Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

My Top 10 Music Discoverys In 2022

The relationship with music is changing. Having adopted Spotify, I not only have access to a larger library of music but the whims to pursue sounds at the click of a button. With this, I've found many new acts and novelties I'd of missed out on as a purchaser of records alone. Its been my most "productive" year with this blog, amassing 217 entries. I've also decided its time for a change. In the coming year I want to lower the amount of albums I get stuck into and focus on more of an transient experience, following my fancy and committing to records only when they seem to show something of merit. This means less dissections on music that didn't click, a shift to focus on what resonates deeply. My goal is to make next year the richest reading experience, yet not abundant. As for discoveries, there were plenty to pick from but a group of clear favorites emerged swiftly.

(10) Old Man's Child

Not a discovery but simply a joyous journey over a bands discography from the years of youth exploring Symphonic Black Metal. Revisiting these Old Man's Child record's brought about immense pleasure, unearthing a few new gems too with the albums I didn't fully digest back then. I'll always have a soft spot for Galder's solo project and last I read, we might get a new one in the next year!

(9) Toadies

Although it was the lone record, it left nice to get stuck in with a sound that an older me would have turned a nose at. Their Alternative post-Nirvana sound is not one I am familiar with but the character of these songs and the energy they roll out with struck a vibe. Perhaps one to go a little further with!

(8) Kero Kero Bonito

With quirky pleasures of simplistic expressions and lively instrumentation unabashed by aesthetic, often more musical merit than initial impressions, Kero Kero Bonito made a splash with a style marked by childlike innocence. Their youthful joy and happy energy ran counter to my musical norms yet with an open mind I found a fond connection to uplifting and spirited music, occasionally wrapped in a contrasting twist.

(7) Timewave

Soundtrack to my summer holiday ambience, these lengthy stints of lively Pysbient Downtempo bangers scratched a niche I rarely encounter. Much of the electronic music scene explores vibes and melodic styles that don't resonate with me. This shift to an astral, cosmological focus gave it exactly what I needed. Since discovery, its been a constant throwback when in need of energized focus.

(6) Kyros

One of Spotify's recommendations, something that will dominate the list next year no doubt, is Kyros. Reset/Rewind is still a juggernaut song that I can't get enough of, yet plenty more we to be enjoyed in this Progressive Metal band's discography. They have a distinctive expression and when it comes together, its wondrous yet their output is somewhat mixed. I have no doubts they could pull off something remarkable so anything new will come with giddy speculation!

(5) Tamaryn

With roots in Shoegazing and Cocteau Twins influences, Tamaryn's steady progression over four albums to Synthpop is where the magic lies for me. Each record has matured with Pop sensibilities that resonate strongly. Ditching dreary guitar aesthetics and incorporating bolder, punchier melodies was a delight to behold. If this direction continues, the next installment could be something special!

(4) Dreamstate Logic

Always in search of cosmic ambiences, the discovery of Dreamstate Logic was a blessing. Not only a dense discography of records with a keen focal point on mellow spacey Downtempo drones but a license to use the music commercially. Therefore, it has been a welcome soundtrack to my livestreams, creating a cool, calm atmosphere fit for introspection and astral thought. The pace and temperament is perfect. Plenty of Synth lead lulls that gently swell into drum lead grooves. A pleasure to unearth.

(3) Andrew Odd

Discovering the term Pysbient led me to Andrew Odd, who also operates under the alias Timewave. His distinct approach to melding Psychedelic, Berlin School adjacent synths with cosmic ambience and the steady blooming of Downtempo grooves struck a nerve. Of this genre I have dabbled with through the aforementioned artists, his Random Thoughts record moved me the most. Its energy another to invoke deep focus and relaxation when needed.

(2) Matt Uelmen

Matt Uelmen is no stranger to me, in fact his Diablo II and Starcraft soundtracks have been an eternal source of endearing warmth over the years. Deeply tied to youthful nostalgia, imagine my astonishment when discovering his Torchlight II soundtrack was built of the foundations of that Diablo magic. A gift I have literally dreamed for over the years. Normally reserved for artist discovery, this record had to make the list.

(1) Type O Negative

A name I've known over the years, possibly once encountered directly yet was never taken in by. It took a friend to nudge me into the dreary heartbroken beauty of Type O Negative. Eclectic and estranged, their musical genius stems from the sluggish carved grooves of Black Sabbath and chirpy appeal of The Beatles. Yet these pillars manifest into romanticized Gothic soundtracks, oddly brash and deeply emotive, the expressions of Peter Steele are immortalized in the soaring brilliance their songs offer routinely. Between enigmatic anthems lies an unrestrained creativity, peering into Hardcore energy, metallic sway, Noise aesthetics and Pop Rock sensibilities with a most curious origin. The union of these four men is a blessing, one for the ages. I can only dream of discovering more deep connections again. Type O Negative have touched the peaks of my personal musical landscape. Brilliant.

Type O Negative "Life Is Killing Me" (2003)

 

Consistency is a thickly thing among bands amassing the years and albums. Maturing into their second decade, I anticipated a dip. With a sound no longer reflecting scenes of the time, Life Is Killing Me firmly solidifies the genius of this group. Stripping out the crass comical skits and experimental noise design interludes, Type O Negative ram another compact disc full with seventy plus minutes of moody Gothic tinged delight.

Their eclecticism runs amuck, new territory conquered and past roots resurrected. The pumping Hardcore Punk energy of Slow, Deep and Hard returns, accompanied by classic horror cheese synths. Fresh worldly instrumentation inflects accents in breezy unison with their motif. Somehow the experience comes intermingled with wretched bursts of sludgy Doom Metal riffage, Life Is Killing Me seems to offer it all again.

No thematic arc seems prevalent, simply a string of fantastic songs. Easily jumping among its more diverse territories, dense atmospheres and ripe attitudes always accompany. Steele seems evidentially distressed. Troubled by medical and identity issues, a handful of lyrics catch the ear as "overpaid meat magicians" are taken aim at professionals I can only assume gave him news he didn't want to hear. That and "I know I'm strange, I ain't no queer" turns up unfavorable attitudes lost to time.

Its a humble reminder of the human fragility behind the mesmerizing power of music, a touch unsavory in places yet his singing is quite the opposite. Leaning further into harmony and tenderness, the vulnerable side of a burly voice expresses captivating melodies with a keen pop sensibility among the 90s Alternative Metal vibes and doomed gothic romance he conjures. A bleeding heart performance, with sore pains and bleak suffering upfront yet not falling folly to shoutings barbaric aggression.

Thus its fifteen offer up fantastical conjurings which any fan will pluck some favorites. For me, IYDKMIGTHTKY a clear favorite. As Peter chants, "Gimme that", a snaky guitar grooves broods intensely in contrast to its shoegazing verses. The pivot into a hypnotic Synth whirl as he cries "If you don't kill me" an absolute delight. I could drone on but its rather simple, a quality record, lacking soaring peaks but absent of valleys along its path too. Just one record left to enjoy now. What a discovery!

Rating: 8/10

Type O Negative "World Coming Down" (1999)

 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Type O Negative "October Rust" (1996)

 

Smoothing out the oddities of torturous experimental sound design and crass, filthy humor, Type O Negative deliver a cohesive, lengthy album experience fit for a classic. Breezing past two brief humor driven tracks, Love You To Death embarks on chilly December moors. Cold winds groan as merciful  melancholic melodies descend upon on a cursed gothic romance. Stripped is the architecture of cinematic cheesy horror tones they previously yielded to sincerity. With a dreamy yet dreary aesthetic, imbued by fuzzed, hazy guitars and murky bass distortions, the record croons with affection.

October Rust's metallic foundations plays second fiddle to the manly sobs of Steele's engrossed voice. Soaring with emotive words, punctuated by cunning lyrics, he lands songs gracefully with infectious moods to latch onto. In duet with Josh Silver's keys, together they reign in a 90s spirit, yielding it to their own confessions in a glory of tuneful delights. Touches of the Alternative and Grunge sound lurk, even a smidge of Britpop akin sensibilities are heard on brighter numbers like Green Man.

Embracing warmth on brighter outings, so to do swings into dramatic sorrows and pains adorn this venture. Glorified by a passionate love of Gothic veneer, Type O Negative revel in the anguish of heartbreaks and loves lost. Thus its songs swerve the terrain of frosty landscapes in remarkably acute degrees. Both light and dark find unusual unions under brooding church organs, shimmering Shoegaze guitar tones and even a glistening Christmas bells on a mournful, gloomy Red Water.

Despite brilliance throughout, October Rust's second half steadies pace. After My Girlfriend's Girlfriend, a tongue in cheek romp, a string of excellence expires. The cover of Neil Young's Cinnamon Girl a further highlight and the concluding ten minute Haunting. Their absurdist humor is not lost, as the song abruptly ends during its Doom Metal parade upon lunging tempo and choral harmonies. I do wonder if it was brought about by medium constraints. After the sudden close, its final spoken remarks, "I hope it wasn't to disappointing" a crude one, given the wonderful seventy minute machination of Gothic majesty and 90s moods that proceeded it. A classic? Almost!

Rating: 9/10

Type O Negative "Bloody Kisses" (1993)

 

Casting a shadow over their debut effort, Type O Negative return to encapsulate the early 90s alternative vibes under their eclectic Gothic identity. With this lengthy sophomore the band reach a new apex in intervals. Wedged between crude satirical humor, noise driven experimental soundscapes, Doom Metal worship and bursts of Hardcore aggression lies superbulous song writing where melody, rhyme and reason reign supreme. An excellence is to be discovered on its lengthier affairs.

Christian Woman, Black No1 and Bloody Kisses are driven by theme and theatrics, a beautiful sense of expression playing out with a craft on all fronts. Bold horror synths chime with a heavy hand alongside dramatic pianos. Catchy melodies and rocking riffs align succinct with fantastic anthemic vocal hooks, "Loving you is like loving the dead". So to do gleaming guitar solos errupt with a 90s tinge, checking all my nostalgia boxes. The song structures are immense, ambitious and bold, carrying a gripping gravitas on these lengthy journeys. With pivots and sways encompassing drastic shifts, the transformations are remarkable in expressing these Gothic epics.

Sadly, the rest of the record doesn't live up to the strengths of these songs. It can be expected from the brief experimental interludes that paint bizarre horrors. They exist at odds with the more conventional offerings. With a strong whiff of Black Sabbath and Hardcore, Kill All The White People and We Hate Everyone steers too far from the mesmerizing Gothic allure. Where it exists on other songs is among a slew of shifting, radical ideas that don't gel with the thematic intensity seen on its best numbers.

Kudos however, taking a step back from the blender of ideas presented as Bloody Kisses, its clear the band are unabashed in pursuit of what interests them. The vast array of aesthetic influences displayed withdraws the record from a sleek and streamlined experience, revolving on its catchy elements. The foundations of such a thing are in sight, yet the direction seems more intent on where curiosity leads them.

Rating: 7/10

Type O Negative "Slow, Deep and Hard" (1991)

 

Despite having a legendary status in their own right, this cult American band had eluded me until recently. I'd seen plenty of Type O Negative shirts at Metal shows over the years. I may have even passed up the opportunity to see them live a couple times before the vampyric Peter Steele's death in 2010. Having now familiarized and come to adorn some of their best material, it seemed certain a new journey was in wait.

 Starting with their debut, Slow, Deep and Hard breaks out with an unmistakable identity hinged around a willingness to meld new and distant musical ideas. Birthed through Gothic Horror and a crude sadistic humor, cheesy synth tones, gritty Industrial percussion and embrace of guitar dissonance somehow emerges authentic with underlying pains. A crude mix of Hardcore, Doom Metal and all things Gothic, Type O Negative straddle the estranged Avant-Guarde soundscape with oddities, yet land their lengthy songs with chant-along choruses, memorable melodies and rocking riffs.

Its a chemistry of their own making with cheerier punches fit for the 90s spirit. This light rarely departs a depraved side, gloomy and blood soaked as many of these songs lunge into slow and sluggish rhythm sections resting on dissonance and audio horror. Its quite the ride for an adventurous listener. Burly poetic recitals, gang shouts, pained screams and heavenly choral singing, variety is no stranger. Song structures straddle similar constructs as twisted avenues tend to return to the gratifying ideas.

This introduction is a powerful entry point, yet wanes with multiple listens as many of the first two tracks key ideas seem uncannily recycled over the remaining records span. Type O Negative display a unique character fit to bloom into a beast. With thoughtful appreciation, one can hear the previous decades influences. The likes of Swans, Bauhaus and Christian Death among others clearly shape an ever evolving Gothic mood. Industrial and Metal influences present too, this union of genres feels so odd and genuine too, the kind of chemistry that gets me excited. I can feel it already, this journey will be one of the greats!

Rating: 7/10