Back in April when I posted the first look at early releases, I mentioned that I have been busy and haven’t had a lot of time to really seek out new music (or old music, for that matter, apart from the ‘old’ music I’ve been listening to as research). That situation has not changed much. Over the summer I focused more heavily on writing my book, so I continued to not hear much new music; now I am back at the wage-earning slog and trying to write my book and …yeah. Even less time.
Still, in the months between April and now I have managed to squeeze in some new stuff, and here’s what I got so far. Up for brief comment this time around:
Albums
Airbag: The Century of the Self
Bent Knee: Twenty Pills Without Water
Elephant9: Mythical River
Bill Leeb: Model Kollapse
Loma: How Can I Live Without a Body?
Oceans of Slumber: Where Gods Fear to Speak
Wretchgod: Suffering Upon Suffering
A few singles from:
Body Count, Klone, Front Line Assembly, Kanaan/Meller, Amplifier
In this post I’ll do the singles. It takes longer to review albums and I’m not done yet. This is not a ranking, but alphabetical order.
Amplifier: “Guilty Pleasure”
A single in advance of a new Amplifier album, apparently called Gargantuan, to be released some time this year. Their last album came out in 2023, and I ranked it pretty high for the year, tied with Riverside’s for the top spot, despite a couple of rather messy songs. The rest were lovely.
“Guilty Pleasure” sounds like one of those messy tracks, wherein everything seems to be happening everywhere all at once, which is okay if you like that sort of thing, but I am not overly fond of it. I like a song that has some kind of recognizable direction to it, or at least not sounding like it is galloping madly off in all directions (hat tip: Stephen Leacock). This single barely holds it together. Which means I have to wait to hear the rest of the album before I decide to buy it.
Body Count: “Psychopath” and “F*** What You Heard”, released in advance of their new album apparently called Merciless. This is supposed to drop sometime this year, but so far there has been no word on when.
These are both solid offerings, the first reminiscent of tracks like “Carnivore” and “Here I Go Again” from earlier albums, Ice-T rapping about unrestrained predatory violence: it’s not bad but we’ve already heard it. The second though is a rap-metal monster, political and angry, and I swear the duo of Will Dorsey (drums) and Vincent Price (bass) is one of the heaviest, most thunderous rhythm sections in the business.
Front Line Assembly feat. Seeming: “Molotov” (remix)
“Molotov” the original comes from the 2018 FLA album Warmech, which is the OST for the video game Airmech Wastelands. Seeming is an indie/post-punk/industrial duo with three albums out so far: in my blog I ranked their Sol: A Self-Banishment Ritual as the best album of 2017.
FLA has released a few remixes of pieces from Warmech, and I noticed “Molotov” because it is one of the best tracks from the original album, and, well, Seeming. It is remixed to dial back the synths and include lyrics, written and sung by Alex Reed, on resistance politics: “Revolution is not a mood/revolution is not a vibe/…revolution is showing up” he declares. It really works: Seeming skillfully redirect the energy in the original piece and create a powerful new song.
Kanaan/Meller: “Olympics”
A joint track between Robert Kanaan, a Polish electronica musician, and Riverside’s (and ex-Quidam) guitarist Maciej Meller, celebrating, well, its title. It is a soaring, melodic instrumental piece with lots of synths, nice guitar, and well-worth the few bucks to buy it on Bandcamp.
Klone: “Interlaced” and “The Unseen”
These are out in advance of the new album The Unseen, to be released on November 8th—a bit of a surprise, really, since their previous album was released just last year. Anyway, there is no mistaking Klone, with their orchestral, guitar-rich heavy prog and Yann Ligner’s soaring voice. Both these tracks are strong, the first one featuring a couple of jazzy sax solos, the second getting pretty metal with Ligner almost growling. They bode well for the album, but also suggest we aren’t going to get anything radically new from the band in terms of sound or direction. That is, there isn’t a lot to say specifically about the songs because if you know what Klone sounds like, you know what these tracks will sound like.
As noted, I’ll post up comments on the albums when I have time to finish listening/thinking about them. I did in fact sample more than just this, but so far these I’ve listened to enough to have something to say. Who knows… I may be able to add to the list as time goes on. Stay tuned.
It isn’t really fair to compare this year to 2020 — that year the world changed so fundamentally, affecting all aspects of our lives, that it is probably best left as an anomaly. There were so few albums that really caught my attention, it was almost musically a non-existent year. I know there were good albums, and a couple of them were even very good, but honestly I didn’t have the desire to explore.
However, I am pleased to announce that I’m ready to start digging in again, and 2021 is shaping up to be much more interesting. It is certainly a much heavier year — out of the 8 albums I’ve spent time with (7 of which are mentioned here; one will be reviewed shortly), four of them are flat-out headbangers, or at least in that territory. The others cover industrial, post-metal, electronica, and pop. Soon-to-released stuff is also going to be at the heavy end of the musical spectrum.
So let’s get started. The order is more-or-less by release date:
Frontline Assembly: Mechanical Soul
2021 marks 35 years of industrial/EBM legends Frontline Assembly, and January saw the release of Mechanical Soul. This is an album of dark synths, distortion and huge dense industrial noise, post-apocalyptic in theme, maybe heavier than 2017’s Wake Up the Coma, with Leeb’s heavily processed vocals emphasizing the cold, distant feel. There are ten original songs and one remix. The album starts well: the first three tracks charge along, featuring relentless beats and throbbing synth, pausing for the somewhat more contemplative “New World”, but by track 7 it is clear that Mechanical Soul has lost momentum and isn’t going to get it back. The tracks become somewhat conventional and not particularly interesting. However, “Barbarians” is a bit of an attention-getter, a slow drum-based buildup into a thick sweeping chorus, with a strange, highly-mannered vocal delivery. I like it. The album ends with a remix of “Hatevol” from Wake Up the Coma. The overall feel, unfortunately, is of an album that doesn’t really seem to go anywhere.
Steven Wilson: The Future Bites
At this point the fact that Steven Wilson is a pop musician should come as a surprise to no-one save the most recalcitrant of old Porcupine Tree fans. His last few solo albums have been moving rather slowly away from his prog roots, throwing in pop songs amongst the more familiar proggy stuff, but with The Future Bites he has made almost a complete break. Wilson digs into 70s-era disco, funk, and pop to craft his purest evocation of these ideas yet. And frankly, he has done an excellent job of it — there is no denying his abilities as a deeply-experienced craftsman. The main release is a straightforward 9 songs and just over 40 minutes long, not an album with much room for epics or for showcasing guest-musician chops, but this is not an album that aims to do that anyway. Almost all the songs are on point, relatively short, with the exception of the overlong and self-indulgent “Personal Shopper”. Well, nothing’s perfect. The highlight of the album (for me) is the superb “12 Things I Forgot”; if Wilson was trying to create a great pop song, he nailed it.
However, as musically divergent as this album is from the past ones, I don’t find it has much changed in terms of the overall impression it leaves. He is still playing it very safe: there is nothing particularly adventurous here, nothing to grab the attention, nothing deeper than the catchy tunes and great production.
Thematically, the album was styled as an ironical (if not cynical) examination of modern online consumer culture and behaviour, and it was hyped with singles, B-sides, box sets and extras, some things being released over the weeks before the official album hit. The fan base did not disappoint, jumping all over it. I have never really been a fan of Steven Wilson the lyricist, not finding much challenge in anything he has written, but the songs here are even more simplistic than usual: the message of the album was demonstrated far more effectively by the fans themselves than anything Wilson wrote. Maybe that was the point.
Ronnie Atkins: One Shot
The Nordic veteran of melodic hard rock and charismatic front man for the venerable Danish hard-rock/metal band Pretty Maids has released his first solo album. It is everything one would expect with that musical legacy: solid heavy rock, polished and professional, showcasing his 35+ years songwriting and performing experience. Atkins is joined by old friend and current PM member Chris Laney as producer, and several guest musicians including former PM members Alan Sorensen on drums and Morten Sandager on keys.
Atkins blasts his way through 11 heavy-duty tracks, his voice sounding as dense and powerful as always, and as always the songs are stuffed with hooky melodies and riffs, and catchy lyric turns of phrase. It does cover most of the expected styles — from heavy rockers to more sedate ballads; my favourite tracks are probably “Scorpio”, and “Before the Rise of an Empire”, monster songs reminiscent of the thunderous hard-rock of Pretty Maids.
One does want to love this album. Ronnie Atkins has struggled with lung cancer, being diagnosed with it, treated for it, declared free of it, and then diagnosed again in Stage 4, all in less than two years. It is hard to imagine the kind of emotional and psychological toll that must have taken. It is also understandable that he would need to do something that may be his last chance for anything music-related. Between the pandemic and the cancer, Pretty Maids have been unable to tour their last album (released in late 2019), and as much as one hates to say it, it is unlikely they ever will.
It is a very good album. Alas, it is not a great album. It is hard to fault it: polished and accomplished, it achieves exactly what it aims to do, but I think it gets in its own way with its sheer earnestness and sincerity, and some of the tracks have a slightly rushed feel to them. However, given that this may well be the last chance Atkins gets to express these ideas and say what he needs to, it is a minor complaint.
The Horrors: Lout
A satisfyingly heavy industrial metal effort from some guys I’d never heard of before, who have released a short EP of three tracks. This is a departure from the rather smoother, shoegazey sound of the previous album, even though hints of this direction are in there. If you like the thundering machine metal of Author and Punisher, or the rougher end of 3Teeth, you’ll probably like this. At just over 11 minutes long it is more of a teaser than even an EP, but I’m definitely interested enough to watch for a full-length effort if one is forthcoming.
Rob Zombie: The Lunar Insertion Kool Aid Eclipse Conspiracy
Well, Rob Zombie. I suppose it was inevitable that at some point one of his solo albums and I would cross paths. I’ve managed to avoid his movies so far, not really being much of a horror fan, but I’ve not actively avoided his music — I just hadn’t come across any by accident. At least until Spotify, when a track from this album appeared in the Release Radar list, and I tried it, and found it interesting enough to flag for follow-up.
It is a good album. Heavy and well-written, pulling from all over the rock past from what I can hear — working in funky bits and jazzy bits and country bits and bluesy bits and plain old classic rock n roll bits, but it is not a pastiche. His band is guys who’ve been with him for ten to fifteen years, and you can hear the cohesion. The arrangements are tight, the tracks varied (and relatively short– some so short they better serve as intros to the song that comes after), and it is very musical and accomplished.
The vinyl comes with a densely-illustrated book that resembles the sort of thing you created when you were bored in high school: jam-packed with lyrics, odd photos, collages and bad pencil drawings, vaguely reminiscent of Robert Crumb with references to sex and horror, and about as 70s as can be without actually being from 1976. I have no idea what any of the songs are about, if they are about anything, and I probably won’t explore too deeply. It is a pleasantly surprising album, so I’ll enjoy it on its own merits.
Kauan: Ice Fleet
Kauan, a Russian outfit now based in Estonia, have released a lovely album of intensely atmospheric post-metal/doom metal. It acts as the soundtrack to a tale of Russian ships frozen in the ice of the Arctic, lost and rediscovered (is it based on a true story? It is hard to find out); a premise not new to the band, as apparently their 2015 album Sorni Nai evoked the ill-fated Dyatlov Expedition. It also forms the backdrop for a tabletop role playing game developed around what is essentially a horror story. The deluxe version of the release comes in iceberg-blue vinyl and includes the detailed storyline and instructions for the game.
The music is intensely atmospheric, sweeping and lush: tracks drift along, before erupting into heavy melodic metal, and then back into gentle soundscapes. Even though there are 7 listed tracks, they merge into each other — there aren’t really breaks between them, so the album feels like a single entity. It isn’t completely instrumental either — there are delicate soprano breaks and harsh growl vocals along the way, but they contribute to the overall instrumental-like atmosphere rather than detracting from it. I’ve been moving away from post-rock (or maybe I didn’t really embrace it as enthusiastically as I thought I had), but this is an album that does manage to keep one’s interest.
The Quill: Earthrise
The Quill are a heavy/stoner rock outfit from Sweden, established back in the early 1990s, and another of those bands who should have a bigger following than they do. They came to my attention when their last album Born From Fire turned up in Spotify and which I liked very much. That album showcased an uncanny ability to channel good-ol’-boy southern bluesy rock; while Born From Fire was pretty good, the new album ramps it up to a whole new level.
Earthrise is pure, exhilarating rock n roll, tinged with a bit of blues and stoner, channelling almost everything that was great about classic heavy rock. The album blasts through track after track of monster bass lines and relentless guitar riffage (compliments of Roger Nilsson and Christian Carlsson respectively), anchored by solid drumming (Jolle Atlagic), and fronted by singer Magnus Ekwall’s perfect rock n roll delivery. It is relentlessly headbanging — even the “slow” numbers are solid rockers. The album kicks into high gear right from the first word from Ekwall (“Hallucinate”), and it’s sheer pedal-to-the-metal after that, until the end of the 9-minute “Evil Omen”, after which the album does lose some momentum.
This album is crazy good. Earthrise sets the bar all other albums this year are going to have to get over. Incandescent hard-rock nods to Sabbath, Zep, just about everyone, and yet this sound is fully their own, fully embraced, as if it was the first time anyone had done it. It is upbeat, enthusiastic, and delivered with a huge dose of confidence and aplomb. At the moment it is the best album I’ve heard this year.
Upcoming:
Mariusz Duda: Claustrophobic Universe (April 23) (2 singles released) — watch for a review next week
Gojira: Fortitude (April 30) (3 singles released)
Gary Numan: Intruder (May) (3 singles released)
Michał Łapaj: Are You There (June 18)
Tacoma Narrows Bridge Disaster: summer (1 or 2 singles released)
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.
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.
Here is a rundown of the the Albums of 2019, which are so far mostly the Albums of 2018 I should have found last year. Well, I suppose better late than never and all that. Interestingly, most of these finds have popped up in my weekly Spotify Discovery list, so I must be tweaking it right. Yes, the platform comes in for a lot of grief from some of my acquaintances for its pathetically low payouts to artists, and if streaming is your primary listening source then you need a good kick in the ass. However, it has done a pretty good job at turning up music that has led me to buy albums. Some of its suggestions are entirely unexpected given that it is an algorithm, and it is nice to have an alternative source of new music, because quite honestly I think I have exhausted the musical possibilities of most of my FB friends; I can often predict whether their recommendations will work or not, and there is not a lot of convergence any more between their tastes and mine, with one or two exceptions.
As well, I will do a quick run-down of the anticipated releases for this year. If even some of these albums live up to the potential of the last ones the bands released, it could be a pretty mighty year for new music.
So … starting with what came out in 2018 that I didn’t find:
Illusion: Anhedonia
Illusion is a post-punk/grunge metal quartet from Gdańsk, Poland, founded in 1992 and with a rather on-again off-again career; Anhedonia came out early in 2018 and is their sixth album. It is a brief album, a shade over 30 minutes long. The songs are short, straight-up grunge rockers, nice and heavy but still quite melodic; these guys get right to the point without too many frills. This is not intellectual music by any means, but I find myself playing the album quite a bit. I have to say, the vocalist is excellent — some serious chops lurk beneath that gritty grunge style.
Author and Punisher: Beastland
When this one turned up in my Spotify Discovery list, I was a bit surprised. I happen to love drone metal, but admittedly I don’t search it out much in Spotify and as far as I know there is none in my playlists. But for some reason, Spotify suggested a little ditty called “The Speaker is Systematically Blown”… and, well, “brutal” is one of the milder descriptors for what came blasting out of my headphones.
Turns out that Author and Punisher is one Tristan Shone, who has been around for a while, a former mechanical engineer who has designed and made his own industrial musical “instruments”; Beastland was released in October of 2018. It is hard to describe exactly what we have here, except to say … imagine what a dozen drill presses might sound like wired up to a vocoder and run through a MIDI controller, turned up to eleven. Which isn’t to say that it is just noise. It’s not: it is industrial metal, and it sounds exactly like it should — a massive wall of rhythm and melody and a LOT of weighty drone. I love it.
As noted in the Introduction (which I hope you read first, link here), I have not actually ranked these albums, they are listed in alphabetical order. They do not differ from each other enough for a ranking to even make sense. They are albums that I play reasonably often, and/or have qualities that make them interesting, enough that others might find them worth pursuing (in fact some already have — some of these albums rank pretty high in other people’s lists). And fully seven of the ten here are instrumental.
Dead Letter Circus: Dead Letter Circus
This Aussie post-punk/indie bunch burst onto the scene in 2010 with a powerful first album, which contained some thoughtful, heavy tracks and a lot of promise. Alas, they never really seemed to be able to live up to that promise. Their second album, The Catalyst Fire, quite frankly was a mess, while the third, Aethesis, was about halfway listenable.
This, their fourth, finds them converging towards shorter pieces that are focused on their strengths: intense melodic rock, nicely-constructed, very consistent, even if the tracks begin to sound a bit the same towards the end. If they continue in this direction they may finally come up with the album they are capable of making.
Two reasons for this post: 1) to make a list of the stuff that is out/will be coming out/has been rumoured might appear at some point this year; and 2) to keep the blog alive. I really do need to actually write stuff for it…otherwise why am I dishing out $150 a year?
It might be a bit early to talk about new releases (for me; I do not accumulate new music at the pace of some others I know), but there does seem to be enough interesting stuff upcoming to make it worth taking a look to the future. There is a spate of albums coming out this spring, and then we wait for the fall season. If certain rumours/promises come true, it could be another epic year.
So far in 2018:
The Temperance Movement: A Deeper Cut : This album is seriously kicking my ass. Great blues rock from England. These guys are sharp and tight as hell, and clearly know what they are doing.
Dope Default: Ofrenda: Loose and dirty hard/stoner rock from Greece. Ofrenda is their debut album, and it sounds like a debut album, but it is certainly listenable and has some good moments. They are worth keeping an eye on.
Upcoming for sure/preordered (or will be):
Riverside: I have heard one track from this album, in demo form … and ohboy ohboy ohboy. If the album lives up to that promise…well, The Boys are Back. Fingers crossed.
Lunatic Soul: Under the Fragmented Sky (EP) – tracks that did not make it on to Fractured but are worth a release. As above – I heard one track from this, and it revives my hopes for a return to the LS of old—or more precisely the LS that sets hooks deep in my soul.
Solar Fields: Ourdom – time for some classic industrial electronica. I like some of his stuff more than others; I preordered the album on the basis of the youtube preview. I hope it is worth it.
Amorphis: Queen of Time. One track (“The Bee”) released so far. The Finnish folk-metallers sound much more symphonic and expansive, while retaining the heaviness and their signature growl/clean vocal tradeoff. Based on this track I’m not sure it will equal the last album.
Awooga: Conduit – nice heavy metal/hard rock, they had a great EP from 2016 which I would play more often if I didn’t have to switch to 45 rpm (details details…). A couple tracks already available to preview, they seem to have developed a more spacious sound.
The Fierce and the Dead: The Euphoric — I like them, but often what they do tends to get a bit too far into the technical/alt/art-rock region for me to love them. But when they are good they are great, and I think the new one holds some promise. Preordered based on the released track.
Toundra: Vortex – I have all the previous albums from these Spanish post-rockers, that I don’t play all that often…but once in a while they hit the spot. The single “Cobra” sounds pretty much like Toundra, dense and heavy.
Front Line Assembly: WarMech – new soundtrack for a new game. I find myself kind of up and down about these guys, I much prefer Leeb’s other project Noise Unit, but on the strength of the previous game OST (AirMech, which is pretty nice) I sprang for the preorder.
VNV Nation: Noire – Out in October, described as “dark and intense”, first studio album since Transnational in 2013.
Leech – The only Swiss band in my collection. It has been what – 5 years since their last one? Six? Anyway, it was a pretty nice post-metal album, and the only album I tried purely because of the cover. Be interesting to hear what the new one will sound like.
Nordic Union: wherein Ronnie Atkins of Pretty Maids (Denmark) lends his iron pipes to the sound of the hard rock outfit Eclipse (Sweden). At this point it is just the promise of a new release, no other info. But that is enough for me: hopefully it will be the same kind of straight-up kick-ass hard rock as the first one, which I love.
Rumoured for 2018:
Au4: Last fall an American internet radio guy scheduled a playthrough of 2014’s …And Down Goes the Sky, and had the guys live on the air to talk about it. They said a new album should appear this year. I surely hope so…if it is anything like that last one, it will be a strong contender for album of the year.
Missed from 2017:
Hypergiant: Father Sky – interesting doom/psych rock. It has its moments, and the track “Colossi” is truly epic, but the album might be a bit too much all at once.
Believe: VII Widows – a band that has been around for a while, in various incarnations, guitarist Mirek Gil’s vehicle since the end of Collage. I am not a fan of long-winded modern prog, as many of you know, but VII Widows is surprisingly good, very nice arrangements and passages, and I must say beautiful guitar themes (Gil on here reminds me of Steve Hackett, and there is nothing wrong with that). I am not crazy about the somewhat overblown and mannered style of the vocalist, but there are few enough vocal sections that he ends up intruding less on the experience than would otherwise be the case. Nice and listenable.
Decapitated: Anticult – I confess that I checked this out mostly out of morbid curiosity; the band found itself in deep shit in late 2017 while on tour in America (i.e. they were tossed in jail in Seattle for three months; charges were all dropped). Not generally being a fan of thrash metal (or so I thought), I had not paid them any attention. Well, you just never know: when I listened to Anticult I found, inexplicably, that I liked it a whole lot: in fact, it would have been one of the stronger releases of last year had I found it sooner.
