Lucifer-III

I was going to make a joke about this being Lucifer’s second album and it weirdly being titled “III”, but the joke just never really came together.  I’m not sure why I’m even bringing up a failed joke idea.  Maybe to justify the minutes I put into pondering how to start this review with something funny.

Anyhoo, Lucifer is out with album number three and their second since Lucifer has basically become the songwriting partnership of vocalist Johanna Sardonis and drummer/multi-instrumentalist Nicke Andersson, who have now solidified their musical bond into the sacred bond of matrimony.  Hopefully this doesn’t end up in some weird Fleetwood Mac dysfunction.  I wish these crazy kids the best of luck.

On to the album.  I hate to say it, but I just get a feeling of meh about his one.  They’ve definitely fallen into a rather comfortable embrace of all things retro occult rock on here.  It’s not a bad record by any means, but it just sort of sits there.  There are some lovely catchy choruses throughout, but the meat of the album is just missing some extra seasoning that could have made it stand out a little more.  The song structures are very poppy overall and it is kind of missing some of that evil sheen that was found on their previous two albums.  I hate to be a nitpicker, but I feel like I have a bit of a nit to pick.  Sardonis has a lovely voice and her voice and image are a key facet to this group.  However, I just feel like there is a bit a dynamic that is missing to her vocal delivery.  Her voice technically nice and strong, but it feels like there is a lack of feeling and emotion in her delivery.  It’s as if she has slotted into this one range and it is the same delivery on every song that she sings on.  This has kind of bothered me on all of her albums going back to the pre-Lucifer entity, The Oath.  I hate to be an ass about it, but it really feels like this issue is holding the band back a bit.  I kind of wish she would really cut loose and add a touch of manic or sinister edge to her delivery.  I think it is what this material really needs to push it to the next level.  Just a little constructive criticism from a dude who couldn’t carry a tune if his life depended on it.

3 flip flops out of 5

Wolfheart-Wolves of Karelia

Wolves from the wintry frozen depths of Scandinavia.  If your answer is going to be “death metal”, you would be correct on this one.

Wolfheart is one of those bands of which you can pretty much judge by its cover what is going to be on the inside.  This one is a smart release by a band that will cater to fans of fellow Finish melancholic bombasters Insomium.  In certain respects, it feels like Wolfheart combines the songwriting structure of Insomnium with the guitar sound found on some of Soilwork’s heavier moments (if that makes any sense).  It’s death metal in a non-brutalized fashion.  It’s death metal with melody, symphonic flourishes and class.  If you’re a fan of classic era heavy metal, then this is the brand of death metal that is for you.

There’s not much more to say on this one.  Nice solid record by a nice solid band.  If this genre is your bag, give it a listen.  Even if its not your bag, also give it a listen.  I think you might be impressed by what you hear.

3.5 flip flops out of 5

Joe Satriani-Shapeshifting

When you read the credits on an album and there is a listing of four separate people that were responsible for handclaps, you can bet your ass the album is gonna have a shitload of handclaps.  I mean, you’d be disappointed if there weren’t a shitload of handclaps, right?  With that kind of buildup, I’d want a healthy dose of some motherfuckin’ handclappin’.

The Satch-man has released another album and not to fear:  handclaps are a dominant feature.  Satriani probably has to be a bit irritated this far into his career in that he is still probably less famous for his own musical output and more famous for his all-star roster of musical pupils who all went on to greater levels of success than he did.  But, here we are on album number seventeen for Joe.  It’s an amazing level of production by any measure.

This latest platter isn’t one of Joe’s more shining moments.  I like my Joe when he’s in more of an adventurous and experimental mode.  Shapeshifting seems more of a paint-by-numbers album than anything else.  It’s like he spun a style wheel and based the songs on whichever style of music it landed on.  You’ve got the hard rocker song, the introspective wail of a song, the poppy feel-good number, the poppy feel-good number with handclaps, the spacey rocker, the spacey rocker with handclaps, the country jaunt and the stab at white guy reggae.  There’s no real cohesion or sense of inspiration on this one save for a couple of tracks on the back end (All My Friends Are Here and Spirits, Ghosts and Outlaws).

If you’re a longtime fan of Joe (and I am), I would probably skip this one and enjoy one of his stronger albums instead.  If you’re just getting into Joe, go score Surfing With the Alien or the way underrated self-titled album.

2.5 flip flops out of 5

Testament-Titans of Creation

I really think we all take Testament for granted.  They have been an absolute model of consistency through their 30+ year career.  For whatever reason, they seem to be relegated to that “also-ran” status of established metal bands.  And it’s a damn shame because they have been releasing a string of amazing albums over the past few years.  I think we do these guys a great disservice by overlooking the absolute machine this entity has been over the course of their career.

Titans of Creation is their 12th proper album release and it sounds just as vital and aggressive as any of their early releases.  This is a clean and vibrant example of a professional thrash band firing on all cylinders.  Chuck Billy sounds as strong as he ever has.  He and Eric Peterson are one of the classic songwriting pairs in metal.  Alex Skolnick also continues to impress with his ability to deftly play some of the most creative and inspired lead guitar.  And the foundation laid down by bassist Steve Di Giorgio and drummer Gene Hoglan is simply massive.

Don’t sleep on this one simply because you have a pretty good idea of what you are going to get on this album.  This is thrash metal done by one of its originators and it is done very, very well.  Do yourself a favor and celebrate the legacy of Testament.

4.5 flip flops out of 5

Void of Sleep-Metaphora

I’m still out here surviving the great plague of 2020 by listening to some amazing metal.  As much as a shit show 2020 is turning out to be, the only real silver lining so far has been a slew of some pretty decent metal albums.  I’m happy to report that Void of Sleep is continuing this trend with their latest, Metaphora.

Void of Sleep comes out of the heavily CoronaVirus hit land of Italy and I hope things are not going too badly for the band during this horrific pandemic.  I first stumbled across these guys a few years ago with their last album, New World Order, and I was so impressed with that one that it made it into my Top 5 albums for 2015.  It’s been a long wait for the follow-up and the band is back with the same sort of grungy, Mastodon-influenced style of metal.  It doesn’t feel like this latest effort quite matches up with its predecessor in terms of quality, but overall it is still a solid and very enjoyable listen.  I think my only real complain is that the album feels a bit slight in length.  Seven total songs with two being short instrumental interludes.  Still, that’s nitpicking.  This is still an album worthy of your time.  And, lord knows, we all have tons of time to fill at this point.

4 flip flops out of 5

King Buffalo-Dead Star

Dead Star | King Buffalo

I’m finding that space-tinged psychedelic metal seems to pair well with self-isolation.  This latest EP from King Buffalo creates a leisurely dreamscape which ends up acting as a nice escape from the endtimes we are currently experiencing.  Even though this new release is being characterized as an EP, it feels more like a proper album release clocking in a 36 minutes in length.  In a way I get the characterization of an EP because the album really feels like one song that is split into six different movements.

King Buffalo has become one of the shining stars of the underground psychedelic movement and this latest album is another excellent addition to their catalog.  They are the masters of crafting songs that begin softly and then gradually expand out of the ether into something more substantial.  Their sound never reaches bombastic levels and they never let things get completely out of control.  Even at their jammiest, there is still a laid back vibe in their sound.  As I said, it’s a perfect soundtrack for isolation.

4.5 flip flops out of 5

Huntsmen-Mandala of Fear

It feels like a long two year wait for this one.  Huntsmen’s debut album, American Scrap, was my favorite release in 2018.  It’s one of those albums that had such an impact on me and was such a breath of fresh originality on the metal scene that I just couldn’t wait to see what this group would come up with next or in which direction they would decide to push their sound.  My initial impression of American Scrap has been validated in that my appreciation of the album has continued to grow over the two years since its release.

Well, here we are.  Here’s the follow-up.  I always find that when my anticipation for a new album is really high that more often than not that my expectation aren’t met.  This is not one of those cases.  Mandala of Fear takes the ambition and musical adventurousness and pushes it into new and amazing avenues.  Their first album was characterized as a blending of metal and Americana music.  It feels like the new album has almost pushed past that characterization.  There are so many different influences and feelings explored on this album that it’s getting hard to put a simple label on this music.  Huntsmen seem like one of these bands that is forging it’s own unique sound.  It doesn’t sound like anyone else out there in the metal world.  And that’s what makes them special.  They have added a fifth member to the band in vocalist Aimee Bueno.  One of my favorite aspects of Huntsmen’s sound is their use of amazing joint vocals and harmonization.  The addition of Bueno as a full-fledged member just adds another level to this aspect of the band.  In many respects, Huntsmen gives me the same sort of feel as another of my all-time favorite bands, King’s X.  Although Huntsmen and King’s X sound nothing alike (Huntsmen a blend of doom/grunge/post metal with Americana and King’s X a blend of metal/classic rock/prog rock with gospel and soul), their use of vocal harmonies and the blending of different genres with metal makes me think that both bands may be kindred spirits.  Opening track, Ride Out, even gives a decidedly Yes feel.

All in all, after hearing this album, I really can’t see any scenario where this band doesn’t end up having a serious impact on the metal world.  There is just something special about them and their music that isn’t found in 98% of the bands out there today.  This follow-up album has just solidified in my mind that Huntsmen are one of modern metal’s great hopes and brightest talents.  Get on the bandwagon now.

5 flip flops out of 5

Ozzy Osbourne-Ordinary Man

Oh, Ozzy.  This album was just exhausting and not really what I needed in the middle of an pandemic.

Look, I know.  You’re the Prince of Darkness.  Metal wouldn’t exist as a thing without your contributions.  We all love you dearly.  But, this…this is a slab of shit.

And the sad thing is that it’s a slab of shit that doesn’t really need to be.  I’m pretty sure at this point in Ozzy’s career that he’s not really in charge.  Well, it’s arguable he’s ever been in charge since he got booted from Black Sabbath.  I’m assuming Sharon is still managing his career and maybe this abomination should be laid at her feet.

At any rate, this album feels like a lame stab by a fading rock star to stay relevant.  It feels like a metal album constructed by people who aren’t metal and are trying to approximate what they feel a metal album should sound like.  This is a poseur record, pure and simple.  And I realize that is a bold statement to make about an original member of Black Sabbath.  But, it’s true.  The sad fact is that this is an official entry in the discography of the man who is the voice of heavy metal.

If you’re an icon in the metal world and you’re well past your prime album producing years, why not stay true to your roots?  Surround yourself with metal folks and make a goddamn metal record.  Look nothing against Post Malone and his crew of producers.  He seems like a lovely kid and he has a good thing going.  But putting his producers in charge of an Ozzy album is just not a good decision.  Zakk is not on this album.  Most of the guitar work is handled by Andrew Watt (producer boy) and his work is just generic drivel riffs.  There’s nothing innovative or even catchy on this thing.  Ozzy’s vocals are over-produced to an extent that it really becomes annoying.  He sounds more like a cyborg Ozzy than a real life Ozzy.  They managed to round up Duff from Guns N Roses and Chad Smith from the Chili Peppers to handle the rhythm duties, but even their work sounds canned and uninspired.  I honestly thought the drums were a drum machine on first listen.  They bring in Elton John for a duet…which on its face sounds like a cool idea, two English legends and all, but the song is just drivel.  And then there’s the duet with Post Malone that no one asked for to finish out the album.

I don’t know.  Ozzy at this point is more of a cartoon character than an actual person or performer.  I just wish he would stop.  Honestly, can you say that you’ve revisited any of his albums post-No More Tears?  I can’t.  They are just forgettable.  However, at least Ozzmosis, Down to Earth, Black Rain and Scream have some decent guitar work by Zakk and Gus G.  This latest crapfest doesn’t really have anything redeemable.

We love you, Ozzy.  Your place in the pantheon of metal is secure.  Just stop putting out this kind of shit.  You’re better than this.

1.5 flip flops out of 5

My Dying Bride-The Ghost of Orion

This album really needs a PSA in light of the quarantine and the fact that so many people are going stir-crazy.  If you are in a dark place right now, maybe not listen to this one until the pandemic mess calms down a bit.  This is fucking dark.  Look, on the best and sunniest of days, My Dying Bride makes my want to slit my wrists.  It’s just what they do.  You should know this going in.

This album takes its inspiration from vocalist Aaron Stainthorpe’s young daughter being diagnosed with cancer a few years back.  As such, it’s a emotional wreck of a ride.  You’ve got themes of loss, questioning, pain, suffering and all of the other emotions that would go into worrying about a terminally sick child.  Luckily, his daughter ended up beating back the cancer and is currently in remission.  So, you can at least take this ride knowing that the ending is not completely bleak.

Even though this is a thoroughly challenging listen, it really does mark one of My Dying Bride’s better albums.  Real personal albums usually tend have a greater impact on the listener even though the personal cost of making such an album is tough on the performers.  I’m not sure how often I will revisit this album in full just because it is an emotional gut punch, but it is a very good album that is worthy of your attention.

4 flip flops out of 5

Body Count-Carnivore

Ice-T and his Body Count gang are just cranking out the albums of late.  My entire view of this band changed with their last release, Bloodlust.  Up to that point, Body Count always felt more like a curiosity and kind of a throwaway side project of Ice-T.  They managed to stir up a good deal of controversy and attention with Cop Killer off of their first album, but the music just never quite reached a level that really clicked with me.  They just seemed to be another of these bands trying to capitalize on the rap metal/nu metal phase of the early to mid-90s.

Bloodlust changed all of that for me.  That album had an urgency and a striking point-of-view on current events that just channeled a lot of the rage and hopelessness a lot of people are feeling these days.  And the music was just on point.  It was just an album that made you want to pound somebody’s face in.

So, with that being my baseline coming into this new Body Count release, my expectations were heightened.  And it’s a good effort.  The new album tries to capitalize on the rage and the same sort of musical style of Bloodlust.  However, as much as it tries, it doesn’t quite reach the level of masterpiece like Bloodlust.  Ice throws in a Motorhead cover and a metal update of his solo rap hit Colors.  All in all, even though it isn’t as good as its predecessor, this is still a very good Body Count album and shows a band that is still heading in a very promising direction.

3.5 flip flops out of 5