to deploy a fair range of styles in the second half of the album. The whole thing however plays like an aimless journey, each song meanders through its motions with hardly any stand out moments. Its got a consistent tone that pivots with sudden music shifts and Roger Taylor puts his stamp in the middle of the record with The Loser In The End deploying his unique sound.

The records production is a little murky. Mustering roars of Heavy Metal energy from Brian May's guitar often end up in a clatter of collisions compromising clarity. They are often some of the best moments but with a lot going on musically it escapes the recording fidelity. Its clear Queen where being ambitious however many of the compositions and musical stunts pulled off may have been fresh and exciting at the time, it now sounds a little less grounded by the impressive song writing they would develop. Queen were young and youthful and its no surprise they would go on to do great things but at this point they are short. Its a strong, solid record but one that feels like its fallen to time, living in the shadow of sounds outgrown.

Rating: 5/10

Queen "A Day At The Races" (1976)

Proceeding from the sensational heights of Bohemian Rhapsody on counterpart record A Night At The Opera, British legends Queen return with a shaky response from critics at that time, forty three years ago. I find myself at odds with the criticism weighed upon the band. The former record came with peaks and valleys, songs that soared and delves into pantomime theatrics that dispelled the flow in places. A Day At The Races is a far more leveled and cohesive record where the bands eclecticism sticks like glue without a week spot. The problem is however that not a lot here is that remarkable in comparison. The Millionaire Waltz may be its only soaring moment as playful theater musical jollity collides with riveting Heavy Metal licks at weighty chords that culminate in a mid song eruption of electricity... Only Queen could do this.

Starting to develop a better understand of the band, one can hear creaking similarities and writing crutches in the music. Roger Taylor seems to have an uncanny knack of mustering a distinct persona with his song Drowse, perhaps the vocals give it away but then again this is a band of four song writers and given at least a song each it is no surprise these thumbprints arise. Writing these words I can see how these perspectives can be leveraged against the record but It plays so smoothly.

Rolling from one song to the next it ebbs and flows, Brian May's guitar electrifying when timeless Freddie is absent. These spurts of textural heavy guitar tone erupt, filling key parts of the music with true imagination throughout its run time. The intro has a particular glorious use of tape reversed guitar lead to create a suspenseful opening to the record. It is heard again as the record closes on Teo Torriatte, a song half sung in Japanese that peaks with moving group chorals as it reaches its end. A really firm record that flows far better than anything before it but perhaps suffering from to little of their peak magics yet the songwriting is fantastic at uniting style as you'd expect.

Favorite Tracks: Tie Your Mother Down, The Millionaire Waltz, Good Old-Fashioned Lover Boy, Drowse

Rating: 7/10

Living Colour "Stain" (1993)

I may just close the book on this particular musical avenue. A staleness is setting in from a band in steady decline. Their sparkling debut Vivid was quite the experience but since then the re-arranging of influences isn't landing anywhere significant. This time around a tonal rawness and Industrial edge are introduced. Its crass production takes a step back again, the guitar tone has a loose, gritty tone, fit for Thrash and Hardcore riffs but lacking glue. Its on a separate plane from the bass guitar and the musical aesthetic has a sparseness Glover barely holds together with his singing.

His presence is warm in tone, smooth in delivery but the lyrics are handled bluntly. Ideals and topics are persuaded through plain language that sounds so of the time and frankly dated. Its socially and political oriented as you'd expect and the themes range from wealth guilt to sexuality and all of them are expressed with little room for reflection. Essentially I am listing points where this record doesn't resonate. Nothing here is truly awful but the record passes without any attention grabbing moments.

Vernon Reid does get to flash off his advantageous guitaring ability with wild, erupting, dazzling solos however they arise from mediocrity which dampens the impact. There is actually a fair arsenal of thrash and groove riffs in the mix but something in albums raw aesthetic dispels any magic. Auslander is a good example of a track set to bang. Its got a driving Industrial backbone and rowdy baseline yet the two don't gel and the song drifts into a monotone, lifeless drone that chops and churns its way by.

Leave It Alone is about the only song that really has something going for. The rest just gets by on a limb, then Wtff arrives with a turn table break beat jam and the record drops of completely for the remaining few songs. Its a strange record because its loaded with good riffs and interesting elements but none of it fuses and the whole thing is left stiff and stale. Its disappointing but not awful, worth a spin but no more.

Favorite Track: Leave It Alone

Rating: 4/10

Queen "Sheer Heart Attack" (1974)

Its been another eye... or should I say ear opening record from a band already enamored with global legendary status. Diving into their records has shun a light upon the depths of their brilliance and highlighted what a diverse and eclectic group of musicians they really are. Its something rather uncommon at the peaks of popular music. Sheer Heart Attack is Queen's third full length, proceeded by their magnum opus A Night At The Opera. The two share a common identity, thirteen tracks, around forty minutes of music and songs adopting a similar molding cast within an equally theatrical run through of their opposing ends of style and genre.

Brighton Rock kicks the record off with a glorious Freddie Mercury reaching into the peaks of his range with a pinched voice, harmonizing with the organically unfolding set of riffs alongside him. Its captivating and as the song builds its persona and structure they turn and loosen up into a set of miniature guitar solo licks before taking over the music entirely with a tangent of riff rocking, guitar jamming and tight pick chugging grooves that sound practically Proto-Thrash in snippets. Its a Heavy Metal delight.

It pivots into the classic Killer Queen, the pianos gleam a fun jollity from their chords. Its in contrast to the buzzing energy before it and somehow it works... That's what Queen do! A few other tracks feels more so from a mold, Roger Taylor gets the third song again, Tenement Funster. Perhaps its his voice but the song is uncanny in comparison to the feel of I'm In Love With My Car. Its a lightning start, aligned with an unending source of groove and sweet licks from Brian May's brilliant input.

After this point the record finds its theatrical and pantomime breaks in flow through Freddies songs, Lilly Of The Valley, Lap Of The Gods and Bring Back That Leroy Brown. The best union of these contrasting sides is to be found on Stone Cold Crazy, a hard hitting Heavy Metal track with some seriously gripping guitar work that rubs right up against Mercuries performance antics, jiving of the fast clicking percussion. The transitions are sublime, bottled lightning unleashed as the guitars drop fiery harmonies, scattered with infectious attitude all over the place.

Unlike its proceeding record, Sheer Heart Attack doesn't quite have the dynamics. The bands eclecticism bounces of the walls but there are moments of magic left right and center where it comes together. Brian May's guitar work has been a revelation. Their is so much on this record you could link to the future of Metal music to come and in this form its utterly riveting. His use of effects with echos and reverberations is particularly satisfying. I prefer the songs here individually but as an album its a shade behind the flow of their best work.

Favorite Tracks: Brighton Rock, Killer Queen, Tenement Funster, Stone Cold Crazy, Misfire

Rating: 8/10

Living Colour "Vivid" (1988)

The magic of shuffle kicks off another journey as a track other than Cult Of Personality plays and captivates my attention. Its the perfect spark to lure me in and over the past couple of weeks Ive grown to adore this record! When first digging the mood and vibes I thought about how much I loved nineties music, of course this record was a couple years before that decade but Its shades of Alternative and Funk Metal now sound like a precursor to what would blow up in the coming years. You could even trace back Groove Metal back to some of the stomping riffs that appear on this record too. Its been a revelation in some ways, another piece in the puzzle, a key one too.

The group formed in New York a few years prior to this debut album and they arrive on the scene with a really powerful and well formed sound that fuses elements of the aforementioned genres with a Hard Rock baseline, some flavors of Funk and periodic upbeat inflections of cheesy eighties Pop vibes. They pull it off well and roar out the gates with the timeless Cult Of Personality, beyond it an impressive set of songs bring a diversity of well executed ideas thanks to a solid rhythm department. Its led by slamming drum beats that have a little Hip Hop sway to them and alongside punchy baselines that get a couple of songs to step up and flex phenomenal bass playing.

Singer Glover has a fantastic range and pulls off some immense high pitched notes at key moments, he is a well rounded voice at the forefront, lively and emotionally invested. The guitar work is sublime, a range of styles even spanning as far as a Country tang give the songs there tone. The lead playing lines many of them with electric guitar solos that erupt and roar, bursting to life with electricity, showing off technical prowess and slick inspiration. They also drop in with hard hitting riffs and grooves that will have you slamming your head back and forth on many an occasion.

To me, the record walks on many paths and feels like a journey round the world as it explores many ideas, tones and temperaments. The lyrical content and theming also hits a diverse collection of thoughts and problems having personal perspectives, strong feelings and a outlook towards social situations and political problems. The two aspects gel together fantastically and make for a record I can't help think may be somewhat lost to time. I wouldn't say its a classic but it really has a pivotal feel to it, a stepping stone towards the immense music I adore from the early nineties.

Favorite Tracks: Cult Of Personality, Desperate People, Open Letter, Broken Hearts
Rating: 7/10

Puppy "Puppy" (2015)

Fondly reminded of teenage obsessions with music, I have found myself in adoration of Puppy's latest album The Goat. I went back and gave it a ten, as I simply cannot get enough of the record. I also remembered that they had another EP before Vol II, somehow I forgot about it! Another four tracks of their glorious and inspired mash of Alternative, Metal and Rock tones that this time around show the particulars of their heritage with some guitar styling drawing obvious parallels to other artists.

The four songs are a sweet fit for their sound, another exchange of monstrous guitar grooves, sunny yet sombre emotional intersections and beautiful singing with the occasional peaking harmonization. The songs hum an energy within simple structures as the intensity ebbs and flows, often led by the gorgeous guitar tones. I can't help but hear strong echos of Iron Maiden within their Heavy Metal alike melodic riffs. In the vulnerable sung sections backed by hazy distortion guitars its Weezer I can feel.

Like with all their music, the links are keen and its hard to not feel the presence of these other bands yet it comes together in the most gratifying of ways, inspired and far from intimation. They sound more so like a logical successor and that is considering this is their first record. The Great Beyond will probably grab your attention as the flag song for the EP with its main riff shaking the ground each time it rolls around. I really enjoyed this considering how I want nothing but more from this band right now!

Favorite Track: The Great Beyond

Rating: 6/10

Queen "A Night At The Opera" (1975)

With the magic of the recent Bohemian Rhapsody movie lingering in mind, Ive been reminded again of how often the thought passes that as much as enjoy Queen's music, its really the hits I know and of course they have a lot of them. Curious about their deeper cuts and this record that played a big part in the movies progression, I decided to start here with what was the most expensive recording to date at the time of its release. Home to their best know song and You're My Best Friend, most of its contents were unknown to me and so I have had an absolute blast getting stuck in.

A Night At The Opera is an eclectic journey, a marvel of sorts, squeezing in a helping of styles and cultural echos that defy being packaged. One can hear inklings of Heavy Metal in the lean guitar licks, its unconventional song structures and experimental nature may label it Progressive Rock too but the songs are all their own beast. Like a wild roller coaster the music flows sweetly from its polar ends, Sweet Lady crafts its weighty guitar riffs for a first pumping Hard Rock tune that's close to being anthemic. After blazing the trail with a fiery guitar solo at the end of the song, we are of course swept in to the next number, Seaside Rendezvous, with bright pianos for a pantomime piece full of audio gags and sound effects. The music animates the an image of the stage and its actors.

Its emblematic of the musicians instinct to follow their gut as they breeze through a diverse set of sounds without a hitch. Its experimental side blossoms on The Prophets Song as the music gives way to a mid section of imaginative singing, the instruments fade out and Freddie and his band mates sing and swoon off layers of panned echos and reverberations. It starts off simple with repetitions of words but quickly builds up its gusto and erupts into a foray of vocal melody to delight upon. Making your way through the music one can pick out its anchoring songs as they rotate the theatrics and pantomime with infectious Hard Rock guitar grooves. It all comes to conclusion on the track that incorporates it all in one song, the mighty Bohemian Rhapsody.

Freddie's voice is fantastic throughout to no ones surprise but this record showcases his band mates too, Brian May has one heck of a talent both with his keen rhythm playing and the lightning guitar leads that occasionally erupt into the limelight, dazzling all. Drummer Roger Taylor puts together on a finely crafted song that seems almost ironically casual in its naming, I'm In Love With My Car. This is one heck of a deep record that you can binge over and over. All its flamboyance and diversity is true, giving back over and over again with each spin. Its really fired me up to get into more of their records. What a great band, how many years have a squandered the opertunity to get into one of the all time greats! This was a great decision.

Favorite Tracks: Death On Two Legs, I'm In Love With My Car, You're My Best Friend, The Prophet's Song, Bohemian Rhapsody

Rating: 8/10

Bring Me The Horizon "Amo" (2019)

Ive been highly anticipating Bring Me The Horizon's return since their monumental That's The Spirit, a modern day Hybrid Theory. Its unsurprising to hear the band further move into the Pop realm, the continual direction shift is fruitful and exciting. Inviting larger synth elements of EDM and Electropop in to subtly tune out their distortion guitars in places, they manage to retain an intensity and heaviness associated with the band. Its the songwriting that triumphs once again as infectious catchy hooks take hold center stage in much of the music. Oli is a huge component to its achievement, taking his voice to many harmonious places with many infectious lyrics. Amo is a logical move forward but perhaps not quite at the same grade.

BMTH certainly have a finger on the pulse of current music and an uncanny ability to evolve their sound and infuse these fresh Electronic and Pop ideas. The transition is utterly seamless and its broadened pallet of sounds gives a depth to the experience as key songs stick out with a defining character. Title track Amo and Mother Tounge pulls in 90s Dance pianos and punchy strings for a Pop epics that spans the decades. Mantra, Wonderful Life and Sugar Honey Ice & Tea, bring in sonic seven string guitar groves in the choruses offset by lighter overdrives between. Interlude pieces Fresh Bruises and Ouch dive into some flavored Glitch Hop passageways and only Nihilist Blues sounds behind the curb with a synth sound reminiscent of 009 Sound System.

Its mostly dense and detailed music, cramming many instruments and complimenting electronic tones into the available space, scaling its richness with the ebb and flow of the music which graces between its fluffy, light pop and crunching grooves, both between songs and within them too. Its A dynamic record with a depth of variety and detail for the ears but with many listens the edge is taken off its less focused and atmospheric leaning compositions that slow the stream. Amo is ultimately a great transition for the group, a strong strive forward but moving from one peak to another they loose a little in the quantity of killer tunes. That's The Spirit was a riot from start to end and Amo drifts of on differen't avenues, intensities and styles that breaks up its magic for periods. The variety is great but not each approach is triumphed.

Favorite Tracks: Mantra, Sugar Honey Ice & Tea

Rating: 6/10

Puppy "The Goat" (2019)

Could it be that this new year starts with its best release? If you needed something to sweep you off your feet then The Goat is it. I'd been keenly awaiting English trio Puppy's debut album after adoring their EP Vol II. Id also heard a few of these new songs live at Download Festival and other shows. Now with the music put to wax I hope a spark is lit for them, its become increasingly harder for small acts in the shrinking world of rock music to get noticed. Even with an utterly fantastic debut record like this it may not be enough but this album is a success of its own making.

With an ear for Alternative Rock moods, the stature of Classic Rock licks and momentous sways of Groove Metal's simple bombastic grooves, Puppy electrify through their brilliant guitar work. It requires no exaggeration through dense distortions or cheap thrills. With a sublime vocal presence the album rolls out like a perpetual riff fest that will tug on your emotions and give you a soar neck. The setting is ripe and fond, a keen production that brings the trio together with a crisp crunchy flavor illuminated by harmonious layered vocals that frequently culminate together.

Opening with a Nu Metal syncopated groove to roll back the years, album opener Black Holes gets the record rolling as an example of the dynamism heard throughout. Swaying between crunchy stomping riffs and joyous, emotive chord arrangements the arsenal of riffs lead into a beautiful, earnest singing as it does over and over through the twelve songs. It never tires! This record has been on repeat since its release five days ago and I'm drowning in my adoration for the magic moods it conjures.

As the album progress it feels like the more varied cuts stack up in the second half. A different vocalist on I Feel An Evil, the emergence of a blast beat and a couple of heavier drum patterns keep the records momentum swinging after the timeless sonic grooves of Entombed from Vol II goes by. It holds some of the heaviest riffs and a couple of guitar leads too. It makes for two excellent halves of a whole.

The Goat is never dramatic, self-indulged or too serious. Its continuously fun, uplifting and light hearted yet its music comes from a genuine source of expression. The continual unleashing of riffs will have you writing off lists of bands, riffs and fond similarities, mostly from the 90s decade. As a band they wear their influences loud and proud yet have a dynamite chemistry to express themselves with an originality that can only be known as Puppy. The punch of Metal, the class of Rock, the emotions of Alternative Rock and even a little Grunge ferocity in moments, they have it all.

After a couple of spins a more current, and now obvious parallel, revealed itself. Singer Howard has beautiful vocal range with a tone not far from Papa Emeritus of Ghost at times. Once I made that link tracks like Poor Me sounded uncannily alike in a handful of instances, that and the darkly interpretation of religion in their artwort. There is something similar at work in these bands reinventing the old and its wonderful.

I cannot get over how good this record is. If I had anything to be critical of it would be the formula of the songs. Puppy have such a riveting presence and arsenal of riffs it almost feels as if the music is pegged back from spreading its wings and exploring progressive tangents. The band stick with straight forward structures, three to four minute song lengths and it serves them well but my taste would delight in this group daring and experimenting however its their first record and I shouldn't get ahead of myself, this promising young outfit have well and truly delivered with The Goat.

Favorite Tracks: Entombed, Bathe In Blood, I Feel An Evil, Demons

Rating: 9/10

The Smashing Pumpkins "Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun" (2018)

Long since their glory days of Siamese Dream and Mellon Collie, my excitement for a new Pumpkins project has been mixed with worry. The possibility of a resemblance to Billy's solo album Ogilala and an over bloated, insignificant album title overshadows the return of James Iha. I doubt he has little to do with the writing of the music but he performs on the wax and I was hopeful his presence would have an influence. The record makes its distinction as a band far from there hay day while rather fondly resurrecting the semantics of their glory years. Its opening two tracks sound like a time warp to the nineties as Corgan unites his emotional, melodic Alt Rock guitar flexing with his niche style of sung hook to captivate in the choruses.

Like a looking glass peering into the past, the rosy tint of nostalgia lays out a path that each song walks with familiarity to their back catalog. I don't think a single track felt new or unique but rather clever re-hashes of old ideas and occasionally slipping off the edge of tolerance with cries of "she stabs the anti clock" and Travels "its where I belong" sounding somewhat hollow. It is otherwise a cracking record with beautiful, glossy and scenic music composed of humble instruments playing to one anothers strengths. The voice of Corgan sits snugly in the middle singing his heart led lullabies and its forms with keen melody and a bit of guitar grit driving songs forward in various phases.

For all it does well something doesn't stick with this record. Its got a gorgeous production, everything sounding alive and of its moment, the string sections and keys add a serine warmth when they rise but despite all this Its strongest moments feel shades from former classics and its more "original" songs sound flat in comparison. Its been a tough one to put into words and Ive found what songs ill be returning to here again so I'll leave it alone on that ambiguous note.

Rating: 6/10
Favorite Tracks: Knights Of Malta, Silvery Sometimes, With Sympathy

Greta Van Fleet "Anthem Of The Peaceful Army" (2018)

The lime light is upon these young Classic Rock enthusiasts Greta Van Fleet. The time has come, this is their moment. I was enthralled by Black Smoke Rising and lukewarm on From The Fires but very much excited for this, their highly anticipated debut. With the first couple of listens I couldn't get along with much of it but with persistence I pushed through and found that the record is plagued by misfires that seem to dispel the magic its decent tracks conjure. Its lacking on those too. Anthem Of The Peaceful Army has few heights, some stinking lows and too much mediocrity.

Starting with the good we have the riled up energy of this era niche sound coming out through riffs of attitude and gusto, funky powerful drumming and the wild, soaring voice of Joshua Kiszka but only in a handful of moments. Unsurprisingly it pulls together well on lead single When The Curtains Fall. A song on par with the first EP.

The mediocrity seems to lie in the bands relying on tropes of that era gone by. The energy isn't always within their songwriting but more so the ideas of that time. Its as if the riffs, vocals and general approach to the music falls back on its nostalgic aesthetics, with more care given to capturing those older tones in a modern setting than getting the compositions and emotional direction right.

Then comes the ugly. I would mostly be critical of singer Joshua who, despite a fantastic voice, seems to miss the tone with his lyrics and performance style at times. The end of the record is tedious and his song Anthem seems to be a "come together" song, highlighting current political polarization and offering up a vacuous sentiment in return. Its lack of meaningful substance makes for unendurable listening.

I dislike being critical. It takes a lot of talent and effort to put together a record and as a listener I want nothing more than to enjoy the music but this misses the mark on so many levels. The inconsistency is strange and bar a few good songs this could of been a real stinker from a band who showed so much promise in reviving an old sound. Instead of moving that sound forward they seem to have circled the waters with little idea of where to go next. Very disappointing.

Favorite Tracks: When The Curtains Fall, Watching Over, Mountain Of The Sun

Rating: 5/10

Avenged Sevenfold "Black Reign" (2018)

 

Its that time of year, the shopping season is upon us, perhaps explaining why we see an increase in bands dropping EPs in the months leading up to Christmas. Avenged have scraped the barrel for a B-Side in the instrumental Jade Helm track. Its a strange track of build ups and grooves that have these awful pauses, lasting too long to keep time of the beat and anticipate its return. Maybe vocal rhythms would of tied this space over but without them the song sounds like a bunch of sub par riffs stitched together with shuffling, over involved drum patterns, things left out from other songs.

Before it three songs play that fans may be familiar with. Turns out Avenged have been collaborating with the Call Of Duty franchise for a few years and these songs are from the successive soundtracks of the Black Ops games. The first track Mad Hatter being the most recent stands out as a firm favorite. Its their only new material since the magnificent The Stage, can barely believe its been two years already! The singing style, composition and quality of riffs really reflects the maturity of that record and so we receive a well written track with a luminous mid-tempo break in the middle. It cruises from acoustic guitars into an epic guitar solo, shredding heights and erupting back into the song main riff, riding it like a wave.

I can't speak too highly of the other two tracks, they are from further back in time when Avenged where less appealing to me. A couple of moments appease but what I like of their sound is only present in fractions. If anything the one song is a good sign that they are keeping on track and capable of continuing to write on form. As for the record itself, its simply a stitching of extra songs to promote the new single.

Favorite Track: Mad Hatter

Rating: 4/10

Greta Van Fleet "From The Fires" (2017)

Following up on Black Smoke Rising we have an unusual release from the greatly hyped Greta Van Fleet. Its marketed as a double EP, eight songs that could of been an album however four of the songs are from the aforementioned release. So its like another four songs released alongside the last. Because of that Ive just focused on the new independent tracks, of which two are covers. That was unknown to me before writing this up, perhaps it serves as a testament as to how well they embody the era that inspires them since I was none the wiser, these songs fit sweetly into the run time.

These songs took a little longer to get into and I believe that's because these are the less dynamic cuts. They don't aim to dazzle up front with hard hitting licks but sneak up on you as their atmospheres build in intensity. Both the originals here culminate in guitar solos after the songs tempo feels hastened in the rising tide of instruments steadily raising the energy. The cover songs also ask something more from front man Josh Kiszka who certainly rises to the occasion without a sweat.

Admittedly I felt these song illuminated their potential to reach more crevasses of this era but in reality its a patchy release to comment on with just two originals. With an album arriving in just a month we will find out what this band is made for. Until then I will continue to enjoy these EPs very much so. Its been a while since Ive been so excited for a band outside my musical comfort zone and this is it!

Favorite Track: Edge Of Darkness

Rating: 5/10

Greta Van Fleet "Black Smoke Rising" (2017)

Do Greta Van Fleet live up to the hype? Does it even matter? Music should be about what you get out of it! If you can connect with the artists vision there is often something wonderful to be enjoyed. That is certainly the case for me and I even got to see them live earlier in the year at Download Festival. I really wish I had got to spin these songs sooner as I would of really dug that show. Familiarity and repetition are important for getting to know music but the reality is I was already singing along by the third listen. The four songs that make up this record are fantastic.

Hailing from Michigan USA, Greta have fallen under the spotlight for their enigmatic revival of 60s Rock, frequently being compared to the likes of Led Zeppelin. It is singer Josh Kiszka, one of the three brothers, who's electric singing makes them stand out. His howling voice hails back to that era vividly and compared to anything popular, or within my scope that's happening right now, he stands alone. It is a little unfair to focus on him alone though, the rest of the group embodies this era too.

Across these four songs you may be thinking this is a nostalgia trip but whats really making this music tick is the songwriting. The hooks are driving and powerful, the keys and organs gleam with that spark Lynyrd Skynyrd had. The music develops its themes and channels them into fantastic eruptions of energy when Josh kicks his voice into fifth gear and the guitars rise up with the hard grooving licks. Between its brilliant choruses the verses set the tone for whats to come, keeping you anticipating the shifts and waves of mood and charged emotion that come with it.

Another thought crosses my mind. This is not a style and era of music I'm that well versed in and so they could be plugging a void. The production is modern, bright and crisp, so much so to make the music far more inviting compared to the soft and muted recordings of times gone by. As I said up above, music is what you can get out of it. If you've exhausted everything from a style you like then its hard to get excited about new music in the same vein. I can see why fans of Classic Rock are skeptical but there is a huge opertunity here for a new generation to discover some truly fantastic music.

Favorite Tracks: Safari Song, Flower Power, Black Smoke Rising

Rating: 7/10

Alice In Chains "Rainier Fog" (2018)

There is so much that could be said of Alice In Chains and their history. To boil it down to some specifics, they are a a legendary band from the Grunge era with a metallic tint in guitar tone who lost the iconic voice of singer Layne Staley to extreme drug abuse. Reforming a few years after his death they somehow found a vocal harmonization with new singer William DuVall that resonated on the same frequency as Layne. It allowed them to continue along the same spiritual path laid out on prior records and after five years their return with their third album of this second stint for the band.

I have a strong fondness for their last two records, the five year wait has been worthwhile but Rainier Fog pulls no new tricks. It may explore some heavier guitar tones and grooves but very much plays like a band who are comfortable with their identity. They have taken the time to reach in deep and curate the very best of their inspirations and form a fine craft of songs that hold your attention and move your emotions for the steady fifty three minutes the ten tracks make up together. If it does offer any new spice, slower tempos hint at some Doom Metal influences but its a side of them that just seems more prominent for this project.

Its pace is sturdy, slow and soothing yet momentous and empowering. The atmosphere they conjure together is sun soaked with a streak of introspection bordering on melancholy. With a gorgeous production aesthetic Jerry and William weave their vocals around one another to constantly illuminate the music in electric tandem. The guitars relish this opertunity to flex in the directions Alice In Chains are known for, finding some laden, steady grooves and stretching to the slow and sombre acoustic epics with all manor of lead guitar breaks stitching in the details. Its a lively, animated record in the energetic moments they often leads too. When in a more subtle position it still retains these big and strong atmospheres that engulf the listener.

With each listen one comes to know the songs better and as each rotation revolves the character and identity of these songs really lights up, especially the second half of the record. This is the kind of curation that can make a known sound exciting however that may be this records only flaw. Its a fantastic set of songs but has no surprises or unexpected directions. The music in no way cries out for it however it makes me wonder if the band can keep making this well established sound work? They certainly have done this time around but you will know what your in for.

Rating: 7/10

Cardiacs "Sing To God" (1996)

These English rockers second to last record, Sing To God, is a wild ride of a double album! The mistress of its own madness, this eclectically eccentric display of intensified ideals pummels the listener with its dense wall of sound. An unending sprawl of musical mania unfolds as the four piece sound arm themselves to the teeth with attitude and energy to sound like a orchestra on an adrenaline rush. Every note, melody and sung lyric is reinforced by this cacophony of instruments turned to eleven and itching to blast their sound in unison.

These compositions will have one lost in a madhouse as songs leap, lunge and erupt with every shift in structure. Opportunities to jump ship on tempo, pace, time signature and mood are taken, throwing one of the scent frequently. Through this apparent absurdity some very English and Classic Rock musicianship can be heard, echos of Progressive Rock and especially Queen disguise themselves as all the instruments line up like a band of red faced lunatics trying to out play each other, blowing themselves out in the processs.

Its a wonderful experience for those who seek it. A wall of sound that undoubtedly had an influence on Devin Townsend. It was one of the first things I picked up on and subsequent research revealed this is one of his favorite records! The production lends itself kindly to instruments who's aesthetics are charged, frothing and ready to synchronize with anything that steps near. Its a continual treat, whenever a melody is played or sung, before it can finish making itself known an arsenal of competing sounds rush in to make that dizzying wall of sound come to life with a touch of hysteria.

At ninety minutes it tests its listeners endurance, the psychedelic lunacy ceases to let up for a rest and its length may be unnecessary in getting a point across. At times its nutty tone slips into aesthetics where simpler themes emerge but that is just a response to the expectant complexity displayed, its only disappointment is a reliance on fade outs which usual land on a new section of music that's cursed to shadows. Many of my favorite moments are on the first half, by the time the second comes around its worn me down, which I love. Its filled to the brim with creativity and a nutty sense of radical fun that's a race to the finish line only the band will ever win. A very notable record worthy of any acclaim.

Rating: 8/10

Ghost "Prequelle" (2018)

With Papa Emeritus III ejected from the throne, the younger Cardinal Copia steps into the limelight as Swedish band Ghost's new front man to guide one of modern Metals brightest bands into a new era. The albums fist pumping lead single Rats raised my expectations from a band already held in the highest regard, their sound firmly intact yet showing exciting new influences and a will to move forward. With the Cardinal showing off his flamboyant dance moves in the music video and driving home an infectious chorus, Rats was set to solidify its place among their finest tunes to date. Its been almost three years in the works since the sublime Meliora and somehow Prequelle has managed to soar to those heights again.

Ghost's aesthetic and approach to songwriting has been revered for its revivalism and re-imagining of principles mostly found in the seventies from the likes of Black Sabbath and many of the groups they have covered with b-sides. With Prequelle their stylistic pallet expands again, prominent echoes from the eighties decade in all Metal, Rock and Pop with tangents of Progressive Rock thrown in the mix too. It all has a notable influence on the song writing which has grown stronger again, brighter hooks and more exciting structures that let the music glow in its moment. With this charming step forward, Ghost continue to do what they had shown promise of since their debut, the ability to look beyond the scope of Metal itself and escape the restraints of a genre plagued by the recycling and rearranging of the same ideas

Unfortunately as an album it does have its blemishes, almost exclusively with its pacing and placement of two instrumental songs. After a fiery, explosive start, See The Light gives us a moment to catch breath, but then lulls us into an instrumental. Now don't get me wrong, both instrumentals are utterly fantastic, some of their finest compositions with the restraints of verse chorus structures lifted. The problem is they are directly competing with the Cardinal, who has set an ungodly apatite for his sublime singing and infectious hooks. "I am all eyes, I am all ears, I am the wall and I'm watching you fall", you can't help but sing along.

Aside from Dance Macabre the album shifts gears from its Pop numbers and catchy openers with a string of songs that have utterly brilliant and expansive themes that really stretch the sound far from its metallic roots. Its a real treat of brilliant compositions that gleam and soar in a wake of beautiful sound emerging from the facade of evil and darkness. From different musicians these songs could be about more serious topics but its trivial and playful dance with satanism makes the real themes find their way through the lyrics with your own relation to them. Its brilliant, and so we have probably the years best record and a modern classic that's perhaps guilty of pulling in so many directions its path is a little wonky as the opening mania transcends into a different tempo yet blissful state.

Favorite Songs: Rats, Faith, Miasma, Witch Image, Helvetesfonster, Life Eternal

Rating: 9/10