Starbenders : ' the Beast Goes On"

 On the pop side of glam rock, they do indulge in a more biting dynamic upon occasion, but their strength seems to be leaning into this 80s-drenched sound that marries Pat Benatar and Cyndi Lauper. Music is not created in a vacuum, so the title track that opens the album is darker andd with some Ghost-like aspirations in how it's mixed and the overall vibe to some extent, as it feels like a late 60 hippie-garage for of spooky like Coven or Shocking Blue. Then they rock out harder for "Nothing Ever Changes' which is less hook-focused, so not as effective.

Things begin to find their groove with a touch of anthemic 80s arena rock, heavier on the hairspray than the metal for "Chantilly Boy". They also display a very taunt songwriting hook and let the vocal take on more introspection on "Cold Silver." The beat picks up on 'Forever Mine,' which tries a little too hard. "Hello Goodbye" is more like 90s dream pop. The vocals create more of a backbone. "Tokyo" digs more into the new wave side of the 80s. The chorus works really well, reminding me of the Bangles.

"Saturday" does not veer from the formula they have in place, and it is hard to argue against it as it works here." Summon My Heart" finds her voice taking on a Stevie Nicks-like tremble, which, given a more epic arena setting, is not unlike the 80s era Heart. They nail this sound and have it convincingly dialed in, which is coming from someone who remembers when this sort of thing wa a more dominant force on the airwaves.  Things drop back to the more tense, emotive brand of 80s power ballads on " Somebody Else," that really when this crossed over with the evolution of new wave. 

They end the album with a cover of Bad Religion's "21st Century" , and make the msot of what they do with it even if it is an odd choice. I like what goes down here and think they are talented songwriters who have captured an era intact and make it there own, so I will give this album a 9.5, and see how it grows on me. 

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the Top 10 Heaviest David Bowie Songs

Heavy is not a term commonly associated with David Bowie, but it's a sonic quality he has used to color some of his songs over the years. When it comes to metal as a genre, Bowie thought that volume alone was an insecure approach to creating something with dynamics and depth. He respected the power the genre created when it was used by capable hands. He thought Lou Reed's collaboration with Metallica was Lou's best work, making him one of the few people who liked that album. Though the term "heavy" does not apply to metal alone, but can be a sonic aggression applied to other genres like post-punk, as bands like Swans have displayed. So on his birthday, he is a look at Bowie's ten heaviest songs ranked in order. 

10-Moonage Daydream

 

9-Seven Year's in Tibet

8-Cracked Actor

7-"She  Shook Me Cold." 

 

 6-Heart's Filthy Lesson 

5-"Scary Monsters."

4-"Pretty Thing." 

3-"I'm Afraid of Americans." 

2-"Under the God." 

1-"Hallo Space Boy." 

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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. The first two songs are dark, and melodic with enough rock guitars to make sense. The first aggressive song is "Nod if You Understand". His lyrics "I won't repent, this is what I was sent here for" set the tone for the album, since this is his comeback, after an unsuccessful cancellation. Really if you want Manson to be anything but a sleazebag, you were never into his music in the first place or just don't pay attention.

"As Sick as the Secrets Within" was one of the lead singles from this album. It does pretty much what you would want Manson to do in 2024, though it's somewhat moodier and like an alternative power ballad from the 90s. It brings "Mechanical Animals" to mind. "Sacrilegious:" has the same kind of "Dope Show' strut, he is known for. Not the strongest on the album, but it works well enough. There is a more organic rock feel on this album and less electronic pulsing. His lower vocals take on a more "Beautiful People' cadence, so there is an element where Manson feels like need to bring in familiar elements to remind you why you liked him. Things are streamlined, and less experimental, which is still effective for what he is going for here. 

"Death is Not a Costume" is darker with more grit to the creeping bass line. The most "goth" song so far. The chorus works really well on this one. "Meet Me in Purgatory" is driven by a punk-tinged bass line. Bate's has really figured out how to dial Manson's voice into the mix. The sounds are very clean, and he could have used less noise gating and allowed some of the tones to have more feedback and grit, particularly on a song like this. 'Raise the Red Flag" is another of the singles that preceded the album. It does have that grit I was just referring to on the bass, but the album as a whole needs to be dialed in like this song. Manson's vocals could still be the focal point, and he is not screaming a helluva like on this album, he does dig in more on the chorus here. 

The last song is a ballad, which works well enough, he sounds good on it, perhaps not what I would have chosen for him to do, but there is a creepy little melody in the background. He does go into his head register for a note, which I like. Lyrically it's interesting and honest so it prolly just needs to grow on me, so I will round this album up to a 10, and give it some time to settle in, but aside from a few glances back at his legacy, his voice sounds great and it's dark enough to work for me. 

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Tigercub : "the Perfume of Decay"

 

This trio from England plays a glammed out style of rock that feels like a darker , more androgynous take on what Muse does. This is displayed on the title track opens the album. A trickle of angle guitar cascades of the groove, as the vocals coo over it all. They work more of tense groove rather than feeling the need to glitter bomb everything with grandiose choruses. The chorus are highly melodic and hooky enough draw you in. The bass player favors off holding the songs down with a similar fuzzed out progression. The lyrics ponder broader abstractions . I would not call their playing aggressive but it does have drive. They occupy the forgotten middle ground of rock music. 

Led Zeppelin is a subtle influence in how they ride grooves, which is more effective than what a band like Greta Van Fleet does. You can also hear some Queens of the Stoneage in the way the vocals are uttered in a detached drugged out fashion. They switch things into a taunt syncopation for 'Swoon" that flirts with hard rock while being more atmospheric.  The arrangements are interesting as they are gradually built upon, while the guitar does weirdness over the collision of bass and drums. They clearly what a formula to what they are doing as even the variations begin to carry similar cadences that causes 'the Dark Below" to feel like, a continuation of the previous song. 

They work off of what bands in the late 90s did and dress it up in a shiny coat of OxyContin. "Your My Dopamine" is dynamic and well done, but finds the sonic colors they use to be much like ones we have heard earlier in the album. "We're A Long Time Gone" changes things up with more of an Elliot Smith vibe. The continue to add the colors on "It Hurts When Your Around" that goes from a Brit pop introspection to building into a heavier chorus. The vocals always stick to their croon and belt balls out to convey anger. When screaming does occur it is obscured in the mix behind a wall of overdriven patches. They end the album with a dreamy ballad. I will give this album a 9 because of the often uniform formula to their sound, but this is good stuff and occupies a space between Queens of the Stoneage and Muse, that fans of both will appreciate, while doing their own thing. 

Smashing Pumpkins : Atum -Act 1"

 This is a weird album, but it makes sense now that I looked into where the hell has Billy Corgan been, he has been hanging with shapeshifter and starting his own religion when he is not a wrestling promoter, so he finally found time to make music. With the exception of D'Arcy, this is pretty much the original line up as James Iha and Jimmy Chamberlin are back in the band.  Their 1998 album "Adore" is the last album I paid attention to. The first two are the ones I was the biggest fan of then they got too flowery and sounded too much like a gay version of Meatloaf on "Melancholy and the Infinite Sadness". I reviewed one of their albums a few years ago and it was god awful, things have improved by are on the flowery side. It opens with a grandiose instrumental, that has some decent guitar playing so I am not complaining about it.   

"With Ado I do" is the first song I really like so you have to sort through some sappy oddities, the most peculiar being "Butterfly Suite" which I had to listen to a few times to wrap my head around. Corgan's voice sounds youthful, but you gotta wonder about a man in his 50s sounding like a little British boy. He remembers they are a rock band on "the Good in Goodbye" which musically sounds like Lenny Kravitz covering Queen. Billy's doing what he does with little balls to it, but it still manages to work. I am not sure about the synths on "Embracer". The split the difference between who they are and this new turn to who they are trying to be on "Hooligan" with hooky songwriting. The fuzzed out grunge tinged guitar that has been toned down returns to some extent on "Steps in Time ". Then things take a questionable step back with the ballad "Where Rain Must Fall" 

The guitars get more rocking on "Beyond the Vale". These guys have always seemed like they were more influenced by T-Rex than Black Sabbath, the glam thing is more prevalent on this album than anything heavy, His vocals lines work, but as not supporting melodies that come close to the first two albums. "Hooray" is one of the bands worst songs ever, it's way too happy and sound little like the band. While the last so is not as ineffective at sounding like the Smashing Pumpkins as the previous song it is not their best work either. I will give this album a 7.5, they show at times the are capable of doing better and I have heard them do worse for sure. This is not the band that made "Gish" and that makes me a little sad.

Starcrawler : " Devour You"

I guess the internet would normally be to blame for a 20 year old finding her way to juncture where glam and punk once met. Unless that 20 year old grew up with their parents in the biz. Yes the Runaways are a comparison that could be made. There is a grunge touch like early Hole in some places as well. On the second song they actually jam out some, The songs are very taunt and written in the compact punk fashion. The guitar is the instrument with the most swagger. They back off to a more Rolling Stones like place on " No More Pennies". It is not pop, but well written where the blues meeting slacker 90s indie rock. "You Dig Yours" has a more disco beat like the "Some Girls " era  Rolling Stones . The second time I have referenced the Stones , so there is something there. The bottom line is it's well crafted .

There are some playful throw away moments "Toy Teenager " being on, as it's a minute long, but makes sense for punk. The gunge thing returns on " Hollywood Ending" .  I am not sure the chorus is as strong as the previous songs . I had to give "She Gets Around" another listen for it to sink in. It has a darker purr to it. "I Don't Need You" is another straight forward rock song not far removed from Joan Jett , just less overt radio aspirations . I think that is big difference is being a younger band they have decades of intent apart from the bands they are taking inspiration from. "Rich Taste" is marginally darker in it's more gutter tinged grunge. "Born Asleep" is bluesier and more melodic. Lyrically it seems to be about an overdose so a little serious in tone.

The reckless punk of "Tank Top" is fun, but as serious as you can take this kind of rock n roll infused  punk. There is a country jangle to "Call Me a Baby".  I'll give this album a 9. It's more rock than punk, but will appeal to fans of early punk. It's well written and not what I expected going into this Released on Rough Trade. . 

Steel Panther : " Heavy Metal Rules" .

Not the first time I have reviewed these guys before, so you might know how i feel about the kind of music they are parodying. The lyrics are clever , but I need good songs as well. They delivered that on their last album. This one is a little more dialed in, but there are moments where they kick ass for cock rock. "Let's Get High Tonight" being one of those. By "Always be a Ho" the lyrics are silly but their song writing manages to compensate. To be called "Heavy Metal Rules"  "I am Not Your Bitch" is the first more metal song. The bulk of their sound like hard rock heavily influenced by Van Halen and lyrically Faster Pussycat. There is a really awesome riff leading into the solo. "Fuck Everybody" is funny lyrically, but the lyrics are cumbersome, which seems to be a trend for this album.

There is a bluesy hint to the title track. There is a little more of a metal touch to the verse riff than they normally use. There is a darker tension to the riff leading into the guitar solo. They are definitely using a formula to write with , but the riffs leading into the solos are seem to be golden. The riff to "Sneaky Little Bitch " reminds me of "Dancing Days". Considering this band it is Led Zeppelin through a filter of Whitesnake. The choruses have been underwhelming , but it is dialed in for this song. Normally this kind of party rock , would be too happy for me. The power balls "Gods Of Pussy" needed some fine tuning lyrically as it is heavy handed and something I would have taken more seriously when I was 15.  Once again the charisma of their songs makes this work even with these silly lyrics. .

I had to listen to the ballad " I Ain't Buying What You Are Selling". . It's alright, a decent song that doesn't really go above and beyond. This album is really well produced. They are once again doing a great job of capturing the feel of 80s hair rock. I will give this album a 9, mainly due to how good they are at what they do even if this is not the band's most inspired effort. Perhaps in time this will not grow on me and it might only be an 8.5, but that is my initial reaction to this one.

Poois: "Soul Spook Collector"

The NewYork based band has stepped up their game and gotten heavier this go around. While some of the quirky elements that brought a more eclectic ambiance is still in tact it's just less consuming.  If the earlier work brought System of a Down to mind then the results are something a little closer to more recent Mastodon. Singer Tim Kaim  gives his best performance yet, putting more guts into his voice , he digs down into a lower register to find some common ground with Troy Sanders tonally. To say they are more tongue in cheek at this point would be hard pressed, after all how seriously does Mastodon take themselves. Lyrically the subject matter leans towards frustrations of an average joe. and conspiracies that plague the common man.  On "Love Gun"...no, not the Kiss song, the band goes in a more Stone Temple Pilots direction. It's immediately evident two songs in that this album is really well produced and the vocal over dubs are one of the albums strengths in providing layers to their sound. You can also here elements of the Cult on "Love Gun" as well with the solos winking at  the 80's Hollywood scene.

What started off as frustrations of average joe in the lyrical department take a turn for the gutter as they go into sleazier subjects, pole-dancing and s&m.  Though the most nefarious subject might be the Home Shopping Network on "19.95". The songs dynamically ebb and flow, with melodic passages surfacing through out. They get heavier on "Pistols N' Pitchforks" though it still has ample amounts of arena rock to it. There are some phrases where Kaim's voice takes on a dramatic swagger not unlike that of Jack Black's meatier moments on Tenacious D, though without the Dio worship.

The band have capable chops working best tightly coiled together and grooving on songs like "Skateboard Punk". Guitar solos find ways to squeal out of the nooks and crannies of every song. The album continues to rock with sinewy riffs slithering around alt-rock progressions that are dirtied up like a stripper at a Guns n Roses concert. The backing vocal have that Sunset Strip blues feel on 'Tight Jean Jeannie". The pace changes the most dramatically on "Deep Darkest Night" that is a bizarre power ballad of sorts though midway it changes into a more staccato pattern with the pound of early Faith No More.

They return to a more cutting style of metal on what might be the album's best song"Hypnotic Regression". The vocals shift into a more extravagant soar, that build the most memorable memories as you get the sense band really takes themselves seriously on this song. The closing song goes back into more of a rock n roll strut. If you were to compare them to the current wave of radio rock fans of bands like Avenged Sevenfold, would find plenty to sink their fangs into. If you are one of my regular readers hear it's likely your tastes in metal might find this to be middle of the road hard rock when compared to what we normally classify as metal here as the vocals have balls but never growl and they are tuned higher than a and never use blast beats, but never the less if you want something light hearted and fun, these guys have stepped up their game and conceived an album of good time party rock.

Up From the Underground: Marla Mase -" Speak"

This New York based singer/ songwriter, is more than a siren or a diva, she tackles her songs with more vigor than most female solo artists who tend to forsake rock emotional introspection. It starts with ear catching intensity. It's easy to hear she is a writer as in the second song her need for prose weighs down the melody a little on " Piece of Peace."

There is something about "Open up My Heart"  that reminds me of "Riders on the Storm".  Like Morrison she wanders  from the melody into spoken word. Her voice is too good for her run from the songs in favor of lyrical indulgence.  The fact she also writes erotica plays to her advantage as the lyrics are accented in a very sensual manner to expose their exhibitionist tendencies.

"Lioness " rides the line between Chili Peppers funk and a children's song. I can see it playing as a narrative  to a puppet show. The woes and stories of cell-phones and the memories attached to them are debated on "New Cell Phone" this kind of tongue in cheek humor was often found in the golden decade of alternative music called the 90's , but how it will play to indie rock audiences  remains in question. The spoken word when it is a main stay of the song might remind younger kids of Cake, who they probably think are classic rock.  

There's a very Diamond Dogs era Bowie swagger to opening riff of "Queen of Imperfection"  and stays in a e boogie aided by the bass player, though the melodies fall prey to lyrical over load. Mase redeems her self  quickly with " She Hooked Him Up" that has the Bowie funk of Fame. The unevenness of the song writing becomes more apparent in " Divine Restlessness"  where it seems like the producer would have stepped in and given her some guidance.

Who would have thought she could pull off a convincing dance hall song? She does just that on "Anna Rexia" which shows her lyrical brilliance put to its best use rather than being somewhat cumbersome as they feel on other songs. I begin to notice Debbie Harry inflections on "Kill Love" but her voice doesn't sound as sure of its self as it did on the previous song.

The vocal layers on the more melodic sections of "Blog" do her voice more justice than it gets in other songs. The band is always pretty dead on in their constant shifting of genres. There is an 80's pop feel to the chorus of  "Dance the Tango" and the whole song moves pretty smoothly, Marla stays in a casual sing-song  monotone.

Mase's voice is effective in the slower tempo of "Smithereens" allowing her to stay safely in her breathy register, where the lyrics have more room to flow freely. There's almost an Ani Difranco feel to "Scream" , though there isn't the quirky confidence to her voice that Ani has, her musicians keep the song moving past this fact. I don't think she is convinced of what ever character she is trying to play on "Squirm" and makes it sound like she was just improvising in the studio.  I think she could condense this into a more focused effort but overall, shows a depth of diverse creative juice that could be overflowing once she realizes the most suited glass to pour it into.