In the time that I’ve been writing my little blog, I’ve come across quite a few bands that have given me hope in the future of music. One of those bands is Dekades. These goth rockers have been beyond consistent with all the material they have put out. On their newest EP, the band has stretched out past the norm of most goth/Post Punk bands. They have upped the groove and added another dimension that packs a bit more bounce. The rhythm section of Chris Cano on drums and James Carter on bass have a real knack for pushing the groove to the forefront while guitarist Josh Benson provides dynamic structures upon which multi-instrumentalist Matt Shores applies his ambient textures and all this is tied together with vocalist/guitarist Arden Fisher vocal delivery and conviction. Dekades is definitely a band to be on the lookout for.
Most of the time when a band announces their return after a very long hiatus, it is usually met with great excitement. At the same time there is always hope that the reunion brings new music from the band. Sometimes it works out for the best and other times it fails miserably like it did with the latest Soundgarden album King Animal. One of the most anticipated albums of 2015 has been the new album from Faith No More. At first when they released their first singles “Motherfucker” and “Superhero” those songs weren’t anything special. If anything they seemed like just fun songs they came up with and released them to just wet the appetite of their fans. I can honestly say that the album itself is quite good. It could be taken as the logical followup to their 1997 swan song Album Of The Year. The band themselves have not lost a step at all during the 18 year gap between albums. If anything, Faith No More seems reinvigorated and ready to take back what should have been theirs to begin with. Songs like “Cone Of Shame, (my personal favorite on the album)” “Sunny Side Up,” “Black Friday,” and “Matador” are all outstanding tracks. Even the first two songs the released fit in the scheme of the album better than they do on their own.
I wouldn’t say this is a perfect album, but it does hit the mark. One of the best things about the Sol Invictus is that it leaves you wanting more. Faith No More really delivered the goods on this one.
When a band is 7 albums into their career, there comes certain expectations for said bands new albums. Sometimes some of the albums released don’t quite hit the right mark, while others go on to leave a lasting impression and inspire others. In the case of Incubus, their career has had quite a few twists and turns. They have managed to put out two really solid albums, 1999’s Make Yourself and 2004’s A Crow Left Of The Murder, while the rest of their catalog is hit or miss, though they have some songs that are really good from those other albums. Incubus’s latest offering Trust Fall (Side A) is 4 songs and 20 minutes of hit and miss. The first song Trust Fall, could almost fit on A Crow Left Of The Murder musically. The vocal melody from Brandon Boyd is very strong and convincing. The rest of the band is really together on that track. In fact after hearing that song you think this could be a really good sign of things to come. Then “Make Out Party” happens. The verse’s have a very obnoxious vocal melody that is cringe-worthy. The chorus is very formulaic, and just doesn’t do anything special for the song. The first single and third track “Absolution Calling,” is catchy as can be for the band. It’s got a groove to the beat and bass line that follows a very catchy melody. At first listen to this song, you wonder what happened to the Incubus of old, but it does grow on you quite fast. Sadly the EP ends with “Dance Like You’re Dumb” a song that is just awful. This songs makes it seem like Mike Eizinger has spent too much time hanging out and working with electronic artists.
So of the four songs, only two of them are worthy, leaving this “Trust Fall” pretty much a Trust Fail (pun totally intended). For the most part I’ve always enjoyed Incubus. Even on this albums that were misses over the years, I’ve found songs that I can listen to. I don’t know what they were thinking with this one. This EP was also self produced, so the lack of having a producer around seems like that made all the difference. Had they gone back to work with Brendan O’Brien (Who has done all their albums since A Crow Left Of The Murder), this newest release could have ended up differently.
When I get an album one of the first things I look at is who produced and engineered it. Recently an album came across my email that sounded intriguing to me. Ross Robinson’s name was listed as the producer on the album. I’ve been a fan of a lot of the albums that Ross has done in the past. Specifically his work with Korn, At The Drive In, The Cure and a newer band Wild Throne. So needless to say my curiosity was peaked. The album I’m talking about is Soko’s new album My Dreams Dictate My Reality. This album is quite a departure from most of the stuff that I listen to, but it also was a nice change of pace. Soko’s album is soaked in early 80’s new wave influence, somewhat reminiscent of The Cure started out as. The first song on the album “I Come In Peace” has an almost electro Mazzy Star vibe to it, making it the perfect lead off song for the album. There are also moments when there are bits of post punk a la a Joy Division vibe especially on the title track. This is definitely something different to my ears, and it totally fits the alternative music climate that has taken over the radio waves today. If you are looking for an album chock full of early new wave sounds, this is one of those albums for you. Also on a side note, it’s nice to hear Ross Robinson spread his wings and show his versatility as a producer.
There is something really special when the main songwriter of a band takes the reigns of their own musical path. Noel Gallagher of Oasis fame has done that once again on his newest album Chasing Yesterday from Noel Gallagher’s High Flying Birds. This 10 song album is the perfect setup to spring and summer. There are those trademark melodies that made Oasis songs really shine, but also the signature (and highly underrated guitar tones) of Noel. Leading track “Riverman” starts the vibe of the album off right. It has a sweet melody that allows the listener to get the idea of where the records mood will take them. “In The Heat Of The Moment,” is a rocker. There is also a subtle dance element to this song that makes you want to move. “Lock All The Doors,” is one of those songs that would fit perfectly on an Oasis album. Noel’s voice on this track really shows his ability to lead a rocking song. Not to mention the guitar solo, is simple yet stellar. This is easily one of my favorite songs on the album. “The Dying Of Light,” is a really pretty ballad. This is one of those songs that had that trademark Oasis melody. “You Know We Can’t Go Back,” is another of the more rocking songs on the album. It also is my favorite track on the album. The catchy chorus that comes with it, not to mention the driving beat really carries this song.
Noel Gallagher has really left his mark with this album. It’s the first album to be produced as well as written by Noel and features a much broader array of instrumentation than ever before; the result is a diverse layered album, that draws from a range of different genres and influences. Oasis will always be the standard fallback, but Noel really shines on this effort.
Putting aside genre defining, Anakin simply rocks. Their blend of space rock and hooky melodies carry the weight throughout their new album Celestial Frequency Shifter. There is so much space and ambience entangled with the subtle crunchy guitars. Their influences of Weezer, Failure, Hum and science fiction really shine on this release without overpowering the sound that the band has created. Anakin really took their time to craft songs that can stand out on their own or as an album (as it should be). “Astro(not)” is the perfect beginning to this album. The third song “Lucidity,” really picks up the pace as as hard charging song complete with sultry hooks. Songs like “Clairvoyanace,” “Ctrl.Alt.Del” and the closing song “Sunbeam,” really strike with the hooks and distorted guitars. There is also another element that this album has, and that is its ability to be uplifting. The way the vocal melodies are mixed with the synths, create this harmonious meditation while listening. Anakin have made an album that is perfect for the start of a new year. Their notions of hope and the thought of what is out there really comes into play.
There comes a time in every artists career when the inspiration well dries up and it seems like they are just going through the motions because they have to. Then something happens that reinvigorates and inspires said artist. This just happened with Marilyn Manson. Manson’s new album The Pale Emperor, is his best album since Mechanical Animals. Instead of working with his usual writing partner Twiggy Ramirez, Tyler Bates was brought in. You might know Tyler Bates’s work from Guardians Of The Galaxy and Californication. Their collaboration brought out a whole new side of Manson that is drenched in post-punk swagger and his signature haunting melodies. I’ll be honest, I wrote Marilyn Manson off a long time ago after a stunt he pulled at one of his shows years ago, but when I first heard the song “Third Day Of A Seven Day Binge,” I was totally taken aback and very curious as to what this new album would sound like. I’m really happy with what I heard. This album is honest and real. Songs like “Killing Strangers,” “Cupid Carries A Gun,” and “Deep Six” all pack quite a punch that really delivers. Marilyn Manson seems to be on the right track again after a long detour. In a strange way this album is more than just a reinvention, it’s actually an album about a guy who behind all the makeup and persona, really has something to say.
When a band reaches a certain point in their career it’s hard to keep things fresh and inspired. For the bands eighth album the gents in the Foo Fighters tried something different. While the idea is a great one, the final product falls a bit flat. The idea of recording a song in a different city is a great idea. Lyrically it just falls flat. The songs feel rushed and incomplete. It’s as though the thoughts were unfinished. The show on HBO is quite interesting and full of a rich musical history. In my opinion the show is way better than the album. The albums eight songs are very hit and miss. The best song I heard on the album is a song called “Outside” which features the great Joe Walsh. This is the best song on the album hands down. This album is very disjointed and not an “album.” It’s a collection of single songs, that have no cohesiveness. Also the use of Butch Vig as a producer I think was the wrong choice. His input and methods just don’t work for what the band was trying to do, Nick Raskulinecz would have been the perfect choice. The first song “Something From Nothing” is a good track but nothing special. The whole record is nothing special. In fact I’d probably put this album towards the bottom of the list of ranking their albums. I truly thought that after how good Wasting Light was they would continue on a path similar to how that album turned out. Nice try on this one Foos.
I’ve talked a lot about Black Map. I’ve had the pleasure of seeing them live a handful of times, and even interviewed them. So it comes with great pride that I review their debut album …And We Explode. This album is full of heavy riffs, pounding drums, pulsating bass, and vocals that soar above the rest of their peers. The use of melody and structures really plays a big hand in making this a great album. It’s really not every day that you can put on an album from start to finish and truly grasp each note, and word. Ben Flanagan’s crystal clear melodic voice really takes the songs to another level while Mark Engles guitar breaks through with sonic heaviness, not to mention the fiery drum performances from Chris Robyn. My favorite songs from the album so far are “Chinasaki,” “I’m Just The Driver,” “And We Explode (part 1).” “Melee,” “Gemini,” “Ropes,” Black Map are the perfect band to help usher back rock music to the masses. I can’t wait to see where they go next. This album is worth a purchase as is a ticket to their shows. So do yourself a favor and check it out!
Sometimes it takes a death to put thing into perspective. It’s never easy to deal with, especially when it’s someone very close. When it was announced that Slipknot were in the studio recording a new album, it was met with great skepticism. Joey Jordison was booted from the band under still unknown circumstances. So what would it sound like? Early reports from the band equated it to a mix between Iowa and Volume 3. Personally I think it is more mix of the first album and Volume 3. There are plenty of tributes to the late Paul Gray on the album. “Skeptic” really shows this especially with lyrics like “the world will never see another crazy motherfucker like you/the world will never know another man as amazing as you,” this seems like touching ode to their fallen brother. Lead single “The Devil In I,” is full of melody and introspective lyrics. The entire album is full of lyrics that examine loss, selfishness, pain, and anger. There’s also the sullen ballad of “Goodbye.” “Killpop” on the other hand is a leap into uncharted territory.This song finds the band stepping outside their skin to focus a new wave/electro pop attempt. The course soon heads toward more traditional fare, thumping percussion and bristling riffs. There is the occasional classic rapid-fire vocal delivery of Corey Taylor and the sonic throwbacks featured in a track like “Custer.” This seems destined to be a live favorite due its anthemic usage of “cut me up” and “fuck me up.”
It’s not an album without faults. There are some inconsistent tracks. The band still has their predilection for melodic pursuits. But this is easily the groups most consistent album from start to finish. This is a welcome return to form for one of modern metal’s most revered (and despised) acts. One thing also that is a step in the right direction was the inclusion of Greg Fidelman to handle the production on the album and Joe Baressi to mix it, These two have brought the best of what Slipknot has to offer in 2014.
In the time that I’ve been writing my little blog, I’ve come across quite a few bands that have given me hope in the future of music. One of those bands is Dekades. These goth rockers have been beyond consistent with all the material they have put out. On their newest EP, the band has stretched out past the norm of most goth/Post Punk bands. They have upped the groove and added another dimension that packs a bit more bounce. The rhythm section of Chris Cano on drums and James Carter on bass have a real knack for pushing the groove to the forefront while guitarist Josh Benson provides dynamic structures upon which multi-instrumentalist Matt Shores applies his ambient textures and all this is tied together with vocalist/guitarist Arden Fisher vocal delivery and conviction. Dekades is definitely a band to be on the lookout for.
