Ceremony : "Tell Me Your Dream"

 The two released after "Zoo" only received an 8.5 from here, as they veered off too far in a post-punk direction and lacked the punk side of that equation. Two songs into their new album, and it feels like they have returned to a more punk side of their past, which is a welcome return. They have never played it safe by being a by-the-books punk band, but punk is one genre that should throw whatever books are defining it out the window, making it more about the attitude. That said, they are done experimenting, as there is a funky groove and synths in "Madness" which still manges to retain its attitude and is a well-written song.I suppose it's done in a similar context as what Gang of Four used to do. 

There is more of a rough jangle to "Dark Summer". The vocals are more melodic, but feel true to who they are. "Deep Down Where I Belong" has a punk heart to it but the sound gathered to convey this has an earlier New York post-punk feel. It is the most experimental song thus far. They still manage to keep up their momentum. 'Antenna" benefits from a great bass tone. "Justify' feels like they are comfortably occupying the space that Fugazi used to occupy. It's a space that needs feeling, so I certainly don't mind

"Death Destruction Mayhem" works off renewed punk energy that complements the tension of the palm-muted guitar.'10 Planets" finds them back grooving in a clanging Fugazi-like place that carries the needed urgency. Oddly, they close the album with one of the most melodic moments as "Paradise" finds the vocals pulling most of the weight. For a riff to send a song hypnotically drifting is an oddity for punk bands who are not the Cure. Overall everythinig falls right into place this time around and they pick up where they left off with "Zoo" making this one of the years bet punk album's so far .Iwill give it a 10 This album drops August 7th on Relapse Records.

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Brocarde : "GOOD ATTENDANCE AT SUNDAY SCHOOL"

 

The first song leads you to believe this is going to be a concept album about her life, starting from birth in the opening track. This is a very theatrical presentation, and while it holds similar sonic elements to the gothier side of nu-metal, what she is doing is surprisingly original. She shrieks and squeaks, along with uttering a convincing, harsher scream. Perhaps if Raptuina were a black metal band that gave up their cellos for guitars, the result might be similar. "Feed My Soul" features Korn drummer Ray Luzier, who bangs on the kit in a manner true to who he is. This song follows closer to the nu-metal playbook.

While I get where she is going lyrically, the phrashing at times in "Last Supper" feels a little forced when it comes to the vocals smoothly blending with the riffs. With a title like "Haunted' you would think the song would feel more haunting, but instead it follows a variation of the formula that unravelled in the previous song, and we continue to encounter awkward vocal phrashing like she is trying to cram too many lyrics into the verses. "Pandora's Box' is color-by-numbers nu-metal. "Seven Sins" flows better than the bulk of the album despite the temper tantrum going into the chorus. It does show the potential that is here, and how she is capable of getting the vocals dialed in. 

The chorus to "FEMINIST" is ok, but the riffs are straight out of the late 90s radio rock slush pile. It is, however, better than the last song, 'Blank Pages, ' which sounds like it's out of a Disney musical. Sure, it builds up likea power ballad at the end, but the power chords are not a huge improvement. She does prove she can actually sing, but writing a song is hit or miss here, though the concept and vision are better than msot so I will give this a 7. 

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Kacey Musgraves : " Middle of Nowhere"

 

She opens the album with a two-step back into country and further from pop. I've heard the singles leading up to this album, so I know it's not going to be a straight-up country album, nor would I want it to be. Though if you have not seen her covering "Coalminer's Daughter" at the Country Music Awards, you should if there are any doubts as to her being a legit country artist. Speaking of singles on "Dry Spell she uses pop smarts in the vocal arrangements while sticking clsoer to country; lyrically, some of her smartest innuendos flourish in this song. 

"Back on the Wagon" has a Conway Twitty-like introspective feel, as she makes apologies for an alcoholic in the lyrics.  "I Believe in Ghosts" is the first song that really feels it could have been on the last album, though it does carry a comfortable level of organic twang."Abilene" has more groove to it; it's pop only if you mean the pre-disco pop of the early 70s.  The production of this album is immaculate. "Coyote" finds Gregory Isakov of "Big Black Car' fame lending his voice. The song works but does not grab me as hard as the first five.

"Lonelist Girl" sort of crosses over in the minimal beat that keeps things moving. Billy Strings joins her for "Everybody Wants to be a Cowboy". It's more of a melancholic sound than what I expect from him, and the guitar solo he plays is rather subtle. "Horses and Divorces" finds Miranda Lambert dueting with her, wehre the other singers have been relegated back to harmony vocals. It's an old school country drinking song.   "Uncertain Tx' works not as original as "Rhinestoned," but I am sure she has always wanted Willie Nelson on an album nad at 83 his appearance is understated and low in the mix. 

I have already heard 'Mexico Honey" and seen the video where she is shaking it in the pink shorts she sings about here. This is everything you could want from her as she brings the smarts of pop hooks combining with legit country instrumentation. This song has dreamy ebb and flow to it. 'Hell On Me" closes the album. It's a more introspective ballad. She takes the melody in less obvious places. I will go ahead and round this up to a 10. At this rate, I might have to rate a seperate country end-of-year list, as I am curious how this album would stack up against the new Chelsea Wolfe. Regardless Kacey has created a smart sext country album that stands on it's own. 

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Charli XCX : "Music, Fashion, Film"

She is wise not to take her Brat Girl Summer head-on. She eluded it on the "Wuthering Heights" soundtrack. Now she knows it's time to step up and see where it goes. Of course there have to be guitars on a song called " Rock Music". It feels like she is pivoting from hyper-pop and has an eye on what Oliva Rodrigo is doing. She knows what she is doing, and the stakes could not be higher for her. The first two songs have not been a Brat-sized banger, but are solid songs, more of a bop, as the kids would say. Then things get weird.

Weird in the best way for "Card Declined," that comes across like some oddball indie rock from the late 90s. This album is really well produced, but it is not big and in your face like her last two. There is more of an indie rock strum to "Camera' that works off a jangle that is remixed. These are good songs; they are just not going to be what you expect or knew you wanted from her. It feels like a change she had to make to not recycle herself creatively. '2007" is another weird one that grows on me, with its danced-out jangle.

"I'm Afraid" and "Yeah" feel like companion pieces, working off the energy in a subtle way that underlines the genius of this album. "Wink Wink" feels like a more organic 90s inspired version of what you might expect from her. "Persona" has an overdriven bass line and woozy shoegaze-like guitars. It's got more pop hooks than the bulk of the record. "Magic Metal Montana" is experimental but works in the context presented well. It is fitting that David Croenberg's voice is used on the last song, as this sums up what kind of pop album this is. If it is a pop album, you could just as easily call this one an indie rock album. I hope Taylor Swift doesn't try to release an album this year, as it's hard to compete with this. 

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Mimi Banks : "Dreamstate of Fear"

This artist claims she created "doom trap". Which is weird to say nu-metal, but ok. Perhaps she is not making such claims today; while she is effective at what she is doing here, there is not a great difference between what she and Poppy do upon occasion.  The well-produced vocal hooks in the chorus of the opening track sit her on the more nu-metal side of the equation. I am not sure what is doom about this or would make someone try parallels, but that is why I do what I do to clarify these kinds of glaring errors. 

I guess if you were a pop singer who grew up on a steady diet of Slipknot, something like "Jericho" is the next logical place to go. "Power dutch Verrat" finds the German working almost better for her, as it creates a more original vibe. 'Butterfly In Chains' is almost too clsoe to mainstream radio rock for me. The sung vocals come across as happy in places. The rapped parts break up enough to work. 

The outros and the interlude on this album I am not counting for the sake of this review. Overall, this was way better than I expected. While it is not my thing, I think it does a great deal that kids who are into this sort of thing will love, and can recognize the effort that went into the songwriting and production; only one song leans in the filler direction o I will give it a 9 

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Patriarchy : "Appendices EP"

 I loved their last album, so when I opened my email today and found this surprise waiting, I could not wait ti jump into it. The first single, "Lilylicker" approaches what they did on the last album from a different angle, less industiral more electro-trash. It also makes less of an attempt to find its place in today's pop landscape and instead goes back to a place that reminds me more of Lords of Acid. Things get darker on "Bite Marks". The vibe is still sex forward, as this song is more of a rough sex anthem. There is some dynamic ebb and flow to it, and the produiction is both dirty and more refined at the same time.

"Serville" features Witch Club Satan who I assume is adding the guitars to the equation or the gang vocals. It's dynamic , but this more whispered approach that seems to be dominant in this song and carrying over into "Ode" makes me think of Madonna's "Justify My Love". In many ways, that is the vibe of the album, as it's on brand for them.  After listening to the album all the way through, I had to listen to the last three songs again to gather my thoughts.

The second time around, "Serville" clicked for me. The second time around, "Ode" hit me more with the lyrics. It is not as sexual a song, and it's more like Lords of Acid. Then there is a weird disco hook in it. "Hate Fuck" is the odd ball out after the second listen. It almost sounds more like something Yolandi Visser would do if she were making a ballad with Grimes. I will give this one a 9.5 and see how it grows on me, less industrial and more in the electronic slant for sure. Out August 7th.

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Inkubus Sukkubus : "Eternal Monsters"

 

This band is legit. They have been around since 1989. The challenge for them will not be whether they are goth enough, but whether they are keeping things fresh and relevant. Not sure how updated the drum machines are, but they have a great deal of layers to their sound, and this sounds like it could have come from the 90s. "Fall to Darkness" is a power ballad which seems a little early in the album, but oh well. "Give to Me the Fire of the Night"  seems to indicate this album is moving in a direction that feels like a rock version of the Cowboy Junkies. The plus side of this is that things sound more organic. 

Of course, even if by lyrical default things get more goth for "Vampires of the Sea". Things continue to move in a more rock direction, the lyrics being the darkest thing about the music. The title track is marginally darker; perhaps some of the problem lies in the production; it could use more ambiance. They try harder on "She Has Fallen"; the guitar sits further back, and the synths come up in the mix. They build things up with these synths, then go into something that could be 10000 Maniacs."Harvest Time" is a ballad; I don't think this album needs to gain momentum. 

"Dragged Away by Vampires of the Night" is obviously more goth, though they still retain some of the organic rock feel. It is hard not to assume "In the Field of the Living Dead" won't be as well. To this, they say Hold our beer, and pull out acoustic guitars. "Lovers & Monsters" rights this wrong.In fact, it might be the album's most goth song. The close things out with a synth outro piece.Not the corner of the 90s I was expecting this album to come from but fans who have stuck with this band should find it rewarding I will give it an 8.  

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