Well, this is exciting! I usually don't have a review up so soon after a new album releases! Of course, there's much more here than just Metallica, as I spice it up with a few other things, but I'm putting the Metallica review up first, as I figure that's going to be the most interesting part of this article. Let's get into it!
Here it is: the new Metallica album! After a long, seven-year hiatus since Hardwired... to Self-Destruct, the world's biggest metal band suddenly started dropping new singles for this new one, and I have to admit I've gotten my hopes up a little. While I do think it's overlong, and a little repetitive, this is definitely an improvement over their last studio effort, mostly by bringing back some of their NWOBHM tendencies.
Let me just say that this is a very safe album. Metallica fans will find plenty of new anthems to enjoy, but the haters will likely snort their dismissals and move along. One thing I will say is that they have brought back some of the energy that was sorely missing from Hardwired. While we're not quite into Death Magnetic territory (to say nothing of the classic 80s era), the pacing of the album doesn't get too bogged down this time around. It isn't particularly thrashy, either, but there are more harmonies on this one, not only in the vocals, but with the guitars as well, which is what gives it a bit more of an old-school metal vibe. However, I will say that some of the songs go for a bit too long, especially the eleven-minute closer "Inamorata," which is just too repetitive for its own good.
Things start off pretty well, with the title track stomping away, and the first single "Lux Æterna" really pushing that Motörhead energy. "Screaming Suicide" has an interesting build up towards the end, "You Must Burn!" gets heavy and even a bit doomy, and "Too Far Gone?" features some unique melodies and progressions. However, things do get a bit sluggish at times, especially with tracks like "Sleepwalk My Life Away," "Crown of Barbed Wire," and "If Darkness Had a Son," but they never get to Load and Reload levels of bad. Once again, we have a mixed bag of a Metallica album that seems just a bit too long to really feel solid. However, the older-styled riffing and extra energy make this worth more than a listen or two.
I know I said I was going to focus on new releases, but I was in the mood to check out some classic 80s metal and settled on this one. While I haven't reviewed much of Judas Priest's catalog, I have listened to more than half of it, and this one was next. After the cheesy, but honestly not that bad, Turbo album, Ram It Down continues the glammy Priest style, for better or worse.
It's kind of a conflicted album. On the one hand, the production is very 80s and shiny, making me think of some of Ozzy's or even Def Leppard's material, and the song-writing does tend to lean into some pop metal clichés and lyrics. However, I can deny that what's here is very well done. Tipton and Downing lay out some pretty solid riffs, and provide some great solos, especially the back-and-forth section on "Ram It Down." Halford is also giving his all on the vocals. His voice lends the words a lot of authority, even if they are kinda bland or just covering Chuck Berry. The bass and drums are okay, but definitely have a computery feel (especially if the detail about them using a drum machine for a lot of tracks is true). The bass in particular tends to pulse like a synthesizer on a number of tracks.
Still, it's not like it's really a deal-breaker. If you're willing to forgive that it doesn't sound all that much like Screaming for Vengeance, these are a decent handful of very 80s-sounding metal tracks. The title track is is a solid opener, "Come and Get It" and "Hard as Iron" have some decent metal riffing, and "Blood Red Skies" has this very dramatic, somber vibe that feels like Halford is fighting Skynet in a post-apocalyptic future. Purists might cringe, and they would have plenty of reason to, but those of us who don't mind a brighter, more accessible kind of metal might find something to like here.
This is the last album I needed to hear before checking out Kamelot's latest opus. I promise that's coming soon, but for now, The Shadow Theory. Again, I'm not certain as to whether or not this is a concept album, but this one seems to find a good balance between their classic sound and their newer symphonic style, much to my delight.
A lot of the staples I expect from a modern Kamelot release are here: the production is lush allowing for grand orchestrations, Thomas Youngblood has plenty of riffs and licks to share across the album, Oliver Palotai adds his synths and trades solos with Youngblood, and Tommy Karevik is channeling Roy Khan more than ever. However, they've brought in Johan Nunez for the drums this time, and he seems to be bringing back the double-kicking energy of the older albums like Epica and The Black Halo! While it's not on every song, there is a general uptick in intensity compared to their last few albums, and I appreciate it considerably. They also bring in Lauren Hart to do some harsh vocals, but they fit the song well, especially on "Mindfall Remedy." Overall, this is a very solid work.
I think this is definitely best album they've done with Karevik so far, as I have very little to complain about here. Things start well with "Phantom Drive" and "Ravenlight," while songs like "Kevlar Skin" and "Mindfall Remedy" show their darker side. I also like how dramatic "Stories Unheard" is, with it's shifting dynamics, and "Vespertine (My Crimson Bride)" has an interesting, uplifting vibe powered by some rockin' energy, making it stand out. While it's not like the band lost their way with the more symphonic albums before this one, but this definitely feels like the comeback of the classic Kamelot style I've been waiting for.
Alright, here's another new release. After going on hiatus last year, I wasn't sure how long it would be before Lovebites would come back, so I was pretty surprised when they got their new bassist so suddenly and had put out an album so quickly. While they do have a lot to live up to (they were in my Top 5 for 2020 after all), the band carry on just they have before without missing a beat.
The performances are all top notch and new bassist Fami fits right in the rhythm section with Haruna without any trouble. Midori and Miyako shred things up again with plenty of impressive fretwork and riffing. Even Asami's semi-broken English vocals are starting to become part of the band's sound for me. Basically, it's business as usual for Lovebites. I can only really think of a few issues, really. First, the production does get a little muddy, as it's having to manage a lot of layers in their more symphonic arrangements, and not everything is as clear as it could be. The only other thing is that some of the choruses aren't as strong as others on this album, but now I'm really nitpicking!
For what it's worth, they do mix it up a little, with "My Orion" having more of a mid-tempo, rockin' style, and "Dissonance" almost gets to Slayer territory with the aggressive riffing. However, the stand-outs for are the straight-ahead power metal. "Judgement Day" and "The Spirit Lives On" have the right kinds of bombast, "Stand and Deliver (Shoot 'em Down)" has a great traditional metal vibe, and "Lost in the Garden" and "Soldier Stands Solitarily" bring in some excellent neo-classical chops. While I don't know if it holds up to the explosive Electric Pentagram, this is a solid continuation of what I love from this band. Twilight Force has some pretty serious competition this year!
I admit things have been a bit busy for me lately, but for this blog and in my real life. It's also a bit of a challenge to try and balance classic albums with newer releases, as there is still just so much I want to listen to. However, I think I've gotten a handle on things going forward, so let's hope I can keep it up! Until then, rock on! \m/
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