Naddred : "Sluagh"

What I am asking of black metal bands in 2017 is to show me more than just blast beats. I want the tremolo picking to only be one color of blackness used. What is the point of just falling in line with the rest of the corpse painted sheep ? Naddred does a pretty decent job of not just becoming another face in the shadows , but giving the dark side it's due. Hailing from Ireland the production can be uneven in places and the vocals fall in line with your typical scowling rasp. The drum sound is the roughest factor, but guitar sounds great if not a tad like Inquisition. For what this is the opener is pretty solid writhing it's way around you rather than numbing you with a droned blitz. The title track finds the guitar keeping a decent balance of ugliness and atmosphere ringing out and this could be because they know they do not have to rely on speed alone.

At times you can hear a more death metal undertone to the guitar on "the Beast Who Walks the Earth" . Aside from being more mid paced and having a more deliberate throb, nothing really sets this apart from what I already got from the last Inquisition album, which has a bigger sound to it. The main difference is the vocals are not in a monotone croak.The last song rather than bring things to a climax that might pull me in just kinda breezed by. These guys are good at what they do, what they do I get in better doses from Inquisition. This is not to say they are ripping them off, but it is a sound that I already have in my iPod. This album is decent , I'll give it a 7.5, perhaps it might grow on me if I were to give it time, but I hear so much black metal that is just alright or gets the job done that what I want from the genre I consider to be one of my favorites is something with more passion and urgency that I have not heard before or at least a take on what is familiar with more of their own thumb print.


This album is being released February 13th by Invictus Productions

2.3

All Them Witches : "Sleeping Through the War"

This is my first time giving these guys a shot. They are pretty impressive right out of the gate as they start off with a very smooth and stoned breeze that reminds me of the Verve until they stomp on the fuzz. This gets thing heavier, but not what we would consider metal however "Bulls" is a great song. The songs begin very compactly written with " Don't Bring Me Coffee" falling some where between garage rock and boogie. They cruise along into a more straight ahead form of 70s rock on "Bruce Lee" . Lyrically I like the calm creepy glaze this song has. They remind me of a less rowdy Queens of the Stoneage here. You can also here the bass player take off here.

The album is well produced and the vocals seems to have a knack of sitting right where they need to be. There is a fair amount of Sabbath influence on "3-5-7". The drugs seem to be settling in here as it takes on more of a jammy quality.The creep into a more surreal groove that has an almost progressive quality to it on "Am I Going Up" which makes this one of the album's strongest songs.  Lyrically interesting the jam factor goes up on "Alabaster" . "Cowboy Kirk" continues to find the band cruising the scenic with a little more twang coming from the vocals. The groove is more angular and the song opens wide to make way for the guitar solo in places for some reason it brings Kings of Leon to mind.

The album ends with the snarky lyrics of the ten minute "Guess I'll Go Live On the Internet" . This has more of blues back bone to it's smooth groove as the vocals are more spoken than sung. The jamming really goes into high gear on this song. Six minutes into this indulgence and cold stone sober I begin to wonder where else can they take this for the next four minutes. The answer is to just shine on like crazy diamonds and jam it out to the bitter end. I don't mind jamming as long as the pay off is big enough to justify it and that doesn't happen here. I'll round this one up to a 9 as they jamming misdirection is the only time the album flubs the dub for me .

Ryan Adams :"Prisoner"

While I have liked his work it's his covers that have been a little more compelling, until this point for some reason the opener of his new album connects right away. It is a like more rock and balances out some punches with melody in a manner not unlike some of Tom Petty's more rockin moments from the late 70's -early 80's. There is classic rock styled guitar solo in the last minute. The opening guitar riff to the title track would not be out of place on a Smiths album, but when his vocals come in the twang I associate with his work comes in. The songs seem to all clock in around the three minute mark. The harmonica on "Doomsday" brings out the more country side though it still holds more of a roots rock sense. His vocal hooks are tasteful on his choruses and it feels like his song writing has now stepped up to rub shoulders with the artists like Bruce Springsteen and Mellancamp whose influence can still be felt. Lyrically these are songs of love and loss, grounded speculation painting intimate pictures what you see in these songs as dating in middle America. It might have to grow on me , but while he sings it with more urgency "Shiver and Shake" doesn't click as perfectly as the other songs before it. I think this is because the drums sit out. The pace picks up into more of a lazy stroll in the country for "To Be Without You". "Breakdown" becomes more compelling as it progresses an might be one of the album's best. "Outbound Train" has a similar simple strum to the other songs on the album. There is a hopeful sound to the chord progressions tat work well with the honest vocal lines. He is not winning any awards for his vocal range, but he knows how to work with what he has got and makes the most of it. The guitar to "Broken Anyway" is even more basic in front of a minimal arrangement and slowly builds to compliment his vocals. Lyrically this might be one of the most heart felt of all the songs, as he stays out of anger when singing about relationships that fall apart and instead offers some more introspective reflection. You can hear how working on the Taylor Swift cover album. "Tightrope" find his bi-polar lyrical tone swing back to his more romantic side. His voice has more rasp to it on this one when reaches up for higher notes. The sax solo brings out his more Springsteen side. The swing comes back the other side lyrically though the song is a little more upbeat on "We Disappear" . This is another very strong moment for the album. I'll round this one up to a 9.5 as I can hear how this album is going to be one of those that grows on me.

Top 10 Albums of 2016

So here they are complied in relative order in one master list of metal and other genres to see what were the actual best albums of the year. These are largely based on which ones I got the most play out of . When I said relative earlier on one day I might be moved to listen to one album more than another that might be ranked higher so this can shift,, but a fairly accurate representation of what endured 2016. If you want to check these albums out then go to the review urls I posted with each one. Who cares if your favorite album did not make the list, the Kleenex is on aisle three of  CVS, these are my favorite albums of 2016 and thus when it comes to this blog the Top 10 Albums of 2016.

10-Anagnorisis -"Perpetia"

 The narrative these songs are woven around provides a more personal touch then most black metal band's allow themselves to create. There are no arctic wastelands or occult gibberish to hide behind. In some ways if it was not for the sonic storm cloud raging as this album's heart beat you might mistake this for hardcore.  The vocals keep their scathing snarl as a static coat of white noise to a similar effect as Deafheaven. Their approach to black metal is less atmospheric and the ambiance if of a more emotional nature. It is without question one of the better black metal albums I have come across recently and these guys have really stepped up their game when it comes to song writing.

 http://abysmalhymns.blogspot.com/2016/09/anagnorisis-peripeteia.html

9- Khemmis - "Hunted"

At times more NWOBHM than doom and "3 Gates" starts off to uptempo to be doom at all, but in the end it got the most play time and had enough melancholy to qualify as doom, after all Black Sabbath albums didn't always crawl all the way to the finish line so something can be said for the dynamics.This one earned it space at the top not because it was the most dismal, but because I listened to it the most, which at the end of the day is what matters.

http://abysmalhymns.blogspot.com/2016/09/khemmis-hunted.html

8- Anthrax- "For All Kings"

 Anthrax used to be one of my favorite bands and to this day "Among the Living " is without a doubt one of the best metal albums ever with "Spreading the Disease" not too far behind. I hung tough with the band for the first six albums, even liking Jon Bush's first album. Then we grew apart.  "Worship Music"  saw the return of singer Joey Belladonna, but I never gave it a shot. I am giving them a chance here and while Belladonna might be 55, but I just reviewed the new David Bowie, and he is 69 so no body is slipping by due to age. Age might have helped Anthrax here , because with age Belladonna's voice is lower than even on "Persistence of Time" , but it gives him more aggression, which might have helped on albums like the almost too happy "State of Euphoria". There is younger blood injected in the band as Jonathan Donais from Shadows Fall is now in the band. They a surprisingly melodic section into the middle of the opener before thrashing back into it. They do not let up on the heavy with "Monster at the End", though it has a smoother groove allowing Belladonna's vocals to coast into a hookier chorus. A little less thrash and closer to mainstream metal, it's still a solid headbanger. .

http://abysmalhymns.blogspot.com/2016/01/anthrax-for-all-kings.html

7- Youth Code- "Commitment to Complications"

Production wise things have stepped up another level along with the song writing. After a melodic and perhaps dramatic synth intro the kick into the first proper song which kicks more like a rock song energetically than your typical industrial. Unlike your typical industrial there is not an obligatory layer of 90s thrash metal guitar over it. The synths are capable of summoning their own heft. This is in no way saying that there is not metal influence in place or this album isn't heavy. Ben from Goatwhore lends his snarl to the title track. It's interesting as he is not doing anything different from his normal delivery, but it's over a bunch of hammering synths.These kids are the real deal and not just hipsters playing dress up.

 http://abysmalhymns.blogspot.com/2016/04/youth-code-commitment-to-complications.html

6-Black Foxxes- "I'm Not Well" 

 This band is interesting as it's hard to imagine that they did not come from the late the 90s. While middle of the road when it comes to how hard the they do or do not rock,  I can appreciate the role the vocals play in their sound. As the opener builds there is more of  an early Pearl Jam like angst to the grit added in the vocals. They lock into a more traditional rock role on "Husk". When they ease their foot off the gas it offers a more dynamic glimpse at the band , but flirts with a more emo side than I am not sure I was ready to see yet on "Whatever Let's You Cope" .  There is an androgynous quality to their sound that doesn't glam it out like Placebo, but is there. They narrowly edged out Dinosaur Jr , I think I listened to this one a little more.

 http://abysmalhymns.blogspot.com/2016/10/black-foxxes-im-not-well.html

5- Merchandise- "a Corpse Wired For Sound"


 I guess the fact the band is on classic goth label 4AD , has finally settled in on them, so  it should not come as a surprise that the trappings of shoe gaze are more prominent in the guitar department on this album. It took a couple listens for me to fully appreciate the opening track.Perspective is a funny thing.  If I went Overall this album is great and Carson once again throws you a sonic curve ball and refuses to replicate past work and forge ahead creativelyinto the album not knowing it was Carson Cox and co, I would have latched onto the darker tones driving the songs.

 http://abysmalhymns.blogspot.com/2016/09/merchandise-corpse-wired-for-sound.html

4- Emma Ruth Rundle-"Marked For Death"

 In some ways there is not much difference between Emma Ruth Rundle's  second solo album and the last Marriages album, which is a good thing. If you were expecting just her and an acoustic guitar then think again. Perhaps the punches are not as rock and the songs are less jarring in their dynamic shifts, there is a very stormy mood that brews in the first songs.

 http://abysmalhymns.blogspot.com/2016/09/emma-ruth-rundle-marked-for-death.html

3- the Weeknd- Star Boy

 The tone of this album is much different and embracing more of a dance vibe with strong ties to house music. With the amount of drugs is supposedly does this is no surprise. The Micheal Jackson influence can be still felt on songs like "Rockin" though musically it is much more like Euro dance

http://abysmalhymns.blogspot.com/2016/11/the-weeknd-star-boy.html

2-Planes Mistaken for Stars- " Prey"

 These guys were always ahead of their time and finds music of today coming a little closer to meeting them in the middle. There has always been an unhinged side to the band and this is what the new album opens with. "Til it Clicks" is less explosive, but more of what I want from this band. The darker melody hangs around on "Riot Season" even after the pace picks up. The yowls of self loathing still haunt Jared's gravelly vocals riding the line between screaming and singing. The guitar to "Fucking Tenderness" carries some melody before tightening the tension. The vocals fill the spaces in the song perfectly and the band touching perfectly on all their trademarks without feeling like this song is any less urgent than it is.They are back in fine form and not standing stagnant in the legend of yesterday.

http://abysmalhymns.blogspot.com/2016/10/planes-mistaken-for-stars-prey.html

1- David Bowie - "Black Star"

 It was the Thin White Duke's 25th album. He released it on his 69th birthday. Then he died and most of you made me sick the way you ran out to get this looking for clues if he was hinting that he knew the time was coming. So lets talk about the music ...it's vulgar I know but some body has go to do it. The lead single and title track opens the album, finding Bowie in a darker and more surreal place than his last album. There is a very experimental ambiance to things that will delight fans of his Brian Eno years. His collections of musicians  ranges from LCD Soundsystem to avant garde jazz , with the jazz contingent weighing more heavily. Not his best album ever, or even post-"Lets Dance" I think "Outside" is way better and "the Next Day" might be as well, but it's Bowie so no one can really compete making this almost a no contest.

 http://abysmalhymns.blogspot.com/2016/01/david-bowie-black-star.html

A.F.I - "S/T"

These guys were at their peak with "Sing the Sorrow" and then found the more 80's new wave influences creeping into "Decemberunderground" that current still pervades the even slicker radio geared sound that is on their new album. Sometimes it works like a fucking charm with the opener being one of those moments. They come closer to a more Panic! At the Disco like sound on "Still A Stranger" with the vocals bringing a little more grit, though the guitar sound is more refined and could more gain in place to give this more punch. The lack of grit is something that takes getting used to on this album. Sometimes they nail it even without their old punk snarl "Aurelia" being the first to stand out.  "Hidden Knieves' shows that they really shine these days more as song writers as the song has all the pop punk hooks married to a more Placebo like.

They veer off into a more jangling post-punks sound that makes me think of R.E.M on "Get Hurt" . The chorus is big and slick here with some impressive guitar that sometimes takes the back seat in the mix. They brighten their darkness into shades that recall the Cure's radio pop in a very obvious manner on "Above the Bridge". There is a little more of their old punk self on "So Beneath You", but it doesn't have the thoughtful sense of melody that a song like "Snow Cats" does. They come back with more kick to their  sense of remembering who they once were on "Dumb Kids" but Danny never goes up into his more piercing metallic screams. It is not until "Pink Eyes' that we hear more aggression blended with this slicker pop punk sound.While the bass line to "Feed From the Floor" is much more Cure inspired the rest of the band joins oin to create this more goth tone.The most powerful return to their former anthems is on "White Offerings" which kicks a tone of ass. br /> They continue to excel at the marriage of pop slick sounds with their darker goth shadows on "She Speaks the Language" . They have slinky Depeche Mode like bass line on the closing anthem "the Wind that Carries Me Away" , think if they stepped back on their distortion pedals they would have given this song more balls and taken it to the next level, but as it is the song is still pretty decent. I'll give this album a 9.5 and see how it grows on me without the more hard core ghosts of their past haunting it.

Light of the Morning Star : "Nocta"

Pretty excited to wrap my ears around the debut full length by this band whose three song ep really did it for me. It kicks off very much where they left off and then "Coffinwood" shows some variance in that formula, they bang over a more post-rock variation of familiar territory . There is more of a hard rock crunch to what they are doing here , but the vast empty passages of morose creepiness are still in tact.One you are rocked into the upbeat "Serpent Lanterns" you feel like this is with an all too comfortable scope of what these guys do and then I began to wonder if the first ep was so strong because you were a small enough dose so the originality seems more novel .This opened the door to speculation in my mind if these guys could keep up the momentum of an entire album. Things improve on the darker "Grey Carriages". This one allows it self more breathing room.

The baritone vocals are a little lest crooned in a more dramatic murmur. This album feels more overtly metal in it's aggressive drive. I like the  production though the drums are a little dry compare to the rest of the instrumentation, the mix is weird in some places. "Oleander Halo" just doesn't haven't anything that really hook me in until the dreary chorus. The songs have begun to become a little too uniform at this point in the album. This full length has a much more up beat hammering to many of the songs, it works best when that is just on piece of the bigger picture and "Ophidian" really demonstrates this best. The bass provides more of the back bone rather than just sounding like more mainstream rock.

Things get more dismal for "Lord of All Graves". This song is better constructed than the bulk off the album and the vocals have more purpose.  There is a more melodic sense to "Five Point Star" , but it really doesn't go any where, though the sounds it draws upon are pleasing. My expectations were pretty high, so I am not sure what I expected going into this , but I wanted something that hit me with the magnitude of the first ep , But taking this album for what it is, they still deliver something I like but it lacks the wow factor, so I'll give it an 8.

 

Bathsheba : "Servus"

Here is the doom I have been looking for. These are the thoughts inspired by the weighty riffs that opens the new album from this Belgian band. The fact the clean vocals are so dominate works for me  she can pull out some more snarled harsher vocals , which are effectively used. The pace picks up out of the realms of doom into something more blast beaten  when it slows down into a more deliberate and powerful drive it should make you  believer, The execution on the second song feels more like Fear of God, Sax wanders around some of the songs more slinky blues infused moments. It is not conventional tried and true doom that  breaking the ten minute mark. It's darker by a few degrees, though finds it's way back into the more powerful distortion with the doom element varying it degrees of subtlety.

"Demon 13" chug down a road more common in this brand of metal though the vocals help set it apart from every one but, Atriarch and Fear of God, which means they allow their compelling darkness to make them heavier. Ger tortured rasp breaks up the narrative of this song and gives it more punch. There is a more burdened pace to "the Sleepless Gods". The vocals carry a little lower croon. It eventually all builds into a pretty powerful section 3 / 4's through. The pulse that opens "I At the End of Everything" is more upbeat than most doom cascades into a more post-punk creep, which is an influence whose shadow is rather restrained. The mood is well set at the beginning of the song, but eventually the hypnotic nature just numbs me out with it's drone. This sets in during the song's final two minutes.

I have no problem rounding this album up to a 9.5 and seeing how it sits with me because after my first few listens I can hear myself really getting some mileage out of this album. This album is being released on Feb 24th.


5,5