Heavy Maytal- Iron Maiden's "Final Frontier"

The band's 2010 album was darker and grittier, though also more sprawling and epic, as heard in the almost nine-minute opening track, which takes two and a half minutes to build. I remember liking this album when it came out, but giving it another listen, I can appreciate the sonic layers captured here. This is not like other Maiden songs, which is impressive, though midway it busts into something more accessible to Maiden fans, as hookier vocals kick the door down. 

"Mother of Mercy" is more melodic with a rare strum coming from the guitar. Bruce sounds great, though past the age of soaring vocals, he works with what he has and has retained much of his power. The song builds into the expected gallop, though more mid-paced. You can hear the opening riff off "Coming Home' and know exactly who this is. Some of the best guitar solos from this era of the band, the song has its twists and turns without being overtly proggy, as everything flows well. "The Alchemist" is a more uptempo song that recaptures the direction the band was heading in on "Poweslave" just with the bombast dialed back with age. However, it gets the point across. 

"Isle of Avalon" starts off with a darker tension, which is always hte side of the band I appreciate the most, but the chorus rockets into the realm of their anthems. The choruses are really strong on this album; Dickinson puts a great deal of hooks in them as you can hear on "Starblind". There is more of a folk feel to the beginning of "The Talisman".  Not the first time we have heard this from the band. It occupies the first two minutes before the band comes galloping at full power. Bruce is knocking the top notes out of the park very casually. One of the reasons I like doing these stints of digging into my favorite artists' discographies is it gives me a chance like this to rediscover songs I had forgotten about. "The Man Who Would Be King" also follows their melodic, mysterious intro formula before working its way into something more powerful and metallic. This time is more atmosphere creating a fantasy environment for the epic guitar harmonies to emerge from. They jam out a bit on the instrumental section. 

They close the album with the 11-minute "Where the Wild Wind Blows." When it comes to their sprawling prog adventures, I normally expect things to start in a more subdued fashion like this, after all, they are going to have to have peaks and valleys to keep your interest. This intro part is two minutes before building to a more frolicking folk metal type riff, which, of course, they are the originators of. With three guitars, they can also fill up some time by giving everyone the chance to step into the spotlight. Here, they give this instrumental space, just over two minutes, so nothing excessive. Nine minutes in, they return to the guitar solos.  Metal is about sonic excess, but they use restraint and instead break things back down into the opening theme. This is another underrated album from this later period of the album that you should give a chance, as I give it a 10.  

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Heavy Maytal- Iron Maiden's "A Matter of Life and Death"

I now remember why I liked this album so much when it came out. Aggressive and rapid riffs but still allowing for melody. Bruce's vocal lines flow better than what we heard on 'Dance of Death". The more progressive vibes to "These Colours Don't Run" groove impressively. It has one of the album's strongest choruses to deliver a huge epic sound. Nicko's drumming is even more dialed in to give the songs the needed punch. The middle section holds the tension to set up the guitar solos. 

Bruce's voice sounds pretty youthful against the odd time, almost Tool-like pulse of "Brighter Than a Thousand Suns". Some pretty mean crunchy riffs on this do not sound dated and lack the nostalgia grab their peers tend to go for. It makes sense, as at this point, they had been playing festivals and seemed to have paid attention to where music was going. I am surprised that this album did not sell better outside of their fan base. In 2006, we were entering a phase where people began to stop buying music. They do lock into their classic gallop, but it is not looking back at the 80s for approval. 

"The Pilgrim" has more of a classic Maiden feel. The chorus is not quite as catchy as the previous songs. The verses to "The Longest Day' are darker where they have the huge anthemic chorus they are known for, which they swell into, shifting the mood. "Out of the Shadows" is a moody power ballad of sorts, and more melodic works really well; Bruce shines here. 'The Reincarnation of Benjamin Breeg" is another powerful performance from Beuce, it's a deliberate and dynamic rocker that is more effective than pouring on the speed and guitar harmonies. 

By this time in their career, it is clear they have developed a new formula that takes a power-ballad-like dynamic to open a song, before transitioning into what you more typically expect from this band. This can be heard in action on "For the Greater Good of God". Though this means being expanded in epic prog metal for this song. "Lord of Light' starts off with a darker tension, before exploding into the gallop at the minute-and-a-half mark. The last song, "The Legacy," goes from being a folkish ballad to one of the most epic post-"Fear of the Dark" moments the band has summoned, and Bruce flexes his pipes as he gets up there. This album still holds up and is the most underrated in their catalog I will give it a 10.

 

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Heavy Maytal- Iron Maiden's "Dance of Death"

 

The band's 13th album is the one Bruce album I have spent the least amount of time with. It opens with a high-energy song with a rather dumb repetitive chorus. It makes me think of Van Halen. Not a terrible song, but I expect more from them when Bruce is around. There is a similar energy to "Rainmaker," but all the moving parts are higher functioning. The chorus works much better. "No More Lies" feels like something from "Fear of the Dark", which is wehre they started writing these types of darker songs. The guitar playing here is very nuanced. The vocal production on this album is way better than anything from the Blaze albums. It does build up until the thunderous chorus. With three guitarists, the solo sections have grown. 

"Montsegur" is heavier and an unrated Maiden song, I have never paid attention to til now, which is why I enjoy digging back into these albums I never gave enough of a chance. The title track is the kind of epic galloping frolic that is what this band is known for. So they are doing what you want from them. "Gates of Tomorrow" feels a little happy for my musical taste buds, but it's well-executed and sounds like them. "New Frontier" is more of what I want from them, as it has more of a metallic attack. "Paschendale " is Adrian Smith writing what he thought would be the typical Maiden epic, and he did a pretty good job of it, as it has a heavier stomp. 

There is a darker, more majestic feel to "Face in the Sand" that works well. The guitar riff to 'Age of Innocence' has a heavier chug than what you typically expect from them, but it works for where they were in 2003. This is juxtaposed by a poppier melody on the chorus, yet it all seems to gel. The odd choice of their first acoustic song to close the album is awkward, but you can't resent them for trying new things. But after listening to it several times, it never really hel my attention that well or felt memorable. Overall, this album works and recaptures what we love about the band more often than not so I will give it a 9.5. 

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Heavy Maytal - Iron Maiden's "Virtual XI"

 

1998 was an odd transition period for metal, so it was easy to imagine how another Blae Bayley album might slip between the cracks. The mix is better than the previous Blaze album, with more of a classic Maiden sound coming from the guitar. Harris falls low in the mix, but the drum sound is better. "The Angel and the Gambler" makes me think of the Who.  There is more of a rock feel to it. It is a little too upbeat and happy in the execution for me. Keyboards are also taking a much larger role in this one. There is a cool melody breakdown on this one, but it might be part of the formula for this album, like the acoustic intros were for the previous one. It almost feels like they are jsut jamming, which I can appreciate. 

"Lightning Strikes Twice" has an odd chorus refrain, but the guitar solo section is classic Maiden, though the bulk of the song is kind of clunky. I've heard Bruce sing The Clansman" before live andd then went to check out the original, so the only song from this album I am familiar with. It captures more of the classic Maiden sound as it slowly builds. It takes two minutes for the drums to come in, but it's pretty anthemic and a tough song for them to beat on this album. The middle section finds them returning to a more jammed feel. "When Two Worlds Collide" follows the formula of a more subdued atmospheric intro that they build. Here it's into a gallop that should work, but Bayley's vocals feel a little awkward to me. 

They get proggier on "the Educated Fool". It still works on the formula they seem to be using during the period. His vocals seem too dry; it feels like they should put some effects on them. It might have helped the overall vocal sound, as he is a decent singer, but he is not given much love in the studio. The guitar harmonies on this song work better than most on this album. "Don't Look in the Eyes of a Stranger' feels like it was a B-side from "Fear of the Dark." The creeping tempo helps with the shadowy tension. The breakdown into the ambient middle section is a little odd until they begin to build it up. They are back to the Blaze formula on the last song. It builds up well enough, and Blaze sounds fine; it's just not that memorable despite when they lock into their classic harmony parts. I will give this album a 9 as well, even though it's an improvement over the previous album, it feels like they were just punching the time clock in some respects. 

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Heavy Maytal - Iron Maiden's "The X-Factor"

 I have never given the Blaze Bayley albums a chance. I have a few of these songs live when Bruce has sung them, so here we go. The opening track is "Sign of the Cross." It works well enough; it's obvious Blaze lacks Bruce's range, though his voice has a lower baritone grit that works for this song. I will find out how it holds up for the bulk of the album. It does sound like Nicko is just kind of dialing it in on this song. There is an interesting shift in the darker gallop this song goes to. But something is off even when i listen to just the instrumental sections, you can tell it's Iron Maiden, but it doesn't sound fully like them, this is due to the fact that Martin Birch is not behind the console. Nigel Green does seem like he is great with drum tones, though there is an interesting space in the mix created by how the guitars sit in different places. 

The beginning of "Lord of the Flies" makes me think of 80s Dire Straits. The new singer did give them the chance to experiment more. If they only got a better drum sound. Blaze's approach is more rock n roll on this one. His style of singing also makes the chorus not punch enough. It could almost be any bar band on a Saturday night playing originals, with the clever guitar interplay the most redeeming thing here. "Man on the Edge" is likea more rock n roll take on "Gangland." Things get darker on "Fortunes of War." the guitar parts also show improvement. The anthem power ballad "Look For the Truth" finds Blaze doing pretty well, and the whole song actually working. 

The clean guitar intro seems to be a pattern with this album. The Aftermath" finds its groove after one of these intros. "The Judgement of Heaven' finds the vocals sitting a little awkwardly atop everything. There are some tradmark guitar passages, but it sounds more likea band influenced by Iron Maiden than the actual band. "Blood on the World's Hands " has a suitable bass intro that leads to something that sounds more like the band with a lurking tension to it; it's one of the better songs so far. Blaze is inconsistent because he sounds good on this one.

It's not surprising that The Edge of Darkness" carries more sonic shadows. It reminds me of "Afraid to Shoot Strangers" but carries an epic gallop. This lineup is capable of pulling off good songs; I don't think the mix is doing them any favors. Another acoustic intro for "2AM", which gives Blaze enough room to really sing. He does not have Bruce's swagger, but works well on this one. Though not sure about how the drums are pushed forward for the guitar solo. "The Unbeliever" opens with some intersting guitar riffs, not sure about the interplay between the vocals and the drums though. Not the album's most focused song. 

"Justice of the Peace" is more like what you want from an Iron Maiden song, as it balances the bombast and melody with high-energy drive. "I Live My Way' seems pretty basic, but it works. They close the album with more of a rocker, picking up the pace for "Judgement Day," which feels like it's more obligatory than playing to Blaze's strengths. At the end of the day, aside from Blaze, these guys are Iron Maiden, so their chops alone make it more worthwhile than anticipated 

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Heavy Maytal - Iron Maiden's " Seventh Son of Seventh Son"

 

This album is where some old-school Maiden fans begin to cast doubt on how well it holds up with their classic material. I like it because it is a darker album. "Moonchild" is a great opening song; it's uptempo, and Bruce carries a balance of grit and operatic croon. Lyrically, this album is loosely based on Orson Scott Card's book "Seventh Son." It studies more mystical topics. "Moonchild" is more influenced by Crowley. Despite being a power-ballad of sorts, "Infinite Dreams" might be the album's best song. It finds Dickinson singing in a more nuanced lower register in the verses, and soaring back up on the chorus. 

Where a point of contention on this album is that this is where the band switched from using Roland GR-700s to actual keyboards. I think it's done tastefully, and it's not like they turned into Yes. However, I do remember thinking when this came out that  "Can I Play With Madness" was too happy-sounding with the being harmony vocals on the chorus, felt like a nod in a more commercial direction, but when you sit down and really pay attention to the lyrics, it's clearly not the case. I think if they were trying to stay relevant, they would have gone heavier, as that is where metal was heading in 1988 with bands like Slayer breaking big. Some of the album's most memorable guitar solos are also on this song. 

"The Evil That Men Do" is another great tone with a darker tone and Bruce finding more interesting places for his voice to go than the most predictable belting. Not sure how you think you can get a more epic gallop than what they do on the title track.  Everyone is on point here, though you expect no less from these guys. There is a cool atmospheric breakdown that builds tension well for the guitar solos to explode out of. In some ways, it reminds me of the middle section of "Hallowed Be Thy Name." They bring more bite and a refined take on their classic sound to "The Prophecy". You can hear how this influenced today's power-metal bands. 

"The Clairvoyant" works of a pretty powerful tension that, when coupled with Bruce's intense vocal performance here, works wonders. The guitar harmonies on this album seem to have their own cohesive personality that sticks to the mood of the album. Despite being warned that a demon is going to rape you in your bed at night , the chorus has an upbeat feel to it. This is the band finding a new pinnacle, and it also deserves an 11. Despite its naysayers, it stands toe to toe with the band's best work. 

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Heavy Maytal - Iron Maiden's "Powerslave"

One of the most amazing things about this band is how they released their most classic albums only a year apart, recording them in between tours. This was brought to its pinnacle as the most finely tuned musical machine imaginable with their most aggressive and epic album to date, "Powerslave". It rips open with the rapid fire of "Aces High," which has a chorus that takes flight in a manner not unlike the subject of the lyrics. The slow down to a more deliberate pace for "Two Minutes to Midnight". "Losfer Words' is the ironically named instrumental, which feels like it has a heavier drive than the previous instrumentals released by the band, though some of the stign was taken out by the melodic solos.

"Flash of the Blade" is about Dickinson's love of fencing. The verses follow a similar formula employed earlier in the album as they race along to build into an anthemic chorus. This album is much more high-energy, with none of the songs leaning towards a power-ballad direction. This high-energy tempo can also be heard in "The Duellists." I think this more aggressive style of writing was perfectly timed as it coincides with the rise of thrash.  They keep the momentum with "Back in the Village."  This song is the lyrical sequel to "the Prisoner". It is one of my favorites on this album.

Despite the album cover, the title track is the only Egyptian-themed song, and even then, it's a metaphor for how Bruce felt about being a rockstar. The most deliberate and powerful song on the album. The sprawling epic "The Rime of the Ancient Mariner." It speeds up into more of a gallop, which was mid-paced for them on this album, but to be a song that was such a grandiose prog metal sonic spectacle, the vocal melodies are all catchy as hell. They let things linger in the atmosphere midway through the song before building into a thundrrous climax.This album also goes up to an 11, so that is the score it gets reserved for only the rare upper tier albums, that are flawless classics.  

8.9

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Heavy Maytal- Iron Maiden's "Piece of Mind"

The band's fourth album and first with drummer Nicko McBrain, finds the band getting into even more melodic and progressive territory. It also features some of the most popular anthems from the band, "The Trooper" being the most obvious. On "Number of the Beast," it was conceivable that Paul DiAnno could have at least attempted to sing them; on this album, Bruce's soaring tenor belts them out with operatic power, further widening the divide. The first song, "Where Eagles Dare," is the only one I can imagine Paul even attempting. There is great guitar phrashing and harmony on the song. 

"Revelations" is one of the few songs that is not about a movie or book, but more of a lyrical tapestry teasing some of Bruce's spiritual beliefs, with Thelema being the most glaring.  Musically listening to it now, it brings to mind early Rush. "Flight of Icarus" is one of the album's more anthemic tracks, with a big hooky chorus. The verses give Bruce a great deal of room to sing and just enough gallop to remind you who this is. Bruce hits a rare falsetto when he lets his voice break on the climactic b flat 5,  but belts out a5's on the chorus. 

It has always felt to me like "Die With Your Boots On" belonged on "Powerslave," but no, it was just foreshadowing that album. As previously mentioned, "The Trooper" is their calling card. If you don't know this song why are you even reading this review? It's the anthem of anthems for this band. Their gallop might be best epitomized here. "Still Life" is likely my favorite song on this album, as it's the darkest and most melodic. Compared to the other high-energy songs on this album, it's almost a power ballad. 

"Quest For Fire" is early power metal; there is some cool interplay with the drums, but it's pretty much a straightforward Maiden song, not filler. The chorus to "Sun & Steel" is hookier than the chorus to the previous song, making it more memorable. For the sake of this review, I am just reviewing the album songs and not the bonus tracks. Despite there being a great Jethro Tull cover out there, they should jsut release all the B-sides that are not album tracks on an album. The Dune tribute 'To Tame a Land" was originally supposed to be called "Dune," but when they asked for permission, Herbert sent them a letter to them saying he did not like heavy rock bands like Iron Maiden. Weird way to come out of the closet, dude, but ok. Anyways, the song's pretty damn good, besides being nerdy prog metal. It's safe for me to go ahead and round this one up to a rare 11 as well. 

 

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Heavy Maytal- Iron Maiden's "Number of the Beast"

The big change happened here, and listening back to the album time and time again, it's clear what Bruce brings to solidify their sound. Bruce came on strong with an in-your-face ripper, and an underrated Miaden song, as this song does not get as much love as the other live staples from this album. It's one of my favorite songs from this album. The dark power ballad "Children of the Damned" finds a new snese of melody and dynamic being embraced in a way that only Bruce could have made possible, despite the band having already ventured in this direction with Paul. Beuce brought the intensity we now know as being metal into the song. 

I have always loved the syncopation of the drums leading into "The Prisoner," it's one of the album's best grooves. This song also shines a spotlight on the fact that when it comes to metal guitar solos, Miaden does it right by not just wanking off with shredding but using it to build on the melodic themes of their songs. Part 2 of the Charlotte saga continues on "22 Arcaia Ave ". This is darker than what they did on the "Killers." Then there is the title track, which is one of the best songs of all time, and has some tricky timing in the verses. 

What do I need to say about "Run to the Hills" aside from the fact that it's an iconic metal anthem? If you have heard any Maiden song, it has to have been that one. "Gangland" is my least favorite song on this album, but it still holds its own against their legacy. "Hallowed By Thy Name" closes the album in the most perfect manner possible. They took the epic songwriting formula they had been fine-tuning on the previous albums and made it bigger and darker. This is beyond being just a perfect album and hit a place that changed the shape of metal. I will give it the rare 11, setting it alongside the best albums ever made.

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Heavy Maytal : Iron Maiden's "Killers"

This is an important album for the band as it featured Adrian Smith, as well as being the first to be produced by Martin Birch. After the instrumental intro "Ides of March' they start kicking as with "Wrathchild", which might be the best of the Paul era songs. Paul's voice has more command here. The bass line also carries more grit. "Murders in the Rue Morgue" is more grandiose. At just over four minutes, they pack a bunch into this song. The verses are almost more punk-paced, where the chorus has a more signature Iron Maiden hook. Harris' bass playing is the obvious backbone that sets the stage for what was to come here. 

Smith and Murray's guitar harmonies are more fluid on this album than on the debut, with Dennis. "Another Life" finds Clive Burr's playing more confident. Riff-wise, these themes would get a more aggressive re-exploration with the feel of the "Powerslave" album that would come about years later."Genghis Khan" finds them locked in what we now think of as a variation of the Iron Maiden gallop. It's a compact instrumental under four minutes. Despite the opening bass line, "Innocent Exile" is more of a rock song. Di'Anno brings more of a swagger here. 

The title track is a little darker. It is also the only song Paul is credited with co-writing with Harris. Some of the album's best lyrics are featured here. "Prodigal Son" is more of a ballad, which finds strummed guitars rather prominent and some of the album's best guitar solos. It is one of Paul's best vocal performances. "Purgatory" is one of the album's faster songs, with a frantic bass line moving it. "Drifter" is another more rock-oriented song, but it works with the mood of this album, which did not find the band in a total metal prog direction yet. 

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Heavy Maytal : Iron Maiden's "Iron Maiden" debut album

 

This 1980 classic redefined Heavy Metal with a sound that carried an even more punkish aggression than Judas Priest, but also the songwriting smarts of progressive. Steve Harris and Dave Murray, the only original members who played on this, are also in the current incarnation of the band. Drummer Clive Burr had a raw, energetic style that would evolve, with Harris' bass playing the most nuanced element in a song like "Sanctuary." The twin harmony parts that we now think of when it comes to this band were not at the forefront.

Paul Di'Anno's vocal style is grittier than Dickinson's more operatic belting, but he worked well for what the band was doing at the time, which was not far removed from bands like Thin Lizzy. Murray's playing feels more dominant than Dennis Stratton's. The yare both following the wandering path Harris leads them down on the power ballad "Remember Tomorrow," which also shows that Paul can actually sing really well when he puts his mind to it, though his voice breaks into falsetto way before Bruce's. Midway into the song, they are the gallop we know them for. 

The more upbeat "Running Free" follows the formula for what would become their anthemic arena rousing side. It remained one of their live staples. "Phantom of the Opera" is more overtly progressive than the other songs up to this point.  The guitar solo on this is clearly a Murray, as it showcases his melodic phrashing. Dennis is handling the higher background vocals, a role Adrian Smith would later take on. The instrumental "Transylvania" was written by Steve Harris for his previous band Smiler. It has faster riffs that would go on to inspire thrash bands to come. "Strange World" is another strong ballad that Paul shines on. Perhaps even more than "Remember Tomorrow".  There are more interesting guitar tones and phrases on this one as well. 

The more in your face "Charlotte the Harlot" is the first of four songs Dave Murray would write about this prostitute that he claims is based on a true story. I like the melodic middle section of this one. The album closes with the eponymous theme song, which they still play live. I will give this album a 10; it's one of the strongest debuts from a metal band. I would rank above the debuts of Priest, Slayer, and Metallica. 

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Welcome to Heavy Maytal

For a while I have been brainstorming ways to dedicate a month to heavy metal in the more traditional sense and being that May is my birth month it only makes sense that it should be dedicated to Heavy Metal, since it was the first genre of music I was into as a kid as my earliest beginnings as a music fant started with Kiss, Alice Cooper, Ozzy, Iron Maiden and Motely Crue. Yeah, I think it's fair to count the first two Motley Crue albums as metal. Granted, over the years, the definition of metal has changed from the 80s to now. 

So for the first annual Maytal Month, I'm going to review every single Iron Maiden album that I have not yet reviewed here. Might not be as long a list as you think, since I have already reviewed these

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidens-fear-of-dark.html

https://abysmalhymns.blogspot.com/2015/08/iron-maiden-book-of-souls.html

https://abysmalhymns.blogspot.com/2021/09/iron-maiden-senjutsu.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidenssome-where-in.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidens-no-prayer.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidensbrave-new.html

So that is 6 of their 17 albums, and Hell, I might just throw somebody like Dio in as well, along with more traditional metal bands, which might include things more along the lines of thrash and power metal, which spawned from the New Wave of British Heavy Metal, Not saying that I am not going to continue my coverage of the more extreme sub-genres, I'm just not placing more focus on death metal, black metal and doom, since those all have their own month dedciated to them. I feel like there is a great deal of more traditional metal out there that gets overlooked since the focus seems to fall on those or the related sub-genres like sludge, which gets covered during our doom month in November. So I'm not just going to focus on the classics, but new music that falls into this more epic and melodic point from which the genre is rooted in. 

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The Top 10 Metal Albums of 1984

Forty years later,  it's time to take a look and honestly assess what were the ten greatest metal albums from 1984. This is not being weighed on album sales, as some of these did not fare that well upon their release but gained ground over time. All of these have stood the test of time, but some are better than others, which is why the number one album is where it sits, and number ten is where it is. The ranking is based on two main factors I was listening to them back when they were released, the impact they had when I heard them, and how well they have stood the test of time for the past forty years. Unlike lists I make today where it;s based more on how much I listened to them over the year, the results here are more cumulative, though the album I listened to the most in 1984 is on here. 

10-Judas Priest - "Defenders of the Faith" 

When this came out it benefited from the momentum of "Screaming for Vengence" which achieved the perfect balance of great songwriting but being accessible enough to pack stadiums. Songs like "Rock Hard Ride Free" just did not age as well as "You've Got Another Thing Comin". When I was a kid and id not know any better I enjoyed it as this was the era that found Priest still on top of the world, but when I want to dig back and listen to a Priest album this is not the first one I reach for. However, it's good enough to belong here and beat out both Scorpion's "Love at First Sting' and Ratt's "Out of the Cellar' for its place here.

 

9-W.A.S.P- "S/T" 

This band found the sweet that was missing in music at the time to fall between what Motley Crue was doing on "Shout at the Devil" and what heavier bands like Priest and Saxon were cranking while adding a darker more theatrical element Kiss traded into blend-in with the hair metal scene. Sleazy anthem with the bite of Lawless' saw blade codpiece. It rocks with more earnestness than Priest had on the more contrived number ten ranking album.

   

8-Slayer - "Haunting the Chapel" 

There was a college radio station I listened to as Kid that has a metal night on the weekends, that played "Aggressive Perfector' which was the first Slayer song I ever hear, It sounded like Venom to me at the time, and it was not until I heard the song "Die By The Sword" on the "Live Undead' album that Slayer really clicked for me, though I was aware Kerry King played on the "Liscenced to Ill " album. These songs aged well.

                       

7-Dio - "The Last in Line" 

As a kid when this came out, I was reluctant to give this album a shot, as I only knew Dio from the two Sabbath albums he sang on, which I was surprisingly ok with given that I was such an Ozzy fan at the time. So "Holy Diver" was the first solo Dio album I bought, and then I went back to check this one out. The title track which he had a video for, I liked, but the album as a whole had to grow on me, and once I discovered Rainbow, then the more it all clicked into place for me.

6-Queensryche - 'The Warning" 

If this album came out today it would be called power metal. I like "Rage For Order' so much that I forget how great this album is. They brought all the elements of what we now think of as traditional metal into play in a manner that had both grace and balls to the songwriting, and Tate established himself as one of the best vocalists in metal at the time.

   

5-Twisted Sister- "Stay Hungry" 

The anthemic classics that everyone knows are not why this album ranks so high, but songs like "Burn in Hell" and "Captain Howdy" that are darker and carry more grit to separate them from the rest of the rising hair metal bands at the time,as they have more in common with Accept and Judas Priest. Great songwriting wins the day, they were not shredders but entertainers. 

           . 

4-Kiss- "Animalize" 

This is the most underrated album on the list, the opening track alone rocks harder than most of their peers at the time. If this was a list of the albums I listened to the most in 1984 this would be at the top of the list. The guitar attack on most of these songs should silence questions regarding if this is in fact a metal album. I would say "Asylum" that came out after this would be the turning point from metal. This is the best of the post-make-up years, and their last great album, as none of the other releases after this would ever measure up. Paul Stanley sounds great here.

   

3-Metallica - "Rider the Lightning" 

This might be the band's best album as it runs neck and neck against "Master of Puppets". I think the effects of touring and substance abuse were beginning to weigh on them when they made "Master of Puppets" and I might prefer this one as it's a darker album, and more refined than "Kill'em All" there is the perfect middle ground of thrashing and melody here. This album grew on me over the years as when this came out, I was not as into Metallica, as when I became more willing to give this one a more solid listen after getting hooked in by Puppets.

   

2-Iron Maiden- "Powerslave"

 I am not saying this is Maiden's best album, it's not. I am saying this album is better than the eight previous albums mentioned here they are all great in their own right. Any arguments against this fact can simply refer to "Rime of the Ancient Mariner" which is better than mosts band's entire careers . 

                  

1-Mercyful Fate- "Don't Break the Oath'' 

As a child, I did not have the musical vocabulary to explain what I wanted when I went into music stores, so when a tall skinny adult with long hair and a chain wallet started working at the record store my grandparents took me to, I did not know what I wanted to ask was 'What's the darkest metal album you have?" so instead I asked "What's the scariest metal album you have ?". The answers in 1984 would have likely been the same as he handed me this cassette. It blew me away, and scared me a bit, while I was more into Kiss and Ozzy IN 1984, I grew into this album, and it might be not only the best album of 1984 but the best metal album of all time. 

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The Top 10 Rock Albums of 2024

Rock music continues to be one of the last vestiges of picking up instruments and playing songs the artist has written.  With metal having a more loyal market, it feels like less straight-up rock music is coming out, but then again it's not something I always look for. There is a very specific feel of moodiness, melody, and underlying mental health issues I seek out from rock music, and these albums touch on varied corners of that sound.  In fact, this year's list is more varied than last year's list. After I sort through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of 2024. 

 The fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. You might find your next favorite on this list. I included links to reviews of these albums if you want to check out the audio on these guys. Anyway here are the top 10 Rock albums of 2023.

10-The Jesus Lizard -"RACK" 

There is much more of a rock n roll feeling possessing this album. Yow's voice sits back in the mix, though when he comes to the forefront it's evident he still has his voice. There is a cool tension lurking under the surface of the rock facade. The rock n roll direction takes some getting used to at times,  but it's still better than the bulk of rock music coming out these days, thus earning its place here. 

https://abysmalhymns.blogspot.com/2024/09/the-jesus-lizard-rack.html

             

9 -Rope Sect -"Entrangement" 

As a big fan of this band, we have covered every release from this German band, and they have yet to disappoint, so when it popped up in the old inbox there was a great deal of excitement. This project has never been content just settling for one sound and milking it. The album opens with a more familiar sound that picks up closer to where they left off marrying the metallic energy of their picking hand with the melancholy of post-punk. This comes with a cleaner guitar sound and not the overdriven metal tone. They are not metal, though this album does go in a more rock direction. 

https://abysmalhymns.blogspot.com/2024/03/rope-sect-enstrangement.html

 

8-Solstafir - ""Hin helga kvöl" 

I'm old enough to remember when this band from Iceland used to be black metal. They have been on this more rock n roll road for some time, so the direction never surprises me. The vocals are emotive and have more edge than your average rock band, The use of atmosphere works really well, as they start off the album with a strong dynamic balance.I like the direction they are going here, and think the more weed-influenced songs are better than when they try to rekindle the metal fires. 

https://abysmalhymns.blogspot.com/2024/11/solstafir-hin-helga-kvol.html

7-Bruce Dickinson -" The Mandrake Project" 

Despite being a huge Iron Maiden fan, I have never paid much attention to Dickinson's solo work. Sure I have heard and once owned "Tattooed Millionaire" and am marginally familiar with "Chemical Wedding". When he sings, he is unmistakable. It sounds like a more rock n roll take on Iron Maiden. It has more in common with Deep Purple or other proto-metal bands like Uriah Heap most of the time. 

 

https://abysmalhymns.blogspot.com/2024/02/bruce-dickinson-mandrake-project.html

6-Brume- "Marten" 

I really liked this band's 2019 album. This time around things are darker and more organic with less of the atmosphere which previously reminded me of the Gathering. Thanks to Jackie Gantz bringing her cello to the party there are sweeping post-rock dynamics expanding the sonic zip-code way past the normal Sabbath pandering of the genre. It's a gripping listen. 

https://abysmalhymns.blogspot.com/2024/09/brume-marten.html

5-Poppy-"Negative Spaces" 

Some people want to call this album metal. They obviously do not know what metal is and their opinions are equal to the sound of a toilet flushing , when it comes to the subject, not only is this album not metal but other albums on this list are heavier than this album, and they are also just rock albums  This album is fun, it would be on the pop list but there is more guitar on it than most pop albums this side of Linkin Park have , who is another pop band have, so here it is since it's not even hard enough to make the hard rock list, but it's fun music. 

https://abysmalhymns.blogspot.com/2024/11/poppy-negative-spaces.html

4- Pearl Jam -"Dark Matter" 

This album comes closer to what you expect from them than some of their more recent albums that found the band taking more chances. Granted if you think of these guys as a grunge band, then you might find this album lacking in grit, however, this is their 12th album, and only their first two albums should really be considered grunge, as the band has ventured off into varied forms of rock and Americana since then in the 10  albums that followed these guys have a pretty basic formula to follow to be successful and please their fan base. Eddie sings and the rest of the band supports him allowing Vedder to do what he does. Side note great guitar playing .

https://abysmalhymns.blogspot.com/2024/04/pearl-jam-dark-matter.html

          

3-Choke Cherry -"Messy Star" 

This band carries a raw grunge edge to their otherwise trippy take on "dream pop' that leans into the pop hooks. The opening song rocks out more and the dense guitar riffs pack more of a punch Their frequent use of subtle hooks that are highly effective. The loud-to-soft formula is very 90s but cements their songs as being authentic to that era which they pay homage to. 

https://abysmalhymns.blogspot.com/2024/10/choke-cherry-messy-star.html

2-Marilyn Manson - "One Assignation Under God Chapter 1"  

Manson is back. Vocally sobriety seems to be doing him favors. His upper range is not as strained. His 12th album is once again produced by Tyler Bates. It sounds like Code Orange's Rebe Meyers is playing for him and lending backup vocals, which makes sense as she has been a part of his most recent touring band. Lyrically this album is interesting and honest, it grew on me as it might not have the edge of his earlier work yet, but there are still a few glances back at his legacy, his voice sounds great and it's dark enough to work for me. 

https://abysmalhymns.blogspot.com/2024/11/marilyn-manson-one-assignation-under.html

 

1-Planes Mistaken For Stars - "Do You Still Love Me ?" 

The late Gared O'Donnell recorded this album while undergoing Chemo, before succumbing to his chance at 44. They were always too gritty and real to break through to the mainstream. Their take on rock n roll still pounds the song into you. Unless you share in the inner darkness with which these songs were conceived you might not know what to make of the brooding. To my ears it's beautiful. Some brighter guitar tones on this album than in their previous work, it's clear he was ending things in a manner that still pushed their sound forward. Gared you are missed

https://abysmalhymns.blogspot.com/2024/11/planes-mistaken-for-stars-do-you-still.html

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R.I.P - Paul Di'Anno

 

I am listening to the "Killers" album, as I write this. To be honest, I am only a fan of his work with Maiden, and though over the years I was at times curious, about his post- Maiden work, I do not recall ever listening to his work after Maiden. At 66, I should not be surprised that Di'Anno lived as long as he did given how hard he lived his life. What made him a unique star, would be his demise, but such is the fate of those who can not find a middle path.  Even paying tribute to Di'Anno I have to say I am in the Bruce camp, but there is no denying the groundwork Paul laid for the band to grow into. He played his last show with Maiden in 1981 before they recruited Bruce from Sampson.

 Over the years the reasons for his firing have ranged from Di"Anno not wanting to tour, to drugs and alcohol, he did not approve of the way Stever Harris and manager Ron Smallwood ran the band, but the results tell the truth, as apparent in Maiden's success without him.  His street-wise nature gave them the edge they needed. His life up until his death was littered with trips in and out of prison. He was a wrathful person lashing at the world around him, which is what makes his songs feel grounded.  Most punk rockers prefer the first two albums, for this reason,  they are raw. His voice is distinct in a different manner from Bruce's. 

He went on to front Battlezone and Killers, but they were far from anything he did with Maiden. Perhaps drugs were the problem that hindered his career the most. Perhaps it was living in the shadow of a band that went on to become one of the biggest in metal without him. Still, the first two Iron Maiden albums serve as his legacy, and they are two albums better than what most bands can muster, so it speaks to Di'Anno being an incredible singer in his own right.

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Bruce Dickinson : "the Mandrake Project"

 Despite being a huge Iron Maiden fan, I have never paid much attention to Dickinson's solo work. Sure I have heard and once owned "Tattooed Millionaire" and am marginally familiar with "Chemical Wedding". When he sings, he is unmistakable. It sounds like Iron Maiden not doing Iron Maiden things. I knew he was not shy about bringing the heavy on later solo albums, but I was surprised by how heavy the first song of the new album is. As the album progresses he ventures into wider sonic pastures with songs like "Ressurection Men" which has an old western feel to the guitar. Then things take more of a Deep Purple-like rock turn on the second song, where the keyboards play a larger role, which is something you do not hear from Iron Maiden. 

"Rain on the Graves" is another harder rock. The keyboards play a prominent role behind the palm-muted chug of guitar that drives the song, while ample room is left for Bruce to sing. "Fingers in the Wounds" finds the verses making space for Bruce to open up and expand the vocal colors he is capable of in a way that I wish Iron Maiden would make more use of. However, I think Maiden only has one more solid album left in them and think they will bow out before they tarnish their legacy. I think the production on Dickinson's vocals is great and hope Steve Harris pays attention to what is being done here. "Eternity Has Failed' finds his band upping the Irons, especially in the solo section. It can not be said that Bruce does not know what his fans want. 

Bruce is continuing to do what he does, which is fine since he is clearly one of the last great metal singers still standing, in large part due to the fact he took care of himself over the years. Typically there is less of a prog feel and a more straightforward hard rocking, the one signature of Maiden's sound being the twin guitar harmonies are not here. "Face in the Mirror" is more of a ballad with a piano following him. This album also serves as a study in how Bruce has compensated for his voice aging, and how he paces himself and takes notes to other places.  Roy Z known for his work with Priest was Bruce's collaborator and the drummer from Puddle of Mudd plays on this album oddly enough. 

They keep the ballads going with "Shadow of the Gods".  It works and Bruce sounds good, which is pretty much all I am wanting from this album. Some of these songs are going to grow on me, and this is just my first impression of things as I go through the album. There is a very Judas Priest-like riff when "Shadow of the Gods" climaxes. At almost 10 minutes "Sonata" is the album's most prog moment, though it is darker than the other songs as well. He does hit some impressive notes midway into the song, and at 65 this is even more impressive. I will give this album a 9.5, and see how it grows on me. It did inspire me to want to go back and dig into his other solo work . 

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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. 

The Top 200 Greatest Rock Singers - 20 to 11

 

Now we are in the top 20 and  harder choices are having to be made. I am having to be more honest with myself; in what we are doing here which is focusing not only on technical vocal ability, in terms of range and power, as well as their dynamics, phrasing and the overall character of their voice. Can they emote from different places? How well does their voice hold up live? . How they control a crowd or their entertainment value as performers is also not a factor; there are some great front men who are also sub-par singers. There are also not going to be any Bob Dylan like singers, who are better songwriters than vocalists.

Pop singers, are far and few between, with; a few country or jazz singers who crossover just enough to qualify for this list, while having a significant influence on rock music. Don't expect rappers on this list or metal vocalists who just scream or growl, but never actually sing. I am keen on singers who are derivative of other singers. The bulk of these do their own thing, the few paying tribute to other artists made enough of an impact with their music. Having a unique vocal quality is going to be one of the most important factors often trumping technical ability. If they sound too much like Steve Perry from Journey after listening to their vocal coach rather than developing their own style, it is also not going to fly. Some of these might have been ignored by mainstream music media, but by the time we get to the top 10, I am sure it will all make sense, so here are the Top 200 greatest rock singers.

20- Morrissey 

If we were talking about lyricists then he would be number one. Some people might be upset that he is on this list at all since he is supposed to be cancelled. By why is rock n roll supposed to be polite or care about your feelings? It should only give you the middle finger ,which is what Moz does but with the depressive grace of a proper English Man

 

 19- Roland Orzabal 

The bigger bolder voice of Tears For Fears, sounded just as good on stage last summer as he ever has. At 61 he sounds like he could keep it up for another 10 years. Of the 80s radio icons , he has some of the best pipes going. 

            

18 Brendan Perry 

Before I saw Dead Can Dance live, I was under the faulty impression that Perry was like a darker Neil Diamond, I liked a few of his songs , but most were fast forward classics, then I saw them live and that changed everything he was jaw dropping. 

                

 17-Mike Patton

 Where to start, we could just look at his work in Faith No More and that alone would justify his place here, not to mention Mr. Bungle, Peeping Tom, Fantomas, Dead Cross... I can keep going, but if you know who he is and what he does there is no reason.

   

 16-Danny Elfman

 Oingo Boingo was ahead of there time, but that answer alone is not going to work for people wanting to know how did he rank higher than Patton, well he was doing what Patton does before Patton did it, and I am sure Mike would agree. The end of story answer is he is the voice of Jack Skellington Mike Patton is not

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 15-Jeff Buckley

The only problem here is we never got enough music from him to hear what he was really capable of , but the glimpse we did get out shone decades of work by other singers who would never have a chance to come close to what Jeff did on the "Grace' album. 

                     

 14- Peter Gabriel

 The Lamb Lies Down on Broadway alone says it all , but He do not even have to bring up Genesis which would be enough to justify his place on this list. Based off his solo work alone, which was less theatrical than the prog grandeur of Genesis, his vocals still retain the emotional urgency and his stellar range.

   

 13-Rob Halford

 He refers to himself as a metal god, and as long as we are talking about poly theism then I agree. His wide range and blending of various registers influenced metal singing. The first three Priest albums alone earn his place here.

   

12- Ian Gillan

If you think my only defense for this guy beating out Halford is "Child in Time" , you have forgotten his album with Sabbath and the fact he was Jesus in The Original Cast Recording of Jesus Christ Superstar.

   

11-Bruce Dickinson

Rob Halford is not the only metal god, if you saw them on their last tour Bruce is a beast. He belts it out to the rafters. He is operatic in the least pretentious manner, and knows no matter what voice you have you have to serve the song. 

Live Review : Iron Maiden @ Amalie Arena

 

Having seen the band in their 80s prime the bar is high. They are always great live, but Bruce is 64 and Niko is 70 with the rest of the band falling in-between, the question of do they still have it looms. They are not the Rolling Stones. Not to knock Mick Jagger, but his voice works off personality and attitude, where Bruce's vocal parts are closer to opera than metal. Musical they are more complex and faster songs that require higher dexterity and constitution scores than the warmed over 60s rock hits of the Stones. I am certain of not wanting to see Maiden ten years from now. This arena tour is a higher and more lavish production. This show marked the end of this half of the tour, but rather than the band seeming burned out from the rigors of the road, it seemed like the 57 shows they played before this one was what they needed to warm up. 

Despite the crowd not sure how to react, it was a smart move to play the three new songs first. Tears For Fears, took a similar approach. It makes sense as Bruce was able to warm his voice up with songs most recently recorded so he could warm his pipes up, back when I saw them open up with "Aces High", it was too much, and he went into the show winded and struggling to hit the high notes. When they closed with it , he had a better time with it. Did he nail every high not? No, but he got the job done by tackling it to the best of his current abilities. For six old Brits they ran and jumped across the stage better than most bands in their 20s. For this arena tour the stage show was dialed up. Multiple set changes, it started out as a Japanese temple and shifted to a cathedral to a hellish landscape as the band took you on a journey. 

All of the big crowd pleasers were saved for the second half of the show. This gradually found the momentum build until they get to "Aces High" which is the bands highest energy song. Not the loudest show I am been to, but they used enough volume to get the job done, after all they are Iron Maiden who are next to Black Sabbath are the most important band in metal. They proved they are still worthy of that title and showed you how they earned it. The fifteen songs, moved quickly, there we no looking at your watch moments, considering how as a society our attention spans have atrophied this is magic in and of itself. If you like metal, and even if you are not the biggest Maiden fan it is a must to see them within the next fan years, they do not disappoint and the changes in the set list made them even better than the past two times I have seen them.     

  

the Top 10 Albums of 2021

 

At the end of the day...year these are the albums I listened to the most. The reason that makes these the best is because I listened to over 2000 albums this year and these are the ones that endured the influx of new music that hit My in box every morning and made me want to hear them again and again. Yes, this is the culmination of all the other lists done up to this point for other blogs and was refined down to this master list of all genres.  So here ya go...

10-Converge & Chelsea Wolfe - " Blood Moon "

I like these two artists almost equally it brings out Converge's best side as I prefer their dark creepy melodic stuff over when they are just a total punk rock freak out the album leans in more of a sludge direction though by the highly experimental definition of that sub-genre, Wolfe's solo work had those elements previously, so this is not a surprise. They work together in a masterful way to create heavy music that is still beautiful in different ways. The range of sonic colors beats out Witnesses. 

Abysmal Hymns: November is Doom - Converge & Chelsea Wolfe :"Blood Moon"

9-Hypocrisy- "Worship"

The 90s never left. This is the vibe I get from the first album in over a decade from one of Sweden's best death metal acts. I first got into them back in 1994 with the 'Fourth Dimension" album. They were ahead of the curve when it came to lyrics dealing with alien conspiracies. Their experience as song writers prevails and makes this better than what a younger band eager to prove how heavy they are would do. Lyrically it is very fitting for the past year so wish it had come out earlier but will take it. They impressively beat out Converge and Ms. Wolfe's collab as these songs hooked me in more. 

Abysmal Hymns: Hypocrisy : " Worship"

8-Bloody Hammers - "Songs of Unspeakable Terror"

What gave these guys the edge is that this album came out back in January and hung tough as an album I would return to at least once a week or so. An impressive feat when you consider how much new music I ingest. This time the band leaned into the punk side of their influences, and it works much better. It is not total Danzig as the Elvis side of the coin is toned down. The vocals are great and very catchy. I can appreciate how this is married to an almost edgy cock rock side of 80s metal, but all horror anthems which earned their place at the top of this list. They beat out Hypocrisy because I just got a little more mileage out of this one. 

Abysmal Hymns: Bloody Hammers : "Songs of Unspeakable Terror"

7-The Pretty Reckless - Death By Rock N Roll" 

Over the course of this year this album grew on me. Which is why it is taking the number 7 spot. They manage to make new rock sounds from fairly blues based Led Zeppelin styled riffs that couple well with her smoky sex dripping vocals. They have been at it for 12 years, so their efforts paid off for everything falling into place for them.  

Abysmal Hymns: the Pretty Reckless : "Death By Rock N Roll"

6-Slothrust- "Parallel Timeline" 

Things are different. The mood has changed and matured. Where "|the Pact" was a much more polished effort than their previous albums, this one is another step forward in the refinement of their sound. They are less grunge than their earlier work, but still pack more punch than say HAIM. At the end of the day

Abysmal Hymns: Slothrust : "Parallel Timeline"

 5-Danny Elfman - "Big Mess" 

Elfman has an ear to what is going on in music for sure. It is heavier than what you might expect from him, yet theater lies in the panned vocals that bounce around these songs.  It is progressive without really trying to be. Like I tell my daughter when she hears Oingo Boingo this is Kack Skellington singing! The drums and guitars are way harder edged than what you would find in Oingo Boingo, which explains why this is not being done under that name. He has both Josh Freese and Robin Finck playing on this album. Guitar is also provided by Warren from the Vandals, so both the Vandals and Nine Inch Nails figures in the mix

Abysmal Hymns: Danny Elfman - "Big Mess"

4-Iron Maiden - "Senjutsu" 

There is no real filler on this album, the first single is the weakest song on the album and that is a relative term as it is still better than anything another band trying to be them could do, and a solid song in its own right even if it is not just what I showed up for, If this is their last album it is a fine summary of their legacy.  They beat out Danny Elfman with more concise and hooky songwriting,  

Abysmal Hymns: Iron Maiden : "Senjutsu"

3-Portrayal of Guilt - "We are Always Alone"

This time around they brought the more sonic kind of heavy I love. They are pretty deliberate using very chilling chord structures.  From the first listen I knew that this was going to be the fucking album to beat this year this shit kicks your face in and is a beautiful dark mess, just what the world needs right now/The parts that did not tug at me right away grew on me, making this an almost perfect album and the best of the heaviest. Beating out Maiden because they took more chances.      

Abysmal Hymns: Portrayal of Guilt : "We Are Always Alone"

2-Chrvches -" Screen Violence"

The Scottish pop band's 4th album. The title come from how they made this album remotely during the pandemic. It picks up where they left off at first and then goes in more interesting places as the album progresses. Mayberry may not employ a great deal of new tools in her arsenal, apart from production tricks, but continues to sharpen what she has been doing. Her growth comes more in the form of her lyrics. 

Abysmal Hymns: Chvrches : "Screen Violence"

1-Amigo the Devil -"Born Against"

After "Everything's Fine" the bar is pretty high going into this one. There is a bigger slicker production sometimes bringing more of a rock dynamic sometimes sounding like a drunk romp arounds the streets of New Orleans. His singing is more dynamic, and lyrics refined his sense of storytelling to bring fresh wallop to the punch of his songs here and worth many repeat listens. 

Abysmal Hymns: Amigo the Devil : "Born Against"