Avenged Sevenfold : "Life is But a Dream"

I know seven years have passed since their last album, but how these guys turned into System of a Down? Maybe nu-metal was just the next logical bandwagon to jump on. This results in an opening track that is without direction and peddles well produced musical confusion trying to cosplay as something Mike Patton might do. At first "Mattel" leads you to believe they might return to their old ways. The riff to this song is more inspired while the vocals wandering around. All of that runs through my mind in the first minute and a half of the song. Then the System of a Down Syndrome sets in. It's not until the third song that they begin to shed the fetish for show tunes long enough to right a rock song.  They pull out plenty of guitar noodling so if that is your thing , then you might be impressed. 

The vocal production is admirable. They do some interesting things with effects on the layers of backing vocals. They are back to a more chaotic place for "We Love You". There is a weird almost industrial chant at one place in the song, hard to tell what is the verse or chorus, this must be a verse due to the way it repeats. To their credit I do not think this is the album , anyone thought they were putting out so I appreciate the odd twist. I am suspect when things start sounding like Slipknot. Another problem is nothing is really hooky or even peaks my interest for a second listen. While "Cosmic" finds a more sustainable sense of melody nothing  grabbed me and held my attention with it. This is not the only misstep, as "Beautiful Morning" starts fine then takes a wrong turn where the chorus should be.

"Easier" finds some of their rock n roll swagger returning. "G" takes that and throws it back down a long proggy hallway. But there is enough attitude in vocals to ground it a little before the female vocals come in. This provides a clear example of it does not matter how many solos you can rip, if you can not hold a song together. The almost funk like guitars do not help to make the overall sound darker. If you are pretending to be a metal band, being reasonably dark if a fair expectation. There is a more of a pop feel to a song like "Ordinary". I think it is fair to say their guitarist really digs Prince. 

"Death" floats off into the pill coated dreams of Las Vegas. If you want to be weird like System of a Down, fine, but you should take notes on how they know to throw a hook in. They close the album with the title track. I expected this to be heavy , as there has been little of that , but no they are twinkling the keys of a piano. This is more of an instrumental outro than a song. I will round this down to a 7.5, as it does not play to the strengths of who they are as a band. Sure they are great musicians and pull off some impressive shit, that does not equate to also writing good songs. 

Hellish Form :" Deathless"

I often speak about why things like taste in music matter. It is because what you ingest in terms of the entertainment you consume says a great deal about you. Music perhaps more so because it is about the vibrational frequency you connect with. The same can be said of the people who create music, trash music normally equates to trash people, who are often more form than function.   This project has been dubbed its self-funeral drone sludge. They also claim this is a judgment of the purveyors of systematic transphobia. If it's more hype and pretense than actual pay off I am not going to be surprised with those credentials. The sentence for such a judgment must be a long nap, as that is how boring the opening track feels, as it creeps along trying to be funeral doom with none of the sub-genres redeeming qualities. At eight minutes into the first song and it has gone nowhere, nor done anything but waste eight minutes that I will never get back. 

"Transfigure" aches with more of the same in it's tedious pulse, that might be dark, but there is little to reflect this darkness against. The vocals are a lower growl for this one, but any message they are trying to make a statement with is lost in the dulled distortion. If the Bell Witch was boring as hell, they might make songs more like this. The hyper-slow guitar does not hold any more emotional weight. The attempts at the more soaring guitar melodies, never leave the ground. The vocals go into more of a scream and they hang in the background, making things less than interesting. Anyone who tries to tell you this is one of the best albums so far this year, knows so little, a punch in the mouth would be the greatest act of kindness you could make on their behalf. 

At sixteen minutes I question how I am going to make it through  "Texas is Sinking" two minutes in. There should be more of a build happening if they are going the gradual route. Given the fact the vocals are just an annoying rant, they are perhaps the worst harsh vocals since The Body. Then ten minutes in things go in a darker direction, but at the sluggish pace, they are not made any more interesting. "Pink Tears" closes the album. With seven and a half minutes there is more than enough time to build it into the direction of a song. Sonically the most impressive, it still does little more than drift off in its plodding drone. The waste of time makes me round this one down to a 3.5, making it perhaps the worst album I have listened to so far this year. 

Usnea : " Bathed in Light"

 I was a fan of this band's 2017 album. They are back at it with a greater mix of atmospheric moods and crushing doom that carries the dirty heft of sludge. Though a great deal of it has been smoothed out due to the attention to detail that was spent recording this. The vocals go from a low guttural growl to a more anguished scream. In the past six years since their last album they have been polishing every element of what they do.  The second song, has a darker atmosphere. Things get creepy and accented in a more chant like fashion with the vocals. The song writing is more dialed in as well, as it occupies a more deliberate space in the sonic spectrum.  The atonal yet melodic guitar is a nice touch. 

"To the Deathless' opens with retro synths, that are organic in a manner that I would not expect from these guys. The song it self is a pounding storm of down trodden unrest.     Not the best but still more sonically interesting than most doom that has come out this year. "From Soot and Pyre" is a more feral explosion of sound that throws the mood into a tribal chaos that drones with anger propelling the pulse. "Premeditatio Malorum" is more solemn in the slow burn it builds. When it does kick in, there is the massive feel of  the soaring heights things plunge from. There is still a simmering chaos. It builds into a droning chant, as guitar wanders around it. 

"Uncanny Valley" finds them screaming into a tempestuous void that storms around them before descending into a funeral like doom. The eerie guitar melodies emerge , but the song works off a more tormented mood. Overall the sonic textures and dynamics of this album work well and help to set it apart from the bulk of their peers as it equates to something with more moods than just aggressive anger. I will give this album a 9. 

Live Review : "Welcome to Rockville 2023"

 

I will start off by saying , the whole Maynard doing drag pretty much a non issue, and even after going to the press to say he was not doing it as a protest ,but just something he sometimes does,  yet certain publications want to run with it for the clicks.  This is sensationalizing something that was a non-factor, unless you were in the front row, I was standing by the soundboard and Maynard just looked like a shadow against the video screen for the first hour of the set , which is all I could stand . It was the most boring performance of the day. It reminded me of why I don't like the new album as they were half way into "Pneuma" when I realized they were not playing a reworked version of "Schism" .  So this is the bad news first, that once the wonderment of the Pink Floyd visuals wore off and the band blew their load with "Forty Six & 2" they would prove to be the most tedious disappointment of the day, and I am saying that after being logistically forced to watch some bands that I am not into. 

Now with that out of the way, let's  look at the high lights. The first band we caught was Holy Wars. Having only heard a few of their songs, I thought I would take the chance and brave the heat for them. This is a much larger stage than the Los Angeles pop act normally command, but front woman Kat Leon proved to be a highly entertaining performer. She shifted through rapping, singing and screaming with ease, there was more menace to be found than the more sterilized pop nature to their studio work thus far. They are band that is better live, as it forces them to embrace a more organic element, and brings the guitars to the forefront. Leon's live persona has a dominant sexual energy that gives the songs a heavier feel. 

After "Holy Wars" we has some time to kill so caught Capital Theater, as the next band we wanted to see was Deafheaven, but that was three hours away.  Capital Theater are middle of the rock, that draws from both early 2000s emo and Jeff Buckley in equal measure, while having prog rock ambitions that are never fully realized. Then we wandered over to another stage for Filter. The years have not been kind to Richard Patrick. It was like someone's dad came in from a game of golf to fill in on Filter cover tunes. Patrick is the sole member of this band with a trio of hired guns backing him. What he had going for him were strong songs left over from back in the day, that held up no matter which way they beat them. 

Then we caught Attila. There is metal core, then there is whatever you want to call the Juggalo flavored rock this Atlanta band plays. It sounds like the more trailer infested suburbs further out of the city limits, rather than the kind of bands the city normally spawns. People were having fun, though it was interesting to see this subset of the attendees who not only also attend the Gathering but looked to have a taste for harder drugs than weed. It was weird for Deafheaven to follow this sort of thing. Having seen Deafheaven  four times previous, this was not their normally performance as they were out of their element, and not playing to their base. George Clarke, was forced to be more engaging and extroverted. Either way they came out and kicked ass hard with an intense set , that showed the crowd that metal was more than their Sirrus XM  mainstream fodder. They did this with a great balance of their blasting beaten blitz and the dreamy post-rock at the other end of their polarity. 

At some point we caught a little of Senses Fail, which sounding like motivational emo for fraternity brothers. Then Incubus who we were forced to listen to while waiting for Deftones. Incubus are professional and pulls their shit off, but they have a long history now of writing bland radio muzak. Boyd looked like he is slowly becoming Steven Tyler, and their new bassist looked like she was from Haim at first. Then Deftones took the stage, the last time I saw them live was likely 20 years ago. Things have changed. They do have a bigger production, with movies playing in the background, but with their 'bi" lighting comes a mellower vibe where they are more about simmering in mood with just enough rock to remind you who they are. Their studio material has been moving in this direction for sometime. 

I have searched for this online and with all the press backing tracks are getting, perhaps it is being surprised, but I know for a fact, there was a dude with long hair who was coming out to a microphone stand that was behind the bass player and handling a good deal of the harsher screams. Chino did a few if it was a single scream he sustained , but none of the more rapid punchy screamed sections which were handled as a call and response by this long haired stranger. I am of the mind a single singer should do both , but the overall performance was enjoyable, there was some energy to hit so not a case of them totally showing up and punching the time clock to get paid, but more in that direction than when I saw them earlier in their career. 

When Tool... I have already talked about their performance, which if you take into consideration the higher energy artists that played for them, aside from the stage spectacle provided by the lights and video projections, the ponderous songs seemed heavier on the pretense, no matter what era they came from. Granted I was inspired to leave before the final two songs, but it is unlikely they would have changed my mind as Maynard's voice was not getting any better as the night went one. It was so drenched in effects it was hard to find the tone of his actual voice. Danny Carey was on point, as was the rest of the band, no one is going to deny they are a caliber of musician that is head above the rest. That does not mean they are also going to be a fully engaged entertainer, as they could have been balancing their checks books in the heads as they played.

Overall it was a fun day. To get me back out into a crowd of 170000 people again they are going to need to bring the heat with a performer I really care about like that the only ones that come to my mind who could get me back out would be Iron Maiden, King Diamond, Metallica or Ozzy, any body else I am into at that level, would not likely be booked though Killing Joke is a maybe, but not likely. It was not as hot as I feared though standing up all day was rough, the prices of sodas not outrageous for concert pricing, and the overall layout and guest experience was well done, so maybe see ya there again? 

Troller : "Drain"

Troller's Relapse debut opens with these the Texas trio droning through a thick atmosphere. The undercurrent of the beat speeds up as the song progresses into a woozy build. "Lust in Us" finds things opening up into a more traditional song structure, where her vocals have more room to breathe and the lyrics are distinguishable. They take a turn towards dark wave with the more shadow-drenched pulse of "Into Dust". You hear more of her lower range on this song. There are also more organic synth-creating layers over her. This dusk-tinged haze is not only pleasing to the ears but creates a tapestry for her to weave her voice around. 

You can make out the guitar on "Out Back" which coasts along the spacious astral planes that are not far removed from the Cure or the Cocteau Twins more sonic moments. The vocals are layered to create a more angelic purpose. "Lictor" feels more like something from the early 90s 4AD catalog. It's darker than the previous song, but not as dark as "Into Dust" so only flirts with dark waves, while staying closer to the aural zip code of say Curve. Sometimes people get their panties ruffled when I am quick to draw comparisons to a band's influence, but I only call it as I hear, and in this case, it is a high compliment if I am naming some of my favorite bands. It's very familiar in some respects while they do their own thing. It also begs to be known that Adam Jones of the band SURVIVE is working the synths of this album, so these kids did not just pop out of nowhere. 

The bass tone gains heft going into "Drain". It serves as the anchor while everything else floats around it. Her vocals begin to take more form midway into the song. They work of a sound more than a song here, though it could be that I am now used to their sound so waiting to hear where they take and when they drone in one direction and just build off that less surprise is held. "Rat Nest" is almost more of an interlude, until the guitars help it go somewhere. It almost floats away with itself, but as it builds gains direction. It makes sense their first gig to support this album is at a David Lynch Film Festival. Two things I want from music that are in play on the closing song is I want my dark music to be heavy, and I want my heavy music to be dark. There is a Led Zeppelin-like groove that flows around this song. The vocals are used like an instrument but see sing out from the spectral place the vocals have occupied for the bulk of the album. I will give this album a 9.5, they have a sound they are very focused on but make things interesting enough to tell a story with the mood. 

Superbloom : "Life's a Blur"

This band brings back the 90s with their explosive blend of post- hard core and strummed indie show gazing. There are plenty of bands these guys draw from Hum, Failure, the Catherine Wheel and Smashing Pumpkins being the most notable. Their modern-day peers would most likely be Sliversun Pickups. This part is most notable on the song" Falling Up". The vocals occupy a same androgynously sugary space, as the guitars carry the bulk of the heft. This album is also littered with a great of interlude pieces. This album is well produced as they perfectly emulate the sound they are paying tribute to. 

There is a more introspective tone to "Life's a Blur" that allows the vocals to hide behind the electronic sounds bathing the song. 'Daisy" has more guts to the way the song is pushed forward by the more Helmet like punches. It proves to be effective for what these guys are going for, I guess I am less than blown away as there is a great deal of sounds being recycled from the past. 

The album closes with "Tiny Bodygaurd". It is more of a breezy strum, blowing through the brand of dream pop set into motion here. Of the songs presented here it might be the most original in terms of creating a new sound, but it is also the least rocking of the bunch. I that has  will round this down to an 8.5, due to the fact this rides a revival of a shoe-gazing post hard core sound already been reheated once, however there is enough of a fresh spice added to keep it interesting and they are very good at what they are doing, thus setting into motion of them to create the album they intended to make , which is why this scores so high.  

Looking Back in Anger at Ratt's "Detonator"

 I had long given up on the band by the time their 1990 album dropped. Production wise it became a mess as they brought Desmond Child. who worked well for Kiss , but the things that define Ratt, get lost in the big arena hooks which sound like something Paul Stanley should be singing instead. This is also the last Ratt album with the original line up. They come closer to capturing who they once were on "Scratch That Itch" but there are too many guitars going into directions that takes the emphasis off of Pearcy's performance. There is slide guitar and things that sound more like Van Halen going on which is not who these guys are. 

"One Step Away' reaffirms how lost they are in the studio as it sounds like this should be a Bon Jovi song. "Hard Time" sounds like it could have been on "Dancing Undercover" , making it the best song so far. They are not so fortunate with the cowbell homage to Bon Jovi that is "Heads I Win" . DeMartini's guitar solos are often this album's saving grace. "All or Nothing" goes too full tilt on soulful back up singers, which is not who Ratt are. "Can't Wait on Love" proves they have not totally forgotten who they are , and sounds like the band with the least amount of interference from the label. 

"Givin Yourself Away" finds Pearcy singing below his normal higher pitched sneer. It is more a power ballad, that might not be as sappy as "Home Sweet Home" but not packing the same punch they once did. The vocals are pretty awkward on the verses though. It reminds me a little of Cheap Trick. They end the album with more of a rocker. I will give this one an 8, it's not as bad as I feared, in fact it's pretty decent but not really the Ratt we want. 

Immortal : "War Against All"

 Demonaz, who once quit the band to return in 2015, is not the sole member of the band he quit. He enlisted the drummer from Ghaal's Wyrd and Ice Dale from Enslaved to help out on bass. At least he is keeping it Norwegian. The opening track blasts ahead at the kind of speed that gave him tendonitis in the first place, so he is setting himself up to quit the band he is the sole member of. What is missing is the epic thrash like riffing that made Immortal once great. He slows down a little on the second song to hint at this, but it is not as inspired. "Wargod" is the first song that clicks with me in a way that makes me take notice and invest myself in it's more deliberate riffing. 

The vocals lack the personality of Abbath. That is Abbath who has a distinct black metal croak. He is not King Diamond, he just croaks with an interesting drone to narrate lyrics that Demonaz wrote. The gallop to "No Sun" shows that he is capable of writing some solid songs when he sets his dark heart to it. His vocals however are a raspy bleat, that is not as stark as Abbath's delivery and sound like he might lose his voice at any moment. He has the classic gallop down, which works for me, despite not really doing anything that his band's namesakes have not already done better. The punches in "Return to Cold" work well.

"Nordlandihr" just coasts it's chug down similar snowy peaks that have already been scaled not only in the past but on this album as well. The eponymous song is less like a personal anthem and gallops paths more ventured upon than not. Not the last song he declares that his throat is being lashed by the dark and the cold. I guess this explains the weak vocals, he should have packed a scarf for the occasion. I will give this album an 8.5, it does remember what works for the band and makes them great, but takes little risk outside of that formula which is not what black metal is about. 

Looking Back in Anger at Ratt's "Reach for the Sky"

I was turned off by "Way Cool Jr" as it moved away from metal into a more rock n roll sound with things like horns and blues guitar on it. By 1988 Ratt, did not need to turn back from the direction they were heading on the previous album. My interests shifted toward Slayer and King Diamond by 1988. Ratt moved in the opposite direction. Something just did not sit well with me on this one. My instincts were right, as the band began recording this with Mike Stone, and the record label had to send in old faithful Beau Hill to fix things, making me wonder where are the original Mike Stone tapes. Listening back "Way Cool Jr" is better than I remembered but the rest of the album sounds like they were trying to re-heat leftovers. There is a little more edge on "Bite the Hand that Feeds" , but it's a happier rock album. 

They steered away from the power ballad formula until " I Want to Love You Tonight" which is still not as cheesy as some of the power ballads from this era. But the clean guitar tones are much different on this album. "Chain Reaction' is the first song that sounds like it came from the band who made "Dancing Undercover" as it is more high energy , but not as inspired. "No Surprise' is a hidden gem on this album, as it is one of the more inspired moments that recalls their classic sound, though marginally more streamlined. 

"Bottom Line" feels more like filler, the chorus is kinda weak. They are trying harder to remember who they are on "What's it Gonna Be" . There is more cock in their rock on "What I'm After" which has a more middle of the road feel to it despite this fact.  I will give this album an 8, it is better than I remember and not the drastic departure it seemed to be on it's release, but is not at the peak of their powers. 

Looking Back in Anger at Ratt's "Dancing Undercover"

 

Another one of the classic Beau Hill produced albums. They took what worked on the first two and pumped it up with more energy.  The only difference is the guitars and vocals are way up front with the drums sitting behind them. The overall feel of the songs is more up tempo so this works for what they are doing as things drop down to mid tempo on "Slip of the Lip" the drums come forward. There are some interesting grooves that intersect various sections of songs. Pearcy's voice has more grit and slithers around the riffs in a manner that separated him from what his peers were doing in  86. 

This album finds the band reigning at the  pinnacle of hair metal's first wave. It still had life in the genre, up until Skid Row's debut which would be the last great album of it's kind. "Body Talk" is a punchy anthem with more forward momentum than most music like this. "Looking For Love" kind of veers toward the mainstream appeal this music fully possessed at the time. "7th Avenue" also coasts into this middle of the road feel, but with more groove which is the albums primary saving grace when not finding their foot pressed to the gas. The guitars get more interesting on "It Doesn't Matter" . The attention to detail in the vocal phrasing being the other key point of the song. They shift formula with the arrangement on this one as well with a post-chorus refrain. 

"Take a Chance' finds the charm of the band's attitude winning you over on "Take a Chance" .  The more Rolling Stones like strum of guitar makes the last song stand out, and gives Pearcy's vocals room to breathe. Chorus is catchy and it's pretty much what you want from a Ratt song, without recycling the key elements in a a predictable way.   I will round this one up to a 10, it's their best record. 

Looking Back in Anger at Ratt's "Invasion of Your Privacy"

 "Out of the Cellar" might have put them on the map, but this sounds to my ears as the superior album, despite having a more stream lined arena rock sound and working off a distinct formula. The first two songs are bonafide slappers, and then the iconic "Lay it Down" which is a way better song than "Round and Round" if we are weighing singles. What this makes this a better album is even the filler like "Give It All" is better than some of the main courses on "Out of the Cellar" not mention the filler here has more substance than the filler on the previous album. With more grit in the production of the guitars , and a warmer more organic sound than what was popular when this album was made would find the album sitting even prettier than it does. 

"Closer to My Heart" had guitars ringing out in a more distinct 80s manner. The pre-chorus provides a great sense of steamy tension and Pearcy's melody works well,. He was never the best metal singer , but works well with the range he does has. The pam muted chug of "Between the Eyes" is not reinventing the rock wheel, but it works well for the song. "What You Give is What You Get" is the first song that loses the momentum. When this album came out I played the hell out of it, but this is the first song that does not hold up under my full grown critical adult ears.  "Got Me on the Line' finds their metal refined to a pop level. It's the definitive sound for the 80s rock. 

When this album came out "You Should Know By Now' got stuck in my head all the time. It has a more rock n roll feel to it. This paved the way for Cinderella and Guns N Roses more than what Motley Crue did. This one get's a 9.5, as it is not a perfect album if we are measuring it up against the all time greats but it's one of this band's best 

Looking Back in Anger at Ratt's "Out of the Cellar

 The album that put the band on the map. The iconic cover features Tawny Kitaen. The formula that works best for this band is the simmering tension that made them darker than thebe Bon Jovis of the time, while been being summed up with anthemic hooks on the chorus. Warren DeMartini was the Eddie Van Halen in waiting of this scene but over looked due to the spandex clad bravado that caused music critics at the time to not take this sort of thing seriously. I feel you can't throw the baby out with the bathwater when it comes to the mainstream bi haired bands, as Ratt displays on this album they are very capable songwriters.  While more metallic than most of their peers. Motley Crue released "Shout at the Devil" which is still a darker , heavier album than this, but Ratt would go onto to fill a void, when the Cure sold out with " Theater of Pain". 

For a MTV friendly single "Round and Round" packed a punch on top of being catchy as hell. With songs like "In Your Direction" it was obvious these guys had more in common with the Scorpions than most hair metal bands who were more heavily influenced by Cheap Trick or Aerosmith. There is also a slight "Looks that Kill" feel to the riff of "In Your Direction' which I wonder if it was a nudge from the studio. "She Wants Money" pretty much sums up their environment this time period.  The equivalent of today's pop punk,  but with a little more testosterone. Though most of the balls can be found in the guitar solo. "Lack of Communication" is a really strong song with lots of drive. It's one of Pearcy's better vocal performances. Listening back to him, what he lacks in pipes and power, he makes up for with nuanced phrasing. "Back For More" is another one of the album's best tracks, that blends hard rock heft with catchy melody. Perhaps the best chorus of the album, as it's to the point. 

The key to reviewing these kinds of albums is wiping the nostalgia from your hears and honestly weighing how relevant they are today. While I like the more aggressive gallop of guitars on "the Morning After" , "I'm Insane" holds up better. "Scene of the Crime" is a victim of the musical climate it was written in. With that said I think it's fair to round this one down to a 9, solidifies them a legit band for this era, not a classic like "Shout at the Devil" . 

Ghost : "Phantomime"

 

At first, I was not going to even bother with this one. Their version of "Jesus He Knows Me" was so terrible, I did not even think I would be able to get through an ep of this. Then I considered the problem which is Ghost is given impunity by most metal media, so if anyone is going to stand up and call it as they hear it, it would have to be me. With that said this EP of covers opens better than I expected with a cover of Television's "See No Evil" which works because much like Ghost, the band Television was not metal either. Instead, they played a quirky version of post-punk, that Ghost took the quirk out of but did a pretty accurate pop-rock depiction you might expect from it. So it does not suck. 

This positive beginning to the album is met with the terribly happy take on "Jesus He Knows Me". If you do not pick up an instrument and are automatically making music that is darker than Phil Collins era Genesis, then you certainly do not need to be dressing up for Halloween. If you do not know who the Stranglers are, then know they are like if you took the Doors and asked them to cover the Clash, they are what you get. With that said Ghost takes on the Strangler's "Hanging Around", This makes more sense than you might imagine as they obviously influenced how Ghost records their vocal harmonies. I like Poppa Smurf's vocals better than the original vocals. It works for what Ghost does. 

Paul Dianno has already made his thoughts known regarding his feelings about this cover. Coming from him I can understand his perspective, and do not disagree with his perspective. As the original singer of this song, he understands that the kind of ball-less bleating that follows in no way captures the spirit of what he was trying to convey, no matter how many layers of vocals they try to use. The guitarists are the only ones that are convincing, the bass is too low in the mix for Maiden. They do not have the vocal power to attempt Maiden so not sure why they even bothered. Even Tina Turner's husky alto proves to have more balls than Papa Smurf can manage. I will give this album a 5, and that is better than I anticipated. 

Terrifier : "Trample The Weak, Devour The Dead"

I rarely check out the new wave of thrash bands. I was really into thrash when it first kicked off in the 80s, so I saw Exodus, Metal Church, Coroner, Testament , Nuclear Assault, Megadeth, Slayer, Metallica, Anthrax, Flotsam & Jetsam, Wrathchild America and more back in the day. This Canadian band does a pretty decent job of recapturing those glory days, but with modern production value rather than trying to recreate the Combat Records sound. When you go back and listen to those albums half of them sound dated. "Bonded By Blood" still stands, up and it is fitting that I mention that one as Exodus is probably this band's biggest influence. They have break neck tight palm muted riffing , and are not afraid to throw down in the pit. The vocals have more purpose than most of today's metal. 

They might be more consumed with the need for speed than Exodus. The first song it worked pretty well, the second one is more of a blur of razor riffing. I like that the singer tries to do the higher pitched screams. There is more of a hard core cross over thing going on with their rabid galloping. "Grinding the Blade" is the first song since the opener where the guitars engage you melodically. The guitarists steal the show with no apologies here. "Death and Decay" captures more of the feeling that I want from thrash as a narrative about a psychopath unfolds. They are big on their solos, and if that is your thing it will impress you. 

Death metal vocals come in on "Dawn of the Slaughter" .  Lyrically it reduces them down to the common place metal tropes. "Awaiting Desecration" does not do anything to reinvent the wheel. It thrashes along at a more deliberate pace. Not the most original thing, but they do a good job at what they set out to do, I will give this an 8.5. 

Incendiary : "Change the Way You Think About Pain'

 I wish I had time to review more hard-core. I seek some out, but when labels send it to me, it is often under produced and all sounds the same so often there is not a point of reference for me to start my search unless I am clicking around Bandcamp. I do keep my ears open, which put these guys in my lap asTodd Jones from Nails gave these guys props during his episode of "What's in My Bag".  They play an almost rapped style of New York Hardcore. The opening track punches you in the guts but they do not feel as fresh with the punch they pack on "Jesus Bones". A great deal of this lies in the fact the vocalist is a one trick pony. "Echo of Nothing" finds a dissonance ringing out in some of the stompy chords. The chant of "Every Window/ deserves a brick " is a little more memorable than the delivery of the second song. 

"Host/ Parasite" finds a more sonic rock n roll feel to some of the chords , though the bulk of the song is a double driven Slayer like assault on your ears. "Lie of Liberty" calls out cosplay soldiers. It has the obligatory break down like riffs punching at you, but I am listening for when they kick you with things you are not hearing from every other tough guy from NYC . The songs began to blur together by the time I got to "CTE", so I had to go back and give another listen. There is a Victory Records vibe in places when they get more metallic. The rapping is getting old for sure the more I delve into this . The drummer is pretty good, but four albums in he should be.

'Rats in the Cellar" is the last song that holds my attention it has a hooky enough groove to the riffs to carry the weight needed to compensate for the vocals. Other than that it fades into a bland pastiche honoring the regional sub-genre. I think even if you are into this sort of thing a 7 will be fair enough when it comes to how they keep the 90s alive here. 

Black Rainbows : " Superskull"

 This Italian band pays their respects to Black Sabbath while riding the boogie train Clutch set into motion. The singer makes piercing declarations from a similar place as Ozzy, but with more grunge influence, making it third generation Ozzy worship. The fuzzy riffs are focused on grooving, rather than undercurrent of aggression that empowered Sabbath's darker guitar sound. They cruise their Camaros down a highway that  parallels what Atomic Bitchwax already does.. "Superhero Dopeproof" is a great song title and interesting lyrical concept. Drugs seems to be a major theme of this album, unlike most stoner rock band they are musing harder narcotics than jazz  cabbage. 

I appreciate when the recoil in on the verse riff of "Children of  Fire and Sacrifices" and palm mute more serpentine energy into it. There is more of a creeping shuffle.  "Cosmic Ride of the Crystal Skull" is the first first song where things seem to be moving in a more metallic direction. The vocals glide over the guitar without engaging the riffs directly .  There is an almost jammy feel to their music.  They bring things down to more of a simmer with "the Pilgrim Son". It builds up into a more deliberate doom stomp. The guitarist is really good at creating sonic textures for these kinds of jams. "Til the Outerspace" picks up the pace and cruises along, but does not make a hug impact on me. 

Midway into the meat of the album, I am face with the fact that while there are some songs that they make the most of their strengths as a band, a great deal of their bong boogie , is rather uniform and falls close to  what we have heard plenty of times from other bands who do it  with more unique spins. The hints of grunge is something they would do best to expand upon. The more mellowed shadows of "King Snake" is basically a bong water drenched ballad. Full of syncopated punches" Desert Sun" still rumbles close to the pack when it comes to falling within the bounds of stoner rock. When they back into the strum of "All the Chaos is Mine' the results are more effective , though it is not an attempt at rocking out, however a more interesting song in terms of melody. There is tension and dynamics that allow the vocals more room to weave themselves. 

You are not going to tell me these guys did not know Black Sabbath has a song called "Meglomania". This is not a cover , instead it's one of my pet peeves, when titles of songs are replicated, it shows a lack of creativity lyrically. Sonically it stomps on a road already well travelled as well. They pick up the pace to close out the album with a brisk Hawkwind like number. I will round this one down to an 8.5, they show promise but play it too safe and could be darker for my tastes, but are good at what they are doing. 

Rest in Peace - Andy Rourke

 

Been burning the candle at both ends this week, and then went to Rockville so this forced me to reflect on the passing of the incredible Mr. Rourke, before committing those thoughts to the keyboard.  Any top ten list of bass players that does not include Andy Rourke is shite. Well the Smiths are our favorite band so you are biased you argue. this is also shite and tells me you have never paid attention to one of this bass lines. The Smith's got heavy, not metal but at times were heavy the title track from their "Meat Is Murder" album is one example . Andy was the reason for this. 

With Morrissey and Johnny Marr is a band with you, the music press might overlook you when fully digesting the sonic depth of your band's work. Andy was capable of show boating but always served the song while holding the spine together even when it went into an angular bop"The Queen is Dead" shows his interplay with the drums , and it is flawless. His tone beefy for the music they played and the rubbery grooves he rode stand the test of time. Any bass players who are into post-punk, punk, or any subgenre of rock need to be fluent in this man's work. 

One of the first thoughts I had in regards to his passing is now I do not have to pay a life saving to go to England and see any Smiths reunion was might have been looming in the next five years. Because if it was ever going to happen that would be the time frame for it to. If they still did one which is now even further stacking the odds against, it would not be the Smiths. Idiots like to say the only thing they like about the Smiths is Johnny Marr, in trying to virtue signal to Morrissey fans, but the band could not have happened each member in place Andy being just as key as Moz or Marr. With Rourke dead the final nail is in the coffin for the Smiths future, but in doing so the past  is made pristine, his music is immortalized unblemished. 

Vulture Industries : "Ghosts from the past"

 

This Norwegian band was once more of a metal act, after they had already been a goth band, and now they have reached a middle road with their post-covid comeback. The second song finds them building into a more driven hard rock, but album opens with the more metallic intensity dialed back a bit.  It does lend the space to establish melodies. There is a slight hint of the Northern European folk history of their homeland creeping into "This Hell is Mine". If I had to rank them regarding who they fall closest to in terms of heaviness and darkness, the 69 Eyes would be a fair zip code to place them near, but they are not enamored by 80s Sunset Strip glamour, and are content in the world of their own creation that is reflected in the lyrical mythology. 

Vocally "This Hell is Mine" is one of the more dynamically executed songs, with melodies that stick with you. The folk thing is pushed into a more theatrical place on "Deeper" as the story telling takes a bardic level to paint a picture of another time for you. They do gain some intensity here when the dynamic shifts as the song The bounce to "Right Here in the Dark" reminds me of Concrete Blonde. Vocally the croon comes closer to the Cult. Repetition plays to their flavor here , as the guitar circles it in layers.  "Not By Blood But By Words" works of a drone that is decorated by a great deal of melodrama. 

The album closes with a folky strummed power ballad, that is smoothly crooned, but still instilled with the the sense of theater. It does have a dynamic ebb and flow but none of the melodies really grab me. The guitars break down so the story telling comes to the forefront, but it feels like the songs in a musical that are to move the story forward rather than a centerpiece tune. I will give this album an 8.5, I like what they are doing , this kind of steampunk rock is not really my thing , but comes close enough to goth for me to enjoy it, though fans of the band should eagerly embrace what is unfolding here. 

GAVIAL : "VOR"

 This is not what I expect out of Germany. Soulful folk with a boogie back bone. The reverbed out guitar of ''Moden Times" feels like a clearer indication of who this band is than the more introspective musings the album opened with. I would not say it's heavy when they find their groove, but it does not lounge in the sun cracking beets open either. This might be where their European footing factors in. It is darker than what you think of when blues based rock music comes to mind. Wovenhand is a fair comparison. Less apocalyptic in scope. These guys are not digging into their Bibles anytime soon. There is a tension with the sonic bombast. They make the eight and a half minutes interesting. 

'Collector" finds the band , jamming things out more, while holding down a denser groove that is infected with booming ambiance. Impressive sounds, but not as catchy as the previous song when it comes down to song writing. The vocals shift into a more soulful baritone that wanders the simmering sonic expanse they bring to life under them. Cleary he can sing. At time Jim Morrison in feel, the vocals are acrobatic. Not the range of Jeff Buckley but similar approach. The second part of "Circles" also wanders out into jammy territory, with a passing awareness rather than just making music the point of writing album is to make songs. 

At three and a half minutes we get to hear how well they do when things are stripped down to a no frills song. The vocals glide around rather than conforming into a chorus. The ambiance to "Passing' is like a jam the Greatful Dead would get lost in after the acid kicked in. Cool sounds that never get anywhere, and they take too long to not get there. The last song "Flamethrower" I had to give another listen to fully digest. After that came another listen to see if I heard right when the song just drifted off. Yeah that is what happens , but it works in the bigger picture when you consider what this band does. I will give this album a 9, I like what these guys are doing. 

Looking Back in Anger at Voivod's "War and Pain"

 This album is almost 40 years old. How has it stood the test of time? Lets dig into it and find out. Funny enough the eponymous opening track, is the song the band always seems to close out it's sets with these days. The anthemic gang vocal feel of the chorus sets a more memorable tone than some of the chaotic thrashing that follows. "Warriors of Ice' can not deny the band's leaning into a crustier punk sound at the time. The dissonance does not ring out the same way as the albums that followed, but you can hear the staples of their sound begin to refine here. While the overall sound is very cross over punk, you can hear how Rob Halford influenced Snake in terms of phrasing. I always forget how rough around the edges this album was. A stark contrast from the prog rock they would merge into. 

"Iron Gang" finds the band continuing to bang things out in a similar direction. They are running of thrash tinged momentum. As a teenager I was able to hear how punk this album was , as the lines were already blurred with bands like DRI , Cro-mags, and Suicidal Tendencies when it came to what was punk and what was metal, the title track merely hints at the atmosphere the band would later bring. I guess listening back to this album I heard the diamond in the rough being harvested from this otherwise raw explosion of sound. "Blower" perhaps holding more common ground with bands at the time like Slayer, with Snake lending yelping screams to the occasion. I can hear why punks tend to flock to thrash as the two have more in common than not. 

I prefer the darker mood to "Live For Violence" the rumble of the bass here is more apocalyptic than not. There is something grim to Snakes delivery on this song as well. Given the recklessness of their youth here, you can still hear a desire to write songs. Away's drumming had already begun to move him to the head of the pack right from the start of his career. This can be heard on "Black City" .  You can also detect how this album might influence black metal bands of the future. Snake's voice almost has a croak to it. "Nuclear War' is a powerful closer. Darker than most punk at the time. The sonic range of the guitars gave a glimpse into how they would continue to set themselves apart. I will give this album a 9. Not their best, but a rough look at what was to come. 

the Amity Affliction : "Not Without My Ghosts"

Seems like there is a bunch of these metal core band releasing albums. Their 8th album finds the band following the same path they have been on since High School. Australian metal core sounds no different from the American version. The first song seems to be about guns. It works for what it is.  I really have not listened to these guys outside of their contributions to the Punk Goes Pop series of albums. They are pretty par for the course, on the opening track they prove they can write a song, so I am concerned the second song feels like it's dialed in already. The synths are really dominate in the mix. This might create a more cinematic sound but not a heavier one. 

The next thing I know I am on "Death and the Setting Sun" . When Andrew from Comeback Kid, shows up for it, the hooks sounds like Blink 182. Rapper Louie Knuxx shows up for the syncopated chug fest that is "I See Dead People". The results are underwhelming. The weird electro tinged breakdown works pretty well though. Landon Tewers from the Plot in You, shows up for " When It Rains in Pours" but the results are not that much different from any one who has already put in an appearance. Everything is pretty middle of the road going into "the Big Sleep" . While it is more solidly written with a better balance of the melodic elements introduced into the song to create a somewhat darker mood, it is also not reinventing the wheel for these guys either. 

"Close to Me' is not a cover of the Cure, nor do I want to think about what that would sound like. It charges full speed ahead, with the moment of melody in the passenger seat . Melodic is not always the color that makes the best picture for these guys as they have melodies in "God Voice" and ends up making them the Def Leppard of metal core. There a decent chug here and there, but the rule with us is cool riffs alone does not a good song make. The title track closes the album out. It is moodier for sure. Singer Phem who guests on the track, is pretty much everything you should have about social media and the rise of the influencer it has created, which speaks volumes about the band to choose her for this. She sounds like a little girl, and shows no vocal power. I will give this album an 8, it's well constructed and produced by a professional band, but I am not always buying the manufactured catharsis they are trying to sell here. 

Chained to the Bottom of the Ocean : 'Obsession Destruction"

 It's been a minute since I have listened to this Boston band. Their 2020 album "The Vestige" was the last time I listened to them, I do not remember the vocals having this scathing of a scream, and felt they were more on the doom side of sludge. While there is a plodding element, it flows at times more like a indie rock or shoegaze in the manner it shimmers toward the bleak abyss of sound they draw from. "Hole in My Head" ambles on with almost a stomping groove. The vocals serve more purpose on this song, rather than just a tortured human element to the sound that is obligatory. The guitars are a dense crunch, they are more dialed in a organic with each passing album. 

The lock into a more traditional metal riff with "The Gates Have Closed and they Will Never Open" . This does not stop them from going off onto an exploration of atmosphere, which creates a nice dynamic shift. These guys under stand the value of being heavy, but they also understand the dynamics of writing songs and the contrasts required to execute this. "the Chalice' goes in a more black metal direction, though with the weighted attitude of sludge shoveling the distortion out. The vocal approach was already half way there , they really just need to the guitar to dig in , in order to get hateful enough to veer into that shade of evil. The twelve minutes of "Ten Thousand Years of Unending Failure" could have benefited from the first two minute of the song to have been cut back. I am fine with building tension , but they bathe in excess. When the song kicks in their is enough groove to almost balance the budget. 

There is an odd angular touch to "Every Day a Weeping Curse".  It causes the song to sway against the unbridled screaming that is the abrasive coat of throat noise, to a similar effect of what the Body does, but less unnerving. The last song is another mammoth 12-minute sprawl, but they waste little time getting to the face-ripping riffs part of the equation that is their strength. It lumbers with a uniform chug that they milk for as long as it bleeds. After minutes they ride the tension with the drums pounding out a more droning pattern. They go from this into a third movement which is another chug they ride out with more metallic intent. I will give this album a 9 . It is very solid and finds the band taking chances outside their mission statement of just being heavy as all hell which they also achieve. 

Royal Thunder : "Rebuilding the Mountain"

 I have been looking forward to this one. It's been seven years since their last album and the band went through some personal shit before returning reconfigured with drummer Adam Diprima back in the fold. The album opens with a more introspective feeling, before roaring back with the first single from this album, "The Knife". Things get darker and heavier on " Now Here Nowhere" . The heaviest element of the album might be the lyrics. Their lyrics have always felt personal, but this time around there is more emotional catharsis to them which empowers Parsonz vocal performance. This time around it's a case of when you point the finger, three are pointing back at themselves. 

"Twice" finds her doing some interesting things with her voice to dip down for a note and come back up in her head register. There is an almost country feel to how some of the chords are picked out. "Pull" finds the more soulful aspects of who they are coming to the forefront. The stripped-down approach to songwriting means the band gets to the point. The more economic arrangements reflect this as every minute counts. "Live to Live" allows Miny's voice the space to wander, before they build the song up to soar off rather than explode. They do stomp on the volume and rock out more with "My Ten" which is driven by Parsonz's bass line. 

"Fade" grew on me by the second listen. It's a smoky rock tune that breezes by, but it reminded me of the conversation I have seen online regarding who should replace Chris Cornell in the event of a Soundgarden reunion, and her performance on this song is a good argument for Parsonz to fill the role. She belts out even harder on "the King". Once again the reverb-tinged phrasing of the guitar brings hints of country to mind.  "Dead Star' closes the album. More riff-oriented than the bulk of the album that slithers around you like a fever dream, it is a reminder that they are at least influenced by metal bands, an influence that fades further in the horizon. I will give this album a 10 for now to give it more time to grow on. They can not be accused of doing more of the same and the lengthy break brought a fresh coat of sonic musing to the table. 

Rival Cults : " Indoctrination"

It has been a minute since I reviewed any revivalist post-punk, I like that it is more dramatic and crosses over into death rock. The largely capture the sound they are going for , doing so with a great deal of zeal and energy. The question is raised, who are they and what do they have to say. If you are going to compare this California band to Grave Pleasures, they are not as clear cut as the Finnish bands in their mission statement. It is not as apparent until the second song. The vocals are emotive, and croon in the Count Chocula manner you expect from this sort of thing. The guitars are more rocking and give the over all sound a great deal of drive. At times they seem to be trying too hard. 

"Chrome Temple" has more of a punk feel, which is what most of these resort to, though this time around it is more rocked out . Once again the guitarist proves to be the star of this album with the more nuanced playing leading into "Blue Eyed Horse" which has a slightly country tone to the reverbed tremble. The vocals struggle to match the riffs in terms of melodic depth. There is also a hint of the Cure in how it all rings out. "Heraldry" finds them back in a punk direction, while espousing Satanic platitudes . Their singer sometimes drops down into a more spoken gravel that recalls Fields of the Nephilim. "Murder Nation" does a great deal of brooding in this regard without really finding clear cut melodic direction outside of one riff.  

"Erotic Elegy"  finds the moan of the vocals a little on the pitchy side of desperation emoting. More structured than some of their songs, and less catchy than others. They get back into the punk mode as they race into "Armageddon 415 AD". You can also pick up on some of their metal influences here. "Cold Thoughts, Warm Hearts" is a clever title, but it really just kind of drones along while languishing in the Bauhaus like atmosphere. The singer has a niche of what works for his range, and places where actual singing could expand their sound is where he falls short. It results in some cools sounds being collected, but lacking the melodic glue to put them into place. "Devotion" has a more Samhain like riff that slithers around it. The vocals continue to grow on me in the wrong with, as all I can hear are missed opportunities. I do appreciate that this is death rock influence and has balls to the guitars that gives it more kick than most. I will give this an 8 this reason, rather than focusing on where it misses the mark, which it does less . 

Buckcherry : " Vol.10'

 I liked their last album and have a track record of generally digging what these guys do . Lets see how this album holds up. They kicks things off with more of a down home bluesy swagger that they take in more of a party direction for the second song, that retains the anthemic charm of their previous hits. "Keep on Fighting" is faster and more in your face. Not as hooky as the first two song, but it works for what it is. They have stripped things down to the bare basics, closer to what they did on the first album, with none of the radio aspirations that fueled some albums. Lets fact it those aspirations worked pretty well as there were a couple of songs that did gain a great deal of radio play. Thus making me respecting their self awareness when it comes to where they stand in the bigger picture of the music industry. 

Todd sounds really good on "Feels Like Love" that has the groove of an 80s Ozzy tune in places. He sings with less of the AC/DC like vinegar that normally punches his voice through. It's just a well written song that works off the more cock rock mode of the band, but from a different dynamic. "One and Only" simmers along the Sunset Strip shuffle. They still sound pretty convincing considering Todd is joined by one guitarist who also played on "Crazy Bitch", but is the sole survivor who got lit up and loved the cocaine. "Shine Your Light" is what you should expect from these guys. "Lets Get Wild"  tries to replicate their anthemic glory days to some extent. They are marginally successful , the energy they are doing this with seems at least honest for a band from LA. 

The twin guitars of "With You" reminds me of the Scorpions. The palm muted verse riff almost recalls "the Zoo". The wah drenched solo works really well. They drop the dynamics back to a more reflective ballad with "Pain". which is more Aerosmith in it's intentions. I appreciate the melodic places this one goes. Not sure how necessary another cover of  "the Summer of 69" is , but they pull it off well. I will round this down to a 9, putting it on par with their last album which feels like a fair enough gauge of where they are at. 

Left to Suffer : " Feral"

 

This metalcore band is not just jumping on the White Chapel band wagon. They took things in a darker direction and  seem to have just as much in common with the bands in the nu-metal revival. Sure "Artificial Anatomy" is geared toward the Tik Tok generation with its spastic electronic glitching. The commonplace phenomena that occur with bands who deal in the extremes of heavy, no matter then sub-genre, is they hit you with something that is sonically stunning in its immense sound, so you do not have a clear enough head until the second song to ask the important questions like ..." Well Ok, but can you write a fucking song?"  

They continue to avoid this question until "Primitive Urge".  The creepier elements of moodiness are important to provide breathing room from the down-tuned riffs that slam into you with varying degrees over the groove. I am pretty clear in regards to what I do not want from these kinds of bands. That is for an entire song to sound like a breakdown. They manage to avoid that. "Break the Fever" is another stomp fest. Lyrically they are closer to nu-metal as they sort through their issues. He is taking about taking pills, so at least he has insurance. How bad can it be then? He is fighting every day with depression, which I can relate to but it never makes me this angry. They bust out a guitar solo on this song, which is better than expected. 

"Recluse" is an example of their songwriting prowess that I was reserving my judgment for. It balances a groove that seems to follow a story they are telling in a pretty coherent fashion. There is a wide array of weird little guitar sounds that buzz and whirl around the mammoth riffs. 'Illusion of Sleep" is more hammering with a more thrashing intensity.  The chaos kicked up on "Disappoint Me" rages with a similar fury as Slipknot, it a few places. Some interesting vocal colors are being applied to the shifting riffage. The last song finds the band crushing on the same kind of riffage that has been dominating the album up to this point. The vocals swing for the fences by singing a more anthemic hook before the 808 drops the beat in. They wrap things up with machine-like syncopation hammering at you. 

This is not the kind of music that I would normally listen to. I prefer my metal mixed with hardcore in a manner more like Converge or with a darker grindcore influence like Nails. The fact they held my attention speaks to the sounds they managed to assemble here. What they do is bound to be divisive in the metal community. However, if I want something that is dumbed down into a more juvenile groove then this is the sort of thing I might put on if I wanted to hear something newer, than Coal Chamber or Korn's first album. They lead you through a quirky maze with the jerk of a leash not unlike what many of their peers also do. However, these guys manage to do it in a way that is just hooky enough to keep me along for the ride. Time will tell how this album stands up after repeat listens. Right now I will give it a 9. 

Louise Post : "Sleepwalker"

The Former Veruca Salt front woman has pumped out another solo album that finds she still has it at 55. Youthful enthusiasm drove Veruca Salt's sound and the first two songs of this album find that there is no shortage of that here. That is not to say they did not have their share of reflective ballads as well, so "What About" carries on that tradition and proves to be equally compelling. It helps that I used to be a big fan of the band's first two albums, so it strikes a certain nostalgic place for me. The attitude that was under the sugar coating of Post's voice is still present. This is not a continuation of Veruca Salt's 90s alt rock, there are excursions into moody pop on "All Messed Up" which is not as focused at the first three songs. I prefer the darker post-punk tension that fuels the verses of "Killer". The chorus bursts into something that would not have been out of place with her former band.

The formula for this album seems to be a song that recalls her earlier days, then a more experimental pop song. The pop songs are typically not as strong as her rock moments. I understand the need to try different things, while known for "Seether" their biggest hit was not a fair indication of the whole album as they covered a range of sound. Not opposed to her trying this on as sometimes it works well , this can be heard on "Secrets". I think the key is for the guitar to be the centerpiece then the other sounds coloring the song around it. "All These Years" floats with a sparse bass that does not give the song the back bone it needs. Her vocals do this instead and the song still works, but I am measuring her songwriting here against what she has already shown herself capable of doing. 

"Don't Give Up " has more of a Smashing Pumpkins like movement to it. She finds her voice still full of the personality that gave Veruca Salt it's charm . "God I Know" is a  languid ballad that goes heavy on the ambiance. It contrasts the upbeat mood she closes the album out on the last song. I will give this album a 9 and see how it grows on me, perhaps I hear it with nostalgia ringing in my ears , even when she steps out of expectations , she is effective as a songwriter, it just might not be the Veruca Salt album under a another name I wanted , which has more to do with my expectations than where she is as an artist.