The Rosedales—Stereoghost
Long-awaited new
release from one of the finest horrorpunk bands ever to record. Horrorpunk may
be a bit of a misnomer, though, as The Rosedales' unique blend of music includes
shades of rock, rockabilly, goth, metal, and doo wop for an utterly unique and
ofttimes haunting sound. If any of the tracks here excite you, buy their entire
output as they haven’t released a single disappointing track.
Sin Theta—Sin Theta
Incredibly versatile debut
EP from a band with limitless potential; I wrote about them last year when I
included their demo—one song—on my best of list last year. One of the
only bands I can think of (Opeth being another) who is skilled enough to
super-charge your adrenaline or lull you into a state of harmonic relaxation,
sometimes within the same song. One of those rare bands where all of the
components excel both individually and collectively, a must-listen for those
with even a passing interest in metal.
Kristeen Young—The SubSet
Years ago I bought
her whole catalog after seeing her perform once, and I’ve bought every release
the day it came out since. This one may be her best, and it shows off both the
full dynamic range of her beautiful voice as well as the bottomless depth of
her lyrical ability. I’ve spun it a dozen times and still get chills with each
subsequent listen. “Everyday Subtraction” might be my favorite song in a year
that I found overflowing with great cuts.
Ray Alder—What the Water Wants
Debut solo
album from current Fates Warning vocalist; immensely affecting and powerful. As
Fates Warning, especially the Alder years, was the soundtrack of my college
years (sharp eyes can spot me and my voluminous, beautiful blond hair at the
front left of the stage HERE)
, Ray’s voice affects me mentally and spiritually.
Arch/Matheos—Winter Ethereal
I was turned on to Fates Warning (thanks,
Dan) after John Arch had already left the band, but the first three albums he
recorded with them are among my favorites, not only in the Fates oeuvre but in
my entire collection. I love that he periodically rejoins forces with Fates’
mainman Jim Mattheos, and I love that Winter Ethereal is one of their
strongest collaborations yet. Great year for Fates fans.
The Specials—Encore
Very strong album, as
socially revalent as any of their earlier material and just as groove-worthy.
Deluxe edition includes some fantastic live tracks of earlier material.
Ironbunny—Tettsui No Alternative
Apparently
there is a great deal going on currently on the heavy metal scene than
Babymetal, and I will be investigating that scene deeply in 2020. This was one
of the first bands I became interested in, featuring precise, riff-heavy
shredding provided by an armor clad “cyborg” and gorgeous harmony vocals from a
trio of young women. The EP also features a number of world-class guest
shredders
Ride—This Is Not A Safe Place
No one was
happier than I was when Ride reunited to produce
2017’s Weather Diaries,
and I think This is Not a Safe Place is even better than that stellar
release.
V/A--Ready or Not Soundtrack
I saw more films
in the theater in 2019 than any year since the mid-nineties when I was an
assistant manager in a theater. The title cut alone makes this a worthy listen,
especially if you read or write horror stories.
Volbeat-Rewind, Replay, Rebound
A very solid
and generous offering from one of my favorite metal bands, Volbeat once again
aren’t afraid to throw in some surprises, like the surf usic inflected “Sorry
Bag of Bones”, my favorite cut alongside “Leviathan”
Baroness—Gold and Gray
Intricate and
accomplished new addition to the Baroness color palette.
Hawkwind—All Aboard the Skylark
Somehow, I
have 46 Hawkwind albums in my iTunes, plus another six records I haven’t yet
converted to mp3, plus at least a couple dozen spin-off and Hawkwind related
solo projects (unless you count Motorhead as well, then the number is well over
a hundred). So obviously, I like Hawkwind. This is my favorite of theirs
released in this decade, the perfect vehicle when I need to escape to outer
space, as I so often do.
Death Angel—Humanicide
I’ve always thought
“the big four of thrash” designation for Slayer, Anthrax, Metallica, and
Megadeth ought to be amended to “the big five” with Death Angel being the
fifth. I get it—they don’t sell as much—but the quality of their catalog
comes close to the best releases of the previous four and eclipses their worst
releases. Humanicide is one of their best releases, and managed to get
nominated for a Grammy.
Cheap Trick--Are You Ready? Live 12/31/1979
My
love of Cheap Trick is well-documented and so I was thrilled to get this killer
live set, a November RSD release.
Lana Del Rey—Norman F’ing Rockwell
More songs
of Californian disaffection, Lana seems to get her own self-projected vibe even
more right on her newer release. Someday I hope to repeat my drive along the
PCH playing this at twilight to an off-brand hotel I have never been to and may
never leave.
The Dickies—I Dig Go-Go Girls/The Dreaded
Pigasaurus
Blink-and-you-missed it (but available on iTunes) RSD single
release from O.G. California punks. Pigasaurus especially could be
dropped in as a bonus cut on Dawn of the Dickies and it would fit right
in.
Magic Circle—Departed Souls
Brand new old
school metal from a Boston based band; I just bought it this week but was
excited enough to buy their previous two albums. Riffy and deep, with songs that
are accessible enough to seem familiar but often branch out it unpredictable
but sonically pleasing ways. I bet they listened to Fates Warning growing up,
too.
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