While neither the album cover, nor the name of this current project between L.A. Guns guitarist Tracii Guns and Stryper frontman Michael Sweet really grabbed my attention at first, what the two have achieved here is no doubt sheer heavy metal greatness.
Opening track/single “Life” packed enough of a punch to convince me to check out the rest Evil and Divine, and it was soon clear that this was a well-thought out effort from start to finish, with Guns unleashing some of his heaviest Sabbath-inspired riffs, and Sweet belting out each and every track with full passion. Some more album highlights include the timely “World Gone Wrong,” the ballad “Been Said and Done,” and epic single “Better End.”
It’s apparent the folks at Frontiers no doubt know how to put together a winning combination of established musicians at this point and let them do their thing. However, it would’ve been slightly more interesting had Sunbomb been a true “supergroup” rounded out by a full band, instead of only having Guns and Sweet as the faces of the project. Regardless, this still works for everyone involved.
It’s been well over a decade since the last time former Guns N’ Roses guitarist Gilby Clarke released a solo album. Yet even with all the time that has passed, he still maintains his usual cool, with The Gospel Truth further cementing his rock star status, and proving some things are worth the wait.
I’ve got to admit, the first single, “Rock N Roll is Getting Louder,” came off as a bit weak to me; but once you really dive into the album, there’s plenty to unfold. The title track opens the record on a somewhat funky note, and is quickly followed by blues-laden tracks in the form of “Wayfarer” and “Tightwad.” But the two standout moments come in the form of a couple of diamonds in the rough; both “The Ending” and “Rusted N Busted” are undeniably catchy numbers worth blasting.
I’ve long since lauded Guns N’ Roses as one of the first bands to really introduce me to harder rock, and I can still remember Clarke being in the band as though it were yesterday, and where I was when I first heard his debut solo album Pawnshop Guitars. And while he may have already been a force to be reckoned with back then, it’s great to see just how much he has grown as a musician since the early ’90s.
Like a young, earnest Trent Reznor, Danz utilizes technology to arrange, produce, and sometimes mix music all her own, while embodying an abundance of influences, to include Gary Numan, Thom Yorke, Blondie, Depeche Mode, Giorgio Moroder, Kraftwerk, and beyond. She also has a clear passion for film, pop culture, and science-fiction, notably reflected in most of her work. Her numerous music videos often reach cinematic heights, as seen in the grainy, glitchy magnum opus “Fuzz” from her debut album, “Davos.”
Danz CM reemerged last March with the release of a new album, citing the name change from Computer Magic as one of growth. The album title is anything but subtle and was purportedly conceived during a low point in the artist’s life. This is mostly the case with good music in general. “Absurdity” leads us on an introspective journey through uncertain times. There are a few standouts, with some minor lulls in an album that remains consistently fresh and unique. Danz CM delivers a symmetrical ten-song lineup at just under forty minutes, where no song sounds the same.
The opening track, “Idea of You” immediately launches into a thumping, electronic beat over layed with pulsating synth loops and distant guitar strumming. She sets the tone with, “I don’t want another… heartbreak on my record” and proceeds to pick up the pieces of a fractured relationship. The song’s arrangement is near perfection and offers an accessible sound that should pique the interest of any casual listener. The second track, “Domino” quietly delves into the struggles of love. Here, Danz displays a rarely heard vulnerability, further exploring themes of confusion and melancholy. The song deploys a litany of direct and indirect questions, such as, “How can I be so weak / How could you let me fall for you / How can I let you in, over again.” It’s an appropriate second track but far from an album favorite.
A cosmic slow burn follows of overlapping synth waves in the equally somber, “My Other Self.”The otherwise mellow song has a lot going for it, including disillusioned lyrics combined with a spacey sound. “You’re just a distraction… From myself,” repeats the chorus, as though the situation at hand has grown old. “Low” proceeds with some impressive electronic arrangements and keyboard layers wrapped in lyrics of paranoia and confusion, this time involving someone waiting for their lover to return. “You’re not the only one missing something…You’re not the only one.”
The album reaches a midway high point with the dance-oriented, Bjork-sounding “Don’t Stop,”where Danz channels her inner Debbie Harry. Her harmonized vocals are strong throughout the infectious tune. The isolating sadness of “Breaking Point” follows in a winding sonic fashion that recalls an 80s movie synth score. The Cars-sounding “Something More” picks things up again, with a cruising rock beat that’s fun and catchy. The lyrics convey a yearning beyond the ordinary while “working at a restaurant,” for little return. This seemingly harkens back to Danz’s own early days in NYC while attending college. I initially dismissed the song, only for it to grow on me later.
“I Don’t Need a Hero” is as a real standout and one of the best songs on the album. The rock-induced, synth-pounding ballet charges forward with industrial-sounding fervor. Danz takes no prisoners in her escape from the “monster” she’s left behind. “I don’t need a hero,” she says with a tone of finality, “It could never be somebody like you.” The song also represents her uncanny ability to layer catchy pop tunes with depth and emotion, a technique Kurt Cobain reportedly admired about The Pixies and wished to emulate.
The album winds down with the big band, disco-sounding “Not Gonna Stand By,” erupting in a plethora of strings, an intense, funky bass line, and fast, tight drums. Its undeniable groove is reminiscent of Abba, ELO, and KC and the Sunshine Band mixed into one. The lyrics and music present a more optimistic side of her existentialist journey. “I won’t hurt you, I won’t leave you, I won’t make you cry / But if you don’t let your guard down, I’m not gonna stand by.” Seems like a fair compromise to me. “Human Existence” is a touching and beautiful closer. Its simple, synth-driven aesthetic feels like something created at the edges of the earth… after the apocalypse. Powered by haunting lyrics and impressive vocals, the song offers hope amid a crumbling world. “Hold me…Hold me tightly.” It’s a fitting end to an enjoyable album that doesn’t outwardly hammer its appeal. It takes a few listens, like many albums, to draw you in. As a fan of electronic music in general, her music resonates with me. But I also believe that there’s a lot here to offer anyone who can appreciate it
Though I was excited to hear The Offspring were finally releasing their tenth studio album (and first since 2012), I was extremely disappointed by the recent shitty treatment of original bassist Greg K, who was ostracized by the rest of the band in 2019 for no better reason than just flat out greed. But when I heard the album’s infectious first single/title track, I knew they had yet again roped me in (but I’m still mad at them).
Aside from said hooky title track, there’s a number of other tunes that surprisingly hit the spot the way many of the band’s earlier tracks did, even if I don’t always see completely eye-to-eye with the lyrics/message. Perfect example; “This is Not Utopia.” It’s a hard-hitting, adrenaline-fueled punk anthem that nearly any old school fan would be able to appreciate. But lyric-wise, it’s another unfortunate example of the type of Anti-American sentiment you’re expected to have if you listen to this type of music (and sorry for having a differing opinion, but I am indeed one of those who feels you don’t have to ‘cancel’ everyone and everything you don’t fully agree with, and conform to what everyone else wants you to think these days).
But aside from all that, most of the twelve tracks found here do work in some way or another, with “Breaking These Bones,” “and “Army of One” being a couple of more standouts, with the latter being exceptionally well-written. There’s even a quasi-Beatles moment or two in the form of “Lullaby,” and a re-worked piano driven version of their hit “Gone Away.”
This will no doubt appeal to just about anyone who’s ever done time at a Warped Tour (sans those who still like to cry “sell-outs,” of course), and maybe even gain them a new fan or two. But you know what? No disrespect to the new guy, but c’mon, Offspring, where would your sound be today if not for Greg’s bass lines on such tracks as “Self Esteem,” “The Meaning of Life,” or (one of my personal favorites) “Kick Him When He’s Down?!” Along with frontman Dexter Holland, Greg was the second longest-tenured member of the band, and only other original member left (though guitarist Noodles was there fairly early on, too). Either way, not cool guys, not cool at all.
Italian-based metal project Sweet Oblivion are back with their second full-length effort to feature original Queensryche vocalist Geoff Tate at the forefront, which proves to once again be a winning combonation.
My appreciation for Tate’s work in his former band has only grown over the years, and each track here sounds as though they could’ve come straight from a classic Queesryche record. I knew the second I heard the first single from Relentless, “Another Change,” that this would be a promising album.
“Once Again One Sin” is a fitting opening song, and is quickly followed by the strongest track on the album by far, “Strong Pressure.” Other highlights among the ten tracks here include “Wake up Call,” “Aria” (impressively sung by Tate completely in Italian), and the ballad “I’ll Be the One.”
It’s strange how new, unheard music can seem so familiar upon first listen, but that’s exactly the case here with Relentless; some of the lyrics manage to hit so close to home that they feel like they’ve actually been there with us all along. That is what makes for a good listening experience, which is precisely what Sweet Oblivion have provided listeners with here.
Hard rock/heavy metal suergroup The End Machine, which features guitarist George Lynch (Dokken/Lynch Mob), bassist Jeff Pilson (Dokken), vocalist Robert Mason (Warrant/Lynch Mob), and newcomer Steve Brown on drums (in place of his recently retired father, Mick, also from Dokken) are back with the follow up to their 2018 debut. And this time the group has had a chance to perfect their sound just right.
Instrumental piece “The Rising” starts things off with a hauntingly familiar tone before breaking into the album’s first single (and without a doubt one of it’s strongest tracks), “Blood & Money.” From then on, there’s hints of multiple genres spread out along the way on the record’s twelve tracks; “Devil’s Playground” and “Born of Fire” contain some blues-ly riffs from Lynch, while “Prison or Paradise” and the album’s latest single, “Crack the Sky,” contain some borderline thrash elements.
But without a doubt the biggest highlights come in the form of the anthems “Shine Your Light,” and especially, “Dark Divide.” With their in-your-face, sing-along choruses, I found myself turning up the volume even louder, especially with the latter track, which no doubt features Mason screaming his heart out on possibly one of the strongest performances of his entire career.
Phase2 is hands down the album the rock community needed at this moment in time. Don’t pass this one up, it’s worth giving the time of day (and then some).
I’ve been saying this for years now; Enforcer are hands down one of the best modern metal acts around today, and their live show is comparable to such classic metal titans as Iron Maiden, Megadeth, or Metallica. And like their first live album, Live by Fire II truly captures the band doing what they do best in their own element.
Recorded in Mexico City in 2019, the seventeen track set list is not too far off from what it was when I personally saw the band live in October of that same year. Tracks like “Searching For You,” “From Beyond,” “Zenith of the Black Sun,” “Live for the Night,” and “Take Me Out of This Nightmare” all showcase what these guys do best, and complete with full crowd participation. Concerts like this might still be rare to come by these days, but Live by Fire II perfectly captures everything that Enforcer has to offer.
I can’t stress this enough, Enforcer are the type of band for those – young and old – who still have metal running in their veins. They’re much more deserving to be at the forefront of the scene than what mainstream metal continues to shove down the throats of the masses (I’m looking at you, Godsmack). If you haven’t already done so, do yourself a favor and check these guys out.
When Rob Zombie first dropped the single/video for “The Triumph of King Freak (A Crypt of Preservation and Superstition)” last year just before Halloween, I wasn’t expecting to feel like that 14-year-old kid just getting into albums like Astro Creep: 2000 all over again. But that’s exactly what happened when I finally sat down to listen to his latest solo album (his seventh overall), even if said initial single didn’t peak my interest all that much at the time.
The Lunar Injection Kool Aid Eclipse Conspiracy plays just like one of those old White Zombie records, with seventeen (usually) equally long-titled tracks that range from odd samples, instrumentals, ’70s acid trips, and menacing metal riffs. One thing’s for certain, there’s definitely no shortage of eclectic sounds to be found from start to finish.
Tracks like “The Ballad of Sleazy Rider,” “The Eternal Struggles of the Howling Man,” and “The Satanic Rites of Blacula” are all straight-forward, disco rock hybrids, while “Get Loose,” “Boom-Boom-Boom,” and “Shake Your Ass and Smoke Your Grass” are near tailored made stripper tunes. But the true highlight comes in the form of the doom-y single “Crow Killer Blues;” not only does it feature an appropriately bleak music video, it also contains some of the best work from (former Marilyn Manson) guitarist John 5 to boot.
There’s no doubt that Rob Zombie’s warped world is not for everyone. But even the most casual of listeners may be able to appreciate what he’s put together here, which is easily some of his best work in years.
Alice Cooper has become far more than just an average rock musician at this point; he’s a flat out institution, as American as beer or baseball. And on his twenty-first studio effort, he knocks it out of the park once more, surpassing his last outing, 2017’s Paranormal album, by a longshot.
Detroit Stories starts off strong with a cover of The Velvet Underground’s “Rock and Roll,” and doesn’t let up once from there. Tracks such as “Go Man Go,” “Drunk and in Love,” “I Hate You,” and the single “Social Debris” all showcase Cooper’s love for versatility, stretching from everything from rock, blues, jazz, and punk across fifteen total numbers.
There’s a decent amount of Detroit-based covers as well, including The MC5’s “Sister Anne” and Bob Seger’s “East Side Story.” But hands down the best tracks here come in the form of the ones with a bit of a message behind them; “Hanging On By a Thread (Don’t Give Up),” “Wonderful World,” and “Shut Up and Rock” all offer a slice of real insight into Cooper’s true feelings towards the outside world, but without ever getting preachy (something he has always strayed far away from).
If Cooper has ever been your cup of tea, then Detroit Stories should be right up your alley. Whatever you do, don’t pass up this one.
Now and then, I tend to forget just how much I still need some melodic gothic/black/doom metal like Moonspell in my life from time to time…at least until they go ahead and release new material like this. On their latest studio effort (their twelfth overall), the band is indeed on top of their game once again.
Opening with a one-two punch with a couple of the album’s stronger tracks, “The Greater Good” and “Common Prayer,” Hermitage never really falters (although the two seven-minute numbers, “All or Nothing” and “Without Rule,” aren’t quite as epic as the band was probably going for). Other highlights include “Entitlement,” “The Hermit Saints,” and the title track. The tranquil instrumentals (and dare I say, borderline trippy?) “Solitarian” and “City Quitter (Outro)” are also worthy of mentions.
It’s clear the band’s sound has evolved at this point since their Wolfheart days (still a modern metal classic). If you’re anything like me, this will leave you wanting to revisit the band’s older music once you’ve finished listening, and now is as good a time as any to do so.