After what has seemed like an eternity, time has lurched from its standstill, and we have reached the halfway point in the calendar. It's been a trying time to be a music fan, as the worldwide pandemic has led to numerous albums being delayed for a future we all hope is going to be better than today. That may or may not be, but it does mean several albums that many of us would have otherwise been talking about at this point didn't come out yet. Does that mean the roster of releases to mention today are less than they would have otherwise been? I won't say that, both because I have no way of knowing which would live up to my expectations, and because there has been enough good new music to (mostly) carry me through. There have been more than enough bad albums, but that's the other side of the ledger.
With that being said, let's tackle the extremes, starting with:
The Best Albums So Far (even though all of them have a glaring flaw):
Allen/Olzon - Worlds Apart
A wonderful melodic metal album featuring two remarkable vocalists. There aren't any surprises, but the usual formula is done better on this record. It's a big, lush, gloriously hook-laden record that delivers expertly crafted songs. The flaw? The two only blend their voices on half the songs, when a true duets album could have been even more magical.
Harem Scarem - Change The World
Coming off their best record ever, Harem Scarem keep the hot streak going. This is melodic rock of the highest order, with sticky songs that don't leave your head. These veterans have never been better, and this record is a neck-and-neck competitor to "United", which earned #2 on my year end list in 2017. The flaw? It's nearly a carbon copy.
Illumishade - Eclyptic: Wake Of Shadows
This concept album features stunning vocals from Fabienne Erni, and some of the most beautiful metal songs of the year. Her melodies are enchanting, the band powerful, and her voice angelic. When Illumishade is on, they are remarkable. The flaw? Minus the segues/intros, there's only 28 minutes of songs, which isn't enough.
One Way North - To Light
Finding this album was a matter of luck; good luck, that is. Immediately upon hearing it, the songs struck me for being the kind of muscular modern rock that the mainstream tries and fails to give us. It's heavy, yes, but filled with great melodies and hooks, all without the worst qualities that make the mainstream so hard to listen to sometimes. This album takes what Mark Tremonti does in his solo work, and if you ask me, does it even better. The flaw? I could do without the pop song cover, even though it's well done, and it will go unappreciated while far lesser works get all the attention.
Serenity - The Last Knight
I've always liked Serenity, but never been able to fully embrace any of their albums. That changes here, as they have delivered their most consistently excellent release yet. Every song boasts a massive hook, with a couple of contenders for song of the year included. They've upped their game, finally, and hit their potential. The flaw? I can't really connect to songs about knights in battle.
We Sell The Dead - Black Sleep
After a dull first album that was paired with amateurish videos, We Sell The Dead strips things back and moves far forward by doing so. This record is slightly doom-influenced hard rock that wouldn't be out of place in the Dio-era Rainbow canon. It's engaging, memorable, and sung by the fantastic voice of Apollo Papathanasio, who hasn't had this good a platform since Firewind. The flaw? Apollo doesn't get the chance to sing the entire album.
And to balance things out...
The Worst Albums So Far:
Candlemass - The Pendulum [EP]
This release doesn't justify its own existence. We get three short interlude tracks that waste time on an already short release, two mediocre songs, and one song that was already released in superior form on Avatarium's last album. All Candlemass does with this release is show there's a reason why bands don't release every scrap of music they create.
Green Day - Father Of All...
This album is allegedly only to fulfill their contract, and it sounds like it. The half-assed songs are illustrated nicely by the vomiting unicorn on the cover. This is a lazy record that makes four of the band's last five that didn't have any real effort put into them. That's an insult to the fans, but it doesn't seem to be hurting business. What a terrible example it sets.
Lordi - Killection
Every album, Lordi gives us two or three good songs, and a bunch of cringe-worthy filler. With this one, the band tries to take on the guise of various sounds throughout the history of rock. Lordi has never mastered being Lordi, so it's no surprise them trying to be other bands is a disaster. And frankly, Mr Lordi's sexual predator schtick is getting more uncomfortable every year. I'm not sure how to justify it anymore.
Poppy - I Disagree
Sometimes you can put two random things together and find they work. Sometimes you do that and find yourself wanting to damage your own ear drums. That's what this record is, with a blend of modern metal and infantile pop that doesn't work whatsoever. It's supposed to be 'art', but it's the equivalent of the urinal installation on a gallery wall. Just because you call something art doesn't mean it isn't still something to piss on.
Witchcraft - Black Metal
This record honestly made me angry, not because it's a horrible collection of barely written 'songs' with not a single interesting thing about them, but because it's being promoted as an 'acoustic album'. They are trying to explain this record through the instrumentation, when the acoustic guitar doesn't have a damn thing to do with how awful it is. Playing acoustically doesn't mean you have to write such dull, depressing, vapid, worthless, unlistenable music. As a guitarist who plays primarily acoustic, I felt insulted having this record placing the blame on the instrument, and not the piss-poor effort that went into writing it.
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