Posts Tagged ‘ Rock ’

Best of 2017: The Albums

After a number of great releases in January, I thought 2017 was going to be an amazing year for rock and metal. In that respect, the year in music had been a little disappointing. There was no consistent stream of good releases, though there were a few clear peaks in the release schedule. Aside from January, March was a small peak release-wise, September a large one, with the last two months of the year having a handful of interesting albums. My top 10 more or less made itself, but I had even more trouble filling the last couple of positions than last year.

Having said that, I was overwhelmed by the number of quality releases from my own country. Being a Dutchman, I am sometimes overly critical of Dutch bands and sometimes unjustly so. Speaking as a music journalist, I would certainly say that 2017 was the year of pleasant surprises from Dutch guitar bands. There were two clear winners for me this year and neither of them is Dutch, but with four Dutch releases in the top ten and seven in the top twenty, I’d say that last year was surprisingly pleasant for a journalist of a couple of Dutch guitar magazines.

1. Firewind – Immortals

Some of the best power metal I have heard in a long, long time. I have always enjoyed Firewind, but the addition of singer extraordinaire Henning Basse to the line-up and Dennis Ward to the production and songwriting team was just the boost that the (largely) Greek power metal band needed. ‘Immortals’ is full off exuberant power metal with anthemic, yet not too cliché-ridden choruses and surprisingly aggressive riffing courtesy of Gus G. The epic feel that the concept about the Battle of Thermopylae requires is prominently present, but never at the expense of the songs, which would not lose any of their power when played “out of context”. Though the Greeks did not win the battle, Firewind did. ‘Immortals’ still makes me grin like an idiot when I play it today.

Recommended tracks: ‘Ode To Leonidas’, ‘Hands Of Time’, ‘Rise From The Ashes’

2. Lovebites – Awakening From Abyss

Lovebites was the only serious competition for Firewind this year. I was ready to dismiss the quintet as another hyped-up girly J-metal band, but both the EP and the album they released this year were jaw-dropping. There’s nothing cutesy about Lovebites: their music has balls. ‘Awakening From Abyss’ is chock-full of high octane riffs, mad lead guitars and excellent heavy metal songwriting. Lovebites combines the best elements of traditional metal and contemporary power metal into a catchy, delicious cocktail with a healthy dash of aggression. Singer Asami, who I had never heard of prior to the EP, is the icing on the cake. Her flexible range and immense power make this an incredible album instead of just a great one.

Recommended tracks: ‘The Hammer Of Wrath’, ‘Shadowmaker’, ‘Liar’

3. Dool – Here Now, There Then

Gloomy, dark, depressive, but always with very distinct melodies. Though ‘Here Now, There Then’ is only Dool’s first album, they already hits all the right buttons. Their immersive sound features equal parts doom metal riffing, psychedelic rock soundscapes and general post-punk nihilism. Listening to Dool is like being surrounded by huge walls of guitars that alternate between weaving intricate patterns and crushing your soul with brutally effective riffs played in unison. Though many bands playing a similar style are marred by subpar vocals, ‘Here Now, There Then’ features some of the best vocal work I have heard Ryanne van Dorst do thus far. She sounds great on her own, but the harmonies are even better. Not for the faint of heart, but an incredible experience.

Recommended tracks: ‘Vantablack’, ‘Oweynagat’, ‘The Alpha’

4. Steve Hackett – The Night Siren

In a way, it is ridiculous that an almost supernaturally talented guitarist like Steve Hackett needs to revisit his Genesis legacy to get the attention he deserves, but if it gives him the means to write and perform a record like ‘The Night Siren’, it has all been worth it. Here, Hackett explores his influences from all over the world and combines them with his own English rock, pop and blues roots. World fusion in the best possible way. The real class of ‘The Night Siren’, however, lies in the fact that Hackett blends these worldwide influences with his own music in a way that does not sound like he is trying to be clever, it just enhances the mood. Again, the atmosphere is immersive and unsurprisingly, Hackett’s playing is nothing short of stellar.

Recommended tracks: ‘Behind The Smoke’, ‘El Niño’, ‘Fifty Miles From The North Pole’

5. Adagio – Life

This was a grower for me. It took some time to do so, but once it did, it was very difficult to stop playing ‘Life’. Adagio really does something new here, which may not be too surprising, since their last album was released more than eight years ago. The tempo is considerably lower and Stéphan Forté’s downtuned rhythm guitars are sometimes reminiscent of the djent-sound, but with Kevin Codfert’s mind-blowing orchestrations and Kelly Sundown Carpenter’s mighty voice, the music has so much more to offer melodically and harmonically. The songwriting is bombastic, complex and melodically strong simultaneously and the record is full of subtleties that reveal themselves over repeated spins. I never was a big Adagio fan, but now I will certainly keep my eye on them.

Recommended tracks: ‘Subrahmanya’, ‘Torn’, ‘Life’

6. Navarone – Oscillation

On the surface, every element that made Navarone’s prior albums so great are in full force on ‘Oscillation’: the great seventies and nineties rock riffs, Merijn van Haren’s massive voice and a rather unpredictable approach to songwriting. Yet, something has changed. The songs are more concise and the band really explores the sonic opportunities of the studio here. And with that comes new possibilities. The surprisingly cinematic ending of ‘Snake’, the contemporary pop sensibilities of ‘Soon I’ll Be Home’ and the progressive splendor of ‘Chrome’ are born from this altered approach. As soon as the initial awkwardness wore off, ‘Oscillation’ turned out to be a very satisfying album by what is arguably Europe’s best rock band at the moment.

Recommended tracks: ‘Days Of Yore’, ‘Chrome’, ‘Soon I’ll Be Home’

7. Jeangu Macrooy – High On You

Before I ever even heard a note of his music, Jeangu Macrooy already impressed me with his moving, powerful voice, which has distinct traces of Bill Withers in it. His music is just about as good. ‘High And You’ is a melting pot of styles which really bring out the best in each other. Large doses of soul, of course, but also pop, jazz, folk and hints of rock and Carribean music. And while many artists who attempt something similar get lost in the maze of their own influences, Macrooy’s warm, almost spiritual voice ties the whole thing together convincingly. What truly helps is that Macrooy’s basic compositions are essentially all excellent pop songs. The profound, yet uplifting ‘Step Into The Water’ would be my choice for the single of the year.

Recommended tracks: ‘Step Into The Water’, ‘Fire Raging’, ‘Head Over Heels’

8. Galneryus – Ultimate Sacrifice

Always highly anticipated: a new Galneryus album. Especially because ‘Ultimate Sacrifice’ was announced as a sequel to ‘Under The Force Of Courage’, one of their better records. ‘Ultimate Sacrifice’ is a bit more consistent and really finds the band firing on all cylinders. The songwriting leans a tad more towards progressive metal than usual, but not without sacrificing – no pun intended – any of their euphroric, strongly European-tinged power metal sound. One of Galneryus’ best traits has always been their display of virtuosity: it is always there, but not before the song has been clearly outlined. Sure, it is fast and reasonably complex, but ‘Ultimate Sacrifice’ is also full of accomplished melodies and it has a remarkable dynamic range for the style.

Recommended tracks: ‘Rising Infuriation’, ‘Heavenly Punishment’, ‘Brutal Spiral Of Emotions’

9. Merry – M-Ology

For years, I have been wanting Merry to make an album like ‘M-Ology’. Not that I did not like their previous albums – ‘Nonsense Market’ is awesome – but the great thing about this one is the fact that the retro feel that made early albums like ‘Modern Garde’ and ‘Peep Show’ so good is finally as prominent as it should be again. Sometimes it feels like a particularly loud jazz band deciding to play a mix of alternative rock, punk, rock ‘n’ roll and traces of metal and blues. I am aware that such description sounds like a mess, but that is where Merry shines: songwriting. All these songs are based around memorable hooks and rhythms that are as energetic as they are danceable. As a result, I did not play anything else for days after ‘M-Ology’ came out.

Recommended tracks: ‘Inugata Shinsei Masochist’, ‘Kasa To Ame’, ‘M-Ology’, ‘Happy Life’

10. Robin Borneman – Folklore II: The Phantom Wail

Navarone made me aware of this great Dutch singer/songwriter. More than half of that band contributed to ‘Folklore II: The Phantom Wail’, but it is still very much Borneman’s record. One that is kind of hard to define, as it sounds cinematic and rootsy at the same time. This is the kind of stuff that takes you on a journey. Just close your eyes and it will come immediately. Sometimes it’s folky blues, but there are also times when it sounds like a spaghetti western contained in a psychedelic rock song, there are hints of country & western… The only true way to describe this is emotional, atmospheric and unpredictable music. No single instrument outshines the bigger picture and the production job is the best I have heard in a long, long time.

Recommended tracks: ‘Woebegone Blues’, ‘O Faithful World’, ‘The Reckoning / Dawn’

11. Galactic Cowboys – Long Way Back To The Moon

If you like heavy metal riffs and vocal harmonies reminiscent of The Beatles simultaneously, King’s X and Galactic Cowboys are basically the only bands you can count on. However, the former’s last studio album is almost a decade old and the latter broke up around the turn of the century. Fortunately, they are back and their new album is their best since their incredible debut. On the surface, Galactic Cowboys may be focusing on their heavy side here, but really, every part of their charm can be heard here. The harmonies, of course, but also their cross-genre approach, their loose jam feel and their ability to let the music breathe when it needs to. To show their fans that they are serious about rekindling their fire, the album even starts with Galactic Cowboys’ oldest song.

Recommended tracks: ‘Amisarewas’, ‘Drama’, ‘In The Clouds’

12. Labÿrinth – Architecture Of A God

When ‘Architecture Of A God’ was just released, I was sure it was going to make my top five. It is, after all, the Italians’ best record since career highlight ‘Return To Heaven Denied’ and almost every song on here is pure gold. Singer Roberto Tiranti is in top shape and as such, he is the perfect fit for the progressive, yet romantic power metal of the sextet. At times, new keyboard player Oleg Smirnoff even pushes the band to different terrain sonically with his unconventional keyboard sounds. And then there are Olaf Thörsen and Andrea Cantarelli, providing all the dreamy melodies and shimmering acoustic guitars you could wish for. It drags a little near the end, but with some of its fat trimmed, ‘Architecture Of A God’ would have definitely made the top five.

Recommended tracks: ‘Still Alive’, ‘A New Dream’, ‘Someone Says’, ‘Diamond’

13. Drive Like Maria – Creator Preserver Destroyer

‘Sonny’ alone is enough reason to get ‘Creator Preserver Destroyer’. Seriously, that little mix of melancholic melodies and poppy rock sensibilities is one of the best songs on an album released this year. The rest of the album is equally strong though. ‘Creator Preserver Destroyer’ does sound a little different than Drive Like Maria’s earlier albums, as the beautifully soulful, but not too loud vocals of Bjorn Awouters suddenly get all the room they need to excel. Underneath them, there is enough variation to make this material, which was originally released as three EP’s, interesting for an entire album. Sexy grooves, extended seventies rock jams, monolithic stoner riffs and the occasional ballad… Whatever you need, you will probably find it here.

Recommended tracks: ‘Sonny’, ‘Tiny Terror’, ‘Keeps Me Going’

14. For All We Know – Take Me Home

Within Temptation guitarist Ruud Jolie released an incredible solo album under the For All We Know moniker in 2011. That album was full of atmospheric, surprisingly emotional progressive rock and I am very glad that he got the whole band that recorded the debut back together. Especially the partnership between Jolie and singer Wudstik is pure magic. Together, they create complex, richly layered songs that are accessible at the same time. This concept is taken to the extreme on ‘Take Me Home’; the poppy aspects are catchier, the ballads are softer, the heavy riffs are heavier and the complexity is turned up at strategic moments as well. Listening to For All We Know is truly an immersive experience and though it is a pity we had to wait for it for over six years, it is a great thing that Jolie had the time to write, record and release yet another great record.

Recommended tracks: ‘The Big Wheel’, ‘They’ll Win’, ‘Fade Away’

15. Mastodon – Emperor Of Sand

Mastodon is quite likely the only modern metal band I am consistently interested in. Their sludgy guitar sound is offset by Brann Dailor’s busy rhythms and the overall progressive songwriting. Those who thought the band took its melodicism too far on recent albums will be in for a treat. Though ‘Emperor Of Sand’ still contains its fair share of highly melodic choruses, the riff work and the lead guitar sections are more complex than they have been for a long time. The record is full of triumphant guitar harmonies and the three lead singers (Dailor, guitarist Brent Hinds and bassist Troy Sanders) work together better than ever. On ‘Emperor Of Sand’, Mastodon proves that there is such a thing as a metal band aging gracefully without becoming a caricature of itself.

Recommended tracks: ‘Ancient Kingdom’, ‘Jaguar God’, ‘Steambreather’

16. Sven Hammond – Rapture

Notably less polished than their other recent efforts, but no less enjoyable. ‘Rapture’ finds Sven Hammond returning to the raw, almost garage-y soul sound of their earliest records – if those three instrumentals are no nod to Booker T and the M.G.’s, I don’t know what is – but this time, they combine that with their knack for writing accessible songs, as showcased on their previous records. ‘Rapture’ feels like a groovy late night jam session, during which the presence of Sven Hammond’s amazing singer Ivan Peroti requires some sense of structure. The rhythms are driving, Sven Figee’s Hammond organ is nice and dirty and Tim Eijmaal’s guitar alternates between bouncy riffs and subtle coloring. This sounds way more American than a Dutch band has any right to sound.

Recommended tracks: ‘Choosy Lover’, ‘A Right Pickle’, ‘Lazarus’

17. The Magpie Salute – The Magpie Salute

Sad as it is that The Black Crowes are no longer around, The Magpie Salute really is the next best thing. Sure, there is only one original song on this album – I’ve been told an album full of original material is coming in the new year – but what really makes this album is the musical interaction. It is more than obvious that every musician involved has a maximum of respect for the other musicians and the songs they are playing. Jam rock bands have a tendency to stick to the same groove for too long, but every second on The Magpie Salute’s self-titled debut album made me hungry for more music. The album is full of exciting musicianship and the lack of a truly charismatic lead singer like Chris Robinson is cleverly compensated for by harmonies.

Recommended tracks: ‘War Drums’, ‘Omission’, ‘Goin’ Down South’

18. Septicflesh – Codex Omega

If there is death metal in my list, it has to be something special. And it is. Septicflesh has always attracted my attention due to their sophisticated orchestrations, but their songs never appealed to me quite as much as on ‘Codex Omega’. This time around, the orchestra does not just add power to the songs, the songs themselves are already powerful, allowing the orchestra to take them to their logical extremes. There is also a lot of toying around with rhythms, which can probably be attributed to the arrival of new drummer Kerim ‘Krimh’ Lechner, whose rhythms try to find their strength in unconventional accents rather than complexity. Jens Bogren’s immense production job is incredible. Hell, I don’t even mind Seth Siro Anton’s grunts. They enhance the atmosphere.

Recommended tracks: ‘3rd Testament (Codex Omega)’, ‘Trinity’, ‘Dante’s Inferno’

19. Cloven Hoof – Who Mourns For The Mourning Star?

It would be easy to dismiss Cloven Hoof as a mere shadow of its former self on account of the ridiculous number of lineup changes they have had to endure in recent years. But ‘Who Mourns For The Mourning Star?’ is such a euphoric, energetic slab of traditional heavy metal that it is easy to forget all of that. A mix between US Power Metal and the NWOBHM scene they are often associated with, the album is treat for old schoolers. And as many credits as bassist Lee Payne deserves for writing these incredible songs, it is really singer George Call – also known as “gruff Bruce Dickinson” in my circles – who pushes these songs beyond how good they would have been otherwise. New material from an old band that does not sound like a weak rehash. Refreshing!

Recommended tracks: ‘Star Rider’, ‘Time To Burn’, ‘I Talk To The Dead’

20. Black Country Communion – BCC IV

Glenn Hughes, never a poster child for subtlety, was very bitter about Joe Bonamassa walking out of Black Country Communion. So it was all the more surprising that they recorded a comeback album together. And that it was good. Not as memorable as their first two albums, but with a songwriter as strong as Hughes, there are bound to be some winners. Most of it is pure classic rock gold, but there are some folky, bluesy and surprisingly poppy moments as well. Of course, with four musicians this good – and most of them experienced in session work – the interaction is simply excellent. As a result, the longer songs work best. I am not as big a fan of Bonamassa as most people seem to be, but in this context, his playing just works. And Hughes’ voice defies physics.

Recommended tracks: ‘The Cove’, ‘Wanderlust’, ‘Awake’

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Album of the Week 47-2017: Steve Hackett – The Night Siren


After spending a lot of time touring with new interpretations of old  Genesis material, Steve Hackett finally found the time to release a new album of all original material again earlier this year. And that is great, because his last couple of albums were all really good. ‘The Night Siren’ is no different. In fact, it may be even better than the already impressive ‘Beyond The Shrouded Horizon’. Here, Hackett tries to create a world fusion/progressive rock hybrid that works a lot better than earlier attempts at such a blend. Not just by Hackett himself, but by rock musicians in general.

What makes ‘The Night Siren’ work so well is that it is not the work of a western rock musician trying to show off how exotic he can be; Hackett really creates his own style with all these foreign influences, no doubt helped by the great arrangements and gorgeous, often Arabic sounding orchestrations of his keyboard player and co-producer Roger King. While exploring all corners of the world, Hackett and King keep the bottom end firm and relatively heavy, creating a record that is much more consistent than albums with such a journeyman mentality genereally tend to be.

Most of the songs on here could have been on any one of Hackett’s records and because of that, the songs do not sound like huge departures from what he usually does. Tracks like the amazing opener ‘Behind The Smoke’ and the lengthy guitar exercise ‘Fify Miles From The North Pole’ sound memorable and muscular, while the orchestrations give them a ‘Kashmir’-like atmosphere. Hackett’s work on the classical guitar makes ‘Other Side Of The Wall’ feel like a familiar, trusted song, while the folk morphing into prog approach of ‘Inca Terra’ would not have sounded out of place on Genesis’ ‘Wind & Wuthering’.

That does not mean that ‘The Night Siren’ is without surprises. ‘Martian Sea’ starts out sounding like one of the sixties pop inspired tracks that Hackett is known to be fond of, but turns into a somewhat psychedelic song with distinct Indian influences halfway through and the celtic folk-inspired first half of ‘In Another Life’ sounds unlike anything Hackett has ever done before. It also illustrates best how much Hackett’s vocals have improved recently: he sounds powerful and confident here. ‘Anything But Love’ slowly builds from a latin and flamenco inspired track to an inspired uptempo, but not too heavy rocker and ‘The Gift’ is almost cinematic in scope.

Honestly, 21st century progressive rock does not get much better than this. There is a spontaneity to ‘The Night Siren’ that is very rare in the meticulously composed genre. Of course, Hackett’s tasteful and not too flashy lead guitar work would make any album sound better, but compositorically, he has been in the shape of a lifetime for the last decade. ‘The Night Siren’ is a new highlight in the guitarist’s already impressive body of work. It is also one of the brightest gems of 2017 music. Highly recommended to everyone.

Recommended tracks: ‘Behind The Smoke’, ‘El Niño’, ‘Fifty Miles From The North Pole’

Album of the Week 44-2017: Marillion – Seasons End


When original singer Fish left Marillion, it was considered the end of an era. However, it was also the beginning of a new era. Steve Hogarth, who still fronts te band to this day, has an emotional depth to his voice that Fish just did not have, allowing the band to branch out even further away from the strongly Genesis-inspired neo-prog of their earliest work. Along its predecessor ‘Clutching At Straws’, ‘Seasons End’ can be seen as sort of a transitional phase. Not because of the singer change between the albums, but because it signals Marillion’s shift towards the most emotional progressive rock created to date.

Most of the music had already been written before Hogarth, himself a great composer, joined the band, so it’s not too surprising that ‘Seasons End’ is stylistically similar to ‘Clutching At Straws’. The record has a dark, passionate vibe, with occasional lighter or more upbeat moments keeping the darkness from becoming too overwhelming. The ‘Incommunicado’-rewrite ‘Hooks In You’ is the most obvious example of this, but the opening one-two punch of ‘The King Of Sunset Town’ and ‘Easter’ is remarkably positive as well, even though the lyrical contents – about the turmoils in China and Northern Ireland respectively – is at times quite bleak.

As usual though, Marillion shines brightest in their darkest moments. Especially the finales of the original vinyl sides are nothing short of incredible. The moving ‘Seasons End’ has been built upon a haunting clean guitar line by Steve Rothery – who still has the most beautiful clean guitar sound in the world – and features bone chilling performances by both Rothery himself and Hogarth. Closing the album is ‘The Space…’, Hogarth’s first major compositional contribution to Marillion along with ‘Easter’. This synth-driven masterpiece works its way through multiple climaxes and features some incredible vocal work.

Despite those closers being the undisputed highlights of the record, most of Marillion’s albums are remarkably consistent and ‘Seasons End’ is no exception. Each and every one of the seven other songs are worth hearing. ‘Berlin’ in particular is a bit of a beautiful suite of shifting moods and building intensity. ‘Holloway Girl’ and the surprisingly short ‘After Me’ both start out as moody ballads and gradually turn into something more bombastic, while there are excellent performances by everyone involved all around. Steve Rothery in particular truly delivers. He is easily one of the most tasteful and melodic lead guitarists in contemporary music.

Though the singer change would spark an endless “who’s better?” debate, it was exactly what Marillion needed around the time ‘Seasons End’ was released. The album was an essential step in refining their own sound and evolving from their neo-prog beginnings into a truly progressive rock sound that encompasses various influences from the alternative pop and rock field. And even more importantly, ‘Seasons End’ shows that Marillion consists of a group of excellent songwriters that can do more than just play their instruments really well. They can carry a memorable tune much better than many other bands in the genre.

Recommended tracks: ‘Seasons End’, ‘The Space…’, ‘Berlin’

Album of the Week 36-2017: Merry – M-Ology


‘M-Ology’ is the album I have been wanting Merry to make for about a decade. While I really liked ‘Nonsense Market’ (2014), everything about ‘M-Ology’ points at a total throwback to the days of ‘Modern Garde’ (2004). While such a “return to the roots” is a strained move for many bands, Merry never strayed from their original path too much. They just explored the heavier edges of their sound to a point where they sort of buried the retro aspects that made their sound so unique and appealing. Now that these are back at the forefront, Merry’s new album is a brilliant work of “retrock”.

Those who are unfamiliar with Merry are probably better off listening to their music than reading a description, as the quintet plays a fairly rich cocktail of styles. Genre-wise, this is definitely J-rock, but there are jazzy rhythms amplified by Nero’s hard-hitting drum style, afterbeat ska chords and rockabilly-ish themes on the guitar, a punky energy and a bunch of vaudevillian melodies that pop up now and then. If that sounds like an impossible combination: that’s what yours truly thought too, until he actually heard the music. Merry’s songs are busy and bristling with energy, but always recognizable and well-crafted.

Prior to the announcement of the album, the singles for ‘M-Ology’ already made me look forward to the album. ‘Happy Life’, released over two years ago, is an excellent upbeat rock song with a chorus filled with the hopeful melancholy that characterizes a lot of Merry’s best material. ‘Heijitsu No Onna’ balances on the line between ballad and light rock song, but it was ‘Kasa To Ame’ that won me over. Built upon a not too complicated, but brilliantly brooding bass line courtesy of Tetsu, this song displayed the Merry that stole my heart so many years ago. The song is also a masterclass in musical climaxes.

Album highlight ‘Inugata Shinsei Masochist’ is the song whichI thought would be the next single, due to its goosebumps inducing arena rock intro and marvellous chorus, but apparently, the band went for the title track, which after a delightfully chaotic intro develops into a song that evokes a feeling of nostalgia. Other notable tracks are the remarkably upbeat punk polka of ‘Black Flag Symptom’, the overwhelming weirdness of ‘Mass Control’ and ‘F.J.P’, a song that amplifies everything that makes Merry such a great band to begin with.

Where ‘Nonsense Market’ saw Merry reconnecting with their core sound a little, ‘M-Ology’ sees them diving head first into it. Gara’s screams, shouts and grunts can be great means to emphasize an angry passage of a song, I prefer the focus on catchy melodies he employs here. As always, Kenichi and Yuu are great at crafting guitar melodies that either dance around each other or build upon each other’s heaviness and Tetsu and Nero are among the best rhythm sections in Japan, with the latter having an intuitive, playful style which makes him my favorite Japanese drummer. This may sound like an exaggerated amount of praise, but since ‘M-Ology’ can rival ‘Modern Garde’ and ‘Peep Show’ as Merry’s best album, I think the praise is more than deserved.

P.S.: Included in the “B type” of the album is the best bonus dvd that ever came with a Merry album. Filmed at what looks like the same location as the first ‘Many Merry Days’ dvd’s and produced with a somewhat cinematic look, I am sort of sad that as a European, I cannot obtain the full show that comes with the fanclub edition of the album. Still, these five songs are performed incredibly.

Recommended tracks: ‘Inugata Shinsei Masochist’, ‘Kasa To Ame’, ‘M-Ology’, ‘Happy Life’

Album of the Week 35-2017: Living Colour – Shade


With ‘Shade’ only being the third album in the 17 years since Living Colour reformed – and the first in eight years – expectations were high. What exactly I expected, I don’t actually know, but it certainly wasn’t an album that sounds as raw and “live” as ‘Shade’ does, as ‘Collideøscope’ and ‘The Chair In The Doorway’ were both albums with a notable emphasis on the production. This shift in approach has pros and cons, which makes ‘Shade’ a bit of a confusing record, but it is a fact that Living Colour hasn’t made a record this lively since their early nineties heyday.

There is a bit of a drawback here, as the looser arrangements sacrifice a bit of memorability of Living Colour’s earlier work. None of these choruses will stay with you as long as ‘Cult Of Personality’ did. In addition, some of the songs are just too long. The bluesier tracks ‘Invisible’, ‘Who’s That’ and the Robert Johnson cover ‘Preachin’ Blues’ in particular outstay their welcome, all of which would have been fine tracks had they been a minute and half shorter. Especially the unlikely marriage of New Orleans music and grooving heavy metal riffs on ‘Who’s That’ is interesting enough.

However, ultimately ‘Shade’ is a successful album. There are not many hard rock bands that groove as mercilessly as Living Colour does, as evidenced by songs like the excellent ‘Program’ and the Notorious B.I.G. cover – no, seriously – ‘Who Shot Ya’. ‘Come On’ seems to successfully blend the visceral live feel and the more produced nature of the previous two records and ‘Always Wrong’ sort of shifts back and forth between a psychedelic rock song based on a driving bass line by Doug Wimbish and a power ballad. Again, the combination of styles seems unlikely, but works miraculously well. And that is, of course, Living Colour’s trademark.

Moreover, the album takes an interesting turn about halfway through. There are a bunch of really cool experimental tracks on the second half of the record, starting with ‘Blak Out’, which seems to have developed from a dubby jam of Wimbish and drummer Will Calhoun until Vernon Reid’s massive guitar riff takes over. Reid also really shines on the dreamy, almost spacey closing track ‘Two Sides’. And to keep that part of the album from losing itself in experimentation, there are heavier tracks like ‘Pattern In Time’ and ‘Glass Teeth’ to restore the balance. The latter in particular is an awesome track, even with its borderline silly chorus.

In the end, there is an excellent 40 minute record in ‘Shade’. The only problem is that it is almost ten minutes longer. The performances are as good as you would expect from this group of geniuses. Corey Glover still sings as good as he did on ‘Vivid’ almost three decades ago and Vernon Reid has a surprisingly bluesy, melodic approach here. It’s amazing how much he still sounds like himself even without all the atonality he has extensively toyed with. Avid fans of Living Colour can blindly purchase ‘Shade’. Casual fans may want to give it a listen before purchasing.

Recommended tracks: ‘Blak Out’, ‘Two Sides’, ‘Glass Teeth’

Album of the Week 31-2017: The Joe Perry Project – Let The Music Do The Talking


Guitarist Joe Perry is often seen as the one who guards Aerosmith’s musical integrity next to Steven Tyler’s showmanship. Anyone with some in-depth knowledge about Aerosmith knows that grossly oversimplifies the band’s complicated dynamic, but it is a fact that during the Perry’s time away from the band, Perry released two excellent albums with The Joe Perry Project while Aerosmith released one mediocre record. And while sophomore album ‘I’ve Got The Rock ‘n’ Rolls Again’ of Perry’s project may have higher peaks, ‘Let The Music Do The Talking’ is one of the most consistently engaging bluesrock records of the early eighties.

First off, the title of the album is not without meaning, of course. It could be interpreted as a provocation towards Aerosmith, but it could also just represent the fact that Perry burned all the bridges behind him and decided to just focus on what he likes doing best in the first place: making music. Regardless, Perry sounds like a man unburdened on ‘Let The Music Do The Talking’. There is a spontaneity to this debut that some of the late seventies Aerosmith albums lacked, no matter how good they were. The songs sound raw and energetic, but not underdeveloped.

Another reason why ‘Let The Music Do The Talking’ sounds so fresh and spirited is the fact that Perry put together an excellent band. Nowhere is this more obvious than during the short, high octane instrumental ‘Break Song’. Drummer Ronnie Stewart and bassist David Hull are perfectly in sync with each other and Perry, ending up sounding positively on fire. The upbeat, uptempo closer ‘Life At A Glance’, the massive and somewhat dark ‘Shooting Star’, the swinging boogie of ‘Discount Dogs’ and especially the powerful, catchy title track that opens the record profit from the tight, spirited interplay of The Joe Perry Project.

In addition, adding a lead singer to his project was a great idea from Perry. His own voice is cool and a perfect fit for the dark, bluesy ‘The Mist Is Rising’ and the sarcastic tone of the strong rocker ‘Conflict Of Interest’, but his range is not particularly wide. The higher, more powerful registers of Ralph Morman are the perfect fit for songs that demand some more vocal prowess. His clean voice has a slight raw edge, which really lifts songs like ‘Let The Music Do The Talking’ and the otherwise somewhat mundane ‘Ready On The Firing Line’ to higher level. His duets with Perry work remarkably well too and should maybe have been featured more prominently here.

Without the big budget and the business acumen of Aerosmith’s management, ‘Let The Music Do The Talking’ never quite took off the way it should have, but the album is still available and very much worth checking out. Somehow, the record still sounds fresh today and I suspect that Perry’s drive is largely to blame for that. It may be a cliché, but the debut album of his Project – capital P – does actually let the music do the talking. There may be some bitterness in a few of the lyrics, but it does not dominate the record. The strong bluesrock songs and excellent performances do.

Recommended tracks: ‘Let The Music Do The Talking’, ‘Life At A Glance’, ‘Break Song’

Album of the Week 28-2017: Buck-Tick – Juusankai Wa Gekkou


Buck-Tick is one of the most influential bands from the Japanese visual kei scene. Singer Atsushi Sakurai has one of the most distinctive, appealing voices of that scene and yet, their classic material never appealed to me much. Their earliest work was a bit too upbeat for my taste, while most of their nineties output has strong electronic overtones that I find somewhat abrasive. ‘Juusankai Wa Gekkou’ solves both of these issues by being a dark, gothic monster of an album with a pleasant, organic production. It turned out to be a unique entry in Buck-Tick’s discography, both stylistically and quality-wise.

While the gothic label ‘Juusankai Wa Gekkou’ often gets is not entirely inaccurate, especially regarding its lyrical themes and horror-like imagery, the sound of the album is better characterized as a relatively dark post-punk band discovering how lively their songs can sound with a more organic sonic approach. As such, the album really plays to Buck-Tick’s strengths. Always the band’s main attraction, Sakurai’s voice is front and center and he obviously knows his way with the album’s atmosphere. However, the “less is more and every note counts” approach of guitarists Hisashi Imai and Hidehiko Hoshino deserves a lot of praise as well.

Those who are used to the virtuoso approach that even more accessible J-rock bands like Luna Sea and L’Arc-en-Ciel employ might be surprised at how the musicianship takes a back seat to the songs and the atmosphere here. The songs are pretty low-key and even the climactic outbursts are not very bombastic. As a result, ‘Juusankai Wa Gekkou’ is a slow burner and in order to enjoy the record, it is imperative that the atmosphere absorbs you. That does not mean the musicianship is not important. The amazing ‘Doll’, for instance, is characterized by a brilliant, teasing guitar line as much as by the atmosphere and Sakurai’s performance.

Remains of the band’s electronic approach can be found in the spooky ‘Muma – The Nightmare’, which – despite the fact that it’s followed by two more tracks – sounds like the climax of the record. The electronics are just a bit less “busy” than on the material they released in the decade prior to ‘Juusankai Wa Gekkou’. The impeccably arranged ‘Alive’ is another standout track, due its memorable and strategically placed chorus. ‘Passion’ is one of the darkest, most horror soundtrack-inspired moments of the record and therefore, is best not listened to in the dark. It does capture the creepy mood exceptionally well though.

‘Juusankai Wa Gekkou’ is by no means a perfect record. At 78 minutes, some fat could have been trimmed, especially from the intros, outros and interludes, while ‘Seraphim’ and the vaudevillian ‘Diabolo -Lucifer-‘ stand out like a sore thumb due to their relatively upbeat atmosphere. Their main purpose seems to be to emphasize the darkness of ‘Muma – The Nightmare’. Despite those minor complaints, ‘Juusankai Wa Gekkou’ has a consistency that some of the most popular Buck-Tick albums lack. It is easy to sit this one out, as this is one of those albums that refuses to let you go once it gets a hold of you.

Recommended tracks: ‘Alive’, ‘Doll’, ‘Muma – The Nightmare’

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