#power metal being my top genre despite no power metal band in my top 5 💞

[thisismyobsessionnow]

It's been a year, yeah

[inhibited-irregularity]

EUROVISION 2021, personal favorites:

- Russia 🇷🇺

Manizha, Russian Woman: Absolute favorite. The sheer originality of the song! Her energy and the level of absolute badassery! She can sing, she can rap,and she's a bomb of energy. The way reggae and brass and hiphop and Slavic melodies overlap and it somehow works, the transitions between fun and "I'm bitter about the sexism and I'm mocking it unapologetically and making a stand" and the anthemic, emphatic and powerful message to Russian women; I was swelling with emotion while watching her. While to an American or a Westerner it may seem like performative feminism, I'm gonna remind you that in Russia and other Slavic countries that's very much not a thing and actually a very unpopular stand to make, and in Russia, The Balkans, and Eastern Europe in general, hundreds of women face domestic and sexual abuse on the daily, and those who do come forward rarely get support and are mostly dismissed. Let's not forget that Manizha got a huge backlash from the Russian government officials, and a big part of it was for her Tajik roots. The honesty of her message is real, and she's speaking from personal experience and the experience of women around her - nothing performative about her song, and you can tell from her delivery that the fire within her is true and she leaves her heart on the stage and pours it into the song. The staging and costumes are great as well, and symbolically well thougt-through. I would really like her to win, or at least get to the top 5. Most of all, I hope her message is heard and felt. 10000/10

- Italy 🇮🇹

Måneskin, Zitti e Buoni: definitely the closest thing to my actual music taste this year, so liking them off the bat wasn't a surprise. However, they're not just your regular Franz-Ferdinand-ish young alt rock band that wants to do rock "properly" - they have IT. The X factor, the Je ne sais quoi. I've been exposed to that particular genre, and I can confidently say that the song still manages to be refreshing and original (that bridge, those riffs!) The band has a great energy and no matter how much Damiano steals the show, they are still a unit and nobody is left in the shadows. They have the spirit of great rock bands of the previous century, and yet they don't try to copy anyone (khm,Greta Van Fleet, khm). Damiano's vocals are both powerful, seductive and provoking, and I'm still admiring the sheer amount of emotion he can pack into a single line and the nuance and yet rawness behind it. I'm not gonna state the obvious lol (the obvious being yes, I'm thirsty as well, he becomes yet another unattainable rockstar for me too,and yes they all look great) Anyway, great song, and maybe the clearest and most serious candidate for the number one spot, taking both the jury and the public into consideration. 10/10

- Iceland 🇮🇸

Daði Freyr and Gagnamagnið, 10 years:

What can I say about this masterpiece that hasn't already been said? A clear fan-favorite (hi, Valentina), but with the guns to back it up. The song is contagious, fun and campy, and unlike some other songs with said qualities, actually good from a musical perspective. Daði is incredibly charismatic and his sense of humor shines through, and even though he's the star of the show, the same can be said about the other band members. The synergy Måneskin has can be applied to Gagnamagnið as well, even though the energy is entirely different. They're serving us fun, sunshine, kitties rainbows sugar spice and everything nice, and manage to do it with zero cringe factor (plus those funky keytars). I'm one of those Eurovision fans that lament the golden age's (2004-2009) campiness (We'll never forget you, Verka), and Daði managed to bring it back, but modernised, polished and still sincere. I personally preferred the epic dad joke that slightly more commercial Think About Thing was (but that's one tough act to follow), but I'm always down for a husband adoring his wife and singing praises to their relationship. Since we're on tumblr, I feel obliged to use the term "cinnamon rolls" in describing Daði and the band. 9.5/10

- France 🇫🇷

Barbara Pravi, Voilà: She brought the theatrics, she brought the drama, and she brought the 101 in "that's how you perform". Her personality leaps through, and her voice is both beautiful and full of emotion and power. I'd hire her to star in a serious and artistic movie. Despite the fact that Voilà is from its melody to the singing style to the video to the vibe and the aesthetic hands down the most French thing I've seen since Amélie (do not come for that movie), it miraculously doesn't come across as a cliché, but rather an homage, and an individualistic one at that. It's not entirely my cup of tea, since I'm usually biased to songs that may come off as snobbish (I mean, the jury is going to lap it up), and are all about being proper and technical and oh how ~artistic~, but Barbara puts the soul into the immaculate. I'm not giving her the highest mark because I'm yet to see the performance, but I'm rooting for her. If she delivers the performance, we might have a clear winner. 9/10

- Ukraine 🇺🇦

Go_A, Shum: I'm a sucker for all things ethnic and mytological, so this was a no-brainer. I want that song played at every party. I want to go to the forest in the video and chant and summon the spring with flute and hard-bass. Kateryna Pavlenko has some unexplainable power over me, and her eyes are simply hypnotizing. The vocals are great, proper Slavic ethno right there (seriously, check out Slavic folklore and traditional music), and she has a subtle punk quality too(?). Ukraine came to save the spring and make us forget about the pandemic, and minus the Maruv fiasco (justice for her!), they always deliver and I expected nothing less. On the other hand, I loved the original version much more and couldn't help but be a bit disappointed with the revamp (yes, I know they had to), and while I personally love Shum, I think some other acts are more deserving of the higher placement. Go_A are not my winner, but definitely soon to be in my playlist. 8/10

- San Marino 🇸🇲

Adrenalina, Senhit ft. Flo Rida: You know that golden age of Eurovision I mentioned? THIS. I'm Serbian, so I can't resist a banger reminiscent of our horrible turbo-folk elements (and I say that endearingly,takes me back to 18th birthday parties (boy I'm glad that's over)). Let's just crown Senhit this year's Queen of Camp. The wild factor of Flo Rida...just?? Amazing. Can't wait to see how the performance goes (EDIT- it went great, I had a grin on my face the entire time and couldn't help but dance along). A certain refreshment after Serhat and Valentina Monetta endless loop. They didn't dial down the weird, but made it catchy af, and the vocal can rival any Balkan folk diva. While I think it's definitely the most entertaining entry this year, it's far from being the most original, and it's not really my genre of preference. Will vote for Senhit and root for her to qualify. 7.5/ 10

- Sweden 🇸🇪

Tusse, A million voices: As I mentioned before, I'm the first person that starts complaining about Sweden Superiority as soon as Eurovision season begins, and I'm with you all with being tired of Sweden qualifying just because they're Sweden and usually just bringing the same brand of MTV/Calvin Harris/American pop, or a successful and not-so-subtle imitation of the performances that did well the previous year,but listen: A million voices is a solid pop song and I'm going to die on that hill. It actually embodies the essence of pop - a catchy, pleasant melody sung by a good vocalist, with a short,sweet and uplifting message. It's not the same as previous years, it's not commercial, just good pop - good pop being something you immediately like and vibe to no matter how many common elements of the genre it checks. It relies on RnB rather than electronic sounds, auto tune or various DJ effects. Tusse is charming and charismatic af, and he's a 19yo kid doing an amazing job on a global stage. You don't have to like it, but there's no need to hate on it (ask Jendrik). Imo, Tusse deserved to qualify. Not winner material yet, but I wish him a fun time and a successful career. 7 5/10

- Switzerland 🇨🇭

G'jons Tears, Tout L'Univers: I saw the video first, and I HATED IT. It came across as a Duncan Lawrence-high-art wannabe, something technically perfect, but empty of soul or meaning, another soft boy with a sad falsetto, another jury-points bait. BUT. I changed my mind entirely after seeing him perform. Hands down, it was touching and epic. Reminding me of Hamlet aside, he DELIVERED, and made me love him, and actually enjoy the song. I still think the song is less original than Tusse's voices, but I enjoy the troubadour vibes of the pre-chours. G'jon is absolutely adorable, and I'm not gonna be mad if he wins. 8/10

shout-outs&honorable mentions:

- Serbia 🇷🇸 Yes, some national bias, but I'm proud of our girls. Ever Since we placed 2nd with Željko's Lane, we had that goddamn flute e v e r y year, and the same outdated scenography with a side of extra pathos (I'm sure that ruined Sanja's chances and her otherwise great performance back in 2016.) Finally something fun and actually representative of the music popular here. They looked flawless and the energy was off the charts. Go, Hurricane!

-Finland 🇫🇮 Yes, cheesy and corny and I cut my finger accidentally from watching the video on all the edge, but I'm biased because they're bringing emo and nu-metal back, and that's the music of my early adolescence (hello, Kaulitz brothers and Andy Biersack,hello Gerard Way and Linkin Park) Call me grandma lol

- Malta 🇲🇹 DESTINY CAN SIIIIIIIIING! I wasn't impressed with the song initially, but the performance blew my mind.

- Ireland 🇮🇪 A for effort, and so nice of her to try and give us something unique! While it wasn't good enough to qualify, it was super fun and she seems so nice. Also, we all know that she was out of breath an can sing much better than that. Still wasn't bad.

- Romania 🇷🇴, for being so young and brave enough to put on a show. The nerves got the better of her, but the song itself is good and no doubt she'll do well in the future

- Lithuania 🇱🇹, thanks for the memeries

- Croatia 🇭🇷, Not my cup of tea, but Albina gave a great performance

-Norway 🇳🇴, for embodying the spirit of Eurovision

- North Macedonia 🇲🇰, for the disco chest

- The UK 🇬🇧, for putting some effort

(Might edit later)

[picksblog285]

Clippings

Miami (Florida), 8 results8

Coconut Grove (Miami, Fla.) -- History, 4 results4

Coral Gables (Fla.) -- History, 3 results3

Miami Beach (Fla.), 3 results3

Florida -- History -- 20th century, 3 results3

Haiti, 2 results2

Miami-Dade County (Fla.) -- History, 2 results2

Latin America -- History -- 19th century, 2 results2

Miami (Florida) -- History -- 20th century, 2 results2

Miami-Dade, 1 results1

Explore clippings of newspaper articles, obituaries, marriage announcements, local news and archives at Newspapers.com. Clippings.io will export your Kindle notes and highlights in usable, searchable form — and then plug them directly into Evernote, so they're available whenever you need them, and sortable in.

Poetry, 7 results7

Theater -- Production and direction -- United States -- History -- 20th century, 3 results3

Cuban Americans -- Florida -- Miami, 3 results3

Poets, American -- 20th century, 2 results2

Cuban Americans, 2 results2

Cubans -- United States, 2 results2

American poetry -- 20th century, 2 results2

Cubans -- Political activity -- United States, 2 results2

Human rights -- Cuba, 2 results2

Naturalists -- Florida, 2 results2

(Redirected from Clipping.)

clipping. at Worldcon 2017, Helsinki, before the 2017 Hugo Awards

Background informationOriginLos Angeles, California, United States(1)Genres

Experimental hip hop(2)

industrial hip hop(3)

noise rap(4)

Years active2009(5)–presentLabelsAssociated acts

Rale

True Neutral Crew

Websitewww.itsclippingbitch.comMembers

William Hutson

Clipping (stylized as clipping.) is an American experimental hip hop group from Los Angeles, California. The group consists of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes.(4)

History(edit)

Diggs and Hutson met in grade school, and Hutson and Snipes were college roommates.(6) The group began in 2009 as a remix project, with Hutson and Snipes taking a cappellas of mainstream rap artists and making power electronics and noise remixes of them to amuse themselves. Diggs joined in 2010 and began to write his own raps over their compositions.(5) They self-released their first album, midcity, on their website on February 5, 2013.(7) Though their expectations were low, and despite minimal promotion, the album was well-received, and five months later, they signed to Sub Pop. Their second album, CLPPNG, was released on June 10, 2014.(5)

The group does not see their abrasive sound as a rejection of mainstream hip hop or reaction against it, but as part of a hip hop tradition, including the likes of Dr. Dre and Public Enemy producers The Bomb Squad, who experimented with production and also used harsh, musique concrète-esque techniques in their music. Similarly, they think of themselves as a rap group rather than industrial-rap, noise-rap, or other mash-up genres.(5)

On June 14, 2016, they released an EP, Wriggle.(8) They then released their second studio album, Splendor & Misery, later on September 9.(9) A science fiction concept album, Splendor & Misery was nominated for the 2017 Hugo Awards in the category of 'Best Dramatic Presentation (Short Form)' on April 4, 2017.(10)

In 2017, the group released a single, 'The Deep'. The song was nominated for a Hugo Award in 2018, their second consecutive nomination in the 'Best Dramatic Presentation (Short Form)' category.(11)

On September 28, 2018, the group's song 'Stab Him in the Throat' was released as part of The Rick and Morty Soundtrack. This album was released by Sub Pop and Adult Swim and featured songs from episodes of Rick and Morty.

On August 14, 2019, the group released a lyric video to YouTube for a new song titled 'Nothing Is Safe', which borrowed heavily from the aesthetics of 1970s and '80s horror films like Halloween and the soundtrack works of John Carpenter. This was coupled with the announcement that their third full-length record, There Existed an Addiction to Blood, would be released on October 18 of the same year.(12)

On September 12, 2019, a second lyric video was released to YouTube to promote There Existed an Addiction to Blood. The track, titled 'La Mala Ordina' featured guest appearances from rappers Elcamino and Benny the Butcher, with additional production from noise artist The Rita.(13)

On October 3, 2019, a music video for the track 'Blood of the Fang' was released to YouTube to promote There Existed an Addiction to Blood.

On November 29, 2019, the band released a three-song EP further exploring the world of 'The Deep'. The EP was also further developed into a novel of the same name by writer Rivers Solomon; the members of clipping. are listed as co-authors. The Deep won the Lambda Literary Award for science fiction, and was nominated for Hugo, Nebula, and Locus awards.

On June 19, 2020, they released the track 'Chapter 319' on Bandcamp, along with a previously SoundCloud-only track 'Knees on the Ground', with all proceeds from the sales donated to organizations dedicated to racial justice. 'Chapter 319' was recorded during the protests after the killing of George Floyd, while 'Knees on the Ground' was originally recorded after the shooting of Michael Brown in 2014.

On August 26, 2020, they announced the album Visions of Bodies Being Burned, a companion piece to There Existed an Addiction to Blood; they also released the single 'Say the Name' on the same day. The album was released on October 23 through Sub Pop.

On November 1, 2020, on their YouTube channel, they livestreamed a performance of the first variation of the socialist anthem The People United Will Never Be Defeated! – playing on a tape recorder, under a small flame, on loop, with the picture slowly distorting – until the 2020 United States presidential election was called. The performance was for a movement called '#BeginWithTheBallot' by Alarm Will Sound.(14)

On December 4, 2020, Daveed Diggs released a video in partnership with the Disney Channel entitled 'Puppy for Hanukkah'. The track was produced by clipping. bandmates Hutson and Snipes.(15)

On December 25th, 2020, a music video for the track 'Piano Burning' was released to YouTube to promote There Existed an Addiction to Blood.

Style and influences(edit)

The group has drawn comparisons to the likes of Dälek, Death Grips, My Bloody Valentine,(4)Tim Hecker and Shabazz Palaces.(16)The Guardian described their sound as 'the sort of shrill thrills you imagine could function as incidental soundtrack music for a documentary about abattoirs or might conceivably be the work of a young band intent on twisting industrial metal into brutal new shapes. With rapping on top.'(4)Rolling Stone called them '(n)imble-tongued, beat-fractured L.A. hip-hop spilled over the abrasive crunches, squeals, clangs, slurps, and static of experimental musique concrète.'(17)

As part of their experimental style, the band adhere to certain stylistic limitations. Their instrumentation is derived from real world samples (e.g. using recordings of bottles being hit or bricks breaking) instead of traditional instruments. Similarly, Diggs writes his rap in second person, all 'I, me' language is off limits.(18)

Discography(edit)

Albums(edit)

CLPPNG (Sub Pop, 2014)

Splendor & Misery (Sub Pop, 2016)

There Existed an Addiction to Blood (Sub Pop, 2019)(19)

Visions of Bodies Being Burned (Sub Pop, 2020)

Mixtapes(edit)

midcity (2013)

Remix albums(edit)

Dream Remx (2016)

REMXNG (2016)

Live albums(edit)

Double Live (2020)

Extended plays(edit)

dba118 (2012)

Wriggle (2016)

Face (2018)

The Deep (2019)

Chapter 319 (2020)

Singles(edit)

'Chain' b/w 'Jump' (2013)

'Something They Don't Know' b/w 'Mouth' (2014)

'Knees on the Ground' (2014)

'Fat Fingers'(20) (2016)

'Body for the Pile' (2016)

'The Deep' (2017)

'Stab Him in the Throat' (2018)

'Nothing Is Safe' (2019)

'La Mala Ordina' (2019)

'Blood of the Fang' (2019)

'Chapter 319' (2020)

'Say the Name' (2020)(21)

'96 Neve Campbell' (2020)

'Pain Everyday' (2020)

Remixes(edit)

'ShowYrTattoo' (clippingRemix) (2011)

'forever' (clippingRemix) (2012)

'howlow' (clippingRemix) (2012)

'hauntedbumps' (clippingRemix) (2012)

'lenguaafuera' (clippingRemix) (2012)

'Hello' (2013)

'this song is a drug deal' (clipping. remix) (2013)

'Story 4: Sleeplessly Embracing' (a remix by clipping.) (2014)

'Wear the Wounds' (clipping. remix) (2014)

'Isombard' (clipping. Float On Remix) (2016)

'Tipsy' (2020)

References(edit)

Clippings Hair Salon

^Raymer, Miles (June 13, 2014). 'clipping.: CLPPNG'. Pitchfork. Archived from the original on October 3, 2014. Retrieved October 3, 2014.

^Thomas, Fred. 'Clipping'. Allmusic. Archived from the original on November 27, 2014. Retrieved August 5, 2014.

^'Stream the debut album by Sub Pop industrial rap trio Clipping'. Fact. June 2, 2014. Archived from the original on February 2, 2017. Retrieved January 22, 2017.

^ abcdLester, Paul (February 8, 2013). 'New band of the week: Clipping (No 1,448)'. The Guardian. Guardian News and Media. Archived from the original on August 10, 2014. Retrieved May 2, 2014.

^ abcd'clipping. on Sub Pop Records'. Sub Pop. Archived from the original on May 28, 2014. Retrieved May 5, 2014.

^Sherburne, Philip (January 7, 2014). 'Clipping: Los Angeles Noise-Rap Crew Crank Out Scientifically Ugly Party Jams'. Spin. Archived from the original on July 8, 2015. Retrieved May 2, 2014.

^'midcity – clipping'. Bandcamp. Archived from the original on April 3, 2014. Retrieved May 5, 2014.

^'Wriggle | clipping'. Clppng.bandcamp.com. Archived from the original on October 17, 2016. Retrieved November 8, 2016.

^'Splendor & Misery | clipping'. Clppng.bandcamp.com. Archived from the original on November 4, 2016. Retrieved November 8, 2016.

^'2017 Hugo Awards Finalists Announced'. Tor.com. April 4, 2017. Archived from the original on April 8, 2017. Retrieved April 7, 2017.

^'2018 Hugo Awards'. The Hugo Awards. March 15, 2018. Archived from the original on April 2, 2018. Retrieved May 6, 2018.

^'CLIPPING – Nothing Is Safe (Lyric Video)'. August 14, 2019. Archived from the original on August 14, 2019. Retrieved August 14, 2019 – via YouTube.

^'CLIPPING – La Mala Ordina'. September 12, 2019. Archived from the original on September 13, 2019. Retrieved September 12, 2019 – via YouTube.

^'Archived copy'. Archived from the original on December 21, 2020. Retrieved November 9, 2020.CS1 maint: archived copy as title (link)

^'Daveed Diggs & Clipping Made A Cute Hanukkah Song For Disney'. Archived from the original on December 12, 2020. Retrieved December 4, 2020.

^Cook, Wil (February 6, 2013). 'Clipping – 'guns.up' (Track of the Day)'. The 405. Archived from the original on October 6, 2014. Retrieved May 2, 2014.

^Weingarten, Christopher. '10 New Artists You Need to Know: March 2014'. Rolling Stone. Archived from the original on March 23, 2014. Retrieved May 2, 2014.

^hrishikesh (February 18, 2016). 'Episode 65: Clipping'. Song Exploder. Retrieved April 19, 2021.

^Ruiz, Matthew Ismael (August 14, 2019). 'Clipping Announce New Album, Share New Song 'Nothing Is Safe': Listen'. Pitchfork. Archived from the original on August 17, 2019. Retrieved August 17, 2019.

^'clipping. - 30 Days, 30 Songs'. 30 Days 30 Songs. Archived from the original on February 18, 2020. Retrieved June 22, 2020.

^Breihan, Tom (August 26, 2020). 'Clipping Announce New Album 'Visions Of Bodies Being Burned', Share Single 'Say The Name': Listen'. Stereogum. Archived from the original on August 27, 2020. Retrieved August 26, 2020.

External links(edit)

Official website

clipping. discography at Discogs

Clippingsio

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Clipping_(band)&oldid=1018695164'

[skottydawgblog]

Top 25 Albums of All Time

Scott Welsch

Criteria:

Every song on the album must be attractive for listening. No “skippers” on the album. No, “Eh, that song kinda sucks” on the album. *Greatest Hits albums ARE NOT acceptable for this list. (This rule devastates me, as it disqualifies Foo Fighters)

2. The album/music/lyrics should still be relevant (and listenable) today.

3. The artist can’t just be for a specific crowd or followers (e.g. Jimmy Buffet, Grateful Dead, Moody Blues, etc.).

4. There is no need for the album to have won any awards or previous recognition.

5. I could have easily made this a “Top 100”, but I have a life.

TOP TWENTY FIVE ALBUMS OF ALL TIME:

#25 Billy Joel — Glass Houses

I played this album at bedtime growing up. I listened to side one, flipped the album, then listened to side two until the needle lulled me to sleep by making the “click click” noise at the end of the record. The album features Billy Joel’s first song to reach #1 status on Billboard (Still Rock and Roll To Me).

#24 Guns n Roses — Appetite For Destruction

My best friend in the 80s said to me, “Have you heard of this new band?” and handed me a cassette tape (in 1987). I listened to the entire cassette from start to finish the first time, and thought to myself, “Oh, man. These guys are gonna be huge.” Sure enough, Guns n Roses became one of the best-known names in modern rock. Their debut album (Appetite) has a buffet of glorious songs to listen to. Repeatedly.

#23 Elton John — Goodbye Yellow Brick Road

Elton John released this album as a two-disc set because he ended up writing and recording more songs than required by his recording company for the release. His creativity had kicked in full force (and then some). He recorded it in Jamaica (the country, not the neighborhood in Queens, NY).

#22 Red Hot Chili Peppers — Blood Sugar Sex Magik

The Chili Peppers’ fifth studio album, BSSM pushed them into mainstream. Prior to this album, the closest they had gotten was with a Stevie Wonder cover of Higher Ground on the Mother’s Milk album. No one has ever duplicated the variety of melodic undertones created by the combination of acid-rock, soul-funk, early alt-rock, and blues style on BSSM.

#21 Billy Idol — Billy Idol

Billy Idol’s debut album, released in 1982, was an absolute success after his breakup with the band Generation X. The song Dancing With Myself (track 11 on the 1983 reissue of the album) was actually a song originally recorded BY Generation X (with Billy Idol on lead vocals). It was a retail failure when released with Generation X, but when Billy Idol re-recorded and re-released it as a solo artist, it went mainstream.

#20 The Police — Zenyatta Mondotta

This was the last album The Police recorded by combining their reggae and punk music style before they switched to a more “popular” music style. Songs like Canary In A Coal Mine and Bombs Away had innuendos of political undertones, while Don’t Stand So Close To Me and De Do Do Do De Da Da Da were more lackadaisical and humorous.

#19 Van Halen — Van Halen

This album is an anomaly. Van Halen is a very well known band. They produced twelve albums. Yet, this is their debut album and has their legacy songs. The album has reached Diamond status by selling over ten million copies. It has one of the best-known guitar instrumental songs in history (eruption).

#18 Nirvana — Nevermind

This is my nod to the Foo Fighters, since they are not eligible for the list. Nevermind was the cork that popped and brought alternative rock (as a whole) into the mainstream. It basically created a whole new genre of both musicians and fans.

#17 Lynyrd Skynyrd — (Pronounced Lĕh-’nérd ‘Skin-’nérd)

Well…Free Bird, of course. I don’t need to write any about this album more than that.

#16 Pink Floyd — The Wall

I used to just listen to this album and watch the movie because it was the cool thing to do. Then, once I picked apart the meaning behind both (the music and the screenplay), it was totally eye opening. Pink Floyd was successful at concept before concept was cool.

#15 The Doors — The Doors

The Doors recorded this album in less than a month, yet it will inspire musicians for centuries. Critics often rate it the best album of all time.

#14 Rainmakers — Rainmakers

The Rainmakers self-titled album epitomizes my “100%” criterion. Every well written song tells a story, either historically or humorously. Also, The Rainmakers made rockabilly cool when no one knew what rockabilly was.

#13 Rush — Moving Pictures

With so many amazing Rush albums to choose from, it was difficult to pick just one. However, the rules of my list narrowed it down to Moving Pictures. I have spent countless nights in my life listening to this album from start to finish. Although Side B has no songs that ever received radio play, they are still AMAZING songs.

#12 Linkin Park — Hybrid Theory

This debut album launched Linkin Park into their river of greatness. Linkin Park was initially rejected by 42 recording agents before recording Hybrid Theory and becoming one of the all-time greatest alt rock bands.

#11 Beastie Boys — Licensed To Ill

Licensed To Ill is one of the fastest selling debut albums in history. It gained Diamond status (over 10 million copies). Some claim that Licensed To Ill is the best punk rap album ever released.

#10 Van Halen–5150

5150 was Van Halen’s debut album with Sammy Hagar as lead singer. Each song has crisp, clear instrumentals and incredibly well written music. Although the album received negative reviews from critics, each song creates different feelings and scenarios with the tempos and feelings. I know, I know. Van Halen is already on this list. However, as stated: this album is with Sammy Hagar as lead singer. The previous one was David Lee Roth.

#9 Violent Femmes — Violent Femmes

This was Violent Femmes debut album. It was the party album of the eighties. Every partygoer knew every lyric to every song. The Femmes had one of the most distinctive sounds of the times and remains an enduring classic. The minimalism and simplicity of their music created the attractiveness, and their lyrics are a drug.

#8 New Order — Substance

This is a compilation (2 disc) album. NOT a greatest hits album. It contains a ton of great New Order music. The only reason I made the exception (of “Greatest Hits”) is because it has a “B” sides disc included with many unreleased, 12-inch, and dub versions of the original songs. For New Order fans, this is a gold mine.

#7 The Who — Who’s Next

There are so many great tracks on here. The primary reason this one made the list is Baba O’Riley. This song (often mislabeled as Teenage Wasteland) was originally 30 minutes long. I would have had no problem with the song being that long.

#6 Prince — Purple Rain

Purple Rain had innovation that was unheard of in the early ’80s. For example, When Doves Cry does not have a bass line. The consolidation of R&B with rock was a new concept. Lastly, Prince’s guitar playing on this album was out of this world.

#5 U2 — Joshua Tree

Bono’s “great romance” and fascination with the United States served as the inspirations for The Joshua Tree. I wonder if Bono would have found today’s United States as inspirational? One of the BEST songs on this album- Running To Stand Still.

#4 AC/DC — Back In Black

This is one of the best-selling albums in history. It is AC/DC’s leanest, meanest album of all-time. It will always sound timeless and simple, yet savagely crafted.

#3 Led Zeppelin — IV

This album defined not only Led Zeppelin but the sound and style of 70s hard rock. It encompassed heavy metal, folk, pure rock-and-roll, and blues. This album not only served as a cornerstone but also a turning point for the future of music. Just don’t ask a guitar player to play Stairway (or Freebird).

#2 Nine Inch Nails — Downward Spiral

It’s no surprise that Trent Reznor collaborated with Jane’s Addiction drummer Stephen Perkins on this album. The instrumentation throughout the album is amazing. Every song leads into the next (it should, as it’s a concept album). Just don’t listen to the lyrics too closely. It could prove very, very depressing!

#1 Pearl Jam — Ten

Ten was the debut album from Pearl Jam in August 1991. Although most consider Pearl Jam a “Grunge” band, the album is more classic rock music. Most of the songs on the album began as simple instrumental band jam sessions that Eddie Vedder then wrote lyrics to go along with. The songs on Ten, despite their deep, dark lyrics, will remain on playlists for generations to come. Ten is powerful, insightful, deep, dark, thought provoking, and brilliant. “Why is the album named ‘Ten’?” you ask, when there are eleven tracks on it? Jeff Ament’s (the band’s bass player) love for NBA point guard Mookie Blaylock provided the inspiration. Blaylock’s involvement in a tragic car accident hit Pearl Jam like an injury to a family member. Blaylock’s jersey number was — you guessed it — Ten.

HONORABLE MENTION:

Steve Miller Band — Book of Dreams

This album has a few legendary songs on it: Jet Airliner, Swingtown, Jungle Love, and True Fine Love. The only reason it did not meet the cut is because it has some “eh” songs on it. However, a host can play this album straight through at a party or a get together, and no one will complain.

The Cars — The Cars

This is an amazing album. Clean, crisp guitar. Ric Ocasek’s vocals and lyrics are powerful. However, two songs (I’m In Touch With Your World and Dontcha Stop) prevent this album from meeting the “100%” criterion.

[happymetalgirl]

Rating Christmas Songs

Yep, it’s that time of year we get inundated wherever we go with mostly shitty Christmas music, usually the same stuff as the years before and the many years before. There are some songs among the barren crop of overplayed tunes that I think are pretty enjoyable, but for the most part I feel pretty confident that most of us are just putting up with the vast majority of the holiday playlist (I mean no one is dying to play any of these songs any other time of year, so they can’t be that great), so it’s time to set the record straight.

Here’s a rating of a few of the season’s musical staples and some brief reasons behind them. I’m sure I’m missing a few classics, but do feel free to bring them up and I will offer my thoughts on them. Granted these songs all have dozens, of not hundreds or thousands of versions, so I’m kind of going by an average of what I generally hear, not the dubstep remix version or even my favorite version necessarily.

-

“Jingle Bells”

The classic, easy to sing, easy to play on whatever instrument, upbeat childhood Christmas song. It’s hard to mess this one up, and I’m just glad it’s not trying to get all overly serious about Christmas as many of the songs further down this list do. But I mean, it’s fucking “Jingle Bells”, who actually gives a shit about this plinky-ass song.

5/10

“O Holy Night”

This one’s cool the first several years you hear it because it sounds pretty grand and epic, but it does wear off after awhile. Still, I’d rather hear this song than most, and I’ve yet to hear it truly butchered. So cheers to that!

7/10

“Jingle Bell Rock”

The failed swaggering “update” or cousin of the classic children’s Christmas song, it’s one of those songs that sounds like a bunch of upper class white folks sipping wine and putting on the usual façade of in-person Facebook-style humble bragging and life-highlighting about their year for the family they’ve not flexed on all year or since Thanksgiving. The song though is so drab and seemingly intentional sucked of lol the fun the kid’s song had, and in its place is just overly drolly Sinatra-imitation with no spirit at all. It’s the definition of background music, and it’s for the worst kind of background. Dancing to it sure as hell sucks. If you’re hearing this song, you’re probably not having as much fun as you’re supposed to be for a song that’s supposedly more “rock”.

2/10

"O Tanenbaum"

While his semi-jazzed-up approach that characterizes the rest of the soundtrack still seeps into this song, I’ve always loved the more stripped back piano-centric approach that Vince Guaraldi takes with this song on the classic A Charlie Brown Christmas soundtrack. The simple and sweet lullaby-esque melody at the core of the song really works well with the instrumentally minimal approach (which I do hear most often) and it evokes a sense of very sweet nostalgia (for me at least), and I can’t not like it.

9/10

“Angels We Have Heard on High”

You know I’ve heard some pretty alright versions of this song when it’s pushed toward its more energetic side. That over the top run on “glOoOoOoOoOoOoOoOoria” tends to be the make-or-make moment of the song, and when a singer or choir commits to it and goes all out, it can sound pretty rad; I’m sure some power metal band somewhere out there has put a decent spin on it. The rigid, traditional delivery I hear more often, though, sadly sounds more often like it’s had the life sucked out of it.

7/10

“Silent Night”

Probably my favorite of the soft Christmas songs, just soulful melodies abound here and written in a way that hasn’t encouraged too many stupid renditions.

9/10

“Santa Baby”

This song is just fuckin’ weird, and I get the place of romance it’s coming from lyrically: finally dropping the charade of Santa Claus and being romantic with the speaker’s husband after putting on the act for the children. It’s cute and endearing, but god is it always so weirdly sung, in a hyperseductive baby voice, not subtle at all, and kind of not fitting with the kind of sweet endearing romanctic tone you would think it’d be carrying if you just read the lyrics. There are definitely worse Christmas/holiday romance songs, and I can definitely imagine this song being performed more sweetly than it usually is.

6/10

“Hark! the Herald Angels Sing!”

This. Song. Is. A. Banger. Glorious and triumphant as shit! It sounds good slow and fast, but definitely best when it’s played bold and loud, as opposed to some contrived-ass attempt at a ballad. This song feels like finishing a marathon. I’d pay to hear Khemmis do this fuckin’ song.

10/10

“Have Yourself a Merry Little Christmas”

Sinatra’s version of the song is probably the most famous at this point, and as a consequence, the very title I think tends to invoke his signature smooth delivery on its own. I used to hate this one, but these days I find its naturally soothing character much more welcoming, god, especially this year. I can see why some find it to droll and sloggy, but I think it’s a nice wind-down tune.

7/10

“Last Christmas”

You know, the original synth-pop version by Wham! isn’t too bad on its own; George Michael’s delivery is pretty heartfelt and I can see why it’s become such modern Christmas staple. However, in the context of Christmas background music, that repetitive chorus refrain that seems to be the only lyric anyone knows in the song, gets really grating when it’s the only thing that sticks out, the more scaled-back delivery of the verses aiding their being buried in the chatter with your eggnog-sipping relatives. Furthermore, I’ve yet to hear a cover of the song less dry than sandpaper. Positive points to the original only.

6/10

“Away in a Manger”

This song certainly gets points for its strong narrative consistency, but aside from the “the stars in the sky” line, the melody is really really lame, and infantile in a bad way, and I have yet to hear a version that doesn’t sound like it was done by or similar to an apathetic children’s choir. It’s that quintessential song that every church kindergarten choir gets forced to sing because it’s nice and slow and narrow-range that all the kids look absolutely braindead singing. Not that it’s ever the kids’ fault or anything, it’s just a boring-ass song whose weak-ass strategy hinges on a bunch of 5-year-olds getting into something they clearly don’t give a shit about.

4/10

“The Little Drummer Boy”

You know, I could envision a slow-building post-rock-esque version of this song being pretty cool, but to date, all I have heard is stiff corny solo vocal delivery a la Angela from The Office and haphazard attempts at injecting tons of energy into the song that don’t really fix the kooky melody at the core of it. I swear you can always hear whoever is singing it getting red in the face from the needless intensity.

3/10

"Christmas Time Is Here"

Another solid cut from the soundtrack to A Charlie Brown Christmas, its rather simple instrumental foundation serves as a pretty solid introductory piece for the season; it feels so much like welcoming in the winter. And then of course the jazz embellishments on the instrumental version are some of the best in the Christmas genre, though listening to the soundtrack these days makes me wonder what it would be like if a more bombastic and dynamic jazz band took these songs on a more wild ride. I would love to hear that.

8/10

“Joy to the World”

It’s a little bit cheesy, but I kinda appreciate how ridiculously celebratory this tune is. It’s another one that I think would be interesting to hear Khemmis do a quick cover of, despite the religious theme that doesn’t really fit into their style. At the very least, it always sounds fun or, indeed, joyous.

7/10

“We Three Kings”

I’m not convinced anyone cares about this song.

5/10

“The First Noel”

This is another one of those songs whose runny melody tends to lead to it being delivered so often way too seriously, never really all too fun or worthy of the seriousness either.

3/10

“O Come, O Come Emanuel”

This is another one of those songs that, on the surface, seems more genuine with its minor key and often stoic delivery, and that definitely makes it better than the vast majority of Christmas songs, but the melody and lyrics are a bit oddly mismatched, and the melody that serves as the key appeal in the song does wear thin as the years go on. Nevertheless, I always do seem to find a cool new version ever year or two.

7/10

“Do You Hear What I Hear?”

Goddamn this is such a goofy-ass song. Who the hell made this? I cannot take it seriously. One point for all the kids for the apt “do you smell what I smell?”

1/10

“Mary Did You Know?”

Again, who wrote these lyrics? Like, in the story Mary made up to explain her out-of-wedlock pregnancy, that was kind of the main thing, that this kid would do some crazy shit. I can’t take this song seriously either, especially when it gets the goofy overly operatic treatment.

3/10

“Santa Claus Is Coming to Town”

It’s another one of those songs that literally just says what Santa Claus does. Musically it’s catchy-ish, but I mean it’s about Santa Claus, and it’s so often sung in that overly serious, toned down Motown style that no kid likes. I never liked hearing it then, and I don’t now.

3/10

“12 Days of Christmas”

Structurally iconic, this song really doesn’t offer anything beyond that; have you ever tried listening to someone doing the whole thing? It gets old really fast, and the fact that the “halfway” point in the song, the six geese a-laying, isn’t actually the halfway point, because the verses get longer and longer... fuck! The only thing this song is good for is for structuring workouts around, nothing regarding listening to the song. It gets one point for its utility.

1/10

“It Came upon a Midnight Clear”

We really are in a stretch of trash Christmas songs right now. I don’t think this is anyone’s favorite Christmas song. It’s so lethargic and sleep-inducing, I’m falling asleep just thinking about it.

3/10

“We Wish You a Merry Christmas”

Eh, it’s kinda not a really important song. At least it wakes you up, but apart from throwing some energy into the Christmas playlist that many are often desperate for, it’s just a cheery addition of holiday-themed white noise.

4/10

“What Child Is This?”

Finally some good fucking food. I’ve heard some baller versions of this captivatingly grand song, whose accidentals and minor key really make it one of the more interesting listens during the holiday season. I would dig an Opeth cover or a Pallbearer cover, or... a Khemmis cover.

8/10

“Let It Snow! Let It Snow! Let It Snow!”

This is just one of those standard, old-timey, inoffensive season-themers. It’s alright, I’ve never heard any version of it that really blows my mind.

5/10

“Rockin’ Around the Christmas Tree”

This one is almost indistinguishable from, but significantly less annoying than, “Jingle Bell Rock” and is similarly stiff in a way that it’s clearly not meant to be.

3/10

“White Christmas”

This might take the cake for the sleepiest Christmas song out there. It is SLOW, like Bell Witch should ironically do a 20-minute-long cover of it just to see how it goes.

4/10

“It’s the Most Wonderful Time of the Year”

The shopping mall theme song. It’s always given that Sinatra treatment and it only barely fits well enough into that style.

4/10

“Feliz Navidad”

This one always feels like it needs to be sung with a big, cheerful group to capture the liveliness that its main appeal is based in, which puts it at a distinct disadvantage this year. Still, it’s always a fun, sometimes even bouncy song to play during the holiday season.

7/10

“Grandma Got Run over by a Reindeer”

I do actually welcome the absurd narrative that has somehow made itself one of the season’s ironic staples, and its slightly dark humor makes for a nice change of pace in the playlist with its upbeat, campy humor.

6/10

“Deck the Halls”

Fa la la la la, la la la no.

Annoying as fuck: 2/10

“Frosty the Snowman”

God, this song should be way more cheery and kid-friendly than it is. I mean, I’m sure kids don’t mind it, but it’s just yet ANOTHER one of those songs that can’t escape its old-timey suit-and-tie incarnation for the liveliness it desperately needs.

4/10

“God Rest Ye Merry Gentlemen”

One of the more compositionally clunky of the well-known minor-key Christmas songs, this one unfortunately tends to show why minor-key songs are generally a weird fit for theme. I have heard a good few modern renditions though that make the song worth keeping around.

6/10

“Jingle in the Jungle”

This one’s for the real ones out there. “Jingle in the Jungle” is not a real Christmas song per se, but it pushes the boundaries; it’s courageous. The song comes from the television series, Bob’s Burgers, in a stressful Christmas-themed episode where the musically adventurous son of the titular character, Gene, burns out his dad’s cell phone battery waiting on hold for a radio station to request this song. The phone dies and he does not get the chance to request the song, but a Christmas miracle occurs, and the station decides to play the obscure, bongo-laden song anyway, and it sure is a fun minute-long diddy.

8/10

“Wonderful Christmastime”

Paul McCartney’s peppy Christmas tune that only kinda accomplishes its light-hearted goal is simply one of many throwaway inoffensive modern Christmas songs that seems to have only gained cultural traction due to it being repetitive and simplistic af, and being made by a Beatle.

5/10

“Happy Xmas (War Is Over)”

Well it would only make sense to have the battle of the Beatles here with John Lennon’s standout Christmas track, a far more soulful, bombastic, and triumphant song that echoed his idealistic spirit in a way that makes this song not all too different from his standout solo works and compositions with The Beatles. It’s a warm, hopeful song that draws from a grounding in the harshness of reality rather than some escapist fantasies about Santa or religion. Despite the acknowledgement of the ills of the world, Lennon’s vision of Christmas and his wish for the world is a day of recognition of love and unity, which is purer than 99% of the dogmatic or materialistic Christmas music above, and definitely the song right below this one.

9/10

“The Christmas Shoes”

Alright, rubbing the hands together, we’re coming to the end here, with this fucking song. It’s not the most famous Christmas song, thank God, but when I heard it for the first time, I was immediately repelled by the saccharine melody, uncannily blank-faced delivery, and sappy lyrics, but it’s one of those special songs that gradually reveals several layers of shit the more you fixate on it. For the uninitiated, the song came out in the year 2000, from the Christian band NewSong; it’s an aggressively sentimental holiday ballad with a bit of pop country vocal flair that only adds to the sinister hokey-ness of the lyrics. And that really is the ugliest facet of this song; as sickeningly cheesy as the music is, the simple lyrics here are more morbid and more disgusting than the grossest brutal death metal songs. The song is a simple narrative about a poor boy buying his sick mom some nice shoes on Christmas Eve so she can look nice for Jesus when she dies, tonight, on Christmas Eve. Yeah, it’s fucking sickening. The song is narrated from the perspective of a man in the store when the boy is buying the shoes and the narrator offers to buy the shoes for him, and he muses vaguely and confusingly on his generosity and Jesus being the “true” meaning of Christmas. Yes, there are so many questions being begged by this narrative. Why would Jesus give a shit about the shoes? Why is getting shoes this divine Christmas gesture? How do these shoes even come close to offsetting the pain and suffering and loss this family is suffering. This is like the opposite of John Lennon’s “Happy Xmas” in that it’s offering a pathetic consolation for the cruelty of a world where a loving God apparently offers only a stranger’s mild and momentary generous gesture for a poor family in the thralls of a mother’s illness. It’s grounded in the same reality that John Lennon presents, but it whitewashes it and minimizes the suffering in a manipulative way to shoehorn a rather cliche reminder to adhere to religious dogma and to keep your mind pure and holy and only on Jesus. A plain-faced telling of the narrative on its own makes it seem kind of benign, but the weirdly sappy tone of it all does a pretty poor job of hiding how contrived the emotion is and how unnatural it all is. Every facet of the lyrics is crafted to maximize the superficial primal tug at the heartstrings; it’s supposed to feel extremely tender and sweet, and aside from being completely transparently manufactured, the response it delivers to the story it sets up is creepily unhuman, the opposite of a natural response to the details of what the song presents, and its misplaced sense of justice makes the song a pretty apt representation of so much wrong with evangelicals’ attitudes surrounding Christmas.

0/10

“All I Want for Christmas Is You”

by Mariah Carrey. Ending on a positive note. Probably the best and most classic modern Christmas song to come out in my lifetime, it’s a sweet, romantic, upbeat love tune that really captures the best aspects of the holiday season. Never mind the relatives and their dumb political views and drama or the religious nonsense that people get so disingenuously up in arms about, or the consumerism. Christmas at its best is a time to appreciate love, and this song gets it.

9/10

And that is it, for me, I obviously know I will never be able to rate every Christmas/holiday song ever.

I had some time, so I had a little fun and charted the 38 semi-serious ratings of Christmas songs here, which I will also be doing with the 200-something metal albums I’ve been reviewing and now rating at the end of the year. Should be interesting. Now 38 isn’t a particularly huge sample of the huge swath of Christmas songs, nor was it random (I just listed a bunch of songs I was familiar with). It didn’t produce the normal curve I somewhat expect for the larger sample of metal albums later at the end of the year; rather, it shows a two-peak pattern, which could be due to the sample size, or maybe it just illustrates a somewhat unsurprising polarized sample of opinions on Christmas songs. The songs that I remember that are (mostly) pretty common, I either really like or really don’t like, most of the songs are not in the middle. These were songs I have heard for a long time and remembered pretty vividly, so I’ve developed some relatively strong opinions on them. Anyway, look at this graaaaaaphh.

[azathoth-the-chaos]

Metalhead Tag Meme

Stolen from @metal-diy-projects

Tagging: @rawtotherapine @breathepain8 @elektrarebel3 @forcedapotheosis @doom-metalhead  @old-black-metal-bands @auralatrocityabyss and anyone who would like to join (spread this meme like the plague everyone!)

1. How did you get into metal?

I was exposed to small bits of metal ever since I was eight. From Korn and Nightwish to stuff like All That Remains and Asking Alexandria (who knows if they are metal or not, I liked them back then) when I was around eleven or twelve. I think I’ve heard of the term heavy metal around that time as well. It wasn’t until I was fourteen when I fell in love with metal, and that band was Black Sabbath. They were the band that made me who I am today. 

I listened to more traditional heavy metal and later got into the more extreme side of metal with bands such as Cannibal Corpse, Deicide, Immortal, Darkthrone, etc. Morbid Angel was the band that represented everything about extreme metal to me. I started to dive deeper into extreme metal while also exploring other subgenres. Today, nearly five years later, I am still a metalhead.

2. Favorite sub genre(s)?

Death metal all the fucking way! Black metal is my second favorite. Other favorites include heavy, power, thrash, grindcore, doom, and folk.

3. Least favorite sub genre(s)?

Nu-metal (I know I said Korn was good but most is just whatever to me), groove metal, progressive metal (it’s good when mixed with other genres like power metal).

4. Last band you saw live?

None...

5. Last song you listened to?

I’m listening to the Altars of Madness LP by Morbid Angel, currently “Evil Spells”

6. Do you play any instruments?

I play electric and acoustic guitar.

7. Most prized metal possession?

My Altars of Madness LP. Currently my only LP, but I want to start collecting more records.

Some other prized possessions include my three Black Sabbath CDs and my Iron Maiden CD.

8. Favorite non-metal bands?

Cancerslug (some fun horror punk), Crush 40 (yes I like Sonic), Shunsuke Kikuchi (I love some anime BGM), many others, that's all I can name from the top of my head.

9. Do you have a metal wishlist (dream guitar, autograph, etc.)?

1. I want to collect more merch (physical music like CDs, LPs, and tapes; posters; flags; patches).

2. I want to put some metal projects of mine into action.

3. I want to create my own battle jacket.

4. I would love to see Morbid Angel, Cannibal Corpse, Undergang, Revenge, and Archgoat live one day.

10. Favorite thing about being a metalhead?

The music was something I have never experienced in my life and I think I would have been 100% different if I wasn’t a metalhead. Regardless of some stuff like ignorant fans, I am happy that I am a metalhead. I love collecting stuff despite having such a small collection. Playing the guitar is also fun as well, especially death metal. The riffier, the better. It’s like you can feel the power you create.

[stevecanmakeanythingnerdy]

Battle #12

The Vaselines : Sex With An X (Side A)

Vs.

Dead Boys: Young, Loud, and Snotty (Side II)

The Vaselines : Sex With An X (Side A)

The Vaselines are an alternative rock band from Glasgow, Scotland. Formed in Glasgow in 1986, the band was originally a duo between its songwriters Eugene Kelly and Frances McKee, later adding James Seenan and Eugene's brother Charlie Kelly on bass and drums respectively from the band Secession. The band released two short EPs, Son of a Gun, released in 1987, and Dying for It, released in 1988. The latter features two of the band’s most recognized songs, "Molly's Lips" and "Jesus Wants Me for a Sunbeam," both of which 90’s grunge superstars Nirvana would later cover. Though they were not widely known outside Scotland during their short career, their association with Nirvana brought major exposure to the band. Nirvana frontman Kurt Cobain once described Kelly and McKee as his "favorite songwriters in the whole world". With their songs "Son of a Gun" and "Molly's Lips" covered on Nirvana's album Incesticide and "Jesus Doesn't Want Me for a Sunbeam" covered on MTV Unplugged in New York, the band gained a new audience. I must admit, it’s totally how I heard of them. And thank goodness for that! Gems all of them! Kelly went on to found the band Captain America (later renamed Eugenius after legal threats from Marvel Comics), supporting Nirvana on their UK tour. RRW fans may remember them going quite far from a previous season of RRW. McKee founded the band Suckle and released her first solo album, Sunny Moon, in 2006. Shortly there after the band reformed on occasions and in 2010 they released this, their second full length studio album. “Ruined “ is the first track and it sounds amazing. More ballsy than the older stuff. Very produced and meaty by comparison. Drenched in melody and feedback. “Sex with an X” is the second and title track on the album. This is more like classic Vaselines. Light and jangling but still catchy like the clap (#seewhatididthere)! Following is the creepy, surf-like riffage that makes up the bulk of “The Devil’s Inside Me”. This has early Sub Pop written all over it. In fact, did Kelly find an old notebook or something?! It’s like they never broke up and we’re back in 1990. The Vaselines do such a good job of being both retro AND fresh...this is minimalist art! Beat Happenings anyone? (#seewhatididthere). “Such A Fool” is an example of another such artistic melody. Floating as if on sugar cube clouds, Frances takes lead vocals on this one. Pretty hooks and looks stunning on wax. “Turning it On” brings back the surf inspired leans into the curl and dreamboat Annies (#seewhatididthere). It’s a call and response song, and my response is brilliance. Morrissey would be proud. “Overweight but Over You” has more bounce to the ounce (#seewhatididthere). Fat man rock. An analogy to going under the knife. This is what makes them so good. Unique perspective and writing from unusual examples. Look, no matter how you slice it, this is their first output in nearly 20 years and it is sounding like they never quit. THAT is a talent all it’s own. Consistent and signature sound is everything in music and these guys have that formula down pat. They were one of the first two piece bands and with boy girl harmonies. Hipsters owe this band a LOT. PHENOMENAL.

Dead Boys: Young, Loud, and Snotty (Side II)

Dead Boys are an American punk rock band from Cleveland, Ohio. The band was among the first wave of punk bands, and had a reputation as one of the rowdiest and most violent punk groups of the era. Dead Boys were formed by vocalist Stiv Bators, lead guitarist Cheetah Chrome, rhythm guitarist Jimmy Zero, bassist Jeff Magnum, and drummer Johnny Blitz in 1976, splintering off of the band Rocket From The Tombs. They released two studio albums, Young Loud and Snotty and We Have Come for Your Children. Dead Boys were originally called Frankenstein, and as previously mentioned, they evolved out of the band Rocket From The Tombs . When the band members relocated to New York City in July 1976 at the encouragement of Joey Ramone, they adopted the Dead Boys moniker which came from the RFTT song "Down In Flames". The Dead Boys quickly gained notoriety for their outrageous live performances in the city that never sleeps. Lewd gestures and profanity were the norm. On more than one occasion, lead singer Stiv Bators slashed his stomach with his mic stand. These antics reportedly discouraged any mainstream rock following despite the relative breadth of their material beyond pure punk. Something tells me the Dead Boys didn’t give two shits about that. They frequently played at the rock club CBGB and in 1977 they released this debut album, Young, Loud and Snotty. Their song "Sonic Reducer" from it is often regarded as one of the classics of the punk genre, being covered by countless bands, some as diverse as Pearl Jam. Well, side two of this incendiary record starts off with “Caught With the Meat in Your Mouth”. That rock and roll riff, combined with Cheetah Chrome’s snot, form an animalistic ballistic statistic on this biscuit! Gimme some butter!! A great punch in the face to start. If you had any doubts if this was a punk rawk band, they are immediately shattered. “Hey, Little Girl” has a live-ish nitro. It’s about as laid back as these punx get. Another scorcher with those metallic guitar chords. “I Need Lunch” is next, and probably one of their more recognized tunes. Love that intro! Such poetic power trips here. It’s raw, uncensored, unapologetically sexist and NOT PC. In fact, it’s unadulterated filth and raunch, crawling straight out of an NYC gutter. This is what Dead Boys are known for. This captured well the short lived and self destructiveness of this band. “High Tension Wire” takes a little departure for the band. About as emo as they dare get in the times they lived in. Some good guitar work and a sad lamenting riff are all this song needs to draw you in. Nothing compares to

“Down In Flames”, though. If you listen to one Dead Boys still no in your life, make it this one. O. M. G!!! This song!! SOOOOOO GOOOOOOOD!! Again, the raw power is present and on full display. Guitar tones and fuzz on point! Brilliant screams and bleeds and leads. Even a mental breakdown right in the middle of the song, during the song! Amazing. The guttural throat scrapes are tops!! Look past the sexism and this band IS fucking rock. This is the classic album you always wish your band could write. 2017 re-issue On translucent green vinyl. Think Sex Pistols level greatness but not British, and more underground. The Stooges but on ALL of the drugs. In fact, I think you’ll get a contact high just from touching the record.

The Vaselines came back from the grave to have sex (with an X, apparently) and in doing so, wrote a slew of awesome new tunes. Wow. Re-reading that just now and it sounds pretty gross. Anyhow, They burned 143 calories over 21 minutes and 6 songs. That is 23.83 calories per song and 6.81 calories burned per minute. The Vaselines earned an impressive 15 out of 18 possible stars. The Dead Boys uprooted themselves from Ohio to New York City and became one of America’s most loved punk bands. They’re young, loud, and some of the snottiest punks you’re ever going to hear. Dead Boys burned 113 calories over 5 songs and 15 minutes. That is 22.60 calories burned per song and 7.53 calories burned per minute. The Dead Boys also managed to earn an even more impressive 13 out of 15 possible stars. Looks like those Dead Boys take the cake today!!

Dead Boys: “Down In Flames” (originally a Rocket From The Tombs song)

I just love that vintage footage exists...the audio is shit

https://youtu.be/Z3Cn4z4kYIA

Here is a better audio version

https://youtu.be/ueqTb0_jfMU

If you have half an hour to kill look up the amazing CBGB performance from 1977. It’s like having a time machine.

Oh hell here, I did it for you

https://youtu.be/QOHOM1hVM-M

#Randomrecordworkoutseasonsix

#Randomrecordworkout

[ofoatd]

Spring Playlist 2018

Harry Styles' daily dose of 'Medicine', Panic! At The Disco's every cloud having a 'Silver Lining' and Palaye Royal's an apple a day keeps the 'Mr. Doctor Man' away. Spring has mildly sprung, commencing an new era for Mr Malik with Zayn zoning himself in an epoch separate to his 'Mind Of Mine' moments and One Direction history, signalling the start of something new with the 'Pillowtalk' pioneer posting a powerful, greedy, loyalty yet vengeance film style video ending with a date induced cliffhanger beginning on 04.12.18. With spring shaping up to be a season of sensations coming from Aussie ensemble 5 Seconds of Summer's 'Want You Back' and Brit band Arctic Monkeys 'Tranquility Base Hotel & Casino', as well as some individually curated playlists showcasing a plethora of stellar songs evoked from new releases, attended gigs or simply derived from nostalgic value.

‘Medicine’ – Harry Styles

Styles is feeling super love sick and has therefore been prescribed with a medical medium of music to cure his aggressively hedonistic wants, needs and requirements. Banished in black from his fingers to his toes as Styles shimmered under the stage in Switzerland, a delightful double debut of non-studio songs shone from Harry's low tones yet fitful range as the 'Harry Styles' self titled record rejects 'Anna' and 'Medicine' lavishly launched. Whilst 'Anna' is a sample of moderately melodious riffs compared to the rough and ready specimen of 'Medicine' which explores Styles' sensual side, evoking lyrical content in its wake of a "Tingle running through my bones/The boys and girls are in/I mess around with him/And I'm okay with it" that left fans in a frenzy. With these words demonstrating limitless lyrics and a there's no holding the Styles back approach to his solo songwriting style.

‘Mr. Doctor Man’ – Palaye Royale

Headlining the front cover of Alternative Press magazine, and Payale Royal’s decade long exersion has made them music magnates. From Palaye moulding their personified personalities into true artistic value with meticulously designed merchandise aligning with the bands vivid image and independent appearance, producing products such as the popular Palette Royale as well as their distinct art rock repertoire introducing the triple collective's commencing 2012 single 'Morning Light' to their rated 2015 record 'Boom Boom Room'. 'Mr. Doctor Man' the leading hit that hoisted the Sumerian signed entity into song success upon its release in Spring 16, reveals deathly lyrics, riveting instrumentals and a voice of indisputable distressful tones by potato enthusiast Remington Leith that carries the bands indie glam sound and avant-garde style onto the imminent 'Boom Boom Room' (Side B) anticipated for emancipation next month.

'Silver Lining' - Panic! At The Disco

Struck by a slither of a silver lining and after a rocky road, Panic! At The Disco are finally coming up cherries on top. Revamping Urie's one man band backing with touring musician members Kenneth Harris on the guitar and Dan Pawlovich on the drums, the band hit the big time bagging the instrumentally reputable Nicole Row to fill in the gaping gap of a bassist with upmost pleasantness. Releasing 'Silver Lining' as a single alongside its action packed attached 'Say Amen (Saturday Night' nostalgic religious number and prequel and sequel video its big, bold, brass, marching band style and feel good substance provide a sense of 'Nine In The Afternoon' instrumentals meets 'Death Of A Bachelor' artistic influences to produce a friendship of Beyoncé name dropping, 70's swear word inspired song vocabulary and vocalising his step up as a vocalist, with Brendon Urie's skilful singing by using the analogy of cutting his teeth to end up making a killing with the Panic! At The Disco spiel.

‘Church’ – Fall Out Boy

Whilst not every diehard fan of Fall Out Boy was confessing their love for 'Church', the odd regeneration of rooters were on their knee's worshiping the music work. Despite 'M A N I A' feeling like we were all just sitting in the waiting room for it's delayed Winters date of release, the forth visual instalment to come out of the record brought Montague and Capulet mannered imagery, contexts correlating to religious relations and themes of Gospel sounds, digged up and derived from Island Record's export 'This Ain't A Scene, It's An Arms Race' made a genre resurgence in a current rendition. A choir of voices to vocalise a heavily orotund orientated chorus, overlapping 'Soul Punk' man Stumps prominent singing delivery alongside a verse of tuneful bass hooks and the chiming of brash bells visually represented a kirk's atmosphere and importantly a place of devotion.

‘Nobody Likes The Opening Band’ – I DON’T KNOW HOW BUT THEY FOUND ME

Local community talent shows, circa mid-1983 and uncovered tapes pre 20th century. I DON'T KNOW HOW BUT THEY FOUND ME have built a band brand that brandishes a cleaver curated era of evoking 80's sounds, from the duo's supposed failed attempt at success in synth-pop scenes and art-pop areas during the decade of the Pet Shop Boys. with the ensembles efforts being brushed off and brought to life by the internets influence that the first world is welcoming warmingly being backed by a following of fans in their tens of thousands. Marketed as terminated ex Panic! At The Disco's touring bassist Dallon Weekes once and future project pre and post The Brobecks, with Weekes and Seaman's super small selection of songs from the a-ha affiliated 'Take On Me' attributes in 'Modern Day Cain', grandiloquent sounds of 'Choke' and the candidly newfangled 'Nobody Likes The Opening Band'. Singing of the struggles of being a support act at a show, Dallon's deliberately dull tones depict a sensible tale of negative contexts "Come and see the opening band/Now that you've got your tickets and beverages in hand/They look so tired/Sound uninspired/Guitars are secondhand" prevailing with a positive conundrum "But if you lend an ear and give them just one little chance/You may just like the opening band" makes for a song of sincerity and a soul spilling story.

'Nomad' - In Loving Memory

Death and doom metal meets Panic! At The Disco's artwork of rainbow coloured chemicals from 'Too Weird To Live Too Rare To Die'. 'Introspective' track 'Nomad' is a nostalgic brining together of instrumental and vocal pickings from Bring Me The Horizon's 2008 'Chelsea Smile' and Pierce The Veil's 2012 'King for a Day' under In Loving Memory's own umbrella. 2 EP's in and the New York City capacity have established experimental styles, showcased through a stretch of 'Vans Warped Tour' stints following up a headlining tour titled 'Black Sheep Never Sleep'. Yet song 'Normad' is a backed by a band of solid shredding guitars and wholesome words of warm cordial lyrics, heavily highlighted by the voracious voice of Naveed Stone's fearless tones.

Listen to this Spring Playlist 2018 here:

Spring Playlist 2018

(All photographic content curtesy of Erskine/Columbia/Sumerian Records/Fueled By Ramen/DCD2/Island/DCD2/Fearless/None You Jerk/Bad Moon Man Music

[deadcactuswalking]

REVIEWING THE CHARTS: 29/05/2021 (Eurovision, BTS, Olivia Rodrigo, Galantis/David Guetta/Little Mix, Anne-Marie & Niall Horan)

What better way to celebrate the end of a week in which I have been consistently ill and surprisingly busy? Sixteen new arrivals, of course! Shoot me, but first, congratulate Olivia Rodrigo for her second #1 as “good 4 u” gets the album boost to overthrow “Body” this week. I can safely say I think it’ll be there for a while. Let’s just start REVIEWING THE CHARTS.

Rundown

Sixteen new arrivals and therefore, kind of a bloodbath. Why are there sixteen new arrivals? We’ll get to it. Other than six new arrivals from last week, we have a couple other drop-outs, the notable of which being those that spent five or more weeks in the UK Top 75 – which I cover – or those that peaked in the top 40. Therefore, those include, rather ironically on Olivia Rodrigo’s album week, former #1 “drivers license” (only dropping out because of a silly UK chart rule that only allows three songs per lead artist on the chart), as well as “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals, “Another Love” by Tom Odell, “Calling My Phone” by Lil Tjay and 6LACK, “Heartbreak Anniversary” by Giveon, “Tonight” by Ghost Killer Track and D-Block Europe featuring OBOY and “Miss the Rage” by Trippie Redd and Playboi Carti. I’m not complaining about most of this, sorry, Giveon.

We have no returning entries – thankfully – so instead we can just focus on notable falls and climbers. I guess we’ll start with notable losses, songs that dropped five or more spots from their placement last week, and of course we do have a few of them at least as a result of, say it with me, sixteen new arrivals. The first few of these are all harsh drops because of ACR, which happened to coincide with the rest of the chaos, including “Little Bit of Love” by Tom Grennan at #24, “BED” by Joel Corry, David Guetta and RAYE at #25, “Friday” (Dopamine Re-Edit) by Riton and Nightcrawlers featuring Musafa & Hypeman at #26, “Peaches” by Justin Bieber featuring Daniel Caesar and Giveon at #29 and “Let’s Go Home Together” by Ella Henderson and Tom Grennan at #33. We also have the losses for J. Cole staying surprisingly slim with “My Life” featuring 21 Savage and Morray at #27, “Pride is the Devil” featuring Lil Baby at #28 and “Amari” at #35. The rest are mostly just expected continuous fallers, like “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted at #44, “Nice to Meet Ya” by Wes Nelson and Yxng Bane at #46, “Your Love (9PM)” by ATB, Topic and A7S at #50, “Marea (We’ve Lost Dancing)” by Fred again.. and the Blessed Madonna at #51, “Ferrari Horses” by D-Block Europe featuring RAYE at #53, “Heat Waves” by Glass Animals at #57, “Seeing Green” by Nicki Minaj, Drake and Lil Wayne at #58 off of the debut, “All You Ever Wanted” by Rag’n’Bone Man at #61, “Martin & Gina” by Polo G at #63, “Leave the Door Open” by Silk Sonic at #64, “My Head & My Heart” by Ava Max at #65, Travis Scott’s remix of HVME’s remix of Travis Scott’s “Goosebumps” at #67, “Addicted” by Jorja Smith at #68, “Beautiful Mistakes” by Maroon 5 and Megan Thee Stallion at #70, “Sunshine (The Light)” by Fat Joe, DJ Khaled and Amorphous at #73, “Someone You Loved” by Lewis Capaldi at #74 and finally “Believe Me” by Navos at #75. Phew.

Now what’s interesting is that we have nearly just as many gains, and they’re pretty unique, big surges in most cases, starting with “Cover Me in Sunshine” by P!nk and Willow Sage Heart at #52 thanks to the album boost that also prompted P!nk’s “All I Know So Far” to creep into the top 40 at #39, “Build a Bitch” by Bella Poarch at #32 off of the debut, “Starstruck” by Years & Years at #31 thanks to a bizarrely uncredited Kylie Minogue remix, “Little More Love” by AJ Tracey at #21, “Didn’t Know” by Tom Zanetti at #20, “Higher Power” by Coldplay at #19, “Black Hole” by Griff at #18, Majestic’s remix of Boney M.’s “Rasputin” at #16, “Good Without” by Mimi Webb soaring into the top 10 and hence becoming her first at #10, and Olivia Rodrigo getting her third thanks to the album boost as “deja vu” is at #4. I think that’s more than enough that needs to be said about music that was already on the chart last week, so welcome back to the part of this series where I get either increasingly frustrated or exhausted every time I have to list another song.

NEW ARRIVALS

#72 – “Life Goes On” – PS1 featuring Alex Hosking

Produced by PS1 and Mark Alston

So, what better way to start sixteen new arrivals? A generic piano-house club track, of course. PS1 is a New York DJ and for this track with a 90s-esque piano and synth melody, bassy drop and tight, bland percussion as well as oddly-mixed anonymous female vocals made to sound robotic regardless of genuine emotive performance, he’s enlisted Australian singer Alex Hosking as well as co-songwriting from hit-makers GOODBOYS, both of which make remarkably little difference to the fact that despite being a faux-inspirational club track, this song is incredibly joyless and flailing in as pathetic and one-note of a fashion as possible. Yes, that is one exhaustive sentence chugging on as long as possible, but there’s no better way to parallel this disposable garbage than that.

#71 – “What a Time” – Julia Michaels featuring Niall Horan

Produced by Ian Kirkpatrick and RKCB

Niall Horan coincidentally has two unrelated female-male duets debuting with him in this week. Thankfully, Julia Michaels only has the one track debuting, and for the love of God, I can’t even figure out why she has the one, as this is a track from a 2019 EP that flew massively under every radar except seemingly mine as whilst I have listened to this EP, I cannot remember for the life of me liking any of it besides “Anxiety”, which makes sense since Michaels is at best an uninteresting songwriter and at worst an insufferable vocal presence. Regardless, I’m going to assume the surge is due to TikTok or some kind of residual Niall Horan hype, whatever there is of that, and look at this song two years after the fact. Well, for what it’s worth, I appreciate the vaguely folkish guitar riff, even if it’s going to be drowned out immensely by Michaels’ approach to vocal takes, which is to put as little effort into that first take and then multi-track enough for it to sound listenable, particularly on that bizarrely unfitting chorus in which reminiscing on a wonderful, intimate time with your partner is demonstrated by rote piano chords, an awkward string swell and distant, reverb-drenched incoherency on the vocals. I guess I do like the switch in the final chorus as she changes “what a time” to “what a lie” to emphasise the bitterness of that break-up, but I don’t think that bitterness has to soak the entire master because this song is dripping in apathy that I just don’t have any time for personally in my pop power ballads. Wait, Niall Horan was on this song?

Eurovision Song Contest 2021

Whilst I may not do a special episode on this blog for the Eurovision Song Contest, I’d be lying if I didn’t confess to watching and enjoying it every year. This year’s, the first since 2019 for obvious reasons, was hosted in Rotterdam in the Netherlands and was won by an Italian rock band, with the United Kingdom infamously receiving zero points yet somehow more applause than Israel’s performance. Telling. It’s not all politics though, obviously: the reason songs win is not just the lighting, stage presence, vocal performance or grandiosity, but rather the songs themselves, or at least ostensibly so. The winner this year didn’t have the best of any of those factors in my opinion – no, not even the politics – so it’s clearly about a mixture of this success criteria. This year had some particularly good songs and the most consistency out of Eurovision in a while, naturally leading to quite a few new arrivals, also factored in by the charts being weak, so we essentially get an album bomb. Let’s pile up every new arrival related to Eurovision and talk somewhat more briefly about each song, starting with...

#66 – “Dark Side” – Blind Channel

Representing: FINLAND

The Finnish entry this year is one of two heavy rock entries, both of which charted, and this is a genre represented by about one country annually. There’s always a Gothic-influenced or industrial-esque band in the shortlist or national finals if not the semis and international final, but it doesn’t stop them from being some of the most interesting Eurovision contesters. It’s in English and came sixth with 301 points. Is it any good? Well, it’s far from bad with that pumping electronic groove before it’s crushed by metallic, distorted and rather ugly guitars that remind me of, if anything, scene-era nu metal and crunkcore, especially due to the clean and growling vocal dynamic. The song is still anthemic as all hell and if we ignore the dog barking and stuttering vocals, as well as the fact that these vocalists don’t have that much grit to their performance, we can appreciate the clamouring rock track this is, and I’d be lying if I said that final chorus isn’t pretty epic. Next!

#62 – “Voilá” – Barbara Pravi

Representing: FRANCE

The French entry this year is one my staunchly Italian nationalist online friend immediately had a distaste for, and as someone with British citizenship, I am also legally obliged to give this Worst of the Week. Sorry, Barbara but traditions are traditions. It’s in her native French and came second overall with 499 points. Is it any good? Well, like many French entries and French pop songs in general, it’s in a chanson style that adapts very well to the modern western art-pop sound, as Pravi’s cooing vocals are at full focus in the mix as they skate around more subtle pianos, wonderfully elegant strings and this wistful tone that may or may not make sense for the content. What? I’m not learning a word of French past what was grained into me during primary school. Overall, I think this is a pretty great song with a lot of that almost Bjork-esque swell especially in Pravi’s vocal performance that I think makes for a pretty excellent listen, especially by the time that abrupt finish hits. I’d probably prefer it being a bit less minimal and scattered so the hook hits harder but overall this is one of the best Eurovision entries this year. However, she is French so, next!

#59 – “SHUM” – Go_A

Representing: UKRAINE

The Ukrainian entry, always successful enough to get to the finals, was particularly hyped up prior due to its... eccentricity and ended up in fifth place with 364 points. It’s in their native Ukrainian so they might as well be garbling acid both verbally and as a written text, so I guess I have to judge it on the fact that this is pretty bonkers, with a charismatic and energetic vocal performance that yells over triumphant bassy horns perfectly blended with the 80s bass synths but not so much with those chirping flutes that, whilst cool on paper, kind of just give me a headache when faced against this thumping dance beat that remains decidedly strained for most of its runtime, and annoyingly so as it means the song never has that cathartic of a release, at least to me, but what drop it has ends up deconstructed and janky in something that might fit on PC Music but I’m not sure it does on Ukrainian Eurovision. This has something there, but I’m not into it. Sorry.

#47 – “Embers” – James Newman

REPRESENTING: United Kingdom

A catastrophic loss is British culture at Eurovision, and it’s not the first time in this century that we’ve gotten the infamous null points. James happens to be related to the more noteworthy John Newman, but that didn’t avoid a “nil points catastrophe”, coined by Jochan Embley, who reviewed the song for the Evening Standard and is now set in stone as an utter fool as his quote predicting that not to be the case this year is now forever preserved on the Wikipedia page for this very song. Nice one, Embley. We finished at twenty-sixth and Newman should honestly be glad this embarrassment is charting. The worst part of this whole ordeal is that the song’s actually fine and definitely representative of British pop music with its 90s-esque piano, bassy drop and anonymous vocal performance – if any of that sounds familiar – and I do love the plastic brass added here for the sake of bombast. It’s nothing interesting, and a tad too long considering how little it does with its musical premise, but it’s not worse than half of any given Eurovision. Maybe next year we submit a UK drill song, I’m sure that’ll get the people going. Tion Wayne, do you want to take a flight to Italy in 2022? Maybe bring Young Adz here while you’re at it; that could truly be a fascinatingly out of place Eurovision entry but at least one of these countries – probably Russia – would vote for it. As for now, at least this was funny to see absolutely bomb, and Graham Norton become increasingly hopeless for its success as the night went on.

#43 – “10 Years” – Daoi Freyr

REPRESENTING: Iceland

One part of this guy’s backing band tested positive for COVID-19 so they had to isolate and just show the dress rehearsal again but it didn’t stop them from charting and delivering a pretty damn unique entry, as Iceland is known for doing nowadays. It’s all in English and finished in fourth place with 378 points, and is it any good? Well, for one of the whitest concepts in television, this is the whitest song of this year’s entries, starting with some gentle violins before abruptly careening straight into this Daoi Freyr guy monotonously droning over bass-heavy nu-disco straight out of the 2000s with a level of irony balancing out whatever sincerity there is in the quasi-R&B breakdown, and, you know, it’s fun, at least? I do think the stage performance is remarkably more interesting than this funktronica mess in the studio, but this is catchy and inoffensive, two good ways to get people to care about your song in Eurovision, so it makes sense. Also,  that chiptune synth-solo borderline saves this song, even in all its brevity.

#17 – “ZITTI E BUONI” – Maneskin

REPRESENTING: Italy

So third place didn’t chart – sorry, Switzerland – but we do obviously get the winner charting as high as the top 20. The chart’s weak and the lead singer’s hot and probably does cocaine – it’s a recipe for success, especially when they probably have mafia connections and can threaten or buy their way into the charts. Unrealistic and possibly xenophobic stereotypes aside, this is the Italian entry and whilst I was personally gunning for Portugal, who came twelfth, I can see how this gathered 524 points, even if they had to censor the lyrics for the sake of the contest, not that I can tell because I do not know a lick of Italian. Sorry, Ignacio. Anyway, this song kicks ass and rather disrespectfully at that, as the lead singer breathily sings over garage rock-esque guitar licks and some pretty manic drumming that delivers not only a catchy hook but an undeniable groove, assisted by some slick rapping that comes out of the blue in the second verse and honestly fits the song – and the singer – a lot better than it has any right to. Congratulations, Italy – you’ll be paying out the ass for the next contest. Ciao!

Back to your regularly scheduled programming...

Well, that got a lot out of the way. Not all of it, though.

#60 – “Topshottas Freestyle” – Potter Payper

Produced by Chucks

Potter Payper is basically some guy from Barking, East London, and that’s all you need to sign a record deal with the same label that has Stormzy on payroll so that’s why he’s here. With that said, there’s something deeper here, or at least in the first few lines of this singular verse – without a chorus – in which Potter Payper narrates a street lifestyle, far too common for young working-class British men, retelling what is probably his truth about the consequences of ignoring motherly advices and finding yourself in a situation surrounded by gang violence, drug trafficking and all the paranoia that comes with it. Of course, he then brags about his wordplay, gunplay and fashion, and the rest of the verse just feels aimless with nothing exactly restraining the meandering checklist of clichés, and zilch returning it back to what I thought was going to be the point of the song. I guess this trap beat is okay but this same acoustic guitar and oddly-mastered bass is so common and uninteresting that I find it hard to care. I don’t have an issue with British music being Americanised as that’s just the result of musical evolution and the sharing of culture, but when the only way you can tell this isn’t from the States is the accent does make me question why this is charting amongst Dave and AJ Tracey instead of Lil Baby and Gunna.

#56 – “GANG GANG” – Polo G and Lil Wayne

Produced by Angelo Ferraro

Polo G, after just having the biggest hit of his career with the US #1 hit “RAPSTAR”, follows it up with a Lil Wayne collaboration and thanks to a busy and just misguided release date and timing, it makes a lot less noise than it should. It absolutely deserves that level of attention too, with its chopped-up borderline ambient melody that creates  a perfect foundation for this high-energy bass-heavy trap beat as well as Polo G delivering a lot more energy than on “RAPSTAR” (to the point where I think that’s the reason why his actually interesting songs don’t do as well). The chorus has a pretty great melodic switch-up by the end and whilst the flows are pretty rote, it’s hard to say they aren’t smoothly delivering all of the flexing and gunplay pretty typical of Polo G, and if anything that’s what it’s missing: an extra layer of depth, not that I care of course, because Lil Wayne’s on it. Wayne has been astonishingly great on features recently and this is one of his most impressive features to the point where I could barely write about it on first listen, with some of his slickest flow switches ever and whilst the content doesn’t get any more interesting than pouring his heart out for his lean, his pure charisma outshines anyone who could have been on this track and this means this ends up pretty excellent in terms of 2020s trap-rap. I don’t know when that Polo G album is coming but I hope it has more of this. Also, for the love of God, Wayne, keep this energy up for the next album. I’m begging you.

#42 – “SUN GOES DOWN” – Lil Nas X

Produced by Roy Lenzo, Omar Fedi and Take a Daytrip

As his follow up to “MONTERO”, we have a new, decidedly less sexual Lil Nas X hit debuting again surprisingly low on the chart considering the last single’s success, finally delivering in the musical department as for me, there’s a constant conflict between wanting to like Lil Nas as a character, performer and personality rather than actually enjoying any of the guy’s music. Last time I talked about Lil Nas, I did bring up the Pitchfork album review that questioned if he really liked music and whilst it’s funny, I do see how Lil Nas could have perhaps taken Pitchfork to heart as a result as he practically explains his love of popular music as a way for him to feel like he belonged in a community, which is especially meaningful for a man constantly left alienated because of his own mental health issues as a teenager and struggling to come to terms with his homosexuality, to the point of suicidal thoughts. I just love how the verse ends on a happy note where makes the leap of faith to come out and how now he’s proud of himself, he wants to make sure his fans are proud of him since they’re the people who got him there. For me, those last lines recontextualise the chorus as becoming less about contemplating death but more about ascending to a happier place and rejecting all your struggles that you’ve overcome. It helps that this is all sang pretty soulfully over an almost emo guitar melody with some basic flows but gorgeous multi-tracked vocal melodies accentuated by strings that elevate this song even higher, even if it seems underdeveloped. Sure, it doesn’t have that second verse, but does a victory lap need a re-over?

#38 – “Mask” – Dream

Produced by Perish Beats and Banrisk

Nope.

#22 – “Our Song” – Anne-Marie and Niall Horan

Produced by TMS

Okay, so this is a duet where two ex-lovers – only in the song – attempt to get over each other but end up hearing a song they held special to their relationship and all of the memories and pain comes flooding back. Without the youthful exuberance of Taylor Swift’s song of the same name, this duet should carry some bitterness and resentment but mostly capture a hesitant nostalgia... and despite being oddly Niall Horan-dominated, I guess it does that pretty effectively, or at least would if Niall wasn’t crushed by a misshapen trap beat that drowns this pathetically fluttering guitar loop into a mush that not even Anne-Marie can over-sell. Everything here is so utterly basic that it kind of screws itself over by trying for any energy or passion, and therefore kind of just doesn’t. I’m glad.

#9 – “Heartbreak Anthem” – Galantis, David Guetta and Little Mix

Produced by Bloodshy, Henrik Jonback, David Saint Fleur, Thom Bridges, David Guetta, Mike Hawkins, SONDR and Johnny Goldstein

It really speaks to the power of Little Mix that even with only three members and only one of them not expecting a child, they can bring Galantis back of all people. Although given that Galantis is already a duo, I fail to see why David Guetta needs to be here, and the same can go for any of the other seven credited producers of this song, which actually only includes one half of Galantis! I question if a song ever needs that many, despite the fact that in reality they probably contributed zilch to the song each, just enough to get a pay check. None of that should matter, however, if the song isn’t good and I’ll admit this is far from the worst that any of these guys have delivered, with a string melody and swell not unlike 2015-era house Galantis themselves made, and vocal deliveries from the girls that sound like they were located in vastly different locations from each other (to the point where anyone harmonising with Perrie sounds really awkward regardless of how many vocal manipulation effects you can put on them). For seven producers, that’s inexcusable, but as a song, it’s just a shallow post-break-up song that kind of feels like a dig towards Jesy if anything (although I hope it isn’t). I’m not a fan – I never was going to be – but it works for what it is as this colourful house jam, and not much else. This is Galantis’ first top 10 since 2016, by the way. Yeah, Little Mix are that big.

#7 – “traitor” – Olivia Rodrigo

Produced by Dan Nigro

It couldn’t have been “brutal”? Or “hope ur ok”? Okay, well, if we’re going to have the dullest track on the album bar one I guess we’ll go with the one that follows the “drivers license” formula to a T but without as much passion in the vocals, without as much interesting songwriting quirks and with a whole lot of rote fluff removed far from any indie-girl influence that undercuts what is essentially a teen-pop product. I’m not going to pretend I cannot get caught up in melodrama and embrace that, but this is a slog of a ballad with an almost sing-song, condescending vocal melody in that chorus, multi-tracked and studio-produced to rid her of any of that natural rasp she has when singing live. The song is about being annoyed by an ex finding someone new and the more toxic thoughts that come with being the ex-girlfriend in that situation, but with decidedly low stakes this time around that just make her more unlikeable than relatable. I’m sorry, I didn’t think that album was half-bad at all, but please don’t make this the post-release hit.

#3 – “Butter” – BTS

Produced by Ron Perry, Rob Grimaldi and Stephen Kirk

See, I value my personal information, and I don’t know about you but I’m as scared of these guys as I am Nicki Minaj stans, or Minecraft YouTuber stans, or serial killers, so whilst I doubt my platform is extensive enough to reach that level, I also know that these people are so online that they could easily find me somehow somewhere. With that said, just to clarify, when I say I wish I could “Nope” myself out of this one like I did with Dream because I have consistently little to say about this band, it’s not because I in any way dislike BTS or the band members within, or their record label that manages them and many other K-pop bands which I also do not dislike, or, because I’ve seen this happen, East Asians in general. Is that enough stalling to just say I don’t care about this basic pop fluff? When BTS are in Korean, their lyrics aren’t embarrassing and their production tends to be more experimental or at least catchier, more interesting. I like a fair few Korean BTS songs as a result but I just do not see the appeal in making another stiff, cleanly-produced 80s-esque funk-pop song with some chiptune synths that are admittedly kinda cool other than getting on US radio. There’s some interplay between the boys here but it just leads to a pretty homogenised track where none of them have enough personality to shine through, not even SUGA and RM on the tacked-on rap verse that so awkwardly ends. The synth solo sounds perfectly out of an era of dated 80s synths that I’m not sure anyone other than Bruno Mars actually had nostalgia for, and not even some pretty vocoder can save it. The writing is too clumsy, the production’s not equipped to handle it and there’s not much to speak of in terms of performance. I fear for my life when I say it but I think this is actually pretty bad.

Conclusion

Okay, so, we’re finally finished with this week and God, I’m glad, as there’s not that much quality here to speak of, although what is here is here in droves, so Best of the Week gladly goes to Polo G and Lil Wayne for “GANG GANG”, with “Sun Goes Down” by Lil Nas X following closely behind as an Honourable Mention. In terms of Worst of the Week, it doesn’t actually go to they who shall not or he who should not be named, instead going to the pathetic “Your Song” by Anne-Marie and Niall Horan, with a Dishonourable Mention going to BTS for “Butter”. It’s just “Dynamite” again but with considerably less reason to exist. Here’s this week’s top 10:

If I make it to next week, who knows what’s coming? This is a slower week – hopefully – and I don’t think black midi will chart, though it’d be comical, so I’ll hold off on predictions and just thank you for reading. See you next week!

[raptoreviews]

Top 10 Best Metal Songs of 2017

Now I know what you’re thinking:

“You don’t review music Raptor, what gives?”

Well, to put it simply, I’m a little disappointed with myself in the latter half of 2017, and I’m really wanting to get something out to you guy’s for the holiday season. And with that in mind, there’s nothing I love more than heavy metal music!

If you follow my twitter, you’ve probably seen some of my very snarky tweets at popular pop artists who, if you can’t tell, I’m personally not a fan of. So It always warms my cold blooded, reptilian heart to talk about my favorite genre of music, the heaviest of the metals. And despite my admiration of the art form, heavy metal has done almost exclusively nothing over the better part of the past year. But because I am your serpent-like messiah, I have found a wonderful selection for you. I hope your collective butts are ready for a blast, because this is:

My Top 10 Heavy Metal Songs of 2017

Number 10: Car Chase Club - Blue Stahli

Now you may call this one cheating, mainly because this song is more dubstep than it is metal, which is fair. However, my counter argument is simple. Heavy metal was doing almost nothing and I REALLY needed a number 10. Doesn’t hurt that this song is super good too.

When I’m looking at music for my leisure time, I like to look for songs with heavy drums and hard guitars, and this song delivers perfectly on both fronts. I’m really happy with how this one turned out and am excited to see what Mr. Stahli has in store for the future.

My one regret is that I REALLY needed a number 10 spot, so I really don’t have that much to say. The song is wicked. Go listen to it… Right now…

(I promise the other entries will be better!)

Number 9: Look What You Made Me Do - The Animal In Me

This cover is tight!

Now you need to realize, I HATE Taylor Swift’s newest gimmick of “Being the Bad Guy” for two reasons.

1. I don’t buy it.

2. I really don’t buy it.

But The Animal In Me? I TOTALLY buy it. They could convince me that they were doing this whole bad guy thing and I would be frightened, I would be running for the hills. They have an energy about them that adds to the song, taking a trash pop song making it horrifically effective.

The haunting lead vocals compliment the screaming of the chorus very well, and it takes a garbage song and pulls it into the best of the year. Rather impressive.

Number 8: No Grave But The Sea - Alestorm

I officially want every best of list to have at least one Alestorm song, and this one will do me fine.

Now what’s the song about? It doesn’t matter. It’s Alestorm, so the answer is probably pirate stuff, and that’s all I need! Alestorm are such an enigma of a talent that my year feels less fun when they don’t release something. So when they stop in, I always know I’m in for a wild ride with them.

They are silly in all the right ways, and embody everything I adore about metal. They are perfect in almost every way.

Number 7: Judgment Day - Dragonforce

Not gonna lie, I listened all three of the new singles by Dragonforce this year, and I wasn’t impressed. If Gamma Ray and Rhapsody of Fire hadn’t put out remaster’s this year, Dragonforce woudn’t be on the list. But, out of all of them, Judgment Day was the best.

It has the fastest, heaviest guitar of them all, and a very unique sound in comparison with the other two, or a lot of Dragonforce for that matter. But no matter how lackluster it is, Dragonforce is still awesome, no matter how bad they could be for the year.

No matter what, this song still rocks hard. And for all my complaining, it still is one of the best for the year.

But do you guys remember Gamma Ray? Those guys were rad!

Number 6: Dragonflies - Amberian Dawn

Well this one came out of nowhere. AND I LOVE IT!

If 2017 lacked in one thing, it was symphony metal. With only a few exceptions, I was very sad with the lack of Within Temptation this year, who would have been a shoe-in, but didn’t make anything this year. Bummer.

But hey, this song is still tight! With a powerful lead vocalist, shredding guitars and a ominous ensemble, Dragonflies was a surprise Christmas present that I will take arms open.

This song is so sick, I’m expecting these guys to be on the next years list.

Number 5: Burn Me - Xandria

Dang Xandria! What kind of talent enhancing substances were you guys on this year?

I mean, you guys had killed it in the past, but this album is so good! And this song is a personal favorite of mine.

As much as I love Xandria, they sometimes have a problem, that being that the music and vocals sometimes don’t mix very well. It’s still incredible, but not ‘Perfect’.

This, on the other hand, is perfect for both instrument and vocal. perfectly capturing the feeling of the songs tone, and the vocals are haunting in all the right ways. I adore this album and this song. It’s strangely upbeat, which I like.

Rock on Xandria!

Number 4: Unfaithful - Exit Eden

Pop quiz for you fans of symphony metal:

‘What is the most common theme for symphony metal songs?’

The answer? Fantasy. Lord of the Rings, Skyrim, Legend of Zelda, they all play into the idea that this sub-genre is all about fantasy with dragons and swords and princesses.

Not this one though.

Exit Eden, (Another band that came out of nowhere!) made a song about a very modern and real thing, cheating. And presented it with symphony metal to make a very harsh and real sounding experience, and in doing so, made a best of the year masterpiece.

This is not a happy song, but it is a killer one. And diffident best of the year.

Number 3: Fight Your Demons - Epica

I adore Epica. they were the ones who got me into metal in the first place, so I feel like I’m obligated to have somewhere on the list. And, it just so happens that they make a killer single for the number 3 spot.

Fight your Demons is everything I love about Epica, Simon Simons kills it with the vocals and the whole song has an intensity that I love. I made a tweet earlier in the year, saying that with Spotify on the Xbox, I was listening to Epica while playing Skyrim, and this song takes one of my favorite games of all time from a 10 to an 11.

No matter the climate and toxicity of modern pop and hip hop, I can always count on Epica to remind me of why I love music, and this song is no exception. Rock on you guys!

Number 2: Ride the Lightning - Halestorm

I have a bucket list. And with how morbidly obese I am, I’d better start working on that. But regardless, at the top of that list is to meet the people who have inspired me to pursue my dreams, and Halestorm is for sure one of them.

Now take them, and  have them cover some Metallica, and what do you get?

In a word: Ecstasy

This might be one of, if not my absolute favorite covers by Halestorm. It has all the the elements that I adore in metal, strong guitar, thumping drums and of course, vocals by the legend herself: Lzzy Hale.

And it does not go to waste. Masterfully re-mastering the metal classic in a new, yet faithful way. And no matter how good I make it sound, it sounds even better. It is perfect ear candy.

Halestorm killed it, and it was hard to not give them the number 1 spot… But…

Number 1: Legendary - The Unguided

Hey my dubstep fans, you guys remember when The Unguided were famous for the remixes by Zardonic? Well, this song, right here. It cements The Unguided as one of the best metal band ever.

This song is so good! Everything I love is here! Guitars, Bass, Drums, and killer Vocals!

And unlike the other songs on the list, the unguided genuinely sound like something new.

I didn’t know just how much I needed this song in my life, it is so good. Like, you should stop reading and go find this song online. it is worth it.

And that’ll do it! Thank you all so much for reading, and I know that this “Year of the Raptor” Update has been taking a long time now, but I’m slowly but surely working on it.

But still, I feel bad for not having anything for you guys for the latter half of 2017. Although, tune in Christmas, We- I mean I, should have something killer planed. So just hang out and I’ll see you on Christmas morning!

[rockinchicagomag]

Melissa Nestor’s Top 10 of 2017

Melissa Nestor is the bassist for Orinoco and is a concert photographer. 

10. Gravebloom by The Acacia Strain

The Acacia Strain has never put out a band album. Credited as one of the pioneers in the genre of “deathcore,” The Acacia Strain has continued to put out one album after the next and typically getting better and better with each release. However, I do not feel it was as strong as their 2014 release, Coma Witch, or even their 2012 release, Death is the Only Mortal. Still, Gravebloom was the best album released in the deathcore genre in 2017. Stand out tracks: “Worthless” and “Gravebloom”

9. Relentless Mutation by Archspire

Archspire is in the running for best guitar riffage on any album of this year. Even though I was completely in love with their prior 2 albums, they have more than sold me with the release of Relentless Mutation. They are one of those death metal bands that combine the perfect amount of melody and brutality to create one hell of a sound that has me wanting to throw all my guitars in a wood chipper.

Stand out tracks: “Human Murmuration” and “Relentless Mutation”

8.  Wizard Bloody Wizard by Electric Wizard

As a band that has so much history of creating legendary albums in their genre, it seems they are always under so much scrutiny when a new album is being released. People have expectations of it topping albums such as Dopethrone which is still considered one of the greatest albums in the doom genre to this day. While this album comes nowhere near topping that, it stood out enough to me to make it into this list. They went a little different route with Wizard Bloody Wizard than their last album Time to Die, which came out in 2014. Time to Die had their evil occult flavored lyrics as always and a sinister sound to go with it, while Wizard Bloody Wizard has the same lyrical content that everyone is used to but a bit lighter in the music department. Going a bit more vintage psychedelic musically caused a lot of criticism amongst Electric Wizard, but I think it was the right move on this album.

Stand out Tracks: “See You in Hell” and “Wicked Caresses”

7. Hiss Spun by Chelsea Wolfe

Chelsea Wolfe seemed to rise to popularity out of nowhere after her release Abyss in 2015, but she has been an active musician since 2010. While her genre is somewhat difficult to nail down, she is loved by fans of many different genres from goths to the most annoying black metal elitists. I have a friend that exclusively listens to country (I know…ew…) that loved this album. One of the reasons Hiss Spun made my list is because of the accessibility and relativity to so many different genres. When Chelsea sings, people pay attention. Her voice is just so haunting, it makes people pay attention. Hiss Spun has won my favorite production quality of the year. It was recorded with and produced by Converge’s Kurt Ballou in Salem, Massachusetts. Any time Kurt Ballou and producer are used in the same sentence, there really needs to be no follow up conversation. I really loved Abyss, but think this has taken the throne for my favorite Chelsea Wolfe album.

Stand out tracks: “16 Psyche” and “Vex”

6. Emperor of Sand by Mastodon

Emperor of Sand is also a very controversial album among fans of the band. Mastodon has a history of changing sounds from album to album, but to a lot of people, Mastodon is really reaching with this one. To me, it is a balance between a call back to their more mainstream attempt of their last full length album Once More ‘Round the Sun and a return to their roots taking influence from Crack the Skye. I suggest anyone that shot down this album at first to give it another couple of listens and also look into the concept of the album.

Stand out tracks: “Show Yourself” and “Steambreather”

5. Reflections of a Floating World by Elder

Reflections of a Floating World has my favorite album opener of any album released this year. “Sanctuary” drew me into this album and didn’t let me go. Despite each of the tracks being between 8-13 minutes long, it never gets monotonous or boring. Usually on albums with only a few songs that are so long, I usually have at least one that I will skip. I can never bring myself to skip a song on Reflections of a Floating World.

Stand out tracks: “Sanctuary” and “Blind”

4. Rust by Monolord

Prior to this year, I wasn’t familiar with Monolord. I normally wouldn’t put such a “new to me” band on my end of the year list, but I have certainly gotten familiar with them over the last several months. Rust is the third full length album from these sludgy Sweden doomsters, and it is every good as the last two. I can usually pick out a favorite album from a band pretty easily, but Monolord has really made that a difficult task for fans of the band.

Stand out tracks: “Where Death Meets the Sea” and “Rust”

3. Wrong One to Fuck With by Dying Fetus

As soon as Dying Fetus released the gruesome and somewhat hard to watch music video for their single “Die with Integrity,” I knew these guys had something special up their sleeves. I’m always a sucker for the most gory and disgusting death metal videos so I tried to not let that make me play favorites when it came to putting them on my list. After listening to the album front to back several times, I realized there was no reason to play favorites. Dying Fetus earned their way to the top of many end of the year lists with an album of non stop brutality that will make you want to punch your neighbor.

Stand out tracks: “Die with Integrity” and “Wrong One to Fuck With”

2. Will to Power by Arch Enemy

It’s no secret amongst my friends and enemies that Arch Enemy is my favorite band and has  the release of War Eternal, I was shocked. All of a sudden, things were up in the air for my favorite band. I was a huge fan of Angela Gassow, who had been the bands vocalist since 2000. At first, I was one of those fans who folded their arms and refused to listen to the newest album with new vocalist Alissa White-Gluz, formally of The Agonist. Finally, curiosity got the best of me, and I bought a copy of War Eternal. I let my guard down and listened to the album un-biased. I fell in love with it and reclaimed my Arch Enemy obsession. I began to look forward to the release of Will to Power. I was looking forward to the addition of Nevermore guitarist, Jeff Loomis. I have always credited Michael Amott as my favorite guitarist with Jeff Loomis not falling too far behind, so the prospect of them working together was very exciting. Will to Power is not only one of my favorite albums of the year but in my top 5 of Arch Enemy’s expansive 10 studio album catalog. My favorite live performance of the year also belongs to Arch Enemy who I saw at Concord Music Hall this past November.

Stand out tracks: “The World is Yours” and “First Day in Hell”

1. Mareridt by Myrkur

Myrkur, like Chelsea Wolfe, seems to have become huge out of nowhere, however, there are some select people that know better. I have been following Myrkur since before she went by that name. Amalie Bruun has released music since 2006 but took on the persona Myrkur during her debut EP, which was released in 2014. Since I’m a creepy weird person, some of my favorite things to do are experience music in different environments such as sitting alone in a dark room or walking through forests just on the brink of being lost. Mareridt has been my favorite album to take on my musical journeys. Influenced from everything to folk to black metal, Myrkur takes fans on a trip through the darkest depths of her mind. A couple years ago, Amalie began to have such bad hallucinations in her sleep that she would scream herself awake. Now, some people would usually be so frightened by this, they would do everything in their power to try to forget. No Amalie. She found inspiration in her horror. Mareridt is a recollection of darkest thoughts during slumber.

Stand out tracks: "Måneblôt" and “Funeral (feat. Chelsea Wolfe)”

[vinylbay777]

Artists Who Keep/Kept Their Identity a Secret

On Tuesday, Slipknot’s most mysterious new member has been unmasked. Lovingly referred to as “Tortilla Man,” a social media post from the Postojna Cave in Slovenia revealed that Michael Pfaff was the unknown masked percussionist that took Chris Fehn’s place following a lawsuit. The band had been refusing to divulge who Tortilla Man was, as none of the band’s members ever had an official reveal.

Like the masked members of Slipknot, there are many other bands out there that would prefer to remain anonymous, whether their identities have been revealed or not.

In honor of Slipknot's new member, Vinyl Bay 777, Long Island’s music outlet, is taking a look at some of these mysterious bands. Here are seven artists/bands who started out or remain anonymous behind their masks.

1.       Iamamiwhoami: In December 2009, a mysterious electronic artist going only by iamamiwhoami went viral on YouTube, producing short bites of well-produced, genre-defying music coupled with videos that would completely conceal her and her collaborators’ identities. Diligent followers of the singer continually tried to decode who might be behind the channel, whether it was someone well-known (among the names being thrown around were Lady Gaga and Christina Aguilera) or someone trying to gain traction with some brilliant marketing. Speculation came to an end in March 2010 when the video for “t” revealed the singer’s full, undistorted face, showing her to be Swedish artist Jonna Lee.

2.       Ghost: The entire idea of metal band Ghost was meant to be shrouded in mystery. Aside from their lead singer, who has gone by various stage names (Papa Emeritus I, II, III & Nihil, Cardinal Copia) over the years only to be revealed as Tobias Forge in 2017 during an intense legal battle, all of the band members are corralled into the designation of “nameless ghouls.” Each member wears identical outfits and face-concealing makeup, giving them no identity at all.

3.       The Network / Foxboro Hottubs: It’s fairly well-known at this point amongst fans that both The Network and Foxboro Hottubs feature members of perennial pop-punk favorites Green Day. However, none of their identities have ever been officially revealed. That’s especially true for The Network, who came on the scene in 2003 and released one album through Adeline Records that same year (a mistake if they wanted to remain anonymous from Green Day as the label was run by frontman Billie Joe Armstrong). The six-member band all wore masks and claimed to have been “brought together by an ancient prophecy.”

4.       Static-X: In 2019, industrial rock pioneers Static-X revealed that they would be reuniting for their first album in 11 years in memory of their late frontman, Wayne Static and to celebrate the 20th anniversary of their breakout album, ‘Wisconsin Death Trip.’ For the tour they planned to mount, the band hired a singer, who decided to go by the name Xer0 and wear a mask designed to look like Static’s. Though people have tried to decipher who Xer0 might be (Edsel Dope, frontman for Dope and an opener for the Static-X reunion tour is generally thought to be behind the mask), his identity has not yet been revealed.

5.       PPL MVR: Dressed as yeti-like creatures, PPL MVR blew up in 2014 despite no one knowing who was behind the masks. According to their website, they are: “A band of unknown origin, the one and only PPL MVR explores myth and mystery through hefty guitar riffs and transmogrified vocals. They venture outside the selfie-obsessed waters we all willingly swim in to find solace in ritual and our pure animalistic nature. There is an ancient power in coming together to stand in a sacred place and chant, sing songs, pump our fists in the air, and venerate.” For a while it was speculated that the band could be a side project of New York hardcore band Brand New, especially when a link on Brand New’s website brought fans to a PPL MVR video. This theory may have been debunked, but my research can’t find where that information comes from.

6.       The Residents: Around since the 1960s, The Residents is as much an art collective as they are a band. Releasing over 46 works together, the group’s identities have never been known due to their signature giant eyeball helmets and refusal to grant interviews. Over the years there were many speculations about who could have been in the band, including members of The Beatles, the Dead Kennedys, Devo among them. In 2017, it was revealed that Hardy Fox, one of the band’s Cryptic Corporation crew members, was one of the primary composers for the band.

7.       Masked Intruder: One of the hottest and most intriguing up-and-coming punk bands of today, Masked Intruder keep their identities a mystery in conjunction with their convict stage personas. Instead, all four members go by the color of their ski masks.

There are many artists and bands that choose to be anonymous with the world. Some start their rise to fame this way, like iamamiwhoami, creating an air of mystery and getting people to sleuth out who they are. Others choose to continue and grow their careers anonymously by embedding it in the fabric of their act, like Ghost or Masked Intruder. Whether people end up finding out who’s behind the mask in the end or not, there is one thing that’s clear: everyone loves a little mystery.

                                                               ---

Find music from some of these mysterious artists and more at Vinyl Bay 777. As one of Long Island’s top independent record shops, we have thousands of titles to choose from in a wide range of genres. Browse our selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. With more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

[zoetropia]

Zoetropia’s Top 10 Albums of 2018

Well, here we are, later than usual but I couldn’t let myself not do it. I didn’t do any music writing this year so this thing is going to be longer than usual, with a lot more extensive honorable mention section than normal. That means I’ll probably lose most of you until you get to the top 10 but oh well. I listened to 163 2018 releases by the time of this writing. These are my favorite.

HONORABLE MENTIONS (in no order)

Yo La Tengo - There’s a Riot Going On: Solid, but solid for YLT is career-best material for most other acts. This band has been around for 34 years and they’re still this inventive, playful, and relevant. Incredible.

Mount Eerie - Now Only: Incredibly powerful (how could it not be?) but it’s more Mark Kozelek than Phil E. this time around.

Foxing - Nearer My God: A swelling, generous Emo magnum opus and its reach extends ever so slightly beyond its grasp by the end. But those first 5 tracks are an absurd collection of excellent songs.

Mitski - Be the Cowboy: Mitski goes full art rock in a very fine of collection of songs that show her range but struggle to cohere.

Phosphorescent - C’est La Vie: Matthew Houck and his band can still cut a lovely and rousing tune, and this album finds him growing up, settling down, and accepting the weight of the rest of his days. But yet, I miss his anger and rebellion. Some might say losing your rage is a sign of maturity. I don’t know if I agree.

Fucked Up - Dose Your Dreams:  Bursting at the seams with pretty much every style of rock that’s possible, but ultimately too shaggy to be a Great album. Still, there’s so much to like in this album, and it’s not afraid to give you more and more of it.

Joey Purp - Quarterthing: Wild, ranging, but most of all fun. Joey Purp finds himself stretching across styles, beats, rhymes, and samples but always sounds like himself. Maybe the most exhilarating rap release of the year.

Earl Sweatshirt - Some Rap Songs: And way out on the outer edges of what rap can be, we have Earl using his extensive powers of wordplay to explore his psyche and fill out the sketches of production that loop samples filled with tape hiss and record pops. It’s a rap record that feels both tossed off and intricate. In a word, effortless.

IDLES - Joy as an act of resistance.: A bit of a sophomore slump for one of my favorite new acts. Maybe they rushed to get the new record out to capitalize on the word of mouth of their bracing debut and a new record is always easier to publicize over a reissue. Still, there are some great, pummeling punk tunes here, and welcome additions to the set of one of the more raucous and rowdy live acts I’ve seen in a while.

Daughters - You Won’t Get What You Want: Brutal and uncompromisingly dark, this is one of the most frightening records I’ve listened to this year (I don’t listen to too much metal). Isolation, alienation, apocalypse, terror, despair. All the good stuff is in here! And while the unrelenting bleakness is part of its “appeal”, I just wish it wasn’t so one note.

The Sueves - R.I.P. Clearance Event: A relentless garage rock record, pumping up and speeding up some of your fairly groovy rock n roll to maximum distortion and maximum speed. They’re loud, they’re snotty, and if they’d leave Chicago, I’d love to see them in a tiny, sweaty venue soon.

Mastersystem - Dance Music: We miss you, Scott.

THE TOP 10

10. Superchunk - What a Time to Be Alive: Superchunk continue to justify their existence after their hiatus with their tightest and angriest collection of songs maybe ever. Always good to have the vets show the kids that they can rock just as hard, and be just as mad at the direction of the world.

9. Darlingside - Extralife: An absolutely gorgeous folk record, filled with beautiful male vocal harmonies and just the right amount of flowing instrumentation to build worlds of warmth. It’s thankfully free of fast strumming and floor stomping and sparingly uses the one-trick of a rousing crescendo in every song to explore more nuanced song structures. But when the trick is pulled out, it’s perfect.

8. Courtney Marie Andrews - May Your Kindness Remain: I love Kacey Musgraves and I was a big fan of her record this year, but this is my favorite country record of this year in a walk. The songwriting is strong and simple, foregrounding Andrews’ powerful voice and sad, longing words, and her strong backing band fills the space in just enough to color in the emotion.

7. Typhoon - Offerings: An enormously ambitious indie rock opera about life, death, art, and memory. Vividly detailed, intelligent, and impeccably orchestrated, this is the kind of record that’s aimed right at what I love. Oh, and it also quotes 8 1/2 so it was never not going to be on this list.

6. Parquet Courts - Wide Awake!: Never ones to shut up and play the hits, Parquet Courts goes full political with this one. Full of righteous ideological anger and the best and most varied songs of any of their releases, Wide Awake! tackles collectivism, environmentalism, economic inequality, violence in America, and how to stay aware, stay sane, find love and companionship, remain peaceful, and take care of yourself and others in a crumbling world. I can’t think of a record that captures this sociopolitical era more completely. And fuck Tom Brady.

5. Car Seat Headrest - Twin Fantasy (Face to Face): Will Toledo’s ongoing deep dive through his psyche takes a backwards turn as he remakes one of the more beloved of his “Bandcamp” albums with a full band this time. And these songs are worth the rework, as they are some of the brightest, heartbreaking, insightful, and detailed that Toledo has written in his young career. The new production doesn’t give them too much shine but instead fills out of enough of the sound to let them speak for themselves. Plus he did it all in a way that still fit the concept of the record. Pretty impressive.

4. Saba - Care For Me: Where Quarterthing is wild and Some Rap Songs is experimental, Care For Me is focused. It’s a sad, angry record about grief, loneliness, and depression. Saba’s flow seems to need to erupt out of him at times, culminating in the astonishing climax of PROM/KING as he describes the moment he found out about the murder of his cousin. It’s powerful, devastating music, and easily my favorite rap release this year.

3. Jon Hopkins - Singularity: It’s been 5 years since Jon Hopkins’ last LP and immediately upon listening to this new record, the time just seems to disappear. This is an album that could have taken a decade to make, or could have just appeared in the sleepless work of one night. As all of Hopkins’ work, it is precise and detailed, intricately textured and arranged. And as much as we know that every song on this album was worked over and perfected note-by-note, it still somehow feels organic and natural. Astounding.

2. Low - Double Negative: Despite being one of the figureheads of the genre, it really felt like Low had exhausted all the possibilities of “slowcore”. While they’ve never made a bad album, the formula of slowcore seemed to be inhibiting them more than anything, and it being 25 years into their career, it would be forgivable for Low to just continue making, say, Ones and Sixes over and over again. This is not what they did. This is easily best album Low has ever released. They twist and warp and distort their sound into shapes that are at once gorgeous, ominous, foreboding, isolating, and expansive. It is a remarkably cohesive album united around a sound that ebbs and flows, builds and decays, resolves and dissolves constantly and consistently. This is the undisputed masterpiece of Low’s career and I hope they keep getting better.

1. Beach House - 7: Similar to Low, it also seemed like Beach House had exhausted the possibilities of their brand of widescreen dream pop. To my mind, Bloom was the album they were working to all along and after that, they seemed a bit lost. Depression Cherry and Thank Your Lucky Stars had some nice tunes, but they were records that made it seem like the band didn’t know what to do now that they’ve reached their destination. And the two records made at the same time definitely didn’t help counter the impression that they lost their focus. But 3 years later, Beach House returned with their (duh) seventh album, and it’s the most focused statement of their career. It’s swirling and immersive, dialing up their shoegaze influence to build every song to an enveloping world of sound. It’s the perfect album to crank up my headphones and get lost in and Beach House is the perfect band to deliver that kind of album. It mines all the peaks of their previous records and melds them into one massive record that so consistently aims at my musical pleasure center that it seems a bit unfair to all other acts. I’m so glad that they found they way back, and that the way still points upward.

[scenesplitterworld-blog]

La Musica in Persona – HxM Live: An Evening With Belphegor & Friends

November 20th 2017 – The Launchpad – Albuquerque, NM

Belphegor w/ Cryptopsy and Panzerfaust

      Albuquerque has had a pretty amazing year for not only extreme Metal tours but great tour packages in general visiting our beloved Duke City. More often than not, most tours often skip over our tertiary market of a town (RIP in Peace BTBAM Colors 10 year Anniversary Tour; It’s understandable, for who wants to book shows in a town where the attendance fluctuates from a full house to a consistent 5-10 people attending said shows?) Thankfully, 2017 has been very different. We had Marduk and Incantation come to the Launchpad back in February to a decent crowd. Darkest Hour came and held a celebratory album release tour with an ABQ date with Rivers of Nihil and Tombs back in March. Math-Rock up-starts in Covet played an epic headlining date back in April (Which we covered here). The summer was also pretty incredible, with Suffocation, Morbid Angel, and the Black Dahlia Murder (who headlined this years Summer Slaughter by playing their decade old classic Nocturnal in it’s entirety [you can read our editor-in-chief Bloomer’s review of this event here: https://www.scenesplitter.net/blog/2017/8/12/decade-of-the-warborn-nocturnal-slaughter]) stopping into town on their respective headlining tours and putting on impeccable performances. As for the fall, HxM favorites A Perfect Circle came into town in October (covered here) and played an incredibly profound performance that touched the heart of our editor. Mayhem, Immolation, and Black Anvil played the Historic El Rey Theater in mid November which also had a great turnout. And now, November 20th (nearly a week after the Mayhem show), we had the Austrian Blackened Death Metal Blasphemers known as Belphegor bring their Theatrically perverse Totenritual, along with their Canadian tour mates  - Brutal Death Metal Pioneers Cryptopsy and Ontario Black Metal Enthusiasts Panzerfaust, to ABQ’s own Launchpad. This Tour in particular was a great one to capture, for every band that played put on a very immersive and compelling performance that left strong impressions of what a good show is like for us at HxM. Below you can view and read the exploits captured in words by yours truly and pictures by our aforementioned HxM editor-in-chief/curley-haired Photopest extraordinaire Bloomer can be found here: https://www.scenesplitter.net/blog/2017/11/26/kvlt-of-photo-wonk-belphegor-cryptopsy-panzerfaust-abq-112017

 Panzerfaust

    Due to my having just gotten off the clock of my mundane day job, Commander Bloomer and I arrived fashionably late to the show – causing us to regrettably miss about half the set of Black Metal curmudgeons and show openers Panzerfaust. Panzerfaust is a name I’d only heard or seen in passing, so I truly didn’t know what to expect upon catching them mid set. Of course, with a name like Panzerfaust, one can deduce that these Ontario natives play some kind of extreme Metal. Despite said deduction, I wasn’t prepared for what ensued. Walking onto the Launchpad’s darkened floor, the stage’s top 4 house lights were alight in blue, shining down and obscuring the stage in black. Greeting my aural senses was the sound of Black Metal dissonance that left a feeling of ominous foreboding – further adding to my lack of expectations regarding Panzerfaust. Obscured in black, the four members of Panzerfaust appeared mostly as sillouettes. These sillouettes beheld unto me and my fellow concert goers what Black Metal should be: evil sounding and performance driven. Their vocalist, garbed in black robe and standing behind the drummer atop the stage’s drum riser, would remain the focal point for much of their set as he cast a house-light induced shadow upon the stage. Exalting his depraved-frost-bitten orations over the powerful, groove driven, and at times, near Deathspell Omega-like dissonance, his performance was evocative. Complimenting our robed orator’s exaltations was Pf’s drummer, who had a keen ability to keep consistent time and groove that was quite catchy, which made for a nice easy to move to pace amidst their raw guitar and bass tones. Pazerfaust made quite the impression and fans out we at HxM and were the perfect pretext for the ensuing ritual to follow.

Cryptopsy

    With Panzerfaust concluding their amazing set, their French-Canadian-Brutal-Death Metal cousins Cryptopsy were up next. To describe myself as excited was an understatement, as it was my first time catching these pioneers who’ve given so much to the Death Metal genre with classics such as their brilliant and oft worshiped None So Vile and incredible debut Blasphemy Made Flesh. Cryptopsy had just finished embarking on the summer long Decimation of the Nation tour playing the aforementioned None So Vile in its entirety. My hopes were high that they’d play much of this touted release on this tour as well, for which they did not disappoint. A brief soundcheck of their instruments did little to forestall my elation. Cryptopsy began their set with their 2015 EP’s, The Book of Suffering, opening track “Detritus,” a song that plays to the strengths of Crytopsy’s classic precision based, technical, and frenetic Brutal Death Metal style. Vocalist Matt MaGachy had a very infectious and charismatic stage presence that worked perfectly in tangent with his visceral guttural attack. His vocals came across clear, thick, and menacing – his charisma goading the crowd into fist pumps and repeated chants of “Ayy” to said fist pumps. Easily one of Underground Death Metal’s best frontmen. Half the setlist comprised of None So Vile, so I will say that Matt MaGachy, having a distinct style from the infamous and original Cryptopsy vocalist Lord Worm, did great justice to those songs with his performance. It’s impossible to review this band without mentioning the talent of skinsman Flo Mounier, whose been the rhythmic back bone to this band since their inception. “Dynamite” is how I would describe him. His style is frenetic while also being precise, being able to explode in crazy fast blast beat passages and transition to groove underneath brutal Death Metal chug sections with tasteful fills. This man can do all that the songs call for on record and recreates live with near perfection. Trying to keep pace and move myself to his percussive insanity was a difficult task, but a fun one none-the-less. An impeccable performance! Bassist Olivier Pinard also had a standout performance with his amazing bass antics. With every chug or slam riff produced by guitarist Christian Donaldson or whether it was connecting with Flo Mounier’s rhythmic onslaught, Pinard’s mastery of his five-stringed bass gave beefy heft and power, elevating his band’s heaviness that would make even the stillest of concert goers convulse in some manner. He was extremely fun to watch through the entirety of their set. Cryptopsy are definitely up there with some of the tightest live bands I’ve seen and I’m thankful my first experience with them shall always be a memorable one. I don’t know what’s in the water in Montreal, Quebec, but what ever it is, its produced Death Metal greats like Cryptopsy. They stole the show for me and I’m very much looking forward to seeing them again soon.

Belphegor

  After being decimated by Cryptopsy, it was time to welcome Austrian Blackened Death tyrants Belphegor to the stage. This night would mark two occasions: The first is that...well, it was first for me. A first in witnessing these sickos live. The second mark of this occasion is that this night would end Albuquerque’s eight year Belphegor drought, for the last they’d played in the Ol’ Duke City was in 2009 in support of their then new album Walpurgis Rites – Hexenwahn.

[wyrdwaysrockshow]

American Head Charge Liv Sin In Death Reptil Mastiff (Scunthorpe Only)

Club Academy – Manchester, 13th September 2017

The Lincoln Imp – Scunthorpe, 16th September 2017 Review by Cat A All photos reproduced with permission from Steven Potter @ Scunthorpe Nights

Settle down Wyrd ones, it has been a while! Of course, I couldn’t make my first live review in years a simple one so this is an amalgamated review of the two shows I made it to in this Europe and UK run.

The cast of this tour is trans-oceanic, but first up in Scunthorpe at the Lincoln Imp were a local opener, Mastiff, who brought loud and dirty sludgy hardcore Metal to the early birds who lapped it up in anticipation of the feast to come. A good solid performance from the locals.

The first of the main lineup came from a little further afield. Hailing from Germany, Reptil at first glance of theatrical makeup and stage props including IV blood bags did not appear to be something that I would enjoy… and then they started playing. For a band with only one album on the discography Reptil are a refreshing blend of Metal genres with theatrics that could probably have done with slightly larger stages than were on offer on this tour (next time guys!), vocals with a wonderful range between growls and melodic that won over a skeptical crowd and gained more than a few fans, myself included (not least when our cries for tea were heeded in the Scunthorpe rain, thanks again, you absolute hero) of this cacophonic mix of beats that work so well together. Special bonus points go to Reptil for the first observed use of a dance floor and tap shoes for percussion.

The most miles award has to go to In Death, all the way from sunny Brisbane to the glorious UK autumnal weather. I have one word about In Death – brutal! From the off they filled the stage with energy and started the pits early on. Again, I wouldn’t normally go for anything classed as death metal with an illegible logo but there is a catchy groove that drags listeners into the music screaming and kicking. Thunderous percussion delivered with boundless, contagious energy. If you want clean vocals then you won’t find them here, but you will find beer kegs being used as instruments!

Liv Sin. If that sounds vaguely familiar and you can’t quite put your finger on it, think Sister Sin. In all honesty I hadn’t bothered to do my homework before these shows and with there being such a packed bill I expected to be quite impatient for the main event by the time Liv Sin appeared on the stage. I was so happy to be proven wrong for the third time of the night in Manchester, and in Scunthorpe I was waiting with anticipation of the set ahead. The years of stage experience were obvious and Liv herself was a powerful presence on stage, cheering on the crowd into a frenzy with horredously catchy metal anthems that got stuck in my head and have been appearing as random earworms since. This is real metalhead feel good music at its finest.

The main event. American Head Charge. I apologise to the other bands for not knowing their music but the headline was the reason for my presence. I will do better next time!

If you don’t know who American Head Charge are then please see here. Since that was written there have been some lineup changes, and some familiar names have returned to fill the gaps. Sadly Justin Fowler and Chad Hanks could not make it across the pond this time. See you next time guys. Taking over the guitar strings was old favourite Benji Helberg, Jeremiah “Trauma” Stratton of hed(PE) fame the beast behind the drum kit and Michael Dwyer handling the bass for the run through Europe and the UK.

There was real anticipation at both venues for the return of a band who were lumped in to the Nu-Metal label despite being far more Industrial leaning, and looking around there was a real sense of nostalgia from the crowd. These were the Nu-Metal kids of the late nineties and early noughties nearly two decades later who had to grow up, get jobs and the associated sensible haircut. That doesn’t mean they’ve forgotten how to mosh though. From the first industrial notes of Let All The World Believe, through the well loved classics of All Wrapped Up, Dirty and the source of their latest video (you can see it below) Drowning Under Everything the crowd went absolutely insane! I would comment further on the crowd behaviour but being wedged up against the barrier for both shows I didn’t get a good look.

Old songs and new, there were cheers and yells for every single one, and for a band who have had such a drastic change to the line up the playing tight and the chemistry between them evident in a high energy set that barely paused for breath. Of course Just So You Know brought the house(s) down, particularly at Scunthorpe where it was played as an encore and dedicated to the life of a regular at the venue who had recently passed away.

What else can I say? I wish instead of writing this I was down in Milton Keynes for round 3. On a personal and completely fangirl note they were emotional evenings, and I will not deny and am not ashamed of crying like a Wand Erection fan in the front row.

If you’ve made it this far I salute you. I have broken my voice and I would do it again in a flash. See you at the next AHC show? I’ll be down the front dancing like a dork.

Rating 9/10

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Mastiff

Reptil – the bringer of tea

Liv Sin

Karma Cheema of American Head Charge

Yes that’s me. I think I was enjoying myself

The latest American Head Charge video for Drowning Under Everything

American Head Charge/ Liv Sin/ In Death/ Reptil/ Mastiff – September 2017 American Head Charge Liv Sin In Death Reptil Mastiff (Scunthorpe Only) Club Academy – Manchester, 13th September 2017…

[thisaintascenereviews]

Album Review by Bradley Christensen Accept – Balls To The Wall Record Label: Portrait Records Release Date: December 5 1983

My last review, which talked about Europe’s The Final Countdown, ended on a note that talked about metal’s limitations. That album was pretty decent, especially for a glam-metal album in the late 80s, but that was mainly because they went into a direction that other glam-metal bands didn’t – prog-metal. It wasn’t completely there, because they leaned way more on the accessible and commercial glam-metal sound, but they had elements of prog-metal. It was there, and it was interesting to listen to, but I can’t say that I got a whole ton out of the album. It’s pretty good, but not quite a great record at all. Not my favorite out of the classic metal albums that I’ve been listening to. I could still respect it, though, and I got into the album a decent amount. I talked about how metal is very limited in itself, because a lot of subgenres are very restrictive of their ideas and sounds, so bands are very limited on what they can do. That’s something that can help certain bands, but it also restricts them a lot. I love metal, especially in the last few years, but there are a lot of bands that I’ve found to be just okay, since they’re very generic, formulaic, and meandering at best. Their sound is very typical, generic, and bland, but that can help a band sometimes, like I said. Generic doesn’t always mean bad, and when an album is very straightforward, it can help if that’s what you’re looking for. Sometimes you don’t want any bullshit, so it’s okay when bands are more simplistic and straightforward in their delivery. I might appreciate a band like Virvum, who mixes prog-metal and death metal, because they have a diverse and unique sound, but I might also want something more straightforward, too. That’s the beauty of heavy metal – I can get both of those kinds of bands, even if the latter is more common in this day and age, but that doesn’t mean it’s bad, either. I have no shortage of straightforward, brutal, and heavy bands to listen to. That means it’s more interesting and special when a unique and diverse band shows up in my ears.

Another idea that I wanted to express is that it’s okay to venture into other areas of metal that you might not be familiar with, let alone listening to bands that you’re not familiar with. I made a Facebook status about this a couple of years ago, but I said that you don’t have a diverse taste in music if you just listen to different subgenres of metal. I still think that, honestly, but it does help a little bit. If there’s one thing I can’t stand, it’s an elitist that only likes one form of metal over everything else, and thinks all other forms of metal are inferior (and / or thinks some of them aren’t “real” metal, either). It’s understandable to enjoy one kind of metal over another, or have your favorite subgenre, but it’s good if you listen to more than one kind. Metal is an interesting genre, because there are other plenty of styles. I mean, a lot of music has more than one style within it, but metal has endless possibilities. Hell, metal is a cousin of rock music, if you really think about it, and there are lots of rock music, too. For a long time, my favorite kind of metal was death metal. That’s because I used to listen to a lot of deathcore, but I wanted to listen to actual death metal. I’ve listened to more kinds, too, such as prog-metal, alternative metal, nu-metal, and even the various kinds of death metal (such as melodic death metal, technical death metal, and progressive death metal), but I would have to say I have a new favorite kind – well, two favorites, but those would be power metal and old school metal. They’re quite similar, and power metal was an offshoot off of older metal, but this is the kind of metal that I really like. It’s accessible, catchy, and ear-pleasing. Metal doesn’t always need to be heavy, brutal, and intense, but power metal and classic metal have the same effect. I’ve been listening to older metal for the last few years now, but I recently got into power metal last year, mainly out of curiosity, since I wanted something different.

I might have been listening to classic metal for a few years, but I’ve only kind of scratched the surface of that stuff. When I say “classic metal,” I don’t mean that in the same way as classic rock, which is an umbrella term used to describe that era of rock music, because there is such a thing as straightforward heavy metal. These are the bands that paved the way for other styles of metal. Judas Priest, Iron Maiden, Black Sabbath, and many more, but I’m also talking about bands like Anthrax, Slayer, and Metallica, some early thrash metal bands that helped to influence other genres that started in the late 80s and early 90s. They would still fit the label, because they helped to define metal, so they’d be considered “classic metal” to me, despite having more of a specific label. There are a lot of bands that came up around the late 70s and early 80s, and I’ve only begun to scratch the surface of this stuff. One band that’s come up a lot in conversations about great classic metal bands is the German heavy metal band Accept. I’ve only heard their name in passing, but when I went on a classic metal binge last week, I decided to check out some stuff that I wasn’t too familiar with. I know that I wanted to listen to albums from Slayer, Iron Maiden, and Judas Priest, all of which I’ve enjoyed, but I wanted some more outliers. I wanted to dive something different, and when I came across Accept’s fifth album, 1983’s Balls To The Wall, I thought I’d take a look at it. I mean, with a name and cover that ridiculous, I had to listen to it for myself, but I can’t say that I care for it that much. I mean, the album’s just fine, but it’s not my favorite out of all the albums that I picked up. It’s just a bit too lackluster, forgettable, and “meh” for my tastes. I know I’ve talked a lot about other stuff, but that was intentional, because this LP isn’t that interesting. Sure, it has a silly cover, the name is over the top (and the title track, too), but it’s very generic, basic, and lackluster heavy metal. They essentially remind me of a metal version of AC/DC, as their vocalist definitely has the same sound as Bon Scott or Angus Young of that band.

That’s not a bad thing, I guess, because if you like AC/DC, you’ll like this band, too, but AC/DC is one of those bands that I only like a few albums from. They’re a good example of a band that has a very tired, repetitive, and generic formula. For diehard fans, it works, and they love it, but most people only care about the classic albums, and everything else is “meh.” I listened to a couple of their later albums a few years ago, and yeah, I wasn’t horribly impressed with them, but they were decent. They were generic, but they were alright for what they were, and that’s how I feel here. Nothing is bad on Balls To The Wall, but nothing really goes above and beyond for me, either. There’s nothing all that impressive or awesome here, it’s very basic, by the numbers, and generic. That’s not a bad thing, either, like I mentioned earlier, but this is the downside to bands being more generic – if you don’t have anything more interesting, or even well-executed, that’s when I’m not as enthusiastic about a generic band. If there’s nothing interesting, or an element that sticks out, because it’s done so well, I’m less apt to care. That’s how I feel here, because as decent as it is, I just don’t care about this album. The vocals aren’t all that amazing, the instrumentation is lackluster in a lot of places, and the lyrics are things I’ve heard many times in this style of metal. These guys just don’t have anything that makes them stand out from the other bands that I’ve been into. They remind me a lot of Quiet Riot, and if you remember that review, I thought Metal Health was a decent album that was fine for what it is, and if you’re into that kind of thing, you’d like it, but I was very underwhelmed and unimpressed by it. Accept isn’t bad, and they’ve done a lot for heavy metal, I’ll admit that, but there’s a reason why I’ve only heard their name in passing. This album isn’t proclaimed as a classic in the genre, and their name is one of the most recognizable in metal, but Balls To The Wall is a decent enough album, and it’s worth listening to if you want something more straightforward.