NME launches search to find the Ultimate Music Icon of the last 60 years
Announced today, NME is launching a search to find the ultimate music icon of the last 60 years - to celebrate their 60th Birthday
As you can imagine, excitement is brewing here at the MLM HQ, with all of us arguing who we think deserves the worthy title.
The shortlist for the honour features 60 people, including Elvis Presley, Kurt Cobain, Joe Strummer, Madonna, Alex Turner, Morrissey, Noel Gallagher, Bjork, Patti Smith, Matt Bellamy and over 50 others.
The shortlist for the NME's Ultimate Icon of the last 60 years is as follows:-
With artists such as Michael Jackson, John Lennon, Kate Bush, Paul Weller etc. rather unsurprising choices, it is great to see some lovely surprises in the mix.
Out of all the options, I've decided to pledge my vote for Dave Grohl - a true music legend, in my opinion. As the former drummer of Nirvana and Scream, the lead vocalist and guitarist for the Foo Fighters, drumming for Them Crooked Vultures and QOTSA, he is experienced and loved by his many fans.
To vote, visit www.nme.com/ultimateicon.
As for the MLM boy's, here's my (imaginary) version of events:-
As you can probably guess, MLM writer BadIdeaDan is very excited to see one of his favorite artists listed - Bjork. He does love a bit of 'Oh so quiet', and I have got to say, reenacts her performance to a tee. It is almost indistinguishable from Bjork herself.
Universearle, on the other hand, has informed me his favorite to win is the lovely Madonna. With 'Like a Virgin' his all time favorite song, how could he choose anything else?
Miss Weeble x
As you can imagine, excitement is brewing here at the MLM HQ, with all of us arguing who we think deserves the worthy title.
The shortlist for the honour features 60 people, including Elvis Presley, Kurt Cobain, Joe Strummer, Madonna, Alex Turner, Morrissey, Noel Gallagher, Bjork, Patti Smith, Matt Bellamy and over 50 others.
The shortlist for the NME's Ultimate Icon of the last 60 years is as follows:-
- Alex Turner
- Amy Winehouse
- Beth Ditto
- Bob Dylan
- Björk
- Bob Marley
- Bobby Gillespie
- Chuck D
- Courtney Love
- Damon Albarn
- Dave Grohl
- David Bowie
- Debbie Harry
- Dizzie Rascal
- Elvis Presley
- Eminem
- Freddie Mercury
- Ian Brown
- Ian Curtis
- Jay-Z
- Iggy Pop
- Jack White
- Jarvis Cocker
- Jim Morrison
- Jimi Hendrix
- Jimmy Page
- Joe Strummer
- Joey Ramone
- John Lennon
- John Lydon
- Johnny Cash
- Johnny Marr
- Julian Casablancas
- Karen O
- Kate Bush
- Keith Richards
- Kurt Cobain
- Liam Gallagher
- Lily Allen
- Lou Reed
- Madonna
- Marc Bolan
- Michael Jackson
- Morrissey
- Matt Bellamy
- Noel Gallagher
- Patti Smith
- Paul McCartney
- Paul Weller
- Pete Doherty
- PJ Harvey
- Prince
- Richey Edwards
- Robert Smith
- Roger Daltry
- Shaun Ryder
- Sid Vicious
- Siouxsie Sioux
- Syd Barrett
- Thom York
With artists such as Michael Jackson, John Lennon, Kate Bush, Paul Weller etc. rather unsurprising choices, it is great to see some lovely surprises in the mix.
Out of all the options, I've decided to pledge my vote for Dave Grohl - a true music legend, in my opinion. As the former drummer of Nirvana and Scream, the lead vocalist and guitarist for the Foo Fighters, drumming for Them Crooked Vultures and QOTSA, he is experienced and loved by his many fans.
To vote, visit www.nme.com/ultimateicon.
As for the MLM boy's, here's my (imaginary) version of events:-
As you can probably guess, MLM writer BadIdeaDan is very excited to see one of his favorite artists listed - Bjork. He does love a bit of 'Oh so quiet', and I have got to say, reenacts her performance to a tee. It is almost indistinguishable from Bjork herself.
Universearle, on the other hand, has informed me his favorite to win is the lovely Madonna. With 'Like a Virgin' his all time favorite song, how could he choose anything else?
Miss Weeble x
Killswitch Engage announce Howard Jones departure
_
BREAKING NEWS!
Message From Howard:
"Well, I guess I will shed a little light without going too deep. As some of you may know, I've had a pretty interesting couple of years to say the least battling with some personal issues. One of the low points being diagnosed with type 2 diabetes that went unchecked for years. The rest of the band stuck with me through it, and to be honest they are the ones that kept me going. The whole experience definitely put a scare in me.
Recently we've all been in writing mode but somehow I couldn't get excited about the new album and all the touring that would go with it. The guys saw it before I did. In hindsight I now realize that my heart wasn't in it. I have had an amazing decade with KSE. I love Justin, MikeD, Joel and Adam for hanging in there and standing by me no matter how bad it was. I have so many good memories, and those are the ones that I will keep. Will I be involved in music again? Sure, I have been in bands for a little over half my life, can't stop now. Until then, get the new KsE album, it's going to be good. Thanks everyone for letting me try to entertain you, and I wish myself well in my future endeavors. Gone fishin' Howard"
Quoted from the official Killswitch Engage Facebook page.
BREAKING NEWS!
Message From Howard:
"Well, I guess I will shed a little light without going too deep. As some of you may know, I've had a pretty interesting couple of years to say the least battling with some personal issues. One of the low points being diagnosed with type 2 diabetes that went unchecked for years. The rest of the band stuck with me through it, and to be honest they are the ones that kept me going. The whole experience definitely put a scare in me.
Recently we've all been in writing mode but somehow I couldn't get excited about the new album and all the touring that would go with it. The guys saw it before I did. In hindsight I now realize that my heart wasn't in it. I have had an amazing decade with KSE. I love Justin, MikeD, Joel and Adam for hanging in there and standing by me no matter how bad it was. I have so many good memories, and those are the ones that I will keep. Will I be involved in music again? Sure, I have been in bands for a little over half my life, can't stop now. Until then, get the new KsE album, it's going to be good. Thanks everyone for letting me try to entertain you, and I wish myself well in my future endeavors. Gone fishin' Howard"
Quoted from the official Killswitch Engage Facebook page.
It’s a Sad Day for Classic Rock Fans
London, 6th January 2011:
Former guitarist for Fleetwood Mac, Bob Weston, has today been pronounced dead at his home in London. Police say his body was found at his north London home on Tuesday after neighbours raised the alarm.
Police say his death is not being treated as suspicious. Post mortem examinations revealed Weston, ages 64, has passed after suffering a gastrointestinal haemorrhage, according to a statement made on Weston’s official website.
Close friend, Steve Fairhead said: “My family and I have lost a dear friend; the world has lost an enormously talented musician, with unfinished business...”
Joining the band in 1972, Bob Weston replaced Danny Kirwin as guitarist, playing on the band’s 1973 Penguin and Mystery to Me albums. Leaving the bad in 1974 due to dispute, Weston then went to on release several solo albums, playing with musicians such as Long John Baldrey, Murray Head, Danny Kiwan and Bob Welch.
Former guitarist for Fleetwood Mac, Bob Weston, has today been pronounced dead at his home in London. Police say his body was found at his north London home on Tuesday after neighbours raised the alarm.
Police say his death is not being treated as suspicious. Post mortem examinations revealed Weston, ages 64, has passed after suffering a gastrointestinal haemorrhage, according to a statement made on Weston’s official website.
Close friend, Steve Fairhead said: “My family and I have lost a dear friend; the world has lost an enormously talented musician, with unfinished business...”
Joining the band in 1972, Bob Weston replaced Danny Kirwin as guitarist, playing on the band’s 1973 Penguin and Mystery to Me albums. Leaving the bad in 1974 due to dispute, Weston then went to on release several solo albums, playing with musicians such as Long John Baldrey, Murray Head, Danny Kiwan and Bob Welch.
Korn - The Path of Totality
_2011
Reading about the 10th album from the veteran Nu Metal titans in the lead up to the release I was surprised, as I’m sure many Korn fans would be, to discover that there would be collaborations with dubstep artists indicating that Korn were heading in a new direction. Being a stalwart metal fan I was not sure whether this would be something that I would be interested in. As I used to be a huge Korn fan I thought I would give them the respect that they deserve and trust these music visionaries. Korn have never been afraid to go against the grain and have made a considerable name for themselves as the pioneers of the now almost defunct nu metal genre. Being the original nu metal band, Korn have survived where others have fallen into obscurity. However, Korn have struggled to replicate their early popularity. Ever since original guitarist Brian 'Head' Welch in 2005 followed by original drummer David Silveria in 2006, Korn albums have not felt the same and fans would be forgiven for thinking that the band had peeked. From the early days of stripped back heavy metal with a twist which earned them their own genre, to their rise to dizzying heights of success which saw a switch in the fan base from metal heads to jocks and then their seemingly steady demise Korn have stuck to what they know best and to constantly push boundaries. A complete departure from their last album ‘Remember Who You Are’, perhaps this album should have been called ‘Now Forget That and Change Everything’. A band like Korn would be the perfect band to collaborate across genres. In so doing they have created the freaky bastard child that is 'The Path of Totality' of the nu-step or dub-metal genre (however it may be called in the future).
Some will argue that this is not a new concept and that the result is similar to Industrial metal. After listening to the album I would disagree. On the first few plays this is new and interesting. However, I would say that after the initial hype has worn off many of the crazy noises started to grain on me. Usually at mlm we would do a song break down. In this case I won’t as unfortunately after a few listens the songs blur into one. What I will say is that there are several songs that stand out and make this venture worthwhile. Unfortunately the rest seems to be filler or uninteresting. Some of the album is hard to crack and maybe that is the problem. For most listeners the two singles ‘Narcissistic Cannibal’ and ‘Get Up!’ are the best songs and the most accessible on the album. If the rest of the album was like this then this would be great. However, if the rest of the album was like the two singles then this album and perhaps band would never have come to be as experimentation is a vital part of the Korn formula.
For a band to still be pushing the boundaries and risking dividing their fan base nearly twenty years since their debut album was released they deserve the upmost respect. This is what musician should be doing with every release and that is what makes Korn the band that many have come to love. For me this is not the finest Korn album. But I predict that many new bands will pick up on this formula and a new genre may be born through this album. For a band to create two genres in their lifespan would be an incredible achievement. I look forward to the music development as there does seems to be a winning formula in there somewhere.
The Path of Totality – 5/10
RazorRich for mlm
Reading about the 10th album from the veteran Nu Metal titans in the lead up to the release I was surprised, as I’m sure many Korn fans would be, to discover that there would be collaborations with dubstep artists indicating that Korn were heading in a new direction. Being a stalwart metal fan I was not sure whether this would be something that I would be interested in. As I used to be a huge Korn fan I thought I would give them the respect that they deserve and trust these music visionaries. Korn have never been afraid to go against the grain and have made a considerable name for themselves as the pioneers of the now almost defunct nu metal genre. Being the original nu metal band, Korn have survived where others have fallen into obscurity. However, Korn have struggled to replicate their early popularity. Ever since original guitarist Brian 'Head' Welch in 2005 followed by original drummer David Silveria in 2006, Korn albums have not felt the same and fans would be forgiven for thinking that the band had peeked. From the early days of stripped back heavy metal with a twist which earned them their own genre, to their rise to dizzying heights of success which saw a switch in the fan base from metal heads to jocks and then their seemingly steady demise Korn have stuck to what they know best and to constantly push boundaries. A complete departure from their last album ‘Remember Who You Are’, perhaps this album should have been called ‘Now Forget That and Change Everything’. A band like Korn would be the perfect band to collaborate across genres. In so doing they have created the freaky bastard child that is 'The Path of Totality' of the nu-step or dub-metal genre (however it may be called in the future).
Some will argue that this is not a new concept and that the result is similar to Industrial metal. After listening to the album I would disagree. On the first few plays this is new and interesting. However, I would say that after the initial hype has worn off many of the crazy noises started to grain on me. Usually at mlm we would do a song break down. In this case I won’t as unfortunately after a few listens the songs blur into one. What I will say is that there are several songs that stand out and make this venture worthwhile. Unfortunately the rest seems to be filler or uninteresting. Some of the album is hard to crack and maybe that is the problem. For most listeners the two singles ‘Narcissistic Cannibal’ and ‘Get Up!’ are the best songs and the most accessible on the album. If the rest of the album was like this then this would be great. However, if the rest of the album was like the two singles then this album and perhaps band would never have come to be as experimentation is a vital part of the Korn formula.
For a band to still be pushing the boundaries and risking dividing their fan base nearly twenty years since their debut album was released they deserve the upmost respect. This is what musician should be doing with every release and that is what makes Korn the band that many have come to love. For me this is not the finest Korn album. But I predict that many new bands will pick up on this formula and a new genre may be born through this album. For a band to create two genres in their lifespan would be an incredible achievement. I look forward to the music development as there does seems to be a winning formula in there somewhere.
The Path of Totality – 5/10
RazorRich for mlm
OFF!
_The First 4 E.P.s
2010
Vice
Following the acrimonious dissolution of hardcore punk legends the Circle Jerks iconic punk vocalist Keith Morris was left in limbo. Not one to rest on his laurels he continued writing songs with producer and Burning Brides musician Dimitri Coats. Realizing the potential of these songs the duo quickly enlisted the help of Red Kross bass player Steven McDonald and drumming sensation Mario Rubalcaba. Together they formed OFF! and now Morris had a platform in which to release these songs and deliver them to those who would listen.
The “First 4 EPs” package is adorned with the unmistakable comic book style artwork of Raymond Pettibon, the artist whose iconic imagery became associated with Black Flag through the 80’s lending that band an eye catching aesthetic. Looking at the cover it would seem that Morris wanted to recapture the spirit of those old Hardcore bands for whom aesthetic was just as important as the music.
It is interesting to note that OFF! is also a brand of roach spray, as is Black Flag, the name of the seminal hardcore punk collective Keith Morris helped start at the beginning of his career. At 56 years of age it truly feels as if Morris has come full circle with the release of “OFF! : The first 4 EPs.” Morris carries the same level of unrelenting energy and vitriol in his barked delivery as he did as a young man. The band tears through this set of 16 songs in just under 18 minutes with an unbelievable intensity and vigour not seen since the earliest days of the hardcore scene. What is apparent from the get go is that Morris is as legitimate and as hardcore as they come. With this set of songs he truly leaves frontmen half his age trailing in his unbelievable wake. The blink and you’ll miss them songs burst forth with honesty and raw emotion trimming all the fat and getting to the point with the refreshing directness only seen in the very best Hardcore. The songs are over before you know it – the longest is a mere 1 minute and 32 seconds long- and the songs are not what you would call complicated lyrically or musically but while this may be perceived to be a weakness to some becomes the collections greatest strength to others. The songs topics are not thinly veiled behind some flowery poetic symbolism but are instead laid bare for all to see. It’s as if Morris is getting right up in the listeners face and confronting them, screaming; “This is my position...what’s yours??”
The music itself is incredibly tight and proficient, so much so that OFF! sound like a band that have been playing together for decades rather than a mere 2 years. The music starts and stops on a dime and is delivered at breakneck speed. Distorted guitars and 3 chord riffs are the norm of this genre but rarely do they pack this type of punch, perfect for skating or slamming round your bedroom like a rabid cat with tourettes. This is first rate hardcore straight out of the old school. One of the original purveyors of this kind of noise has once again shown the younger generation how to do it. OFF! will have you slamming with the best of them and “The First 4 EPs is not simply the best Hardcore release of last year, it is the best true Hardcore release of the last decade. Essential!!!
Score: 10/10
For fans of: The Circle Jerks, Black Flag, L.A. Hardcore
BadIdeaDan for mlm
2010
Vice
Following the acrimonious dissolution of hardcore punk legends the Circle Jerks iconic punk vocalist Keith Morris was left in limbo. Not one to rest on his laurels he continued writing songs with producer and Burning Brides musician Dimitri Coats. Realizing the potential of these songs the duo quickly enlisted the help of Red Kross bass player Steven McDonald and drumming sensation Mario Rubalcaba. Together they formed OFF! and now Morris had a platform in which to release these songs and deliver them to those who would listen.
The “First 4 EPs” package is adorned with the unmistakable comic book style artwork of Raymond Pettibon, the artist whose iconic imagery became associated with Black Flag through the 80’s lending that band an eye catching aesthetic. Looking at the cover it would seem that Morris wanted to recapture the spirit of those old Hardcore bands for whom aesthetic was just as important as the music.
It is interesting to note that OFF! is also a brand of roach spray, as is Black Flag, the name of the seminal hardcore punk collective Keith Morris helped start at the beginning of his career. At 56 years of age it truly feels as if Morris has come full circle with the release of “OFF! : The first 4 EPs.” Morris carries the same level of unrelenting energy and vitriol in his barked delivery as he did as a young man. The band tears through this set of 16 songs in just under 18 minutes with an unbelievable intensity and vigour not seen since the earliest days of the hardcore scene. What is apparent from the get go is that Morris is as legitimate and as hardcore as they come. With this set of songs he truly leaves frontmen half his age trailing in his unbelievable wake. The blink and you’ll miss them songs burst forth with honesty and raw emotion trimming all the fat and getting to the point with the refreshing directness only seen in the very best Hardcore. The songs are over before you know it – the longest is a mere 1 minute and 32 seconds long- and the songs are not what you would call complicated lyrically or musically but while this may be perceived to be a weakness to some becomes the collections greatest strength to others. The songs topics are not thinly veiled behind some flowery poetic symbolism but are instead laid bare for all to see. It’s as if Morris is getting right up in the listeners face and confronting them, screaming; “This is my position...what’s yours??”
The music itself is incredibly tight and proficient, so much so that OFF! sound like a band that have been playing together for decades rather than a mere 2 years. The music starts and stops on a dime and is delivered at breakneck speed. Distorted guitars and 3 chord riffs are the norm of this genre but rarely do they pack this type of punch, perfect for skating or slamming round your bedroom like a rabid cat with tourettes. This is first rate hardcore straight out of the old school. One of the original purveyors of this kind of noise has once again shown the younger generation how to do it. OFF! will have you slamming with the best of them and “The First 4 EPs is not simply the best Hardcore release of last year, it is the best true Hardcore release of the last decade. Essential!!!
Score: 10/10
For fans of: The Circle Jerks, Black Flag, L.A. Hardcore
BadIdeaDan for mlm
Machine Head
Roadrunner
2011
Machine Head have got to be one of the biggest bands (that are still relevant) to emerge from the 90's. ‘Burn My Eyes’ (1994) is considered one of the best albums of the decade. However, not all of Machine Heads albums have been so well received. ‘The Burning Red’ (1999) and ‘Supercharger’ (2001) both unfortunately featured rapping vocals which will always cause a divide in the metal community, especially at that time when nu-metal was popular. The band were accused of selling out. However, the less than expected sales of ‘Supercharger’ saw the band being dropped and without a label. After struggling to get a new record deal with a demo which would be the bases of ‘Through the Ashes of Empires’ (2003) the band got resigned and came back with vengeance! The release of 'The Blackening' (2007) has seen them grow to become one of the heavyweights in the metal scene. 'The Blackening' was rated as THE number 1 album of 2007 by many metal heads. And that's in a year with releases from seasoned metal bands such as Megadeth with 'United Abombinations' (a return to form for the band) Arch Enemy with 'Rise of the Tyrant' and Iced Earth with 'Framing Armegeddon: Something Wicked pt1'. 'The Blackening' exceeded all expectations and set the bar incredibly high for Machine Head. How can a band beat that? Well Machine Head have answered the call with 'Unto the Locust'.
I Am Hell (Sonata in C#):
Split into three parts, this song takes on a few directions. From the opening chants of ‘Sangre Sani’ into the heavy and unrelenting ‘I Am Hell’ which could easily have fit in on ‘The Blackening’ but feels even more complex. The song is closed with the instrumental ‘Ashes to the Sky’. An excellent open to the album.
Be Still and Know:
The guitar parts are really catchy particularly in the chorus, the lyrics for which make it feel epic. The solo is a belter and brings the song into a fast paced harmonised guitar line that will have the listener head banging along.
Locust:
The lead single from the album, the ominous start to this song and the drum roll in gives this song an incredible start. The guitar line in the verse portrays perfectly the doom and darkness in the song. The lead section is beautiful one second then brutal the next. The chemistry between Flynn and Demmel is obvious and awe-inspiring. A dark song, executed with precision.
This is the End:
The band lure the listener into a false sense of security before Dave McClain’s drum beat brings the listener back into the fray. This fast paced song will leave the listener breathless by the end. The lead section is one of my favourites on the album particularly the oh so short line at 4.57.
Darkness Within:
My personal favourite on the album. This is a toned down song but everything about this song works. There is still the brutal breakdown section but the best bits are the passion in the vocals and the guitar solo in particular. The acoustic version on the special edition gives this song a different twist but ultimately the album version is near perfect anyway.
Pearls Before the Swine:
An all-out thrash song. The band is in perfect harmony as Phil Demmel takes the lead section. The rumbling bass line is particularly strong and really adds to the song.
Who We Are:
With the opening children’s choir part, into the marching drum beat and then the listener is thrown into a dark trash riff. This song hits the ground running and builds up to the chorus. “This is who we are, This is what I am, We have nowhere else to go, divided we will stand”. This will be the anthem that fans will be singing along to. A fantastic end to the album.
‘Unto the Locust’ is a completely different beast to 'The Blackening'. 'The Blackening' felt like a full on onslaught and gave the listener no rest bite. In contrast, 'Unto the Locust' is toned down in places. This would be bad for many bands but in this case this has allowed the passion and emotion to come through even clearer than in 'The Blackening'. Fans will be pleased that the songs are in places even more complex and diverse. The number of riffs, guitar lines, melodies and time changes is incredible. Machine Head are not ones to kick back and stamp their name on any old rubbish (perhaps with the exception of Supercharger). You can feel the amount of time and effort in the construction of each song. ‘Unto the Locust’ is a lesson in song crafting at its absolute finest by musicians at the top of their game.
Unto the Locust: 10/10
‘RazorRich’ for mlm
2011
Machine Head have got to be one of the biggest bands (that are still relevant) to emerge from the 90's. ‘Burn My Eyes’ (1994) is considered one of the best albums of the decade. However, not all of Machine Heads albums have been so well received. ‘The Burning Red’ (1999) and ‘Supercharger’ (2001) both unfortunately featured rapping vocals which will always cause a divide in the metal community, especially at that time when nu-metal was popular. The band were accused of selling out. However, the less than expected sales of ‘Supercharger’ saw the band being dropped and without a label. After struggling to get a new record deal with a demo which would be the bases of ‘Through the Ashes of Empires’ (2003) the band got resigned and came back with vengeance! The release of 'The Blackening' (2007) has seen them grow to become one of the heavyweights in the metal scene. 'The Blackening' was rated as THE number 1 album of 2007 by many metal heads. And that's in a year with releases from seasoned metal bands such as Megadeth with 'United Abombinations' (a return to form for the band) Arch Enemy with 'Rise of the Tyrant' and Iced Earth with 'Framing Armegeddon: Something Wicked pt1'. 'The Blackening' exceeded all expectations and set the bar incredibly high for Machine Head. How can a band beat that? Well Machine Head have answered the call with 'Unto the Locust'.
I Am Hell (Sonata in C#):
Split into three parts, this song takes on a few directions. From the opening chants of ‘Sangre Sani’ into the heavy and unrelenting ‘I Am Hell’ which could easily have fit in on ‘The Blackening’ but feels even more complex. The song is closed with the instrumental ‘Ashes to the Sky’. An excellent open to the album.
Be Still and Know:
The guitar parts are really catchy particularly in the chorus, the lyrics for which make it feel epic. The solo is a belter and brings the song into a fast paced harmonised guitar line that will have the listener head banging along.
Locust:
The lead single from the album, the ominous start to this song and the drum roll in gives this song an incredible start. The guitar line in the verse portrays perfectly the doom and darkness in the song. The lead section is beautiful one second then brutal the next. The chemistry between Flynn and Demmel is obvious and awe-inspiring. A dark song, executed with precision.
This is the End:
The band lure the listener into a false sense of security before Dave McClain’s drum beat brings the listener back into the fray. This fast paced song will leave the listener breathless by the end. The lead section is one of my favourites on the album particularly the oh so short line at 4.57.
Darkness Within:
My personal favourite on the album. This is a toned down song but everything about this song works. There is still the brutal breakdown section but the best bits are the passion in the vocals and the guitar solo in particular. The acoustic version on the special edition gives this song a different twist but ultimately the album version is near perfect anyway.
Pearls Before the Swine:
An all-out thrash song. The band is in perfect harmony as Phil Demmel takes the lead section. The rumbling bass line is particularly strong and really adds to the song.
Who We Are:
With the opening children’s choir part, into the marching drum beat and then the listener is thrown into a dark trash riff. This song hits the ground running and builds up to the chorus. “This is who we are, This is what I am, We have nowhere else to go, divided we will stand”. This will be the anthem that fans will be singing along to. A fantastic end to the album.
‘Unto the Locust’ is a completely different beast to 'The Blackening'. 'The Blackening' felt like a full on onslaught and gave the listener no rest bite. In contrast, 'Unto the Locust' is toned down in places. This would be bad for many bands but in this case this has allowed the passion and emotion to come through even clearer than in 'The Blackening'. Fans will be pleased that the songs are in places even more complex and diverse. The number of riffs, guitar lines, melodies and time changes is incredible. Machine Head are not ones to kick back and stamp their name on any old rubbish (perhaps with the exception of Supercharger). You can feel the amount of time and effort in the construction of each song. ‘Unto the Locust’ is a lesson in song crafting at its absolute finest by musicians at the top of their game.
Unto the Locust: 10/10
‘RazorRich’ for mlm
Iced Earth
Dystopia
2011
Iced Earth are a band that have been around a long time and are known for consistently releasing great metal albums. Based on the vision of central figure, rhythm guitarist and songwriter Jon Schaffer, the band are also known for their constantly changing lineup. Jon Schaffer is the only consistent member of the band with only two other members reaching a decade of service with the band, both of who are no longer in the current lineup. For a band that has been through so many musicians it is a testament to Jon Schaffers will that the band has been able to release so many fantastic metal records.
In late 2007, many fans of Iced Earth were ecstatic to hear the announcement that popular and long standing standing vocalist Matt Barlow had returned to the band replacing Tim "Ripper" Owens (who had replaced Barlow after his departure in 2003) mid-way through a duo of concept albums based on the Something Wicked story line that had been started by the band in 1998. Owens had done a fantastic job and I would say that the Battle of Gettysburg trilogy from the album 'The Glorious Burden' was his defining moment with the band. Ultimately the fan base seemed not to embrace Owens. Upon his return to the band Barlow ended up only recording one more studio album, as well as appearing on this year’s Festivals of the Wicked live album and DVD, which left Iced Earth without a vocalist... again. Enter Stu Block. All four of Iced Earths vocalists have been strong and Barlow is considered the best by many. It was with trepidation that I awaited the new release, Dystopia, which is the bands tenth studio album. It seemed like a long wait to hear Stu, but the band let Stu take on an Iced Earth classic, Dante's Inferno. A brave move for the band and a surely daunting task for Stu. This is testament to Jon Schaffers belief in his new vocalist as he does a stellar job. The re-record means that the band can now play this 17 minute wonder live as the original click track was erased meaning that it would require a keyboard player to play the song live. Most of my worries faded away and my anticipation increased. Here is my breakdown of Dystopia:
Dystopia:
The marching drum beat and the guitar build up leading into the album nicely before the breakdown and the chugging guitar riff and the band coming into full swing. This song is also based on the theme set in the bands previous releases, based on the “Something Wicked” storyline. The first thing I noticed about this song is that Stu Block seems to sound like Matt Barlow in the chorus and Tim “Ripper” Owens in the high pitch parts but with his own sound too. This song demonstrates the impressive vocal range from this talented singer. A great start to the album.
Anthem:
A slow song that builds to the battle-cry for the album. The guitar lines are typical Iced Earth. It wouldn’t be hard to imagine Matt Barlow on vocals here. The guitar solo is excellent and the chorus is particularly catchy. This will make a fantastic live track.
Boiling Point:
The bell ringing out and the fast paced fret work by the guitarists show this songs intent as a thumping track. One of the shortest tracks on the album at only 2.47 this song is over before you know it.
Anguish of Youth:
A good track for Stu to showcase his vocal talents. A more gentle song for the album with a punchy chorus. Fans will be singing along to this heart filled and emotional song.
V:
A homage to the film ‘V for Vendetta’, this is my personal favourite on the album. A song based on revolution with the powerful lyrics “Prepare for victory, our minds have been awaken, rid your life of tyranny, we are the resistance”. The solo on this song is impeccably placed and adds so much to the song. A fantastic track that is worth many many listens!
Dark City:
Another song inspired by a movie, of the same name. A gentle build up into the song followed by Stu’s shouts and then the song comes into the chugging guitar riffs. A fast paced and well written song.
Equilibrium:
This song really incorporates many of the best elements of the band. From the galloping rhythms to the soaring epic chorus through to the high pitch wails. This song has all the ingredients that make Iced Earth such a great band.
Days of Rage:
The shortest song on the album and a hard hitter. This song is more reminiscent of earlier tracks by the band such as Violate from ‘The Dark Saga’. This is not my favourite song and is probably the right length.
End of Innocence:
This is the first song that Stu and Jon worked on and you can see why Jon gave Stu the position. An amazing vocal track that will have the listener singing along to it. A truly beautiful song.
Tragedy and Triumph:
Another visit to the themes of the ‘Something Wicked’ story line and the album closer. The beat of the marching drum and the guitar at the beginning build into this epic song of a nation escaping mind control and revolting against those who seek to control them. The bridge and chorus to this song are well written and the lyrics build a strong image.
Dystopia is the first non-concept album from Iced Earth since ‘Horror Show’ in 2001. I think this is important to draw in some new fans who may have struggled on the last two albums which formed a trilogy of concept albums. But in typical Iced Earth fashion, and similar to ‘Horror Show’, a theme still underpins the album and all the songs are connected by dystopian themes and movies which makes for an interesting story across the entire album. Stu’s input in the writing process has been a huge success and some great songs have emerged from this release. For die-hard fans of the band there is also the return to the ‘Something Wicked’ storyline and a return to a more classic Iced Earth sound in the music. Whilst many fans will miss long standing vocalist Matt Barlow, I hope that Stu Block gets the respect he deserves as he is a more than capable Iced Earth vocalist.
Dystopia: 8/10
'RazorRich' at mlm
2011
Iced Earth are a band that have been around a long time and are known for consistently releasing great metal albums. Based on the vision of central figure, rhythm guitarist and songwriter Jon Schaffer, the band are also known for their constantly changing lineup. Jon Schaffer is the only consistent member of the band with only two other members reaching a decade of service with the band, both of who are no longer in the current lineup. For a band that has been through so many musicians it is a testament to Jon Schaffers will that the band has been able to release so many fantastic metal records.
In late 2007, many fans of Iced Earth were ecstatic to hear the announcement that popular and long standing standing vocalist Matt Barlow had returned to the band replacing Tim "Ripper" Owens (who had replaced Barlow after his departure in 2003) mid-way through a duo of concept albums based on the Something Wicked story line that had been started by the band in 1998. Owens had done a fantastic job and I would say that the Battle of Gettysburg trilogy from the album 'The Glorious Burden' was his defining moment with the band. Ultimately the fan base seemed not to embrace Owens. Upon his return to the band Barlow ended up only recording one more studio album, as well as appearing on this year’s Festivals of the Wicked live album and DVD, which left Iced Earth without a vocalist... again. Enter Stu Block. All four of Iced Earths vocalists have been strong and Barlow is considered the best by many. It was with trepidation that I awaited the new release, Dystopia, which is the bands tenth studio album. It seemed like a long wait to hear Stu, but the band let Stu take on an Iced Earth classic, Dante's Inferno. A brave move for the band and a surely daunting task for Stu. This is testament to Jon Schaffers belief in his new vocalist as he does a stellar job. The re-record means that the band can now play this 17 minute wonder live as the original click track was erased meaning that it would require a keyboard player to play the song live. Most of my worries faded away and my anticipation increased. Here is my breakdown of Dystopia:
Dystopia:
The marching drum beat and the guitar build up leading into the album nicely before the breakdown and the chugging guitar riff and the band coming into full swing. This song is also based on the theme set in the bands previous releases, based on the “Something Wicked” storyline. The first thing I noticed about this song is that Stu Block seems to sound like Matt Barlow in the chorus and Tim “Ripper” Owens in the high pitch parts but with his own sound too. This song demonstrates the impressive vocal range from this talented singer. A great start to the album.
Anthem:
A slow song that builds to the battle-cry for the album. The guitar lines are typical Iced Earth. It wouldn’t be hard to imagine Matt Barlow on vocals here. The guitar solo is excellent and the chorus is particularly catchy. This will make a fantastic live track.
Boiling Point:
The bell ringing out and the fast paced fret work by the guitarists show this songs intent as a thumping track. One of the shortest tracks on the album at only 2.47 this song is over before you know it.
Anguish of Youth:
A good track for Stu to showcase his vocal talents. A more gentle song for the album with a punchy chorus. Fans will be singing along to this heart filled and emotional song.
V:
A homage to the film ‘V for Vendetta’, this is my personal favourite on the album. A song based on revolution with the powerful lyrics “Prepare for victory, our minds have been awaken, rid your life of tyranny, we are the resistance”. The solo on this song is impeccably placed and adds so much to the song. A fantastic track that is worth many many listens!
Dark City:
Another song inspired by a movie, of the same name. A gentle build up into the song followed by Stu’s shouts and then the song comes into the chugging guitar riffs. A fast paced and well written song.
Equilibrium:
This song really incorporates many of the best elements of the band. From the galloping rhythms to the soaring epic chorus through to the high pitch wails. This song has all the ingredients that make Iced Earth such a great band.
Days of Rage:
The shortest song on the album and a hard hitter. This song is more reminiscent of earlier tracks by the band such as Violate from ‘The Dark Saga’. This is not my favourite song and is probably the right length.
End of Innocence:
This is the first song that Stu and Jon worked on and you can see why Jon gave Stu the position. An amazing vocal track that will have the listener singing along to it. A truly beautiful song.
Tragedy and Triumph:
Another visit to the themes of the ‘Something Wicked’ story line and the album closer. The beat of the marching drum and the guitar at the beginning build into this epic song of a nation escaping mind control and revolting against those who seek to control them. The bridge and chorus to this song are well written and the lyrics build a strong image.
Dystopia is the first non-concept album from Iced Earth since ‘Horror Show’ in 2001. I think this is important to draw in some new fans who may have struggled on the last two albums which formed a trilogy of concept albums. But in typical Iced Earth fashion, and similar to ‘Horror Show’, a theme still underpins the album and all the songs are connected by dystopian themes and movies which makes for an interesting story across the entire album. Stu’s input in the writing process has been a huge success and some great songs have emerged from this release. For die-hard fans of the band there is also the return to the ‘Something Wicked’ storyline and a return to a more classic Iced Earth sound in the music. Whilst many fans will miss long standing vocalist Matt Barlow, I hope that Stu Block gets the respect he deserves as he is a more than capable Iced Earth vocalist.
Dystopia: 8/10
'RazorRich' at mlm
Alkaline Trio
Damnesia
Heart and Skull
2011
If you are in a new band or thinking about starting one take a deep breath, a step back and have a good long think before committing anything to record. Don’t underestimate how important and game changing that first record could prove to be. In my opinion first albums fall into one of 2 categories, that is, assuming they’re not totally terrible pieces of fecund anti-matter:
1. They are scrappy yet amiable sets from a young band who have not quite clicked into gear yet. A few songs from these albums might sneak their way onto the set-lists further down the road but overall they’re nothing to write home about.
2. They are considered near perfect by hardcore sections of your fan-base. These guys were “with you from the beginning before you sold out and got boring” and thus have anointed themselves your true fans. You don’t remember selling half as many records as there are “true fans” but that’s just the way it is. Anything you record after that in the eyes of these fanatics will never be as good as this record so don’t even try.
Alkaline Trio have always had to bear the weight of their first record, 1997’s frankly suburb “Goddamnit,” to a certain degree. They’ve escaped a lot of the “yeah but its no ‘Goddamnit’” taunts because, frankly, they have released bag fulls of bloody good material since then. They are one of the most consistent bands in the punk scene, reliably releasing records that are well loved by all sections of the community. No matter which way you slice it though, “Goddamnit” was a special first release, the kind of which only comes around once in a blue moon. Matt Skiba’s anguished yet melodic cries and songs about heartbreak, depression and anger struck a chord with thousands upon thousands of still loyal devotees. They didn’t whine like the emo posers of today but instead infused their songs with so much visceral emotion it was hard not to picture a young Matt Skiba literally tearing at the seams. What was also different is that Skiba never painted himself as the sensitive artist writing maudlin poems about unrequited love in his bedroom but instead laced his heartbroken musings with anger, hate and thoughts of revenge. Skiba truly laid himself bear for all to see, admitting to all the ugly stuff we keep buried inside ourselves when such personal tragedies occur. It felt like a cathartic wave of honesty and passion that the band have yet to match to such a searing degree.
Let’s make no mistake, Alkaline Trio is rightly proud of this album and regard it as an important first step in the bands incredible 15 year career. That being said, the band seem to display the slightest hint of bemusement that their first record is held in such high regard. It is no secret that they feel they have grown tremendously as songwriters since then and may as a result view the constant mentions of “Goddamnit” with weary disdain. Compared to the polished pop punk of today’s Alk3 records “Goddamnit” was scrappy, thrashy and the song structures were all over the place. It is a record very much of its time and place but what the band might these days perceive as flaws with the album were all part of its charm and added that extra layer of authenticity. You could tell that the young men playing those songs meant every word, even if they didn’t posses all the technical knowhow yet.
Fast forward to 2011! Alkaline Trio are 15 years and 7 albums into their impressive career and they decide to release “Damnesia” a re-imagining of older songs which includes quite a few from the beloved record mentioned in the above paragraphs. I won’t do a track by track listing of the songs as I have done in the past as I’m sure most of you will be aware of the songs in their original form. The re-imagined songs are made poppier in a ways that round out their edge. The distorted punk guitars found on the original tracks have been replaced by acoustic or electro acoustic ones and the two singers, Matt Skiba and Dan Andriano, take a more measured and sedate approach to their often strained and frantic vocal stylings. Fans of the original songs will no doubt either find this a travesty or be filled with a mild curiosity but never once did I prefer the re-imagined versions to the originals. The places in the songs that allowed you to scream the lyrics back at your stereo are notable by their absence and this drains songs like “Clavicle” of much of their charm.
I was ready to give this album a poor review before I took a step back a thought about what the purpose of an album like this might be. At first I was totally bemused and ready to brandish the album a shameless cash in until I remembered that the Trio had been free of their label obligations for some time and were free at this point - as respected song-writers with a growing fan-base - to release whatever the hell they wanted. Quite simply this is an album for the band and nobody else. If people want to pick this up out of curiosity or want to have a complete Alkaline Trio collection then by all means go ahead, but you won’t find anything that’s going to blow your socks off. For me, this album serves a much more important function and has allowed the band a chance to get re-acquainted with their history. It is as if the happy and well adjusted men of today are speaking to the naive, unhappy young men they were 15 years ago and smiling at how well things have turned out. So if nothing else “Damnesia” provides a nice bookend to the first 15 years of Alkaline Trio’s history. How can anyone be malicious about something like that?
Score: 7/10
BadIdeaDan for MLM
Heart and Skull
2011
If you are in a new band or thinking about starting one take a deep breath, a step back and have a good long think before committing anything to record. Don’t underestimate how important and game changing that first record could prove to be. In my opinion first albums fall into one of 2 categories, that is, assuming they’re not totally terrible pieces of fecund anti-matter:
1. They are scrappy yet amiable sets from a young band who have not quite clicked into gear yet. A few songs from these albums might sneak their way onto the set-lists further down the road but overall they’re nothing to write home about.
2. They are considered near perfect by hardcore sections of your fan-base. These guys were “with you from the beginning before you sold out and got boring” and thus have anointed themselves your true fans. You don’t remember selling half as many records as there are “true fans” but that’s just the way it is. Anything you record after that in the eyes of these fanatics will never be as good as this record so don’t even try.
Alkaline Trio have always had to bear the weight of their first record, 1997’s frankly suburb “Goddamnit,” to a certain degree. They’ve escaped a lot of the “yeah but its no ‘Goddamnit’” taunts because, frankly, they have released bag fulls of bloody good material since then. They are one of the most consistent bands in the punk scene, reliably releasing records that are well loved by all sections of the community. No matter which way you slice it though, “Goddamnit” was a special first release, the kind of which only comes around once in a blue moon. Matt Skiba’s anguished yet melodic cries and songs about heartbreak, depression and anger struck a chord with thousands upon thousands of still loyal devotees. They didn’t whine like the emo posers of today but instead infused their songs with so much visceral emotion it was hard not to picture a young Matt Skiba literally tearing at the seams. What was also different is that Skiba never painted himself as the sensitive artist writing maudlin poems about unrequited love in his bedroom but instead laced his heartbroken musings with anger, hate and thoughts of revenge. Skiba truly laid himself bear for all to see, admitting to all the ugly stuff we keep buried inside ourselves when such personal tragedies occur. It felt like a cathartic wave of honesty and passion that the band have yet to match to such a searing degree.
Let’s make no mistake, Alkaline Trio is rightly proud of this album and regard it as an important first step in the bands incredible 15 year career. That being said, the band seem to display the slightest hint of bemusement that their first record is held in such high regard. It is no secret that they feel they have grown tremendously as songwriters since then and may as a result view the constant mentions of “Goddamnit” with weary disdain. Compared to the polished pop punk of today’s Alk3 records “Goddamnit” was scrappy, thrashy and the song structures were all over the place. It is a record very much of its time and place but what the band might these days perceive as flaws with the album were all part of its charm and added that extra layer of authenticity. You could tell that the young men playing those songs meant every word, even if they didn’t posses all the technical knowhow yet.
Fast forward to 2011! Alkaline Trio are 15 years and 7 albums into their impressive career and they decide to release “Damnesia” a re-imagining of older songs which includes quite a few from the beloved record mentioned in the above paragraphs. I won’t do a track by track listing of the songs as I have done in the past as I’m sure most of you will be aware of the songs in their original form. The re-imagined songs are made poppier in a ways that round out their edge. The distorted punk guitars found on the original tracks have been replaced by acoustic or electro acoustic ones and the two singers, Matt Skiba and Dan Andriano, take a more measured and sedate approach to their often strained and frantic vocal stylings. Fans of the original songs will no doubt either find this a travesty or be filled with a mild curiosity but never once did I prefer the re-imagined versions to the originals. The places in the songs that allowed you to scream the lyrics back at your stereo are notable by their absence and this drains songs like “Clavicle” of much of their charm.
I was ready to give this album a poor review before I took a step back a thought about what the purpose of an album like this might be. At first I was totally bemused and ready to brandish the album a shameless cash in until I remembered that the Trio had been free of their label obligations for some time and were free at this point - as respected song-writers with a growing fan-base - to release whatever the hell they wanted. Quite simply this is an album for the band and nobody else. If people want to pick this up out of curiosity or want to have a complete Alkaline Trio collection then by all means go ahead, but you won’t find anything that’s going to blow your socks off. For me, this album serves a much more important function and has allowed the band a chance to get re-acquainted with their history. It is as if the happy and well adjusted men of today are speaking to the naive, unhappy young men they were 15 years ago and smiling at how well things have turned out. So if nothing else “Damnesia” provides a nice bookend to the first 15 years of Alkaline Trio’s history. How can anyone be malicious about something like that?
Score: 7/10
BadIdeaDan for MLM
Cobra Skulls
Agitations
Fat Wreck Chords
2011
I must be honest it took me a long time to discover the Cobra Skulls having missed the first EP "Draw Mohammad" and the first Full Length "Sitting Army" when they first surfaced on respected independent record labels...and for such a stupid reason! I was put off by 1) The slightly cheesy name of the band which still makes me cringe every time I answer the "What are you listening to?" question and 2) The fact that they put Cobra in every single song title on these first releases. While I respect Red Scare industries for choosing bold and exciting bands in the past these facts alone made me (wrongly) write them off as a gimmicky joke band for a good year or so. How wrong I was! These first releases plus "American Rubicon", released on Side One Dummy, combine the gruff vocals of Against me!, the punk guitar rhythms of The Clash (yes I know that's an overused comparison but bear with me) and the bass lines of some sort of Demi God (yes bassist and vocalist Devin Peralta is that good.) “Agitations” is their first release for independent giant Fat Wreck Chords and as a result one of the most hotly anticipated albums of the year. Below is a track by track break down of what to expect:
Six Degrees: This song is the Skulls announcing their intentions right from the off with a barnstormer of a track. Distorted punk guitars and Devin Peralta’s masterfully rapido bass playing is soon accompanied by strained vocals that veer close to the edge of a desperate shout. A rollicking start from the Skulls.
Iron Lung: More of a standard punk number with a poppier edge that showcases the possibilities Peralta has in his vocal range to construct catchy melodies. Musically it’s your standard three chord punk affair with pounding rhythms and power-chords. A very good song that zips by in just 1 minute and 42 seconds.
Now You Know: A fast, thrashy and melodic punk song that is standard Skulls. The song should be a favourite with fans for name dropping seminal British pop-punk troupe The Buzzcocks in order for Peralta to vent insecurities; ‘Have you fallen in love with someone you shouldn’t have/Is that what you’re trying to say to me?’
The Mess: The song starts with a slow meandering guitar that builds to a spiky riff. The song is once again melodic and has a fine sing-along chorus.
On and On: Peralta sings; ‘So what if I don’t want to hold on any longer/Just because it doesn’t kill us it doesn’t make us stronger.’ Themes of separation, ennui, depression and apathy belie the upbeat tone of the music to great effect.
All Drive: A fast song built around a memorable riff that reminds me of Tiger Army for no reason that I can fathom. One of my personal favourite songs on the album.
Drones: The song starts with a sedate bass-line before the band unleashes a punishingly fast punk song that punches you in the face (in a good way) for 1 minute and 23 seconds. The lyrics are a rousing call to arms to workers urging them to stand up against capitalism and corporate greed. Peralta singing ‘Don’t be a drone’ near the songs climax sends a clear enough message.
The Mockery: The song starts with just Peralta’s vocals and an acoustic guitar before the band crashes in to up both the tempo and the decibel level. The lyrics express a strong distaste for mercenaries and private contractors that are taking advantage of the situations in the Middle East. As the late, great George Carlin once quipped; “Hey Joe, you don’t wanna get your head cut off? Stay the fuck in Oklahoma!!”
Solastalgia: The song bemoans humanities apathetic attitude towards the problem of global warming, what Peralta refers to here as ‘Eco Paralysis.’ He observes; ‘I look into the atmosphere ashamed with every breath I take/I’m beleaguered with indifference with an eye on all the mess we make/At the same time quick to herald how we harness what Gia will provide/But the effect is not benign!’ The Skulls have never been afraid to wear their socially conscious attitudes on their sleeves and for that they should be highly commended.
Minimum: This song is fast and loud punk rock executed very well. The strained vocals of “Six Degrees” make a return here.
Hiding: More of the same here in that it’s standard Skulls. This is a song that pounds away at a million bpm and clocks in at just 1 minute and 46 seconds.
Running Out: This song isn’t my favourite musically in that it never really gets going and there is an absence of a strong melodic hook. The lyrics describe a perceived over zealousness by the police and suggest that they may be coming up with creative excuses to throw people behind bars in order to fulfil their quotas.
Believe: The Skulls find a perfect way to finish a stellar third effort by throwing in a sedate acoustic number with a sing-along chorus and upbeat lyrics. Peralta triumphantly sings (quite probably with a huge smile on his face); ‘I’ll enjoy this while I know I can!’ So will we sir!
Verdict: Overall this record showcases a more back to basics approach from the Cobra Skulls. “Agitations” is a record of tremendous energy, fervour and guile that breezes past in under 30 minutes. The set contains some of Cobra Skulls best work to date but does leave out some of the more intriguing elements of previous records. The reggae rhythms are totally absent as is the mixing of Spanish and English lyrics that they utilized on “Sitting Army” and “American Rubicon” to great effect. This isn’t a growing up, more of a regression if anything, but like I said what they lack in experimentation this time round they more than make up for by taking a barnstorming blood and thunder approach. It becomes interesting when taken in conjunction with the Skulls’ previous work precisely because it isn’t particularly so. But boy does it rock like a motherfucker!
Score: 9/10
BadIdeaDan for MLM
Fat Wreck Chords
2011
I must be honest it took me a long time to discover the Cobra Skulls having missed the first EP "Draw Mohammad" and the first Full Length "Sitting Army" when they first surfaced on respected independent record labels...and for such a stupid reason! I was put off by 1) The slightly cheesy name of the band which still makes me cringe every time I answer the "What are you listening to?" question and 2) The fact that they put Cobra in every single song title on these first releases. While I respect Red Scare industries for choosing bold and exciting bands in the past these facts alone made me (wrongly) write them off as a gimmicky joke band for a good year or so. How wrong I was! These first releases plus "American Rubicon", released on Side One Dummy, combine the gruff vocals of Against me!, the punk guitar rhythms of The Clash (yes I know that's an overused comparison but bear with me) and the bass lines of some sort of Demi God (yes bassist and vocalist Devin Peralta is that good.) “Agitations” is their first release for independent giant Fat Wreck Chords and as a result one of the most hotly anticipated albums of the year. Below is a track by track break down of what to expect:
Six Degrees: This song is the Skulls announcing their intentions right from the off with a barnstormer of a track. Distorted punk guitars and Devin Peralta’s masterfully rapido bass playing is soon accompanied by strained vocals that veer close to the edge of a desperate shout. A rollicking start from the Skulls.
Iron Lung: More of a standard punk number with a poppier edge that showcases the possibilities Peralta has in his vocal range to construct catchy melodies. Musically it’s your standard three chord punk affair with pounding rhythms and power-chords. A very good song that zips by in just 1 minute and 42 seconds.
Now You Know: A fast, thrashy and melodic punk song that is standard Skulls. The song should be a favourite with fans for name dropping seminal British pop-punk troupe The Buzzcocks in order for Peralta to vent insecurities; ‘Have you fallen in love with someone you shouldn’t have/Is that what you’re trying to say to me?’
The Mess: The song starts with a slow meandering guitar that builds to a spiky riff. The song is once again melodic and has a fine sing-along chorus.
On and On: Peralta sings; ‘So what if I don’t want to hold on any longer/Just because it doesn’t kill us it doesn’t make us stronger.’ Themes of separation, ennui, depression and apathy belie the upbeat tone of the music to great effect.
All Drive: A fast song built around a memorable riff that reminds me of Tiger Army for no reason that I can fathom. One of my personal favourite songs on the album.
Drones: The song starts with a sedate bass-line before the band unleashes a punishingly fast punk song that punches you in the face (in a good way) for 1 minute and 23 seconds. The lyrics are a rousing call to arms to workers urging them to stand up against capitalism and corporate greed. Peralta singing ‘Don’t be a drone’ near the songs climax sends a clear enough message.
The Mockery: The song starts with just Peralta’s vocals and an acoustic guitar before the band crashes in to up both the tempo and the decibel level. The lyrics express a strong distaste for mercenaries and private contractors that are taking advantage of the situations in the Middle East. As the late, great George Carlin once quipped; “Hey Joe, you don’t wanna get your head cut off? Stay the fuck in Oklahoma!!”
Solastalgia: The song bemoans humanities apathetic attitude towards the problem of global warming, what Peralta refers to here as ‘Eco Paralysis.’ He observes; ‘I look into the atmosphere ashamed with every breath I take/I’m beleaguered with indifference with an eye on all the mess we make/At the same time quick to herald how we harness what Gia will provide/But the effect is not benign!’ The Skulls have never been afraid to wear their socially conscious attitudes on their sleeves and for that they should be highly commended.
Minimum: This song is fast and loud punk rock executed very well. The strained vocals of “Six Degrees” make a return here.
Hiding: More of the same here in that it’s standard Skulls. This is a song that pounds away at a million bpm and clocks in at just 1 minute and 46 seconds.
Running Out: This song isn’t my favourite musically in that it never really gets going and there is an absence of a strong melodic hook. The lyrics describe a perceived over zealousness by the police and suggest that they may be coming up with creative excuses to throw people behind bars in order to fulfil their quotas.
Believe: The Skulls find a perfect way to finish a stellar third effort by throwing in a sedate acoustic number with a sing-along chorus and upbeat lyrics. Peralta triumphantly sings (quite probably with a huge smile on his face); ‘I’ll enjoy this while I know I can!’ So will we sir!
Verdict: Overall this record showcases a more back to basics approach from the Cobra Skulls. “Agitations” is a record of tremendous energy, fervour and guile that breezes past in under 30 minutes. The set contains some of Cobra Skulls best work to date but does leave out some of the more intriguing elements of previous records. The reggae rhythms are totally absent as is the mixing of Spanish and English lyrics that they utilized on “Sitting Army” and “American Rubicon” to great effect. This isn’t a growing up, more of a regression if anything, but like I said what they lack in experimentation this time round they more than make up for by taking a barnstorming blood and thunder approach. It becomes interesting when taken in conjunction with the Skulls’ previous work precisely because it isn’t particularly so. But boy does it rock like a motherfucker!
Score: 9/10
BadIdeaDan for MLM
Star Fucking Hipsters - From the Dumpster to the Grave
Fat Wreck Chords
2011
It’s been a rather turbulent year filled with many transitions for Crust Punk collective Star Fucking Hipsters. They have added a new female vocalist Kelsey to replace the now departed Nico Gallio and perennial punk session musician Mikey Erg has taken his place behind the drumkit. They have also come back to their original home Fat Wreck Chords after moving to Alternative Tentacles for the release of their softmore effort, 2009’s metal heavy “Never Rest In Peace.” This will come as no surprise to those familiar with the Crack Rock Steady bands. Lead singer merry ringleader Sturgeon has always operated as if his bands and the music they created was a creative free for all. There seem to have been more members of Choking Victim, Leftover Crack and SFH than people who saw the last episode of Friends. This has on the one hand kept the bands sounding fresh and exciting but has also found the Crack Rock Steady catalogue sounding rather patchy in places. The only constant has been Sturgeons strained yelp and a penchant for mixing ska, death metal and punk into a heady (and for some rather strange) brew. Will “From the Dumpster to the Grave” be any different? I’m raring to find out;
Intro
As with every previous SFH record there exists a short and entirely useless intro to the record. 15 seconds of gentile guitar strumming that the following song bursts out of like an alien ripping through a chest cavity.
Dumpster to the Grave
The song starts with distorted punk guitars backed by the frantic and frenetic drumming of new member Mikey Erg. What becomes apparent immediately from the ferocity of the beat is that Erg is certainly going to bring something new and exciting to the table and is not merely there to make up the numbers. The song switches to a ska rhythm which will please the fans who found the lack of ska on the last record a little too much to bear. Sturgeons unmistakable gargling with nails growl lets the listener know immediately that they are back in the familiar Crack Rock Steady stable. The difference is they seem to have revved up the tempo and added an air of strained desperation to the vocal delivery, never letting the last word of each line sit for more than half a millisecond. Crust punk seems to have replaced the death metal stylings of “Never Rest in Peace” and sent them to the periphery, at least for the time being. The song details and celebrates the bands dumpster diving lifestyle, the guys proud to be living on detritus and making use of the terrible amounts of wastage generated by a complacent society. A raucous, rollicking and crusty start that made me hum the theme tune to the Wombles afterwards. Win Win!
War Widows Vietnam
The record continues with a much more standard punk track complete with powerchords and handclaps that is pretty sedate by comparison to the barnstorming track that preceded it. Sturgeon’s melodies and delivery make him sound a little like Al Barr. This, coupled with the perhaps overwrought lyrical sentimentality, make the song a perfect fit for the next Dropkick Murphy’s record. It’s catchy sure, but I’m going to have to get back to you on this one.
Death Never Goes Out Of Fashion
This song follows a similar pattern to “Dumpster to the Grave” as the crunchy punk guitars of the intro give way to bouncy, danceable ska rhythms in the verses. The song boasts an immensely catchy chorus that utilizes a male/female harmony for the first time on the record with great results. There is a superbly authentic use of Spanish in the later verses and a changeup when Erg briefly assumes vocal duties. This song may scream single material, or the closest thing you can get to single with Fucking in your band name, but it still ranks up there with one of the best songs Sturgeon has ever written.
The Broken Branches
The song begins with acoustic guitar overlaid by the sweetly melodic voice of new vocalist Kelsey. Her lyrics are complex and poetic lamenting the follies of suburbia; “All the gated up suburban homes/confine the genealogy/Of a skull to fill the catacombs/And hang down from the family TREE!!” On the word tree the band crashes in with pounding drums and buzzing guitars which serve to accelerate the song to a scintillating punk rock pace. Kelsey’s ultra sweet voice provides an interesting counterpoint to Sturgeon’s style and truly offers a different dimension to the songs. Good call SFH!!
The Spoils of War
Provides a full 41 seconds of punk metal thrashing complete with death metal squeals, blistering soloing and pounding drums. Ace Hipsters!
Otra Vez!
SFH’s most skankable song to date complete with Mexican/Western guitar rhythms mixed in with the ska and Spanish/English vocal interplay. Reach for the burritos and the hot-sauce because this is fucking fun! The lyrics on the other hand are a much more caustic and serious meditation on the subjugation of immigrants by Anglo-American society.
Honey I Shrunk the Cops!
Ah! Where would a Crack Rock Steady album be without the obligatory call to kill all cops and “Take on the Boys in Blue?” Such endless repetition of said theme has dulled the shocking impact somewhat but you’ve got to admire them for sticking to their story. Musically it’s standard punk fare; short, sweet, loud and thrashy just like mamma didn’t used to make.
9/11 ‘till Infinity
Ah the song that will divide a nation!! Or at the very least facilitate some bitchy exchanges between geeky strangers on message-boards. Standard SFH instrumentation is accompanied by dun dun duuuunn...rapping! Now usually I’m the first person to want to gouge my own ears off when I hear a homie laying down a fresh beat (Fo’ shizzle!!) but surprisingly this isn’t as hideous as it sounds. In fact I would go as far as to say I rather enjoy the premise. The instrumentation and the rapping aren’t treated as separate entities - as is usually the case with rap rock fusion - but instead work together so that no one thing takes prominence. Never once does it feel gimmicky. The rhymes are provided by Boots Riley of The Coup fame and he does a bang up job. There is even the closest thing you will ever hear to a punk-rap vocal style delivered by Sturgeon near the songs climax. Bust it out dog!
Ana NG
A ska punk cover of a “They Might Be Giants” song. To quote a discerning Youtube user: “Sweet Zombie Jesus...this is great!”
Rapture, Rinse, Repeat
A menacing intro made up of distorted guitar and Mikey Erg’s kick drum gives way to the first and only truly death-metal infused song on the record. An unrelenting thrasher that sounds as if it was culled from the “Never Rest in Peace” sessions. The riffs are positively grind-core at times and the vocals strain to an anguished bark that is not for the faint of heart or young children with nervous dispositions. Heavy as fuck!
Drowning Out Another Year
The record ends on a pretty standard punk rock note that sees the Hipsters at their most uplifting thanks in no small part to a huge chorus complete with gang vocals that beg to be sung along to.
Verdict: Sturgeon has once again delivered a solid Crack Rock Steady record that may be his most fun and upbeat to date. The record boasts curve-balls and variety in abundance that gives me heart that this particular creative juggernaut shows no signs of slowing down. The record benefits immensely from the decision to push the death metal grind of “Never Rest in Peace” to the periphery making this album less of a trudge to listen to than the aforementioned record. This record is a perfect length and never feels like its outstaying its welcome. The mix of styles and approaches coupled with some well appreciated additions in the musician department make this the record that sees the Hipsters finally hit their stride!!
8/10
For Fans of: Crack Rock Steady, Leftover Crack, Amebix, Crust-Punk
'BadIdeaDan' at mlm
2011
It’s been a rather turbulent year filled with many transitions for Crust Punk collective Star Fucking Hipsters. They have added a new female vocalist Kelsey to replace the now departed Nico Gallio and perennial punk session musician Mikey Erg has taken his place behind the drumkit. They have also come back to their original home Fat Wreck Chords after moving to Alternative Tentacles for the release of their softmore effort, 2009’s metal heavy “Never Rest In Peace.” This will come as no surprise to those familiar with the Crack Rock Steady bands. Lead singer merry ringleader Sturgeon has always operated as if his bands and the music they created was a creative free for all. There seem to have been more members of Choking Victim, Leftover Crack and SFH than people who saw the last episode of Friends. This has on the one hand kept the bands sounding fresh and exciting but has also found the Crack Rock Steady catalogue sounding rather patchy in places. The only constant has been Sturgeons strained yelp and a penchant for mixing ska, death metal and punk into a heady (and for some rather strange) brew. Will “From the Dumpster to the Grave” be any different? I’m raring to find out;
Intro
As with every previous SFH record there exists a short and entirely useless intro to the record. 15 seconds of gentile guitar strumming that the following song bursts out of like an alien ripping through a chest cavity.
Dumpster to the Grave
The song starts with distorted punk guitars backed by the frantic and frenetic drumming of new member Mikey Erg. What becomes apparent immediately from the ferocity of the beat is that Erg is certainly going to bring something new and exciting to the table and is not merely there to make up the numbers. The song switches to a ska rhythm which will please the fans who found the lack of ska on the last record a little too much to bear. Sturgeons unmistakable gargling with nails growl lets the listener know immediately that they are back in the familiar Crack Rock Steady stable. The difference is they seem to have revved up the tempo and added an air of strained desperation to the vocal delivery, never letting the last word of each line sit for more than half a millisecond. Crust punk seems to have replaced the death metal stylings of “Never Rest in Peace” and sent them to the periphery, at least for the time being. The song details and celebrates the bands dumpster diving lifestyle, the guys proud to be living on detritus and making use of the terrible amounts of wastage generated by a complacent society. A raucous, rollicking and crusty start that made me hum the theme tune to the Wombles afterwards. Win Win!
War Widows Vietnam
The record continues with a much more standard punk track complete with powerchords and handclaps that is pretty sedate by comparison to the barnstorming track that preceded it. Sturgeon’s melodies and delivery make him sound a little like Al Barr. This, coupled with the perhaps overwrought lyrical sentimentality, make the song a perfect fit for the next Dropkick Murphy’s record. It’s catchy sure, but I’m going to have to get back to you on this one.
Death Never Goes Out Of Fashion
This song follows a similar pattern to “Dumpster to the Grave” as the crunchy punk guitars of the intro give way to bouncy, danceable ska rhythms in the verses. The song boasts an immensely catchy chorus that utilizes a male/female harmony for the first time on the record with great results. There is a superbly authentic use of Spanish in the later verses and a changeup when Erg briefly assumes vocal duties. This song may scream single material, or the closest thing you can get to single with Fucking in your band name, but it still ranks up there with one of the best songs Sturgeon has ever written.
The Broken Branches
The song begins with acoustic guitar overlaid by the sweetly melodic voice of new vocalist Kelsey. Her lyrics are complex and poetic lamenting the follies of suburbia; “All the gated up suburban homes/confine the genealogy/Of a skull to fill the catacombs/And hang down from the family TREE!!” On the word tree the band crashes in with pounding drums and buzzing guitars which serve to accelerate the song to a scintillating punk rock pace. Kelsey’s ultra sweet voice provides an interesting counterpoint to Sturgeon’s style and truly offers a different dimension to the songs. Good call SFH!!
The Spoils of War
Provides a full 41 seconds of punk metal thrashing complete with death metal squeals, blistering soloing and pounding drums. Ace Hipsters!
Otra Vez!
SFH’s most skankable song to date complete with Mexican/Western guitar rhythms mixed in with the ska and Spanish/English vocal interplay. Reach for the burritos and the hot-sauce because this is fucking fun! The lyrics on the other hand are a much more caustic and serious meditation on the subjugation of immigrants by Anglo-American society.
Honey I Shrunk the Cops!
Ah! Where would a Crack Rock Steady album be without the obligatory call to kill all cops and “Take on the Boys in Blue?” Such endless repetition of said theme has dulled the shocking impact somewhat but you’ve got to admire them for sticking to their story. Musically it’s standard punk fare; short, sweet, loud and thrashy just like mamma didn’t used to make.
9/11 ‘till Infinity
Ah the song that will divide a nation!! Or at the very least facilitate some bitchy exchanges between geeky strangers on message-boards. Standard SFH instrumentation is accompanied by dun dun duuuunn...rapping! Now usually I’m the first person to want to gouge my own ears off when I hear a homie laying down a fresh beat (Fo’ shizzle!!) but surprisingly this isn’t as hideous as it sounds. In fact I would go as far as to say I rather enjoy the premise. The instrumentation and the rapping aren’t treated as separate entities - as is usually the case with rap rock fusion - but instead work together so that no one thing takes prominence. Never once does it feel gimmicky. The rhymes are provided by Boots Riley of The Coup fame and he does a bang up job. There is even the closest thing you will ever hear to a punk-rap vocal style delivered by Sturgeon near the songs climax. Bust it out dog!
Ana NG
A ska punk cover of a “They Might Be Giants” song. To quote a discerning Youtube user: “Sweet Zombie Jesus...this is great!”
Rapture, Rinse, Repeat
A menacing intro made up of distorted guitar and Mikey Erg’s kick drum gives way to the first and only truly death-metal infused song on the record. An unrelenting thrasher that sounds as if it was culled from the “Never Rest in Peace” sessions. The riffs are positively grind-core at times and the vocals strain to an anguished bark that is not for the faint of heart or young children with nervous dispositions. Heavy as fuck!
Drowning Out Another Year
The record ends on a pretty standard punk rock note that sees the Hipsters at their most uplifting thanks in no small part to a huge chorus complete with gang vocals that beg to be sung along to.
Verdict: Sturgeon has once again delivered a solid Crack Rock Steady record that may be his most fun and upbeat to date. The record boasts curve-balls and variety in abundance that gives me heart that this particular creative juggernaut shows no signs of slowing down. The record benefits immensely from the decision to push the death metal grind of “Never Rest in Peace” to the periphery making this album less of a trudge to listen to than the aforementioned record. This record is a perfect length and never feels like its outstaying its welcome. The mix of styles and approaches coupled with some well appreciated additions in the musician department make this the record that sees the Hipsters finally hit their stride!!
8/10
For Fans of: Crack Rock Steady, Leftover Crack, Amebix, Crust-Punk
'BadIdeaDan' at mlm
Mixtapes - Thought About Growing Up E.P.
Death To False Hope Records
2010
Mixtapes are a bit of a curious animal; on the one hand they seem, at least on the surface, to be just another innocuous pop-punk band that utilizes fast high energy tempos and sugary melodies. So far so standard. But on the other they offer up plenty to intrigue the casual listener and hardcore collector alike, such as a male/female vocal dynamic, frequent changes in rhythm and a "we're-gonna-release-whatever-the-fuck-we-want-whenever-the-fuck-we-want-however-the-fuck-we-want" attitude that makes them a hard band to keep up with if you are a completist nerd who screams I MUST HAVE EVERYTHING OTHERWISE I GO INTO AN OCD DRIVEN PANIC ATTACK!!!! These people are nuts, pity them...pity me!
Anyway this release, like 99% of their music is available for free download on Death To False Hope Records so if you like your punk there really is no excuse not to check this out at least. Here's a track by track rundown of what to expect:
Recently
This track is a short quiet number that serves as a kind of intro to what follows as well as showcasing what Mixtapes are about; Boy/Girl vocals, introspective lyrics and sweet melodies. I hesitate to call it a song fragment because Mixtapes have become known across the Org for this type of thing but it begins and ends before you know whats hit you. This is no bad thing really because it's lyrics show a thoughtful and considered approach to songwriting that trims all the fat and gets to the point. In the context of what follows it's a perfect little intro.
Morning Sex and AM Radio
Quite simply one of my favourite pop punk songs of recent times. The song leads off with punk guitar, driving beat and a sweet and mournful female vocal which switches to male vocal after a couple of lines. The female vocal is delivered in a kind of honey drenched croon while the male vocal is a more standard rough and ready nasally pop punk voice. The two voices complement each other perfectly and are often utilized in harmony. The chorus is extremely catchy and the lyrics detail a relationship between two people of the opposite sex that seems to be, refreshingly, not driven by sexual desire ("Talked all night and never even kissed.") The song changes tempo in the second verse to a more thrashy pop-punk style that uses some forbidden beat drumming. At 2 minutes and 6 seconds long it doesn't outstay its welcome and is a perfect little nugget of pop punk.
Poprocks and Coke
No, sadly, not a Green Day cover but instead a much faster, much more driving piece of sugary pop punk about....dun dun duuuuun.....eating poprocks and coke. It's fast it's fun, it's classic Mixtapes.
Sprinkles
The EP ends on a real high with a much longer and, whisper it, a much more experimental take on the genre than was previously offered, with slow meditative breaks reminiscent of "Recently," gang vocals and xylophone! Brilliant!
Verdict: Brilliant blink and you miss it EP for fans of the pop punk genre and Org-core bands.
8/10
For fans of: Cheap Girls, Houseboat, Pop-Punk
'BadIdeaDan' at mlm
2010
Mixtapes are a bit of a curious animal; on the one hand they seem, at least on the surface, to be just another innocuous pop-punk band that utilizes fast high energy tempos and sugary melodies. So far so standard. But on the other they offer up plenty to intrigue the casual listener and hardcore collector alike, such as a male/female vocal dynamic, frequent changes in rhythm and a "we're-gonna-release-whatever-the-fuck-we-want-whenever-the-fuck-we-want-however-the-fuck-we-want" attitude that makes them a hard band to keep up with if you are a completist nerd who screams I MUST HAVE EVERYTHING OTHERWISE I GO INTO AN OCD DRIVEN PANIC ATTACK!!!! These people are nuts, pity them...pity me!
Anyway this release, like 99% of their music is available for free download on Death To False Hope Records so if you like your punk there really is no excuse not to check this out at least. Here's a track by track rundown of what to expect:
Recently
This track is a short quiet number that serves as a kind of intro to what follows as well as showcasing what Mixtapes are about; Boy/Girl vocals, introspective lyrics and sweet melodies. I hesitate to call it a song fragment because Mixtapes have become known across the Org for this type of thing but it begins and ends before you know whats hit you. This is no bad thing really because it's lyrics show a thoughtful and considered approach to songwriting that trims all the fat and gets to the point. In the context of what follows it's a perfect little intro.
Morning Sex and AM Radio
Quite simply one of my favourite pop punk songs of recent times. The song leads off with punk guitar, driving beat and a sweet and mournful female vocal which switches to male vocal after a couple of lines. The female vocal is delivered in a kind of honey drenched croon while the male vocal is a more standard rough and ready nasally pop punk voice. The two voices complement each other perfectly and are often utilized in harmony. The chorus is extremely catchy and the lyrics detail a relationship between two people of the opposite sex that seems to be, refreshingly, not driven by sexual desire ("Talked all night and never even kissed.") The song changes tempo in the second verse to a more thrashy pop-punk style that uses some forbidden beat drumming. At 2 minutes and 6 seconds long it doesn't outstay its welcome and is a perfect little nugget of pop punk.
Poprocks and Coke
No, sadly, not a Green Day cover but instead a much faster, much more driving piece of sugary pop punk about....dun dun duuuuun.....eating poprocks and coke. It's fast it's fun, it's classic Mixtapes.
Sprinkles
The EP ends on a real high with a much longer and, whisper it, a much more experimental take on the genre than was previously offered, with slow meditative breaks reminiscent of "Recently," gang vocals and xylophone! Brilliant!
Verdict: Brilliant blink and you miss it EP for fans of the pop punk genre and Org-core bands.
8/10
For fans of: Cheap Girls, Houseboat, Pop-Punk
'BadIdeaDan' at mlm
Andrew Jackson Jihad - Knifeman
Asian Man Records
2011
Anytime a new record by D.I.Y folk punk duo Andrew Jackson Jihad is announced the message boards of sites like Punknews and Pastepunk get flooded with excitement and anticipation. This palpable wave of positive feeling is not without its foundations. Jihad’s first record “People who can eat people are the luckiest people in the world” was a refreshing burst of funny, insightful, well written folk punk that oozed earnestness and authenticity. The lyrics of singer and guitar player Sean Bonette were intensely personal but also communicated universal themes in the same breath. The music was delivered at a rapid pace as if it was waiting to come bursting from Bonette’s small, slightly nerdy frame. When you listen to an AJJ record there is a feeling that time is of the essence and the songs often communicate their meaning clearly and directly, like a particularly acerbic poem from the mind of Charles Bukowski. Their increasingly rabid fanbase was treated to more of the same caustic wit on 2009’s “Can’t Maintain” album but by this point the band had added electric guitars and drums to some of their songs. This didn’t divide fans as much as you might expect and seemed more like a natural progression that added extra strings to their song-writing bow and made them one of the most exciting young bands to come out of the folk punk scene in recent years. It was with that same excitement and anticipation banded about by the Org-core nerds that I had inside me before I reviewed this record. Below is a track by track run through of what to expect from AJJ’s third effort.
The Michael Jordon of Drunk Driving
This 22 second song serves as the intro to what follows and can bearly be said to be a song at all. I’ve never really been a fan of such things as I’ve never understood their purpose. Onwards and upwards!
The Gift of The Magi 2 (Return of the Magi)
This song is pure gold and showcases everything that is good about AJJ and why the fans have been chomping at the bit to hear more. It ranks up there with their very best songs and recalls the style of “Heartilation,” the opening track of 2009’s “Can’t Maintain” album. The song starts with a pounding electro-acoustic riff and is followed by a hilarious opening gambit which immediately reassures the listener that AJJ is very much picking up where they left off. Bonette frantically quips; “I used to be a dead guy/Now I’m a fucking Jedi!” The lyrics are peppered with profanity and self aware caustic wit that is utilized magnificently. The song’s calls for peace, love and compassion are told with an earnestness and clarity that are counterpointed superbly with an honest world weary stance; “I’ve got my whole life to live/And I’ve got all my love to give/ To all you fuckers that I hate.” Despite this postiveness shines through, making it one of AJJ’s most life affirming songs. It is a song that screams for peace and equality whilst denouncing chauvinism and violence. Bonette is at his most eloquent when he sings; “The husband divorced his wife/After she cut her hair/Because she was way less fuckable/Now that’s just unforgivable!” Brilliant stuff...truly brilliant.
American Tune
This is a slightly slower paced song that has instantly become a fan favourite because of its lyrical content. Bonette laments the problems of white male privilege that are sadly still present in America and the rest of the Western world even in the supposedly progressive, forward thinking 21st Century. He begins; “I am white/And I’ve got everything I need/No-one clutches their purses when they’re in a room alone with me.” I see this song as an updated version of the song “Fuck White People” from their “Candy Cigarettes and Capguns” compilation told in a much more eloquent and thought provoking way.
Back Pack
Things are brought to an even slower pace for this meditation on extreme violence and death which in the end fits the macabre themes of this song perfectly. This is a grower of a song and has divided opinion amongst fans more than any other on the album.
Distance
AJJ pick up the pace and the humour again for this song to excellent and hilarious effect. The piece contains a full band of electric guitars, bass and drums making it sound more pop-punk than the folk punk to which fans have grown accustom. In this case I don’t think this is going to hurt them as it is also a very very fine song. Some of the best lyrical nuggets are; “The first month after you left/I drank and jerked off till I slept!” and the intensely self aware and meta; “I hate whiny fuckin’ songs like this/But I can’t afford a therapist/Sorry guys...here’s a solo!” an apology for straying from the rather rigid conventions of the genre they’ve found themselves in and a sly jab at the expectations of the sometimes holier than thou fans who are fickle about that sort of thing.
Fucc the Devil
This is a much more stripped down track consisting of the acoustic guitar, bass and vocals that sounds like it could have been culled from the “People who eat people...” sessions. Lyrically Bonette deals with the problems of alcohol abuse and a cynical world view; “The flask is an alcoholic’s toothbrush/I need to go throw up now”. On a side-note the Kazoo makes a return as a backing instrument and surprisingly isn’t as annoying as it sounds.
Hate, Rain on Me
Back with the full band AJJ have constructed a song that is lyrically as cynical as the title might suggest and yet contains bright and breezy instrumentation that lifts it out of the gloom. The catchy chorus is perfect for group singalongs.
If You Have Love In Your Heart
This is a short acoustic song with life affirming lyrics. The production makes Bonettes vocals sound far away and disconnected which makes them beautifully haunting and ethereal. The song is over before it can be processed or truly appreciated, zipping by after just 1 minute and 30 seconds. Feels like a missed opportunity to me.
No One
This song is much slower and much more meditative but has no less of an effect. Bonette uses the experience of working at a homeless shelter to underline a simple premise of loneliness and alienation detailed in the chorus; “When you have no one/You are no one!”
Sad Songs (Intermission)
Unlike the title may suggest this isn’t an intermission at all but instead a bouncy country song that details what Bonette’s mentor once said to him about song writing; “Who gives a fuckin rats ass/Just write a love song/They will keep your belly full and your wallet lined/Don’t bother these nice people with your sad sack songs/If you ask me I think they’re just a waste of time!” Judging by the albums lyrical content this was not advice that Bonette heeded. This song has flurries of experimentation running through it with snatches of piano soloing and vocal harmonies straight from the old dusty trail of the American West.
Zombie
A cover of a Cranberries song that is a perfect fit for AJJ
People 2 Still Peoplin'
This is a song whose title recalls the song “People” from “People who can eat People” (way too many people’s for one sentence.) Bonette’s is empathetic and understanding of the spiral of negativity one can find oneself in when feeling alone in the world; “You don’t wanna hear about all those starving children/You don’t wanna be told it’s all in your head/Coz if it’s all in your head...that’s terrible.”
Sorry Bro
A fast song with a full band that sounds like it belongs on “Can’t Maintain.” It contains gang vocals, pounding drums and strained delivery. Bound to become a fan favourite even if it’s for the use of “We’re the kids in America” for reasons only known to the band themselves.
Skate Park
Another fast song which follows on from “Sorry Bro” perfectly and displays the usual AJJ sarcasm; “There is nothing I’d rather do on this terrible fucking day/ Than break break break my bones and feel the pain of self improvement.” Bonette is playing so fast here I imagine his hand is a blur with smoke pouring from his pick. The song ends with the shoutalong lyrics of “Stick stick stick to your guns/ and don’t quit until you feel like changing them” that feels extremely uplifting.
Free Bird
A slow and cumbersome song that certainly takes its time and recalls campfire singalongs. Not a favourite I must say. I find myself hitting the skip button by the time the first chorus comes around.
Big Bird
Another slow song that is eminently more interesting than “Free Bird” because it displays a willingness to experiment with soundscapes. Bonette sings the first verse totally accapella until drums and guitar crash in with smatterings of other string instruments in the background. A fine way to finish.
Verdict: This is another fine effort from AJJ. It feels like their most accomplished and most fully realised record to date. Sean Bonette is really coming into his own as a lyricist and a songwriter and the variety in the songs shows a commendable willingness to experiment whilst keeping all the elements intact that made fans fall in love with the duo in the first place. My only complaints are that there is some filler on there that makes the album feel patchier than previous works. There are a few songs that should have been left on the cutting room floor and their inclusion makes the record seem slightly overlong. Despite this the album comes highly recommended and don’t be surprised to see it on many favourite records of 2011 lists. Brilliant stuff!
For Fans of: Folk Punk, Ghost Mice, This Bike is a Pipe Bomb, Defiance Ohio, Against Me! Americana
9/10
'BadIdeaDan' at mlm
2011
Anytime a new record by D.I.Y folk punk duo Andrew Jackson Jihad is announced the message boards of sites like Punknews and Pastepunk get flooded with excitement and anticipation. This palpable wave of positive feeling is not without its foundations. Jihad’s first record “People who can eat people are the luckiest people in the world” was a refreshing burst of funny, insightful, well written folk punk that oozed earnestness and authenticity. The lyrics of singer and guitar player Sean Bonette were intensely personal but also communicated universal themes in the same breath. The music was delivered at a rapid pace as if it was waiting to come bursting from Bonette’s small, slightly nerdy frame. When you listen to an AJJ record there is a feeling that time is of the essence and the songs often communicate their meaning clearly and directly, like a particularly acerbic poem from the mind of Charles Bukowski. Their increasingly rabid fanbase was treated to more of the same caustic wit on 2009’s “Can’t Maintain” album but by this point the band had added electric guitars and drums to some of their songs. This didn’t divide fans as much as you might expect and seemed more like a natural progression that added extra strings to their song-writing bow and made them one of the most exciting young bands to come out of the folk punk scene in recent years. It was with that same excitement and anticipation banded about by the Org-core nerds that I had inside me before I reviewed this record. Below is a track by track run through of what to expect from AJJ’s third effort.
The Michael Jordon of Drunk Driving
This 22 second song serves as the intro to what follows and can bearly be said to be a song at all. I’ve never really been a fan of such things as I’ve never understood their purpose. Onwards and upwards!
The Gift of The Magi 2 (Return of the Magi)
This song is pure gold and showcases everything that is good about AJJ and why the fans have been chomping at the bit to hear more. It ranks up there with their very best songs and recalls the style of “Heartilation,” the opening track of 2009’s “Can’t Maintain” album. The song starts with a pounding electro-acoustic riff and is followed by a hilarious opening gambit which immediately reassures the listener that AJJ is very much picking up where they left off. Bonette frantically quips; “I used to be a dead guy/Now I’m a fucking Jedi!” The lyrics are peppered with profanity and self aware caustic wit that is utilized magnificently. The song’s calls for peace, love and compassion are told with an earnestness and clarity that are counterpointed superbly with an honest world weary stance; “I’ve got my whole life to live/And I’ve got all my love to give/ To all you fuckers that I hate.” Despite this postiveness shines through, making it one of AJJ’s most life affirming songs. It is a song that screams for peace and equality whilst denouncing chauvinism and violence. Bonette is at his most eloquent when he sings; “The husband divorced his wife/After she cut her hair/Because she was way less fuckable/Now that’s just unforgivable!” Brilliant stuff...truly brilliant.
American Tune
This is a slightly slower paced song that has instantly become a fan favourite because of its lyrical content. Bonette laments the problems of white male privilege that are sadly still present in America and the rest of the Western world even in the supposedly progressive, forward thinking 21st Century. He begins; “I am white/And I’ve got everything I need/No-one clutches their purses when they’re in a room alone with me.” I see this song as an updated version of the song “Fuck White People” from their “Candy Cigarettes and Capguns” compilation told in a much more eloquent and thought provoking way.
Back Pack
Things are brought to an even slower pace for this meditation on extreme violence and death which in the end fits the macabre themes of this song perfectly. This is a grower of a song and has divided opinion amongst fans more than any other on the album.
Distance
AJJ pick up the pace and the humour again for this song to excellent and hilarious effect. The piece contains a full band of electric guitars, bass and drums making it sound more pop-punk than the folk punk to which fans have grown accustom. In this case I don’t think this is going to hurt them as it is also a very very fine song. Some of the best lyrical nuggets are; “The first month after you left/I drank and jerked off till I slept!” and the intensely self aware and meta; “I hate whiny fuckin’ songs like this/But I can’t afford a therapist/Sorry guys...here’s a solo!” an apology for straying from the rather rigid conventions of the genre they’ve found themselves in and a sly jab at the expectations of the sometimes holier than thou fans who are fickle about that sort of thing.
Fucc the Devil
This is a much more stripped down track consisting of the acoustic guitar, bass and vocals that sounds like it could have been culled from the “People who eat people...” sessions. Lyrically Bonette deals with the problems of alcohol abuse and a cynical world view; “The flask is an alcoholic’s toothbrush/I need to go throw up now”. On a side-note the Kazoo makes a return as a backing instrument and surprisingly isn’t as annoying as it sounds.
Hate, Rain on Me
Back with the full band AJJ have constructed a song that is lyrically as cynical as the title might suggest and yet contains bright and breezy instrumentation that lifts it out of the gloom. The catchy chorus is perfect for group singalongs.
If You Have Love In Your Heart
This is a short acoustic song with life affirming lyrics. The production makes Bonettes vocals sound far away and disconnected which makes them beautifully haunting and ethereal. The song is over before it can be processed or truly appreciated, zipping by after just 1 minute and 30 seconds. Feels like a missed opportunity to me.
No One
This song is much slower and much more meditative but has no less of an effect. Bonette uses the experience of working at a homeless shelter to underline a simple premise of loneliness and alienation detailed in the chorus; “When you have no one/You are no one!”
Sad Songs (Intermission)
Unlike the title may suggest this isn’t an intermission at all but instead a bouncy country song that details what Bonette’s mentor once said to him about song writing; “Who gives a fuckin rats ass/Just write a love song/They will keep your belly full and your wallet lined/Don’t bother these nice people with your sad sack songs/If you ask me I think they’re just a waste of time!” Judging by the albums lyrical content this was not advice that Bonette heeded. This song has flurries of experimentation running through it with snatches of piano soloing and vocal harmonies straight from the old dusty trail of the American West.
Zombie
A cover of a Cranberries song that is a perfect fit for AJJ
People 2 Still Peoplin'
This is a song whose title recalls the song “People” from “People who can eat People” (way too many people’s for one sentence.) Bonette’s is empathetic and understanding of the spiral of negativity one can find oneself in when feeling alone in the world; “You don’t wanna hear about all those starving children/You don’t wanna be told it’s all in your head/Coz if it’s all in your head...that’s terrible.”
Sorry Bro
A fast song with a full band that sounds like it belongs on “Can’t Maintain.” It contains gang vocals, pounding drums and strained delivery. Bound to become a fan favourite even if it’s for the use of “We’re the kids in America” for reasons only known to the band themselves.
Skate Park
Another fast song which follows on from “Sorry Bro” perfectly and displays the usual AJJ sarcasm; “There is nothing I’d rather do on this terrible fucking day/ Than break break break my bones and feel the pain of self improvement.” Bonette is playing so fast here I imagine his hand is a blur with smoke pouring from his pick. The song ends with the shoutalong lyrics of “Stick stick stick to your guns/ and don’t quit until you feel like changing them” that feels extremely uplifting.
Free Bird
A slow and cumbersome song that certainly takes its time and recalls campfire singalongs. Not a favourite I must say. I find myself hitting the skip button by the time the first chorus comes around.
Big Bird
Another slow song that is eminently more interesting than “Free Bird” because it displays a willingness to experiment with soundscapes. Bonette sings the first verse totally accapella until drums and guitar crash in with smatterings of other string instruments in the background. A fine way to finish.
Verdict: This is another fine effort from AJJ. It feels like their most accomplished and most fully realised record to date. Sean Bonette is really coming into his own as a lyricist and a songwriter and the variety in the songs shows a commendable willingness to experiment whilst keeping all the elements intact that made fans fall in love with the duo in the first place. My only complaints are that there is some filler on there that makes the album feel patchier than previous works. There are a few songs that should have been left on the cutting room floor and their inclusion makes the record seem slightly overlong. Despite this the album comes highly recommended and don’t be surprised to see it on many favourite records of 2011 lists. Brilliant stuff!
For Fans of: Folk Punk, Ghost Mice, This Bike is a Pipe Bomb, Defiance Ohio, Against Me! Americana
9/10
'BadIdeaDan' at mlm
Rise To Remain – City of Vultures
EMI
2011
The long awaited first full length release from promising Brit ‘metalcore’ band. This band have got a lot to live up to seeing as lead singer Austin is the son of one of the greatest metal singer of all time, Bruce Dickinson of Iron Maiden. Talk about pressure!
To be labeled and lumped into an already saturated metelcore market only adds to that pressure. Rise to Remain have realised this and are trying to branch out on album number one. This sort of evolution wouldn’t normally come from a band until much later in their career. It feels strange when a band tries to escape a label. Labels shouldn’t matter, but they do. Whether you like labels or not people will judge a band based on that label.
Intro
Nothing much to report. The calm before the storm.
The Serpent
One of the best songs on the album, a metal masterpiece that will leave many of the bands peers shaking in their boots. Fans will be singing along, “Is this the end of the world?”
This Day is Mine
This is the first indication that the bands new material has changed course. Whilst not drastically different from ‘The Serpent’ the vocals are cleaner and the guitar parts are a little less busy. This song acts as a bridge between old and new.
City of Vultures
This song has the same feel as the last one. There are the traditional screams and growls and the hectic guitar parts but the chorus is clean and much slower. A triumph for the album and is definitely worthy of having the album named after it.
Talking in Whispers
This song caters to the wider metal loving community. Powerful and emotional with completely clean vocals throughout. The song works and shows that Rise to Remain are capable of crafting a wide range of music that still rocks.
God Can Bleed
A thought provoking song that would have fit nicely on the ‘Bridges Will Burn’ EP. This song will have fans pumping their fists, air guitaring to the solo and will be a firm favourite live.
Power Through Fear
A true roller-coaster of a ride that will leave the listener wanting more, I particularly like the lyrics “I was created from self-righteous tears, not from devils not from demons but from those who preach power through fear”. Again this will be a firm favourite live.
Nothing Left
Those fans who have been into the band for a couple of years now will know this song already. The song has been remixed for the album which will always cause a divide. Out of the two remixes this is the stronger of the two. The guitars are cleaner and the vocals work much better in this mix. Some of the heaviness has been lost but a catchy song has emerged.
We Will Last Forever
I find this song cruelly builds up to the chorus but disappoints. This is not the strongest song on the album. I’m sure many will disagree but in the context of the rest of the album this seems to be one of the weaker songs.
Illusions
In contrast to the last song this song hits the mark. This is the strongest cleaner style songs. There is a good mix of vocal styles and the song works really well. A brilliantly catchy and deep song to get into. This is perhaps the crowning piece for the album.
Roads
The ballad that could have been the album closer. An interesting song that is well written and delivers what the listen would expect from a ballad.
Bridges Will Burnt
The album closer and the second and last of the remixed songs. Unlike ‘Nothings Left’ this song really misses the mark. New fans will still enjoy it and it is a song full of twists and turns, but the song was brilliant on the EP. Luckily after a few listens the new mix does grow on me as I am sure it will for others.
Songs like ‘The Serpent’, ‘God Can Bleed’ and ‘Power Through Fear’ would not be misplaced amongst the songs from the bands EP’s. All three songs showcase the band as supremely talented musicians. Whilst songs like ‘Talking in Whispers’ and ‘We Will Last Forever’ cater to new fans from a wider metal community.’ Illusions’ is the surprise song of the album. ‘City of Vultures’ is the album to cement the bands place at the forefront of the UK metal scene.
Whether the band is metalcore or not is a matter of opinion, and you would be forgiven for thinking they were if you only listened to the EPs. However the band is evolving fast. Whilst trying to escape one label the band have landed into another and are now more likely to be lumped in with emo esque bands like Bullet for my Valentine. Whether the band is metalcore or emo is irrelevant and is not the biggest controversy with this release. The remixes of ‘Nothing Left’ and ‘Bridges Will Burn’ will no doubt divide opinion. Whilst more polished, I agree with those fans who can’t help but feel that the originals were better. And the contrast in production is evident between these two songs and the rest of the album. In essence, they don’t sit as comfortably on the album as I’m sure the band had hoped they would. You can tell that they are different from the rest of the album. The mix of ‘Bridges Will Burn’ has tried to incorporate atmospheric sounds but has sacrificed the rough and readiness of the EP mix. I guess that for me a song which I thought near perfect in the first place would always be difficult to top.
For fans of the EP’s this album may take a few listens to get into. For new fans of the bands there is enough here to sink your teeth into and songs to appeal to a wide range of tastes. Highlights are plentiful on the album. The title track is perhaps a good overview for the entire album and incorporates the wide music influences into just four minutes. Overall a masterful journey undertaken by talented and promising musician.
City of Vultures: 7/10
'RazorRich' at mlm
2011
The long awaited first full length release from promising Brit ‘metalcore’ band. This band have got a lot to live up to seeing as lead singer Austin is the son of one of the greatest metal singer of all time, Bruce Dickinson of Iron Maiden. Talk about pressure!
To be labeled and lumped into an already saturated metelcore market only adds to that pressure. Rise to Remain have realised this and are trying to branch out on album number one. This sort of evolution wouldn’t normally come from a band until much later in their career. It feels strange when a band tries to escape a label. Labels shouldn’t matter, but they do. Whether you like labels or not people will judge a band based on that label.
Intro
Nothing much to report. The calm before the storm.
The Serpent
One of the best songs on the album, a metal masterpiece that will leave many of the bands peers shaking in their boots. Fans will be singing along, “Is this the end of the world?”
This Day is Mine
This is the first indication that the bands new material has changed course. Whilst not drastically different from ‘The Serpent’ the vocals are cleaner and the guitar parts are a little less busy. This song acts as a bridge between old and new.
City of Vultures
This song has the same feel as the last one. There are the traditional screams and growls and the hectic guitar parts but the chorus is clean and much slower. A triumph for the album and is definitely worthy of having the album named after it.
Talking in Whispers
This song caters to the wider metal loving community. Powerful and emotional with completely clean vocals throughout. The song works and shows that Rise to Remain are capable of crafting a wide range of music that still rocks.
God Can Bleed
A thought provoking song that would have fit nicely on the ‘Bridges Will Burn’ EP. This song will have fans pumping their fists, air guitaring to the solo and will be a firm favourite live.
Power Through Fear
A true roller-coaster of a ride that will leave the listener wanting more, I particularly like the lyrics “I was created from self-righteous tears, not from devils not from demons but from those who preach power through fear”. Again this will be a firm favourite live.
Nothing Left
Those fans who have been into the band for a couple of years now will know this song already. The song has been remixed for the album which will always cause a divide. Out of the two remixes this is the stronger of the two. The guitars are cleaner and the vocals work much better in this mix. Some of the heaviness has been lost but a catchy song has emerged.
We Will Last Forever
I find this song cruelly builds up to the chorus but disappoints. This is not the strongest song on the album. I’m sure many will disagree but in the context of the rest of the album this seems to be one of the weaker songs.
Illusions
In contrast to the last song this song hits the mark. This is the strongest cleaner style songs. There is a good mix of vocal styles and the song works really well. A brilliantly catchy and deep song to get into. This is perhaps the crowning piece for the album.
Roads
The ballad that could have been the album closer. An interesting song that is well written and delivers what the listen would expect from a ballad.
Bridges Will Burnt
The album closer and the second and last of the remixed songs. Unlike ‘Nothings Left’ this song really misses the mark. New fans will still enjoy it and it is a song full of twists and turns, but the song was brilliant on the EP. Luckily after a few listens the new mix does grow on me as I am sure it will for others.
Songs like ‘The Serpent’, ‘God Can Bleed’ and ‘Power Through Fear’ would not be misplaced amongst the songs from the bands EP’s. All three songs showcase the band as supremely talented musicians. Whilst songs like ‘Talking in Whispers’ and ‘We Will Last Forever’ cater to new fans from a wider metal community.’ Illusions’ is the surprise song of the album. ‘City of Vultures’ is the album to cement the bands place at the forefront of the UK metal scene.
Whether the band is metalcore or not is a matter of opinion, and you would be forgiven for thinking they were if you only listened to the EPs. However the band is evolving fast. Whilst trying to escape one label the band have landed into another and are now more likely to be lumped in with emo esque bands like Bullet for my Valentine. Whether the band is metalcore or emo is irrelevant and is not the biggest controversy with this release. The remixes of ‘Nothing Left’ and ‘Bridges Will Burn’ will no doubt divide opinion. Whilst more polished, I agree with those fans who can’t help but feel that the originals were better. And the contrast in production is evident between these two songs and the rest of the album. In essence, they don’t sit as comfortably on the album as I’m sure the band had hoped they would. You can tell that they are different from the rest of the album. The mix of ‘Bridges Will Burn’ has tried to incorporate atmospheric sounds but has sacrificed the rough and readiness of the EP mix. I guess that for me a song which I thought near perfect in the first place would always be difficult to top.
For fans of the EP’s this album may take a few listens to get into. For new fans of the bands there is enough here to sink your teeth into and songs to appeal to a wide range of tastes. Highlights are plentiful on the album. The title track is perhaps a good overview for the entire album and incorporates the wide music influences into just four minutes. Overall a masterful journey undertaken by talented and promising musician.
City of Vultures: 7/10
'RazorRich' at mlm
Mastodon - The Hunter
Reprise / Roadrunner
2011
Mastodon are a band that are full of surprises. A band that never shy away from the challenge of beating ever increasingly brilliant albums. When a band produces masterpiece after masterpiece it is a wonder how they will ever top their previous efforts. Mastodon are one of only a few bands that are capable of producing albums which are uniquely different. No band sounds like them. They constantly push the musical boundaries of what is possible and can pull it off in style.
Unsurprisingly then 'The Hunter' is a departure from their last (prog) masterpiece 'Crack the Skye', an album which pushed the band to new heights leading to a live album/DVD and set the bar nearly impossibly high. 'The Hunter' is a more to the point and direct album. There is no ten minute plus songs like 'The Last Baron' but the band has managed to maintain the complexity and beauty within the notably shorter songs.
Black Tongue
A slow paced guitar riff plays over fast paced drumming to produce the perfect way to draw you into the album. It feels dark and ominous. A call of ‘enter at your own risk’. Of course the only risk here is getting into a seriously good album!
Curl of the Burl
This seems like the most accessible song on the album. Perhaps this is why it was chosen as one of the singles. For an album that branches in many different directions, musically at least, this is about as middle of the road as the album gets. Lyrically many people will be wondering about the opening line in particular “I killed a man because he killed my goat”.
Blasteroids
The song starts off gently before all hell breaks loose and it tumbles into the lines “I want to taste your fucking blood!” This is a rollercoaster of a song that will leave the listener wanting more. The true beauty of this song is that although the pieces of the song are all jagged they fit effortlessly together.
Stargasm
A true highlight of the album. From the spaced out and beautifully played opening guitar parts to the heroic shouts of STARGASM this song has it all. The drumming is particularly impressive. The chorus will be looping in the listeners head and is impossible to not sing along with.
Octopus Has No Friends
This is not my favourite song on the album but you can’t help but admire the guitar parts. It’s a song that seems tougher to break into.
All The Heavy Lifting
A fast paced verse with a powerful chorus “Just close your eyes and pretend that everything will be fine”. The dark middle section pulls the listener in and feels like a whirlwind journey wrapped into four and a half minutes.
The Hunter
An ominous journey filled with heart filled lyrics. A song that flexes the prog rock credentials of the band and gives the listener a real treat. The song is interesting and may take a few listens to get into. The dual vocal parts give the song an increased level of depth in a deep and powerful song. The solo also manages to get across the emotion of the song without being to over the top.
Dry Bone Valley
One of the catchiest songs on the album. The song will have the listener pumping their fists in the air begging for more.
The Thickening
Another song that takes a few listens to break into. It has some interesting levels to the song. The song starts with a long musical intro leading into dark vocals which builds back up again.
Creature Lives
The only song on the album which really makes even hardcore Mastodon fans feel that this is just a bit beyond the sometime mad but always brilliant. The song feels like a curveball and leaves the listener wondering what the band were thinking when this song was written.
Spectrelight
This is the song that harks back to earlier albums like Remission and Leviathan. A catchy and heavy song, this will be a firm favourite and will be a strong live song.
Bedazzled Fingernails
One of the best choruses on the album that will resonate with many listeners. There are the unusual parts of this song that appear to come completely out of the blue.
The Sparrow
One of my favourite songs off the album. The song initially felt like just a way to close the album. Listen a bit closer and the listener will hear a heart filled song. The only lyrics of the songs are a lesson that we should all follow “Pursue Happiness… with diligence.” I defy any listener not to feel the power of the chunky riff and the guitar parts that follow. The song is a powerful closer to the album.
To summerise 'The Hunter' in one song is impossible. Some people may feel this is a downside. However, I don’t. 'The Hunter' feels like an album that is meant to be heard as an album. The album takes the listener in many different directions which ultimately leads to a full submersion into the music. Perhaps this is 'The Hunters' greatest achievement. In a world where processed popstars release one track once in a blue moon, a flavour of the week music industry where it is assumed that the general public don't have the patients to listen to actual music rather than listen to the usual drivel about clubs, pubs and gangsters. This album truly defies all that is wrong with the music industry.
'The Hunter' is by no means perfect and is not best album of the bands career but it comes perilously close. 'Creature Lives' is a little too odd for the casual listener and songs like ‘Octopus Has No Friends’ and ‘Thickening’ take a bit of active listening to break into. But ‘Stargasm’, ‘Spectrelight’, ‘The Hunter’ and ‘The Sparrow’ more than make up for this.
This album will take you into the mind of the 'don and leave you wanting more. This album is unashamedly unique and that is the true beauty of it.
The Hunter: 9/10
'RazorRich' at mlm
2011
Mastodon are a band that are full of surprises. A band that never shy away from the challenge of beating ever increasingly brilliant albums. When a band produces masterpiece after masterpiece it is a wonder how they will ever top their previous efforts. Mastodon are one of only a few bands that are capable of producing albums which are uniquely different. No band sounds like them. They constantly push the musical boundaries of what is possible and can pull it off in style.
Unsurprisingly then 'The Hunter' is a departure from their last (prog) masterpiece 'Crack the Skye', an album which pushed the band to new heights leading to a live album/DVD and set the bar nearly impossibly high. 'The Hunter' is a more to the point and direct album. There is no ten minute plus songs like 'The Last Baron' but the band has managed to maintain the complexity and beauty within the notably shorter songs.
Black Tongue
A slow paced guitar riff plays over fast paced drumming to produce the perfect way to draw you into the album. It feels dark and ominous. A call of ‘enter at your own risk’. Of course the only risk here is getting into a seriously good album!
Curl of the Burl
This seems like the most accessible song on the album. Perhaps this is why it was chosen as one of the singles. For an album that branches in many different directions, musically at least, this is about as middle of the road as the album gets. Lyrically many people will be wondering about the opening line in particular “I killed a man because he killed my goat”.
Blasteroids
The song starts off gently before all hell breaks loose and it tumbles into the lines “I want to taste your fucking blood!” This is a rollercoaster of a song that will leave the listener wanting more. The true beauty of this song is that although the pieces of the song are all jagged they fit effortlessly together.
Stargasm
A true highlight of the album. From the spaced out and beautifully played opening guitar parts to the heroic shouts of STARGASM this song has it all. The drumming is particularly impressive. The chorus will be looping in the listeners head and is impossible to not sing along with.
Octopus Has No Friends
This is not my favourite song on the album but you can’t help but admire the guitar parts. It’s a song that seems tougher to break into.
All The Heavy Lifting
A fast paced verse with a powerful chorus “Just close your eyes and pretend that everything will be fine”. The dark middle section pulls the listener in and feels like a whirlwind journey wrapped into four and a half minutes.
The Hunter
An ominous journey filled with heart filled lyrics. A song that flexes the prog rock credentials of the band and gives the listener a real treat. The song is interesting and may take a few listens to get into. The dual vocal parts give the song an increased level of depth in a deep and powerful song. The solo also manages to get across the emotion of the song without being to over the top.
Dry Bone Valley
One of the catchiest songs on the album. The song will have the listener pumping their fists in the air begging for more.
The Thickening
Another song that takes a few listens to break into. It has some interesting levels to the song. The song starts with a long musical intro leading into dark vocals which builds back up again.
Creature Lives
The only song on the album which really makes even hardcore Mastodon fans feel that this is just a bit beyond the sometime mad but always brilliant. The song feels like a curveball and leaves the listener wondering what the band were thinking when this song was written.
Spectrelight
This is the song that harks back to earlier albums like Remission and Leviathan. A catchy and heavy song, this will be a firm favourite and will be a strong live song.
Bedazzled Fingernails
One of the best choruses on the album that will resonate with many listeners. There are the unusual parts of this song that appear to come completely out of the blue.
The Sparrow
One of my favourite songs off the album. The song initially felt like just a way to close the album. Listen a bit closer and the listener will hear a heart filled song. The only lyrics of the songs are a lesson that we should all follow “Pursue Happiness… with diligence.” I defy any listener not to feel the power of the chunky riff and the guitar parts that follow. The song is a powerful closer to the album.
To summerise 'The Hunter' in one song is impossible. Some people may feel this is a downside. However, I don’t. 'The Hunter' feels like an album that is meant to be heard as an album. The album takes the listener in many different directions which ultimately leads to a full submersion into the music. Perhaps this is 'The Hunters' greatest achievement. In a world where processed popstars release one track once in a blue moon, a flavour of the week music industry where it is assumed that the general public don't have the patients to listen to actual music rather than listen to the usual drivel about clubs, pubs and gangsters. This album truly defies all that is wrong with the music industry.
'The Hunter' is by no means perfect and is not best album of the bands career but it comes perilously close. 'Creature Lives' is a little too odd for the casual listener and songs like ‘Octopus Has No Friends’ and ‘Thickening’ take a bit of active listening to break into. But ‘Stargasm’, ‘Spectrelight’, ‘The Hunter’ and ‘The Sparrow’ more than make up for this.
This album will take you into the mind of the 'don and leave you wanting more. This album is unashamedly unique and that is the true beauty of it.
The Hunter: 9/10
'RazorRich' at mlm