Although I’m far from the Marilyn Manson fan I might have once been when I was fourteen, there’s still that part of me that will always be intrigued by what Manson does these days. I’m glad I took the time to listen to the band’s eleventh studio release, We Are Chaos, which sees them taking some surprisingly interesting new avenues with their sound.
One thing that has been disappointing about Manson in more recent times is the fact there’s no real “band” to speak of anymore, rather just random, faceless musicians that come and go through the fold. But despite this, Manson finds songwriting help via collaboration with Shooter Jennings, who definitely helps add new dimensions here. The two manage to unleash some dark, Bowie-inspired numbers in the form of “Broken Needle,” “Keep My Head Together,” and the title track.
But the standout here hands-down goes to “Don’t Chase the Dead,” which not only echos early ’80s Ministry, it also features a sleek music video featuring The Walking Dead‘s Norman Reedus and photographer Lindsay Usich. I always say to go in to things with an open mind, and the same applies with everything here. Give it a chance and you might find something you like.
My first introduction to The Damned back in the day came via their 1980 effort The Black Album, so the lineup my mind forever goes to is the one on that album, consisting of Vanian/Sensible/Scabies/Gray. Although it’s still not that exact same lineup here, having bassist Paul Gray back in the fold, as well as recording in the same place as said record (and its two follow-up releases), does give The RockfieldFiles a hint of nostalgia to it.
“Keep ’em Alive” starts off this four track EP promising enough, but ultimately gets lost in its own repetitiveness. But “Manipulator” quickly puts things back into the right direction, while “The Spider the Fly” and “Black is the Night” each hearken back to the band’s most goth days, with the latter being the overall standout.
The Damned’s music may not be for everybody, but those familiar with their stuff should be able to appreciate something here. And having seen the band live a couple of times myself (the last time being well over 15 years ago now), it would definitely be interesting to see this lineup go out on the road, whenever the world finally gets back to those days.
After years of multiple reissues and live albums from Blue Oyster Cult, I was thrilled to finally be able to critique some actual new material from the band, who I’ve always considered extremely underrated. And I was even more glad to discover the band’s first new studio effort since 2001 wasn’t a total dud.
Album opener “That Was Me” is reminiscent of such heavier tracks in the band’s catalogue as “See You in Black.” Seeing former drummer Albert Bouchard make a welcomed appearance in the video (playing cowbell, of course!) for the song was a definite nice touch as well. Further singles like “Box in my Head” and “Tainted Blood” (the first number from the band to be sung by current guitarist Richie Castellano) are less effective.
But the real highlights here come in the form of the experimental; “Florida Man” and “Secret Road” are in a category all their own, while “Nightmare Epiphany” (my personal favorite) and “Edge of the World” are the strongest tracks overall. Even if you’ve never listened to a BOC album a day in your life, this isn’t a bad starting point.
As an avid KISS fan, I’ve always been a fan of guitarist Ace Frehely’s contributions to his former band, as well as his solo catalogue. There’s just always been a certain realness to his songs and voice that fans have always found appealing, and what makes another collection of covers in the form of OriginsVol. 2 so easily digestible, even if the track list found here is once again just so-so.
Like with Vol. 1, Frehely goes back to his early rock roots, in some cases improving on the original source material. Choosing to kick off things with an admirable version of Led Zepplin’s “Good Times, Bad Times,” Frehely quickly wields his magic throughout (most) of the album’s remaining tracks, including singles like Deep Purple’s “Space Truckin'” and The Beatles’ “I’m Down.” But other renditions of more obscure dinosaur rock tunes like Cream’s “Politician” and Jimi Hendrix’s “Manic Depression” are sure to get lost on younger fans.
But the real highlights come in the form of the collaborations; Cheap Trick’s Robin Zander lends his voice on a lively version of Humble Pie’s “30 Days in the Hole,” while the lovely Lita Ford adds her talent to a unique take on The Rolling Stones’ “Jumpin’ Jack Flash.” And of course Ace even tackles one from his former band KISS, going back to the Dressed to Kill album to unearth “She.” These later tracks alone do enough to cancel out nearly any of the filler tracks on Vol. 2. Overall, not a completely bad way to spend 45 minutes or so.
I tend to usually shy away from tribute/cover albums (always found them a tad too on the ‘gimmicky’ side), but this track-by-track rendition of Black Sabbath’s masterpiece 1970 debut album arranged by Zakk Wylde and company was way too irresistible to pass up.
Backed by former Ozzy Osbourne/Rob Zombie bassist Blasko and ex-Danzig drummer Joey Castillo, Wylde does justice (both vocally as well as musically) to not only classics like “N.I.B.” and the title track, but equally brilliant (yet sometimes overlooked) numbers such as “Wicked World,” “Behind the Wall of Sleep,” and “Sleeping Village,” all of which are a welcome trip back through time.
What’s also interesting is that instead of releasing Vertigo digitally, the band is only offering physical copies in an effort to bring back a more ‘authentic’ feel to the entire rock experience. Fifty years since it’s original release, Black Sabbath is still just as timeless as ever, and this new addition serves as one more reminder of it’s enduring legacy.
The Killers continue to further evolve their unique sound six albums in, with more of the same vibrant instrumentation and thought-provoking lyrics the band has always been known for. Yet, there’s a slight lack of unity felt with the absence of guitarist/co-founder Dave Kuening missing from the fold (long-time bassist Mark Stoermer has also been largely m.i.a. in recent times after a pyrotechnics accident).
Lead-off single “Caution” stood as a fair representation of what was to come with the rest of Imploding the Mirage when it was released this past spring. But tracks like “My Own Soul’s Warning” (another sure to be staple for the band) and “Dying Breed” either equal or surpass that first teaser track on many levels. Other numbers like “Fire in Bone” invoke the Talking Heads, while “Lightning Fields” features an appearance from k.d. lang.
Imploding the Mirage is no doubt an admirable effort, but I still can’t help but feel some of the magic from the band’s first two now-classic albums (2004’s Hot Fuss and 2006’s Sam’s Town) is still missing. But I suppose it’s still better having this version of The Killers, then nothing at all.
While I must admit I haven’t paid as close attention in recent years to bands like Paradise Lost (although I did briefly revisit them in 2015 to review their new effort at the time, The Plague Within), the band still holds a special place for me. Almost immediately after putting on Obsidian (their sixteenth full-length overall), I was propelled back to listening to such brilliant albums as Draconian Times or Icon while I was still in high school.
“Darker Thoughts” starts off the album hauntingly, and provides appropriate insight for what’s to follow. “The Devil Embraced” and “Hear the Night” are two of the album’s definite strongest tracks, while “Fall From Grace” and “Ghosts” make up the rest of the singles released so far.
With so many mainstream options being constantly produced for the masses on a daily basis, it’s easy to overlook much of the unknown/underground bands out there. But if you can open your mind enough to try something new, you might find actually discover something truly worthwhile.
Former Styx frontman Dennis DeYoung is back with his long-awaited latest solo album, (his first of new material in over a decade). And although the title states “Vol. 1,” it almost feels like a “goodbye” of sorts (hopefully I’m way off on that one, though).
In all honesty, 26 East, Vol. 1 doesn’t start off as strong as it could; album opener “East of Midnight” is more or less just there, while “With All Due Respect” manages to be catchy, yet reaches near cring-worthy levels lyrically in an attempt to be timely. But things quickly turnaround, with tracks like “A Kingdom Ablaze,” “You My Love,” and “Damn That Dream” all invoking the true spirit of DeYoung’s usual m.o. There’s even a brief throwback to Styx classic “The Best of Times” in the form of “A.D. 2020” thrown in for good measure.
But the album reaches its definite peak with “To the Good Old Days,” a bittersweet duet with Julian Lennon that’s as much a tribute to The Beatles as it is a look back on DeYoung’s entire life/career. Whether you’re a die hard fan of his music or not, DeYoung has undoubtedly left a legacy in that’s nothing short of amazing. And if this is to be his swan song, there’s definitely worse ways to go out.
Admittedly I’m a little late reviewing this one (about three months, give or take), but considering it’s been 10 years since the last time Huey Lewis and The News actually released an album (2010’s covers album Soulsville), and even longer since their last album of original material (you have to go back to 2001 for that), I figured I’d make an exception here.
Weather breezes by rather quickly (it’s a brief seven tracks), but it contains all the usual trademarks found on a Huey Lewis and The News record. “While We’re Young,” “Her Love is Killing Me,” and “Remind Me Why I Love You Again” all echo back to simpler times. And even if there’s not much public demand for new music from these guys in our current, instant gratification/image obsessed society, the tracks here are still worthy of putting alongside anything else in the band’s lengthy catalogue.
While I was still very much just a kid during the band’s peak in the mid-1980’s, I can vividly remember their albums (alongside a host of other popular acts at the time) being present and playing at many of my parent’s neighborhood block parties back then, and of course I knew them (as many other kids my age did at the time as) as the band from Back to the Future. I’ve since grown to appreciate their music (and many others from their era) even more since those days, even going to see the band in concert with my wife back in 2014. There’s just something about the ’80s that remains enduring to this day, and even if Huey Lewis and The News aren’t quite as respected as they once, I’m glad they’re still active in some capacity in 2020.
Testament have honestly never been at the top of the list for me as far as bay area thrash bands from the early ’80s (that also includes the likes of Metallica and Exodus) go, but I still maintain a certain level of respect/appreciation for them. On their thirteenth studio effort, they’ve come one step closer to finally winning me over completely.
Sure, there’s some run-of-the-mill, generic stuff (“WWIII” and “Children of the Next Level” come to mind, although the latter does have a fairly entertaining, animated music video that goes along with it), but there’s still more than enough heavy, epic riffs to pacify the average headbanger. Tracks like “Night of the Witch” and “Dream Deceiver” (my personal favorite) pack enough punch, and should fit nicely in future set lists (whenever that may finally be).
Overall, Titans of Creation isn’t bad listening material for old-schoolers looking to kick back with a few cold ones on a Friday night, but not a whole lot more than that.