Puppy "III" (2019)

With the years best album so far under their belt, The Goat, this surprise EP was quite the treat to feast on, I didn't expect new music so soon! The three piece band Puppy are one of my modern favorites, their fusion of nostalgic 90s Alternative Rock & Metal riffs is just my cup of tea. Its the songwriting however, that sets them apart from waves of bands that come and go, casting that rosy tinted look back into the past. Puppy take in a rich history of music, brandishing it with their own defining stamp.

These nine tracks, a brief nineteen minutes, initially felt as demoed as its presentation would suggest. Its mixing, rough around the edges, with roomy drums and earnest singing gave a casual impression that would flavor my first few listens as a mediocre yet fun set of songs. The songwriting however championed once again as the ear worms grew, driving the hooks and melodies into the subconscious. Its riffs, arrangements and lyrics became forefront. It wasn't long before I was asking myself just how good this record is? Right now it fits perfectly into their catalog.

Without doubt there is a handful of songs here that given the treatment would fit snugly onto a proper album. They all however have a charm that feels exclusive to this rougher garage demo sound and I think the point is to inhabit this moment the band are living in. The raw vocal harmonies and chunky guitar riffs with gristly distortion tones create a youthful air vibe that resonates through the colorful guitar licks that occasional deploy a bit of rhythmic groove. Its everything I like about Puppy, just with a less polished edge which makes it fresh and interesting.

Rating: 7/10

Favorite Tracks: Agatha, Serotonin, Charms

Post Malone "Hollywood's Bleeding" (2019)

His previous efforts Stoney and Beerbongs & Bentleys showcased the young artists unique voice and songwriting ability but the best came in fractions. This time around Post and his crew have elevated their game. After a handful of thoroughly enjoyable listens I initially turned to the credits, expectant of new names in production and song writing. There is a couple, however its the same core of people turning up the quality in all the places that fell short the last time around. It's a noticeable ten or so minutes shorter and perhaps that played a part in its fluidity but the reality is the instrumentation here is of a higher fidelity and its got a warm fussy atmosphere to it.

As the songs stroll from one to the next there is often something bright and punchy at work. Either the bold basslines, snappy percussion or glossy guitars illuminate alongside Post's voice. This can be heard best on the Pop leaning songs because of course he has an eclectic taste which has subtle flourishes as the music sways across the spectrum. When delving into the Hip Hop avenue Post brings a plethora of guests to spice up the vocal variety as lyrically he is pegged into to his usual themes. Between that and Pop it is mostly the classic singer songwriter vibes and acoustic guitars that dazzle however he shows his roots in Rock on a fantastic collaboration.

Teaming up with Travis Scott, the voice of Ozzy Osbourne engrosses one again on Take What You Want. The Trap Pop song brings his iconic voice to a new generation and ends with a stunning crescendo reviving those classic Randy Rhodes leads. Possibly the best moment on the record however Post really comes to life with his infectious hooks and singing. We saw it in glimpses the last two records but here it feels like every other song has him deploying some sort of ear worm to get you singing along. These songs dig in the way good Pop songs do.

Where the album falls short though is again with Malone himself. The lyrics are much to be desired, especially when he works in his rap mode. They are mostly the over inflated feelings of relationship problems articulated through loose profanities, often circling the emotion with little reflection or introspection to make the words interesting. Its knee deep and thus tends to drift out of focus and that is where the glossy production and good instrumentation picks up the slack. This is a huge step forward for the young artists and Its been a blast seeing him get here. Hollywood's Bleeding will most likely pick up some awards this year!

Favorite Tracks: Enemies, Circles, Take What You Want, Staring At The Sun,

Rating: 7/10

Horsebeach "The Unforgiving Current" (2019)

Ive been eagerly anticipating this release. Two years back Beauty & Sadness blew me away, one of my favorites that year. I still fondly return to it, hence the anticipation. The Unforgiving Current continues in a similar vein, Post-Punk baselines drive breezy atmospheres echoing Indie & Psychedelic Rock. There is a closeness to Dream Pop in tone, a touch of Brit Pop and 80s vibes influencing chord progressions. Its a beautiful melting pot from which slow and soothing, inviting songs nurture its serene and sunny warmness. There is a vulnerable core, journey on the soft and expressive voices that filter in and out of focus.

Its unimposing presence makes for an easy, relaxed listening experience where one can indulge in its exotic tone. As the album unfolds, elements of R&B, Soul & Funk even present themselves subtly. Shimmering guitars ring out, creating swooning swirls of breezy color over the grooving baselines. The track Trust opens up with a chilling similarity to The Isley Bothers song Voyage To Atlantis, other songs to have echos of that classic era of mainly American music from the 70s and 80s.

The record follows a similar blueprint to its predecessor, the songs flow with similar temperaments and shifts in mood. There are tracks with drum machine and those without, its all very familiar territory. Deploying beautiful melodies and unfolding riffs, occasional burst of experimentation, the music does a lot to warm your soul but it falls short of being remarkable on the production front. In comparison they are both very similar records but the initial reaction to discovering a new sound to adore masked the obviously amatursih production and that became rather obvious this time around.

It starts with the baseline, a noticeable amount of clunk roughens up its presence and the drum strikes land a little cluttered in the presences of other instruments. Every now and then a drab and fuzzy distortion guitar rumbles in, bleeding into the other instruments and soaking up the fidelity. With a lot of reverberations at work the instruments mostly sound like they are recorded with a different sonic blueprint. When mixed together its comes off a bit disjointed. Perhaps I am nit picking, initially the low-fidelity was a charm but this time around its tame. Listening back to their older songs I think a noticeable shift to subtler styles of singing misses that element of a voice rising up above the melody to peak the vibes and hold your attention. Its a very enjoyable record but a noticeable step side ways, with the sound remaining in a familiar spot.

Favorite Tracks: The Unforgiving Current, Yuuki, Trust, Unlucky Strike

Rating: 7/10

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 "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 "Biscuits" (1991)

When it comes to music I am somewhat of a completionist, which leads me too this disposable EP released between albums. It also means a negative blog post, something I am not fond of. Here we have six tracks, comprising of five unreleased songs, three of them performed live and my favorite Living Color song Desperate People, also live. Each track seems to be scared by some jarring feature that taints the whole experience to a rushed throwaway. Two of the tracks feature scratching samples with a generic 80s rawness. Its hard and mixed in over the rest of the music for a disparaging equilibrium that stains mediocre songs with an unfinished feeling. The second of these had potential however. Its Ska basslines and esoteric, dreary, gothic guitars muster interest that's interrupted by tone deaf scratching.

The live performance of Desperate People from Vivid has all the enthusiasm and electricity of a wild show but the music is overplayed, too many variations and additional guitar noise gives an impression of the band getting to into the energy of playing and sacrificing a lot of fidelity. Further into the song Glover falls off key and it doesn't paint a good sell for the live show. On another tracks he moans and groans into the mic in a way that never sounds quite right... I could go on but you get the point, the quality here is sub par and with some bold annoyances on the project it just feels like a quick hash of material pulled together without much thought.

Rating: 2/10

Sleepy Sun "Embrace" (2009)

With greatness among my expectations, a step back to the debut record from Californian Psychedelic Rock outfit Sleepy Sun has felt like one too. Lurking in the shadows of Fever, this album was initially underwhelming in its similarities, the same sword swung with a duller blade. Many of the same key shifts, chord arrangements and harmonies occupy a well established aesthetic that runs parallel. Its jam sections, indulgences with noise and unwinding atmospheres pool from the same source yet despite wanting more of that Fever magic, it isn't quite here. I can't put my finger on the distance, is it familiarity? The folly of working in reverse? After a myriad of attempts with this record I make peace with my mediocre enjoyment of it.

The band have a beautiful aesthetic in some compositions, a soothing persuasion, soft and warm vocal phrases, gentle dusty guitars and a measured percussion that adds up to a subtle psychedelic intoxication. They also like to lean brazen on dirty distortion tones in the energetic swells of madness. It is that aspect that didn't pull off so well on this record. Its hypnotic tracks like Golden Artifact gleam in the light but the grit and gristle of mean fuzzy overdriven tones sound loose and unfocused on the other end of the spectrum with a song like Redblack.

The album doesn't get much of a flow going with the disharmony of their abrasive side interrupting the swells of mood and atmosphere some passageways cultivate. White Dove does a great job at defining an equilibrium as its opposites converge on a mighty grooving guitar riff but its lengthy nine minutes journey looses structure delving into a tangent that doesn't lead anywhere. Ive tried my best with this one and despite much similarity it feels like the musics core is missing something the next record will gain in abundance! For now I will move forward to their third.

Favorite Tracks: Lord, Golden Artifact

Rating: 6/10

Living Colour "Time's Up" (1990)

There was no way I wouldn't pick up another album after discovering Vivid. Its a wonderful debut from the New York band who were fusing genres and setting the sound for 90s Alternative Metal. My excitement brewed when I read this album won a Grammy! That was quickly dispelled on first listen as the production feels a grade lower. The album has a looser, rawer sound, it opens fire with a rattling snare and speedy guitar pummeling that leans towards Thrash Metal. Its a brief moment of intensity that focuses attention on the overall rawer feeling of the record, its drums a fraction more spacious and its busying bass guitar sounds muffled and muddied when in steps up for action. Its energy and charisma comes together with a looseness.

In getting to know the record, a strange feeling of sideways progression emerges. The songs all have the same components, bold and bright, gleaming influences of Metal, Punk, Funk and Hip Hop melding in the cooking pot. This time around its as if they have taken the formula and re-arranged the elements, rather than sharpening or refining its composition. The resulting collection of tracks are rather miss matched in quality, the best of their output seems to revolve around singer Corey Glover and if he can pull of a hook or ear worm chorus. Pride does this wonderfully, with the band laying down a sweet track for his voice to resonate and send goosebumps your way.

There is a distinct shift in the albums topicality. The same social, cultural, economic and racial themes that felt personal and expressive seem spun up in a more commanding and actionable tone as the album is loaded with talking points and statements that stretch from the personal to the political with a broadened attitude. It becomes rather uncomfortable on the safe sex track Under The Cover Of Darkness. It has the tone of a government social influence project, with Queen Latifah dropping in headstrong, empowering lyrics but with that cliche 80s/90s plain flow rap. Unfortunately it has such an orchestrated feeling as she doesn't gel with the track.

The record has many strong moments and engaging arrangements. A wide variety of tones, genre splicing and ideas play out with plenty of grooving riffs and blazing, finger splitting solos but its usually one element firing at a time. The overall themes of these tracks don't come together to often and it play with a patchy flow because of that. Its short intermissions don't offer much either and I'm left feeling lukewarm on the record and wondering if the Grammy was in turn for such an amazing debut.

Favorite Tracks: Pride, Elvis Is Dead, Type, This Is The Life

Rating: 6/10

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

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

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

In The Woods... "Cease The Day" (2018)

It was a huge surprise to learn of an In The Woods... reunion two years back. After sixteen years on ice, three of the original band mates reunited to create Pure, a close contender for My Top Albums Of 2016. I was pleased to see them write a follow up so quickly but disappointed to learn the Botteri brothers both quit the band, leaving just the drummer left. How much influence Anders Kobro has over the music may be irrelevant. This in no departure of style and a record I have enjoyed my time with. Cease The Day scales up its progressive scope, builds scenic pagan atmospheres and makes hints to its themes with an Elk stranded among the city lights.

Once again Fogarty's voice serves as the human spirit to soar above with a heathen heritage calling. Its an authentic performance, honest and striving, retaining his imperfections and charming with his strengths. He is central to the musics direction, chiming in with many of its peaks and the general flow. Its more occasional that other instruments become the central focus. Cloud Seeder lays down some narrow groove guitar licks before unleashing a ear worm melody with effects soaked lead guitar that wails in different keys. The songs chord progressions remind me fondly of Baroness.

The eight tracks are mostly lengthy epics that don't outstay their welcome and unfold with steady captivation. I'm astonished as to how often subtle tone shifts are within their expansive pallet, even some that call upon their past. Somehow between Psychedelic overtones and brooding atmospheres can they splice in Black Metal guitar riffs with a chirpy, jolting distortion aesthetic that hails back to their debut record. The same can be said of the synths using similar choral and choir chords which arise in an instant to enrich the scene at hand.

On casual listening one will be sucked in to these vivid soundscapes and journeys. Yet on closer exception you may notice the organic experience is comprised of rather jarring and bold shifts in both tone and style as the eclectic links at work here jostle in variation along with its instruments. Strike Up With Dawn opens on a rotation of power chord rock guitar before flicking a switch and hurtling into a shrill tremolo shredding of darkness as gloomy synths arise. In another flick they drop and we move into an estranged, lone groove guitar lick reinforced by horned instruments.

This is just one example of what occurs frequently throughout, many yearnings of influence and musical approaches mashed into one form that feels very natural and pleasing. For all my enjoyment I never felt any big peaks, crescendos or exceptional moments. Perhaps Transcending Yesterday comes close with its monstrous opening riffs and howling screams but my attention is often diverted to the mix of a live audiences cheers into the song, ending with a chant of the bands name. I'm just not sure what exactly I'm supposed to make of it. Really solid album, hard to pick favorites, its great as one long big song.

 

Rating: 7/10

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

Sleepy Sun "Fever" (2010)

Californian Rock band Sleepy Sun's sophomore record is a musical experience I hold in high regards. Its peaks echo shivers of the greats, Pink Floyd, Led Zeppelin and King Crimson vibes produce goosebumps however this is no nostalgia act. Fusing elements of Rock music's broader spectrum, Stoner and Psychedelic Rock vibes dominate the focus with touches of Progressive and Post-Rock coloring an ever organic unraveling of vision through inspiration. Composed of nine tracks its one of those records that commands to be lived in full. Traversing its peaks and valleys, electrified eruptions of ecstatic guitar leads engulf acute atmospheres that then descend and dissipate into sombre strolls of folksy acoustic yearnings and surfing psychedelic ambience. Suspense yearns in the shadows it casts.

 Opening with sun soaked melodies to relax the soul, rousing flares of fiery guitar noise break up the harmonica jams and earnest singing, to lead us into tribal jungle jams and choral chants. Its a naturalistic flow that Rigamarro holds over with a soft and dusky bongo led acoustic piece for the eruptions to begin again on Wild Machines. Led on by whistling tunes, unleashed swells of overdrive tonal guitars sludge out a short lived groove that eventually blossoms into a unrestrained force of inspiration as it scales up to a climax. The dynamic is riveting and Ooh Boy and Acid Love tie us down through a shift in tone as we absorb in the anticipation.

With Desert God the record tugs on the heart strings, its careful build through distant rumblings under its timeless melody at front and center let vocalist Rachel Fannan allures us with a soft, serine singing that will soon soar into a roaring of soulful voicing to rumble your belly. Its wholly captivating but far from over. With a flickering percussive rhythm of stick slapping and exotic psychedelic chord reverberations, Open Eyes sways between its entrancing grooves and falling to the soft and comforting breaks, teasing what to come. Eventually it swells up into a dramatic rise, taking both components, elevating and uniting them towards an epic hieght.

Freedom Line brings about some attitude, a sassy baseline purrs with its punchy, binary presence. The withdrawal of guitars gives drummer Brian Tice focus to vibrate a rigid groove that builds its complexity in fractions. We then come to the monumental Sandstorm Woman, a ten minute saga to see the record out with an indulgent high as we descend deep into kaleidoscopic psychedelia. Its colorful construct feels full circle as the return of the harmonica sounds. Its mid tempo pace is challenged by a roaring guitar lead that wails itself into existence. As quick as it came it disappears back into the wash of luminous radiance that is a band in unison.

The song goes on to scale further heights, a remarkable flow of inspired brilliance. This album is gorgeous, its aesthetic has texture, tone and flavor. It captures the spirit of old recordings and feels electric, as if the band were in the room with you. The drum kit sounds especially lived in, the use of effects and reverberations allows the record to ebb and surge. Their performance has a self aware, electric dynamism that the musicians seem to relish within. I can't think of anything bad to say about it other than some tracks are more preferable to others but everything fires on all cylinders and there is much packed in these forty two minuets that you won't be able to forget.

Favorite Tracks: Marina, Desert God, Open Eyes, Sandstorm Woman

Rating: 9.5/10

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

40 Watt Sun "The Inside Room" (2011)

With exposure to just one song it only took a single listen to understand this project. Now that Ive gotten through the full record my initial reaction was practically complete. It happens every now and then, the music just makes sense of itself immediately. The five songs that are The Inside Room also stick rigidly to the formula heard at almost any moment of any given song. Its a one dimensional experience but that dimension is its own. 40 Watt Sun are an England based Doom Metal band born from two members of the disbanded Warning of the same genre. This record is their debut.

Slow and dark, brooding, corroding and groaning in pace, it has all the hallmarks of the genre but so often in music the aesthetics dialed to different degrees delineate its destination. Firstly the guitars gristle and wallow in a dirty, sludge of washing distortion guitar tone that plays drawn out power chords at a begrudging pace. The drummers symbols add to this haze as they constantly rattle and bleed into the noise, slicing in without a crash but echoing in the crevasse of the thick guitar tone. The bass provides a warm and steady footing to ground the experience with a deep softness.

Its not a particularly extreme sound. Despite being tonally gritty and sharp, its crawling pace makes an easy to follow setting as the music barely gets more ambitions than simple strings of steadily paced power chords. Where it all comes to life is with singer Patrick Walker who I will describe in the keenest of ways as being akin to Michael Stripe of REM. His voice has the same timber and holds a earnest vulnerability. His performance turns the darkness of Doom Metal into a personal, humanist struggle and strips it of all fantasy with his intimate, introspective and relational lyrics of hurt.

The music is simple, the whole record reveals itself swiftly with little in the way of surprises. It serves to put all the attention on the chemistry with their singer and has yet to wain in the several hours of enjoyment I have gotten from it. Id expect that to change at some point given the simplicity but I do wonder if that is its strength. It sets a tone and mood for the light to fall on Walker who puts on a captivating and emotional performance that makes the record glow. A worthy listen if you are curious.

Rating: 7/10

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