It’s a few months and releases later from the March overview, so let’s see what is going on and how the new stuff stacks up. I’ll also take a look at some upcoming albums. You can see what I reviewed earlier in the year, here.
Back in July, I observed that the music of 2019 consisted largely of music I missed from 2018; and that continued through the rest of the year. However, new music also continued to appear, and most (but not all) of the expected releases finally materialized (exceptions: the new Body Count, and the oft-delayed new Tacoma Narrows Bridge Disaster, theoretically due early in 2020).
Overall, I find the musical year has been a bit lacking — almost all of the albums range from definitely listenable to very good, but none of them strayed into Great territory. Even the best album of the year has a handful of songs that could have been left off. Out of the 10 in the final list (and a shorter list this year than has been the case lately), I can listen to only 4 others in their entirety without my attention drifting; the rest are either solidly competent without being outstanding in any way, or have some excellent tracks among general indifference. This may be the first year where this has happened.
At any rate, on to the list, from 10 to 1.
10. Queensrÿche: The Verdict
My first Queensrÿche album; I have avoided them largely for the same reason I do not listen to Iron Maiden: I cannot stand operatic metal vocals. However, the tracks are solid, listenable, professional hard rock, the sort of album you can play when something is needed that isn’t quite aural wallpaper but also doesn’t demand a lot of attention. Satisfyingly heavy and melodic.
9. Torche: Admission
If you like it short, no pretensions, sludgy and heavy, these guys deliver. They can certainly settle into a groove when needed, but most of the songs here are brief and to the point.
8. Front Line Assembly: Wake Up the Coma
The return of the Canadian industrial stalwarts, first new material for a few years, and a few guests included. I still don’t think FLA is as good as Noise Unit (another Bill Leeb project) at its best, but they are legends.
7. 3Teeth: Metawar
The third album from the guys on the front lines of industrial metal, presenting their dark vision of the state of the world today. It is a hard, polished album, perhaps less gritty and fierce than their last one (<shutdown.exe>) and honestly I think it suffers for that.
6. Pelican: Nighttime Stories
It’s hard to believe these guys have been around for almost 20 years, but they are indisputably one of the best known instrumental post-metal outfits in the world, and this new album just reaffirms why.
5. The Tea Party: Black River EP
This year marks 30 years of existence (more or less — there was a hiatus for a few years) for this Canadian trio, although they have not been very active lately. A new album in 2014, few shows here and there, a Canadian tour in 2016, but little else. Late in 2018 they played a few gigs (I caught them in Toronto) in support of a new EP called Black River, and this was released at the end of November.
Generally I like songs here and there across their discography but nothing like an entire album, but this EP — six tracks over about 20 minutes — is surprisingly good. Very strong bluesy rock, rather less pretentious than is often the case with Jeff Martin; there really are no weak songs at all. I’m almost tempted to move this EP up a slot in the ratings, but for sentimentality’s sake I will leave it here.
4. Pretty Maids: Undress Your Madness
The fourth album of all new material since 2010, the year of their resurrection; it is safe to say that this past decade has been one of the strongest in their career, which says something considering that career spans damn near 40 years. I discovered them in 2016 with their album Kingmaker, (review here) and it was a revelation.
The Pretty Maids formula remains untouched: intersperse killer hard-rock stompers with monster metal face-melters, toss in the occasional hard rock ballad (which these guys do so well), keep melody to the forefront, and feature the work of Ken Hammer, probably one of the best and most entirely-overlooked guitarists in all of hard rock/metal. Overall, however, I think this album lacks some fundamental grittiness and drive that is present in Pandemonium (2010) and Motherland (2013), and to some extent Kingmaker. It seems a bit smoother, maybe looking back to an earlier era. It starts out with a huge bang, but it is hard for the rest of the album to live up to those three opening tracks. It is a very good album, but not the best they’ve done these past 10 years (that title track, though…!!). One does hope for the best of course, given that Ronnie Atkins was diagnosed with lung cancer in 2019.
3. Russian Circles: Blood Year
In the July post, I observed that I had only heard the new Russian Circles once, but it certainly held a lot of promise; I think it is safe to say (seeing where the album landed in the top 10) that it has lived up to that promise. Blood Year consolidates the band’s reputation as maybe the best out there at what they do, uncompromising instrumental post-metal, delivered with all the professionalism and passion the guys are capable of. I’m not about to argue whether it is their best album, but there is very little wrong with it. And the accompanying tour may well be one of the best I’ve seen from them.
2. Klone: Le Grand Voyage
The Frenchmen have surely delivered this year. Back in 2015 they released Here Comes the Sun, which marked a rather new prog-driven sound for them, and gained them a whole new following. Le Grand Voyage continues even farther down that road; they have left most traces of their metal past behind and have thoroughly embraced the lush, orchestral sound of the last album while completely avoiding the self-referential prog tropes that mar the presentations of so many current “prog” outfits. Le Grand Voyage is gloriously melodic, cinematic in scope, with some very immersive tracks (“Yonder”, and “Breach” particularly); alas it is not completely consistent in quality but definitely one of the best albums of the year in any genre.
1. New Model Army: From Here
NMA: another of those outfits that has existed for more than 3 decades, with a solid and dedicated following; this time however I wasn’t completely oblivious to their existence since a good friend happens to be a fan, and had recommended them before this, but somehow the appeal passed me by. But again, Spotify to the rescue: a song from their 2016 album appeared in my recommendations, and playing that led me to try the new album.
Which intrigued me enough to play it again, and then I noticed the lyrics.
At this point (due to space constraints) I’ll just observe that I tend to be fairly critical of lyrics and with few exceptions I don’t spend much time with them. But I am happy to be surprised by the exceptions.
Justin Sullivan is a master lyricist. I am extremely impressed, enormously captivated by his narrative power, his irony, his acute ability to grasp and illustrate relationships with a few well-placed words. The full review of this album will follow, and I could probably just write the whole thing with quotes from the songs. But of course, they are songs, and one cannot neglect the music: the album is almost entirely bass-and-drum driven, with acoustic guitar laid over that foundation. On this spare core are layered plenty of orchestral effects, heavy guitar, lots of density where needed … and entwined throughout are those words, telling us things about ourselves that we often don’t want to think about.
It is not a perfect album; there are a few tracks that could easily have been left off to the overall benefit of the album — they just are not up to the quality of the rest and end up as distractions.
I’ll leave you with “The Weather”. I’ll let you cogitate on it yourself, but if there is any song out there that is a song for our current times, this is it.
When I wrote the March State of the Music, the first few months of 2019 seemed to consist mostly of albums from 2018 that I missed, with most of 2019’s offerings still to come.
At this point, many of those albums have been released, and the discovery of the older stuff continues apace. I’d like to pretty much erase last year’s Albums of 2018 posts and start again, but oh well. It’s what I had at the time, and there are a few keepers in there.
Back in March there were three albums that had early releases: While She Sleeps — SO WHAT?, Queensrÿche — The Verdict, and Front Line Assembly — Wake Up the Coma. You can read those reviews here. It will become clearer as the year moves on how they will stack up against the rest of the offerings, but so far they are managing to hang in.
So: on to what has appeared this year since March, a look forward to the few remaining releases (barring any surprises), and a summary of the old stuff that you should check out if you haven’t already (in a separate post since this one got long). The albums are in no particular order as yet, but it is fairly obvious which ones I like more than others.
The Music of 2017, Part 2 — Honorable mention, and albums 17 to 8.
You can read the introduction to the Music of the Year posts here.
Tune – III
I did not receive this album until the second week of December, which is too late for it to be considered for a spot in the Album of the Year list. But I do want to comment on it.
Tune are a rather odd bunch, a quirky art rock quartet out of Poland; I liked their second album (Identity) from three years back, showcasing clever and accessible pop songs but with a bit of an edge, but still there was something a bit too fey about them.
III is a step in the right direction. It is a very short album, pretty much EP-length, but I have never really been concerned with that sort of thing. It is better to have an album on the short side than one that outstays its welcome. At any rate: the songs here are darker, heavier, much edgier, demonstrating maturity and experience, and less quirk. The production is rich and up-close, showcasing the nice chunky bass sound and guitar – suddenly it is obvious that these guys are pretty damned good musicians. Hopefully this album will bring them a bit more attention – it is worth the listen.
Steven Wilson continues down the road well-traveled as he heads closer and closer to pure pop. The last album had its pop moments, but this one Is pretty unapologetic: breakthrough is what he wants, and To the Bone gets him a lot nearer. It is not a bad album but it is a rather boring one, really; Wilson is sticking to the safe route. There are those who excoriate him for his apparent abandonment of the prog that made him so beloved in the first place, but he has always been an International Pop Star at heart. Album review is here.
Another new album from one of the more prolific of the ambient electronic acts out there. Necro Deathmort never seem to be overt: they don’t promote themselves much, they don’t have a major social media presence, but they never quit and somehow I have amassed quite a collection of their stuff. Overland is smooth and chill and unsettling, as befits the best of their music. The duo appeared on Steven Wilson’s latest album and they have slyly made use of the same colour scheme on Overland.
Eclipse is a hard rock quartet from Sweden, been around for a few years now, and they make pretty decent no-frills rock songs: melodic and heavy and not too long, definitely worth a listen or two. I like the album, and I really like two or three tracks from it. Eclipse joined with Pretty Maids singer Ronnie Atkins to make one of the better hard rock efforts from 2016, Nordic Union. Rumour has it they will do it again in 2018. Thumbs up for that one.
Upbeat synthpop from Toronto, cheerful retrowave about satanism and devil-worship. Well…why not? It is actually a pretty good album. And the guy does have a great voice.
In July, I said this: “At some point in his life, Nathan Gray lost his faith in God and it made him very very angry.” Well, he’s still pretty pissed off, but the album has grown on me a bit. Dark and dense and pretty heavy at times, and Gray certainly sounds like he means what he says.
These guys are a metalcore quartet from Sheffield, been around for a decade or so, and with You are We they have created a pleasingly melodic but face-meltingly heavy collection of tracks well worth checking out. Alternating between screams and clean singing, they have a bit of a Linkin Park vibe, but in a good way.
An outfit that has been around for a while, but I can’t say I have paid them much notice. They do seem to shift styles and genres to a considerable degree, however, and this incarnation has managed to catch my attention. This version of Ulver seems very synth-driven, dense and musical, and they do some interesting things here. Definitely worth a listen.
Stoner blues rock from the southern US, an album about redemption, reclamation, conversion, finding God.
Oh wait – these guys are Swedes.
Well, they do this thing very well indeed. I’ve been putting a lot of mileage on this album, and if I’d started playing it a bit earlier, it might have risen higher than 10. It is certainly engaging, and I like it a lot better than I thought I would.
Everyone needs a little pop in their lives, I think. But make it good pop. Real pop, heavy and fun – like Royal Blood, the British bass-and-drums power duo. These guys are pretentious, popular, and very good at what they do, and I have an unaccountable fondness for them. The album is short and to the point, and they put out so much wattage you would swear they have onstage help – but I have seen them. They don’t.
I never really paid much mind to Mastodon, and at this point in the year I don’t even remember why I listened to the new album. But I did, and I liked it a whole lot, and went to see them live and everything. In the meantime Emperor of Sand continued to grow on me. I don’t know if I will dig into the back catalogue, but I’m happy with this one.