Retro Reviews - August 2025 Part Two!

Finally moving on from 1990, this is the first of two Retro Review articles I plan on dedicating to 1995, as it turns out there's quite a bit I wanted to catch up on.  This one will feature a quartet of rock bands, one of which I haven't really listened to before (sorta)!  Here's what I've been checking out lately!

Candlebox - Lucy

When I reviewed this band's debut album, I found it to be some pretty decent, if standard, grunge rock for the era, but it was enough to break them out.  This album follows up by going for a bit of a harsher, darker feel, and yet they sound more like Pearl Jam than ever!

Once again, this feels like the right album to come out in 1995, where grunge was becoming much more familiar, so bands needed to really push themselves to stand out.  Here, Candlebox aims for something more atmospheric in their alternative angst, like a series of a short, trance-like journeys.  Once the song starts, it generally locks into that groove and doesn't change much other than adding or taking away layers for verses and choruses.  Kevin Martin's wailing is right in the flow, fitting with the grooves and tones very well, and it's easy to get lost in these songs.  Unfortunately, that also means that the album tends to drone on, especially the two "Butterfly" songs.  As it turns out, this one didn't do as well as their first, and I wonder if this is why.

That doesn't mean there aren't some stand outs.  They made singles out of "Simple Lessons," "Best Friend," and "Understanding," and those were probably the best choices.  "Bothered" did have some chunky riffs though, and it was much more aggressive than the rest.  Otherwise, it feels like more standard grunge again, and with the darker tone, perhaps not as strong as their debut.  While the album is decent for what it is, it's certainly hard to recommend unless you have strong nostalgia for this era of rock music.

AC/DC - Ballbreaker

After the massive success that was The Razors Edge (and a quick little single for a Schwarzenegger film), it took them five years to put together another album, bringing back Phil Rudd on drums.  They decided to bring in Rick Rubin as the producer this time, after working with him on "Big Gun," making sure that this album is business as usual for the band.

I know I've mentioned this before, but reviewing AC/DC albums can be rough.  Their style is so distilled and direct that, unless there's some major mistake, their albums end up being generally fine.  While I don't think this is as good as the one that came before, they continue with their bluesy brand of hard rock.  "Hard as a Rock" kicks things off with some solid, mid-tempo rocking, "Boogieman" has a good 6/8 blues groove, and "Hail Caesar" is an interesting piece of social satire.  Many of these songs often have a build-up in intensity toward the end, making them pretty anthemic.  They're also an uptick in the raunchy lyrics, but with an album title like that, I suppose it's not a surprise.

So once again, we have another decent chunk of hard rock from a band who has long since mastered their craft and were (and still are, honestly) content to keep trucking along, album to album.  This album doesn't have the iconic tracks like their others, but at the same time, it sticks to what works, and that isn't a bad thing.

Spock's Beard - The Light

While I've heard a song or two, most of what I know about Spock's Beard is the one Pattern-Seeking Animals album I reviewed.  (Apparently, they have five albums now!  When did that happen?)  Anyways, this legendary third-wave prog rock band started with the Morse brothers, Alan (guitars) and Neal (vocals, keyboards).  It was originally just supposed to be the two of them, but by the time they got recording, they had picked up Dave Meros on bass and Nick D'Virgilio on drums.  The result is some pretty iconic third-wave prog rock, even if it is maybe trying a little too hard.

The album starts with "The Light," which has been the band's signature song since it came out, and I can see why.  It's a very dramatic piece with a lot of changes, including one that's full-on Latin fusion.  Dream Theater's influence is notable, though Spock's Beard is certainly not metal, but the songwriting of shifting between sections does have that feel.  In fact, these sudden transitions is pretty consistent through the album.  As a result, it does make it a rather unpredictable listen, but at the same time, I do wonder if it isn't too much.  They have plenty of neat little ideas, but instead of giving any of them time to expand, it's off to the next section.  I think I would have liked to hear them explore these ideas more, but I suppose this isn't that kind of band, and they do have some neat little callbacks.  The big epic "The Water" is much the same way, going over 23 minutes and several genres and styles.  However, it does come together like a Pink Floyd song, featuring a small choir of female singers to croon and wail along.  "On the Edge" is probably the most consistent song, but it is also only 6 minutes long, the shortest on this four-song album.

It's definitely an interesting collection of music, taking the prog rock that inspires them and making it relevant in a later decade, and I think they sorta make it work.  Again, I am bugged by the constant transitions (I wonder if this is where Haken gets it from), but that could be a matter of taste.  The material is performed well by all members, and establishes a solid baseline to build on from here for more prog rock adventures.

Glass Hammer - Perelandra

I checked out this band's first album a few years ago, and while it may have had some peculiar synths, it had some decent songs about Aragorn's adventures around Middle-Earth.  Two years later, they come back with another album, now about the works of C.S. Lewis (which I admit I am not as familiar with).  This time, they draw upon a wider prog palette, making them more in line with their third-wave peers like Spock's Beard and The Flower Kings.

Right off, the synths are better, and I think the production, while still not perfect, has improved as well, making these songs sound very lush and Yes-like at times.  This is most apparent in their first full song (after the strange intro track) "Time Marches On."  I felt there was a significant increase in Wakeman-like synth runs and Squire-like basslines compared to the previous album.  Of course, their ELP influence is still around, mainly on the instrumental pieces like "Felix the Cat" and the title track.  The rest of the album is a little all-over-the-place, but it all flows pretty well.  "That Hideous Strength" is probably the biggest jump in style, with it's near-industrial vibes, making me think of Pink Floyd at its darkest.  I have to say the keyboard work is probably the highlight, though I have no idea which parts are by Fred Schendel or Steve Babb, as I understand they're both jamming on the synths along with all the other instruments they play.

This is quite the improvement over Journey of the Dunadan, largely because it feels more consistent, though I do think the shorter tracks are a bit odd.  "Time Marches Out" is a great starter, and "Heaven" serves as a solid closer, getting rather triumphant after the defeat of evil in the previous tracks.  While I don't know if they've reached any kind of peak with this album, I can definitely hear them starting to put the pieces together to become their own thing, and look forward to when I can take the time to listen to more of their work.

Anniversary Series - 1999!

This article should be better than the last one, even if it means I gush about power metal most of the time, but it was great year for that genre.  After HammerFall had opened the gates, tons of new bands got signed, making it a ripe year for fans of the style.  However, I promise I'll talk a little bit about other genres, and we'll kick things off with some hard rock.

The big album of the year was definitely Creed's Human Clay.  Between the Matrix cameras in the music video and the anthemic post-grunge sound, this was when Creed cracked into the mainstream and became a big name.  I remember hearing "Higher" on the radio and thinking I needed more of this band.  I ended up loving them so much, they ended up being my first band retrospective article three years ago (the fact that they had such a small discography certainly helped as well.)

Other rock highlights include a few bands coming back in one form or another.  Def Leppard got back to their classic sound with Euphoria, Styx tried to make another concept album for Brave New World, and Santana teamed-up with Rob Thomas to give us "Smooth."  Classic rock might not have been the charting success it once was, but they still had plenty of good ideas and fun music.

I've delayed it long enough, though.  Power metal was really strong this year, with plenty of options to pick up.  Primal Fear came back with Jaws of Death, Gamma Ray and Iron Savior carried on their space crusade (which I reviewed earlier this month), Kamelot went into their Fourth Legacy now with epic vocalist Roy Khan helping with the songwriting, Edguy criticized the Theater of Salvation., and Helloween pulled out a Metal Jukebox for some interesting covers.

There were some solid debuts.  Freedom Call started their happy style of metal with Stairway to Fairyland, Metalium rang in the year with Millennium Metal, and Sonata Arctica blew everyone away with their debut Ecliptica.  With magnificent songs like "Kingdom for a Heart" and "Unopened," it was clear they were poised to become a champion of the second wave of power metal.

Of course, prog was making good stuff as well.  Dream Theater would reach a creative peak with their psychodrama Metropolis Pt. 2: Scenes from a Memory, Alan Parsons would check out The Time Machine, and Yes would blow my teenage mind away with The Ladder.  I've gushed about this album before.  Despite being 25 years old now, I still sing along to every word and note and beat whenever I put it on.  Honestly a modern prog rock masterpiece in my opinion.

So there's my thoughts on a pretty dang good year of rock and metal.  As always, check out the playlist below for more, recommend what I missed in the comments, and try to stay cool out there!  August is looking to be a hot and busy month for me, as I have a lot of album reviews planned, so keep an eye out for those.  Until then, rock on!  \m/

Retro Reviews - June 2024!

Unsurprisingly, the Anniversary Articles are dominating my listening lately.  At least, with this one, I'm starting to get ahead again.  I've also got quite the variety here, going from 80s pop rock to grunge to prog and back.  Here's what I've been listening to lately!

Steve Perry - Street Talk

I admit I mostly threw this on for a lark.  At a time of Journey's peak success, Steve Perry sought to have a go on his own, ending up with something much more pop than rock.  Still, powered by his iconic voice, it has some nice, nostalgic charm, even if the album came out before I was born!

While the big song "Oh Sherrie" shares a lot with his band's melodic sensibilities, the rest of the album seems to drift between soul and pop, with dashes of funk here and there.  It feels like a 70s album with 80s production, if that makes sense, perhaps as a consequence of bringing some of his pre-Journey work into the mix.  "It's Only Love" was a nice, upbeat tune (even if it did have the James Bond chord progression in parts), and the other tracks flow pretty well.  While I think it's missing the hard rock crunch that Neal Schon provides, it's a nice collection of soft rock tunes that let Steve what he does best.

Rush - Presto

So after nearly a decade of synth-driven rock, the trio takes a break, then comes back together with a more guitar focused album, marking another turn in this historic band's history.  However, as I enjoy a lot of it, I feel like there's still something missing.

While the synthesizers have taken a backseat, Alex Lifeson retains his thin, jangly guitars, making the album feel more like 80s pop rock, like if U2 covered Rush.  Still, it's not like these are bad songs.  Neil Peart gives the album his regular blend of complex lyrics and drum patterns, ensuring the songs never feel flat.  This is also a more sing-songy album, as there are a lot of catchy melodic lines for Geddy to sing.  I also noticed that the choruses on these songs tend to be softer than the verses, making for some strange dynamics.  I guess when I heard this was going to be different that the ones before, I was expecting more than just a shift in which layers get the attention. 

Again, I don't think this is a bad album. (In fact, I'm getting the impression that Rush has no bad albums.)  Taking it as it is, Rush carries on their legacy of interesting songs, full of clever lyrics and interludes, while letting each member shine.  As before, I may need to listen to this a few times to really wrap my head around it, but first impressions leave me a little underwhelmed.

Rush - Sixteen Stone

Starting up just as the grunge wave was peaking, Bush's debut album was definitely the right album at the right time to go big.  While I never listened to it at the time, I remember a lot of kids in school talking about this band, and since then I've always been mildly curious.   Finally getting around to it, it definitely sounds like pretty typical mid-90s alternative rock, and not much more.

At the time, critics bashed the band for sounding too much like Nirvana, and I admit I have to agree.  Not only are the guitar tones, vocal melodies, and song dynamics similar, the angst-filled lyrics on alienation and drug addiction are pretty standard for the genre.  However, I do think there is more going on than just copying a popular band.  Gavin Rossdale is more of a singer, almost crooning at times, and there is more of a musical touch, giving them a bit of a Pearl Jam vibe, especially as many of the songs escalate towards the end.  It's hard to know if they have anything to themselves, though "Alien" feels like it wanders into post-rock or shoegaze.  Still, considering all the songs, I can hear the transition to post-grunge, as I'm hearing ideas I'd hear from later bands, like Nickelback and Our Lady Peace.

Coming out at the end of a rough year for grunge, I guess folks flocked to it, despite it's reputation, as the album sold quite well on release, thanks to a handful of big singles like "Comedown" and the cinematic "Glycerine."  I also liked "Little Things" and "Machine Head." Overall, it's some pretty typical grunge for the time, but I think there are signs of the band's potential, which, as it seems, carrying them well into the future.

New Videos - 2022 Wrap Up!

Hey, sorry for not posting much this month, but things have been a bit rough for the start of the year, but I know there are good things coming!  At the very least, we have one more videos article to wrap up some of the things from 2022!  Some are from last year, some looking ahead to this year, but they're all worth checking out.

Featuring the singer of Pyramaze, this is some anthemic mid-tempo metal.  While the video itself is pretty minimal, I can't deny the song has some decent catchiness.  The Archives describe the band as power metal, but based on just this single, it's more like a melodic traditional metal.  Maybe they had some more uptempo tracks on their album, so I might check it out at some point.

After enjoying their last album Point of No Return, I knew I would be on board with whatever these Brits do next.  This track has some interesting dynamics, starting with a bit of a jangly riff before bringing in the heavy riffs, with Shane Greenhall vocals really sealing the deal.

Okay so this one feels a little closer to the band's general sound (as best as I'm familiar with it).  However, there is still some of that atmospheric tension of the earlier single, and the bridge builds pretty well.  This last album of theirs might be quite the hard rock highlight for this year.

Here's one I simply overlooked.  I'm not sure how I really missed these guys as I was on board with Atomic Fire Records when they started.  Basically, it sounds like if Beast in Black traded in their synths for more of a symphonic vibe.  It's pretty epic sounding, with some solid power metal chops to back it up.  I may have to come back to these guys when I get a chance.

Another one I missed!  These guys, despite being from France, sound like many German power metal bands, making me think of Gamma Ray and Freedom Call in particular.  I really like all the noodly guitar riffs and solos, while still maintaining the epicness.  

Last Played - December 2022 Part Three!

Alright!  I got this in before the end of the year!  I've definitely got a good mix of things for this last review article of the year, going from rock to metal and back again.  Here's what I've been jamming to cap off 2022!

Alter Bridge - Pawns and Kings

While I knew that Alter Bridge had a new album coming out, as I checked out the singles, none of them really impressed me too much.  However, it did show that the album was going to be quite a bit darker than Walk the Sky which I enjoyed quite a bit, though I suppose "Last Rites" did tease this would be happening.  In any case, their new album definitely shifts their sound into some darker and heavier territory, with some mixed results.

It's the production that really gives these guitars their weight as they slug their way through their riffs song after song.  Mark Tremonti must have found some new heavy tones he likes because he certainly gets a lot of use out them.  Sometimes the riffs are pretty catchy and groovy, such as with the first handful of tracks "This Is War," "Dead Among the Living," and "Silver Tongue."  However, other songs have some pretty jarring riffs, like in "Holiday" and "Last Man Standing."  They also include an 8-minute epic with "Fable of the Silent Son," which features all kinds of riffing, some of which feel a bit djenty at times.  I'm sure fans of Tremonti's guitar work will find plenty to chew on, but it does give the album this strange tension.  Sure, there are some lighter songs like "Stay" and "Season of Promise," but they almost feel like an after-thought compared to the heaviness of the rest of the album.

That isn't to say that I think the album is bad, it's just that I didn't immediately connect with it the way I did with their last one.  Of course, given that I haven't really listened to all of Alter Bridge's albums, it is possible that they've been this dark and heavy before.  In any case, there is still plenty to enjoy.  Myles Kennedy is still singing his heart out, and Brian Marshall and Scott Phillips remain a solid rhythm section that isn't afraid to shift gears whenever the song calls for it.  I think I enjoyed "Silver Tongue," "Sin After Sin," and "Fable of the Silent Son" the most from this album, but I do think it may take a few more listens to really unpack everything that the guitars are doing.  This one could be a grower, in the end.

Whirlwind - 1714

Sometimes you just need some straight-ahead metal about an 18th century conflict in Spain, right?  Okay, maybe that's a little specific, but outside of this album's theme, this is some pretty solid traditional metal that's more about the energy and epicness than anything else.  It might not be the cleanest or tightest performances, but the passion and momentum make this album a pretty fun listen.

The band seem to be going for a curious mix of US power metal and more Germanic metal like Accept or Running Wild.  The songs go back and forth mid-song between high speed affairs and slower stompers, and they occasionally bring out some 6/8 to add another layer of epicness.  The production feels a little muddy, sort of like a typical 80s metal release from a smaller band, but it seems to only add to the charm.  The vocals do feel a little buried though, which is a bit of a shame because Héctor Llauradó is really giving his all and I kinda wish I could hear him a little more clearly, especially with those harmonies.  The guitar work is solid, though, often providing some decent riffing and great, Maiden-like melodies, and most everything else is just a bit sloppy in a way that makes the performances feel so classic.

I don't know if much of the album stands out as it's generally pretty solid across the board.  I did like "Rebels Arise!", "Echoes of Time," and "Gallows Tithe" quite a bit, but the opening intro track doesn't really add much.  In any case, if you're looking for something that not only has a lot of the old-school style and energy, but adds an old-school production on top like it was recorded in 1985 (and I mean that in a good way), this album should be a high priority for you.

Fallen Sanctuary - Terranova

Featuring the talents of Temperance and bringing in the vocal giant Georg Neuhauser from Serenity, Fallen Sanctuary's debut album seems to have the pieces in place for some excellent power metal.  While there are some highlights, the album doesn't seem to maintain its momentum very well.

Starting off, the title track kicks right into high gear, giving me a strong classic era Sonata Arctica vibe, and works as a great opener.  Later tracks "Destiny" and "No Rebirth" have some of the same energy.  However, they don't keep that energy, instead shaking it up with some mid-tempo songs that feel more akin to AOR material.  Songs like "Broken Dreams," "To the Top," and "Trail of Destruction" in particular have some of that melodic rock style, though there's enough metal underneath it that it doesn't feel completely out of place.  There are also two tracks "I Can't Stay" and "Wait For Me" that are completely acoustic (though the first does have some piano), making them more like ballads to some extent.  They aren't bad songs by any means, but compared to the high-speed opener, it does feel like they had three styles and couldn't decide which they preferred.  Even if these style changes, the album does sound very samey towards the back half, where it feels like they're reusing a lot of the same vocal and riff rhythms.

For what it's worth, I do think the songs are well performed.  Neuhauser gives a solid vocal performance, and I think the other band members come to provide some good harmonies.  The guitar work from Marco Pastorino is decent as well, playing some good riffs and solos across the board.  I think what happened is that, after being excited by the two singles, I got my hopes up.  So when the album just kinda fizzled on me the more I listened to it, I felt underwhelmed.  It's certainly not a bad effort, but in a genre that has so many talented bands, this one doesn't do as much as it could to stand out from the pack.

Black Swan - Generation Mind

When I finally got to Black Swan's debut album Shake the World, I though it was decent melodic hard rock, but outside of a few songs, it didn't really leave much of an impact on me.  After I saw they were doing a follow-up, I was certainly curious, but when I heard the singles, they didn't feel like anything special.  Still, I wanted to give this a fair shake, and now that I've sat down with the album, I'm surprised to discover just how much I like it!

Right off, I do think the songwriting is better across the board.  The last album did have some weird extended outros and the songs did get a little samey, but here, I think they use their time much better, with some tighter arrangements and ideas.  They also do a pretty good job shaking things up, sometimes pushing the tempo up, and other times letting it settle into a mid-tempo groove.  While Robin McAuley still does a great job belting out the lyrics, I think it's guitarist Reb Beach who really steals the show this time.  His solos are as solid as ever, and he's come up with some pretty interesting riffs, not only drawing upon his Whitesnake experience, but may have been inspired by the likes of Dio's work, as many of the songs lean into those anthemic qualities.  I even thought of Van Halen and Herman Frank a few times!  Just a lot of solid, hard rocking tunes!

While the opening intro track doesn't do much other than provide some ambience, things kick off quite well with "She Hides Behind."  Following up is "Generation Mind" with more of a classic AOR style, and "Eagles Fly," which has a neat 6/8 groove and may be inspired by the classic sci-fi novel The War of the Worlds!  Other stand out tracks include "Miracle" and "Long Way Down."  I especially liked how "Long Way Down" suddenly sped up in the outro!  Overall, this is definitely an improvement, with a lot of great songs that allow this talented group to really shine.

Sword - III

As I mentioned in my review of their second album, Sword is a band I just stumbled across and feel in love with.  Now, after 34 years, Sword are back with their third album.  After enjoying their first two singles, I admit I was eagerly anticipating the rest.  While they still retain their iconic sound, starting off with some solid tracks, the album seems to lose a lot of steam in the back half, unfortunately.

The first three tracks set a very good tone, with "Bad Blood" bringing back all the staples of the band's sound.  There's very punchy riff, backed by some good energy from the rhythm section, and Rick Hughes is just soaring over it all.  "(I Am) In Kommand" carries that energy further, and "Dirty Pig" slows things down for a more stomping, chugging vibe.  The production is solid as well, giving these guitars almost a thrashy feel, letting Mike Plant's guitar work really shine once again.  I seriously think he has to be one of the most underappreciated guitarists still around!

However, at this point, the album loses a lot of its momentum.  "Surfacing" is a curious instrumental track that features 90 seconds of guitar ambience.  It's alright, but doesn't seem to do much, other than set up the next track "Unleashing Hell," which is a decent rocker but doesn't really hit the same level of quality as the earlier tracks.  This is followed up by "Spread the Pain" and "Took My Chances," both of which were pretty underwhelming.  While the riffing was still good and the vocals still soared, something about the songs felt a little empty or jarring, as they didn't really click for me.  Fortunately, the album closes with a "Not Me, No Way," which brings back a lot of the energy from the beginning, using some interesting 7/4 sections to shake things up.

But this also brings me to another point: this album is short!  While I wasn't expecting any kind of prog epics, this album barely gets going, and I kind of wish there were a few more tracks to it, especially now that the band doesn't have to work within the space limitations of vinyl records.  Still, what's here is decent enough, especially those first three tracks, and I'm glad to see the guys are still together all these years and still know how to write a killer metal track or two.  Maybe they can use this album to spur them on to do more work, as I'd love to see what they might do in the future.

---

Well, that wraps things up for the year, at least as articles are concerned.  Now I gotta figure out my Top 5 for the year, so I'll be spending next month working that out.  (I might even consider doing a Top 10!  We'll have to see.)

I decided not to do a videos article for this month, as things did get kinda busy for me.  However, I do plan on carrying on into the next year with more of the same things I've been doing, so look forward to that.  Next year is already shaping up to have some pretty fascinating releases, such as a new Lovebites, another Rick Wakeman project, and Metallica of course!  Until then, rock on! \m/

New Videos - November 2022!

I admit it's been a bit of a slow month for me, and I feel like I've gotten behind again on new releases like I did last year, but I'm still trucking along alright on other things like this.  Definitely had some fascinating new videos get released lately that I'm pretty excited to talk about.  Next year looks like it's going to be one busy year for rock and metal, but I suppose that's not a bad thing!  Anyways, here's some new videos for you all!

Despite their popularity, I admit I haven't really heard Godsmack outside of a handful of songs, but I'm always up for some good melodic rock.  This song definitely has more atmosphere than I was expecting, and has a nice little groove here and there.  Given that this may be their last album, they might be trying for something bigger than usual.

Beriedir is a band I've been seeing here and there over the year.  They share a lot of qualities with their fellow Italian prog metal peers, though I think they have a stronger dramatic flair to their songwriting.  I know this is one I have on deck to review, so keep an eye out for more about them!

Well, this is quite the bolt out of the blue!  I knew they were working on new stuff, but I had no idea they were this close to being done with a new album!  I like the song, as I feel like it has a lot of that old-school, Motorhead-inspired energy.  However, I was pretty underwhelmed by Hardwired... despite a punchy lead single, so we'll see how their new album really turns out next year.

After enjoying their debut album a few years ago, I'm glad to see these guys are back with more melodic rock.  While it's pretty standard (if crunchy AOR) stuff, they play it with great energy, and that synth solo is pretty wild.  I'm definitely looking forward to hearing more of these guys!

I mostly learned about Simon Collins through Sound of Contact, and when that band moved on without him as In Continuum, it seemed he disappeared from the prog rock world.  However, now he's back with former Sound of Contact guitarist Kelly Nordstrom on a new project.  The song is definitely spacey, but it shifts well between the heavy riffs and ambient sections.  Certainly worth a look.

After enjoying their last album, it seems Big City is back for more of their curious blend of prog and glam metal.  While the chorus is full of 80s anthemic pomp, the riffing certainly leans closer to proggy or even power metal territory, with double-kicking drums!  They definitely have a unique blend of sounds and its on full display with this new single of theirs.

Anniversary Series - 2002!

It turns out that the heat of August isn't any less intense than it was in July, but I'm surviving.  At least I can pull together another Anniversary Series article, this time for 2002.  Just like 1997, though, it's mostly going to be power metal, so let's get into it!

First off, we get the epic conclusion of Tobais Sammet's Avantasia storyline with The Metal Opera Part Two!  Starting with a massive 14 minute track to recap the story so far, it's certainly starts as it means to go on!  Other metal epics from the year include the second album by Dragonland, continuing their own fantasy story with a Holy War, which I reviewed a few years ago, and the next serving of Nightwish with Century Child.  Featuring incredible tracks like "End of All Hope," "Dead to the World," and "Ocean Soul," the band really expanded the power and scope of symphonic metal.

HammerFall also released an incredible album with Crimson Thunder, which gave us great songs like  the title track, "Hearts on Fire," "Hero's Return," and "The Unforgiving Blade."  Even the covers of "Angel of Mercy" and "Rising Force" are incredible!  Along with HammerFall was Dream Evil's debut album Dragonslayer, providing excellent power metal tracks like "Chasing the Dragon,"  "The Prophecy," and "The 7th Day."  Thunderstone would also debut this year with their self-titled album, which has some solid material like "Let the Demons Free" and "Me, My Enemy."

However, it's not all power metal.  Post-grunge would have a few solid albums as well.  Canadians Our Lady Peace would find international success with Gravity, powered by their big hit "Somewhere Out There," but the rest of the album is quite good as well.  3 Doors Down would follow up their massive debut with Away from the Sun.  It's probably not as good as their first album, but it does have some solid stuff such as the title track, "When I'm Gone," and "Going Down in Flames."

I know there are plenty of other great songs and albums I'm missing, so be sure to share them in the comments.  I know I could have found more, but this month kinda caught me by surprise.  However, I do plan on getting to a Last Played article between now and the end of the month.  Until then, check out the playlist below and rock on! \m/

Anniversary Series - 1997!

I'm going to be honest, this year's article is going to be mostly about power metal, as 1997 was the year HammerFall exploded, bringing with it a massive wave of new bands.  I'll try to include a few others, and if there's anything you think I missed, don't hesitate to let me know.  Now, let's get this anniversary article started!

Let's just start with HammerFall and go from there.  The idea of a band that embraced the clichés of the 80s, added a heavy layer of fantasy and historical themes, and charged with some neo-classical energy was considered pretty novel when their debut album landed.  While I think their next few albums were better, they were off to a great start.  With epic tracks like "The Dragon Lies Bleeding," "Unchained," and "Steel Meets Steel," they established a foundation they and many other bands would build on.

Other power metal highlights from the year include Edguy's second album Kingdome of Madness, Kamelot's second Dominion, the debuts of symphonic titans Nightwish and Rhapsody of Fire, and earlier in the month, I covered Kai Hansen's one-two punch of Iron Savior's debut and Gamma Ray's Somewhere Out in Space.  Finally, there's Visions by Stratovarius, including blazing tracks like "Black Diamond," "Forever Free," and "Legions."  This album would cement the band as one of my favorites from this era!

Progressive metal also had a strong showing.  Not only did Dream Theater give us Falling into Infinity, with the iconic "Peruvian Skies," but Symphony X released The Divine Wings of Tragedy, with the 20-minute epic title-track that builds on John Milton and Gustav Holst, and Vanden Plas provided their own style of prog metal with The God Thing, featuring great songs like "Rainmaker" and "Crown of Thorns."

Of course, it wasn't all metal.  Post-grunge was starting to pick up again, particularly with The Colour and the Shape by the Foo Fighters.  Songs like "Monkey Wrench," "Everlong," and "My Hero would become rock radio staples.  And then there was the iconic debut of Creed with My Own Prison, the first of three great albums that I jammed repeatedly when I was in high school.  At least, when I wasn't listening to the new Yes album Open Your Eyes.  It's no innovator or prog rock triumph by any means, but one I have a lot of nostalgia for as well.

So that's 1997 in a nutshell!  Definitely some great music, and I have more selections below in the Spotify playlist.  Perhaps it's not the robust selection, but it will get better as I explore more music.  Until then, rock on! \m/

Anniversary Series - 2001!

The middle of the month means another anniversary article!  Once again, I'll mostly be relying one what I've listened to instead of being a comprehensive look at the year.  Fortunately, I have a lot for 2001, so let's get into it!

Once again, power metal comes up big, with some great albums from bands that would go on to do big things.  Let's start with Kamelot and their album Karma, which is a great follow up to their previous album, pushing the band to even bigger heights with songs like "Forever," "Wings of Despair," and the title track.  They even start to push their concept-based songwriting with a three part epic called "Elizabeth."

Speaking of storytelling, 2001 would give us the debut of Tobias Sammet's Avantasia with The Metal Opera.  While only having the first part of the story, it would kick start a run of albums telling all kinds of stories over the years, and their first is an excellent one, featuring tracks like "Breaking Away" and "The Glory of Rome."  We'd also get great power metal from Edguy's Mandrake (highlights include "Tears of the Mandrake," "Golden Dawn" and "Nailed to the Wheel) and from Sonata Arctica's Silence (which has "Weballergy" and "Wolf & Raven").  Just a great year for power metal.

The other big genre would be post-grunge, with two of its biggest acts releasing big albums.  Creed provided Weathered, and album that I think brings their gritting side with their radio-friendly side together very well, something I covered in that retrospective I wrote earlier this year.  The other big release came from Nickelback, with their breakout album Silver Side Up, which provided big hits like "How You Remind Me" and "Too Bad," though I think their deeper cut "Money Bought" is just as good.  Another kind of big album was the debut of Andrew W.K., I Get Wet, ensuring that Parties would always be Hard from then on.

Finally, I just want to bring up Yes's Magnification.  It's an interesting album because instead of having a keyboardist (as is standard for the band), they went with a full-on orchestra.  The songs have some fascinating variety, and it's probably the closest they have come to recapturing the majesty of their 70s material.

So that's 2001.  Kind of dedicated to some specific genres, but it's what I'm familiar with from this year, and definitely worth checking out.  As always, if there's something I've missed let me know.  Until then, rock on! \m/

New Videos - July 2021 Part Two!

Squeezing this one in before the month ends!  I've got a few artists coming back, plus some new names, and a new single from my favorite band: Yes!!  Here's the latest videos I've been jamming to.

I don't think I've missed any of the singles from these guys.  Starting off with an acoustic intro, it goes into some aggressive riffing, making me think of the melodic prog from Italy, but the chorus eases up for some anthemic pop metal sounds.  These guys really have an interesting approach to songwriting, but it still results in some awesome rock music!

Here's another band that I've been liking a lot lately!  This is more of a mid-tempo anthemic stomper.  The chorus gets pretty somber, but that only makes the chorus all the more epic.  Sometimes a power metal band player slower song can be a bit of a crapshot, but this is quite solid.

Now this is just plain fun.  Sabaton doing a Manowar cover is not really that surprising, as both bands excel at epic mid-tempo metal, but it's a solid rendering, and a loving homage to a band that is clearly a major inspiration for them.

New Yes will always get my attention, but I wouldn't be posting it here if I didn't think it was also good.  While I don't know if it's amazing, it has been growing on me quite a bit.  It definitely has more energy than the sluggish Heaven & Earth, which is a good sign for this new album.  Hopefully, the rest will be as good.

Mark certainly knows how to make crunch songs!  This is from his solo group Tremonti, and it's a great piece of mid-tempo hard rock.  You'd think that between this, Creed, and Alter Bridge, it would all blend together, but somehow he makes each one sound a little different, and here, it's just straight up post-grunge crunch, and I love it!

Let's finish with some proggy power metal from Costa Rica!  This one is on the dense side, making me think of the styles of Kamelot and Symphony X.  The vocalist sounds more than a little like Russell Allen, actually.  The keyboard runs also make this some pretty epic stuff.  

New Videos - July 2021!

Sorry for the delay on more articles.  I guess the heat (along with a bunch of smoky haze) really ruined my motivation to get these done.  Still, I was eventually able to find some pretty awesome stuff, pulling this collection of great songs together!

Despite being a big post-grunge fan, Tantric isn't a band I'm very familiar with.  However, they seem to be carrying on pretty well, if this solid track is anything to go by.  Kind of standard for the genre, but it crunchy and has a solid chorus.

After listening to their last album, Paradigm, these guys are at the top of my AOR/Hard Rock watchlist now, and it looks like they have a new album coming soon.  This single is more of the same: straight-forward anthemic rock, with tons of energy.  Definitely looking forward to this!

Here's another barn-burner from Brainstorm.  I know I've listened to this band before, but I remember thinking they were just okay, but stuff is great!  Full of epicness and high speed crunch, their upcoming album is starting to sound like a must-hear for 2021!

Vega is just so good!  Their music always seems to have a lot of energy, and this one is no different.  Just another great, stomping straight-ahead rock song.  I mostly can't believe they're putting out another album already.  I feel like I can barely keep up with these guys!

Despite the ridiculous name, this is another side project that involves a few Yes folks, with singer/guitarist Craig Maher (who I've never heard of before).  They released one single before this one, which I found lackluster, but this one is definitely better, featuring a lot of Yes-isms, if you will.  There's certainly some promise here, but we'll have to see if a full album comes out of this (no announcements from them yet).

I admit I don't know anything about Flostam and Jetsam beyond the fact that's where Metallica got Jason Newstead, and I'm wondering if I've missed an interesting band.  This is some melodic thrash, much in the vein of Metal Church, but much more uptempo, as they really tear this one up!

Anniversary Series - 1996!

Time for another anniversary article, this time for 1996!  Once again, as we get closer to the present, it becomes harder to focus on the year as a whole.  Looking over it, I'm realizing that I actually haven't listened to much from this year that my blog covers.  Still, some really great stuff came out this year.

First of all, there's a lot of solid power metal that came out this year.  Stratovarius finally gets their iconic lineup together and release an iconic album, Episode.  Featuring speedfests like "Speed of Light," "Will the Sun Rise," and "Father Time," as well as epic tracks like "Eternity" and "Babylon," it's an album with plenty of great tracks, full of Tolkki's solid riffing and iconic solos.  Definitely a power metal classic.

Of course, these Finns weren't the only ones providing some epic power metal.  Germans Helloween followed up The Master of the Rings with Time of the Oath, with "Steel Tormentor" and "Power" as standouts.  They would also release a live album this same year called High Live.  Brazilian Angra would also give us Holy Land, a power-prog concept album I reviewed two years ago!  Trans-Siberian Orchestra would round things out with their debut, Christmas Eve and Other Stories, ensuring that the holiday would never sound the same again.  This year also features Apocalyptica's debut, made up of fascinating covers of Metallica songs on nothing but cellos.  While they would go on to write interesting stuff themselves, their debut is still an interesting listen to this day.  

Other records of note include the Flower Kings Retropolis and Nickelback's Curb, both of which I reviewed here on the blog last month.  The first is a solid representation of third-wave prog, while the second is an early step of what would become a giant in the post-grunge scene.

To cap things off, I'll talk about two of my big three (well, sorta).  Alan Parsons solo group released On Air, bringing back the concept album motif, this time focusing on flight for its theme.  Meanwhile, Yes reformed a classic lineup from the 70s and released Keys to Ascension, a strange combination of some solid live material, and a few new studio tracks that have never really stuck with me.

As always, I've got a playlist for they year, featuring all of the above plus a few extras.  However, I make lists to help me with these articles, and I know I've missed a lot of stuff.  Maybe I'll get to more of it in the future.  Until then, rock on! \m/

Last Played - June 2021!

Well, the heat only seems to have gotten worse.  I feel like this will be a long summer.  A good time to be indoors and listening to some new rock and metal.  Here's what I've been checking out lately!

Nickelback - Curb

I know I’ve mentioned this before, but I do think Nickelback have become over-hated.  They’ve always had a pretty solid, crunchy hard rock sound, in my opinion, and I decided to give their very first album a listen.  While it’s not bad, it’s very much a product of its 1996 release date.

Some things are pretty familiar, such as the thick guitar tones and Chad Kroeger yarling through it all (which I've never minded), but their sound and songwriting haven’t quite developed into their own style yet, certainly leaning into the now-classic Seattle Sound.  Pearl Jam is probably the largest influence, though there are a few moments that make me think of early Foo Fighters as well, and a few tracks lean more into punk rock.  It’s certainly a blend of alternative rock styles from the mid-90s.

There are some good riffs and interesting moments here and there, but not much really stood out.  Some of it is dark and moody, other times it’s more jumpy and energetic, so it's a bit of a messy album, but at least it’s not the same ideas over and over.  It's was fun to hear how the band started early on, with their influences shining through, but as an album, it’s just kinda okay.

Robin McAuley - Standing on the Edge

Robin McAuley is one of those journeymen who wandered through many bands in the 80s, making a name for himself, but never really settling with a single band, and he’s continued that pattern in recent years.  After reconnecting with Michael Schenker for a few albums, then joining Black Swan, he has followed up with his first solo album in more than 20 years.

Unsurprisingly, it’s largely mid-tempo rock songs reminiscent of his time as part of the McAuley-Schenker group in the late 80s.  The riffs are actually pretty chunky, and the synths and organs add some nice layers, all of which work to provide the ideal backdrop for McAuley’s vocals.  Honestly, he sounds great here, his voice giving authority to what might be some pretty standard lyrics.  None of it is awful, just kinda pedestrian, but when they’re sung by someone this good, it’s hard to complain.  It’s almost like he hasn’t aged at all!

The album is pretty by-the-numbers, but that’s to be expected with something like this.  The tracks that stood out to me were the ones I’ve featured before on the New Vidoes articles on this blog: “Thy Will Be Done” (which is a solid opener), “Standing on the Edge,” “Say Goodbye,” and “Wanna Take a Ride” remain good rockers, with “Chosen Few” being rather punchy, kinda like AC/DC, and "Running Out of Time" being a nice, uptempo closer.  A little heavier than most AOR, but as an album, it flows pretty well, and proves that Robin still has it, making for a pretty good listen.

Paladine - Finding Solace

When I came across this band earlier in the year, I figured, as they only have two albums, I'd start with their first one.  It's a bit of a rough listen, as the production has some quirks, but otherwise, it's a solid, if clunky, collection of power metal.

These guys really like their DragonLance lore, as all their songs are drawn from that D&D universe.  I'm only a bit familiar with it, having read the Chronicles trilogy when I was in high school, but it works as a sufficient core to build epic songs around, even if the lyrics don't don't always gel.  Sonically, they sound very much in the heavy/power realm, much like early Dream Evil, Metalium, or Warrior Path, with a dash of Iron Maiden for good measure.  However, it does have some first album drawbacks.  The songs are probably too long for what they are, and the drums sound a bit too forward in the mix and very clicky.

Still, these are minor problems.  Nick Protonotarios is a good vocalist, mostly going for a gritty epicness, not unlike Herbie Langhans or Henning Basse, and there is plenty of solid guitar work and solos.  They also have a folky acoustic ballad or two to mix things up a little.  However, the only tracks that stood out were "Master of Present & Past," and "Metalizer," which has a strong Firepower-era Judas Priest vibe.  Still, they show plenty of promise, and I'll be sure to listen to their second album later this year!

---

I don't really have much to add this time around.  I pretty much intend to just keep going, doing my semi-regular articles, listening to more music, and not let the heat of summer get the best of me.  Until then, rock on!  \m/

New Videos - March 2021!

Well, now that we have our new look, let's get into some more videos!  Got a nice mix of rock and metal again, all of which have me pretty excited to hear all these new albums.  Rock and metal definitely don't slow down!

I mostly know Myles Kennedy from his work in Alter Bridge, but it sounds like his solo stuff is just as solid.  A rather bluesy hard rock song, it's got a lot of kick and crunch to it that I like.  Also, I enjoyed the fun, paper-craft visuals.  Neat video!

No visuals on this other than cover art, but it's their next single in anticipation for their new album.  Much more poppy and mid-tempo, it's not as dense as their other songs, but that may make it a nice breather on the album.  In the meantime, it works as a nice piece of anthemic metal.

Third single, third time I've shared them here!  I have to say, these guys really do have some great prog metal chops.  Percussive riffs with epic melodic sections.  This one feels particularly like Symphony X, but that's a compliment as far as I'm concerned.  I need to get to this album soon!

The Dust Coda are back with another one, and again, I can't deny their hard rocking groove!  I don't know how they do it, but each song they've put out in the last few months has been solid stuff, with catchy riffs and great vocals.  These guys are doing hard rock right!

After doing stuff with Michael Schenker again, and doing Black Swans last year, it sounds like he's bringing his iconic vocals to a new solo album!  Honestly, it's classic 80s rock with an anthemic vibe, buoyed by McAuley's pipes, which really ring out on this one.  

After recording one of the best albums last year, Lovebites is back with a quick EP (and an anime opening).  While we still get the epic, sweeping power metal, this one really has some strong symphonic elements, which they featured on a few songs on Electric Pentagram.  Still, it makes for some great stuff, so it goes on the list!

Creed Retrospective!

So here's an article type I've been thinking about for a while now: going through a band's discography in full and writing a review about each album.  Of course, this isn't something I can do often, but I figured I'd start with a band that I've always enjoyed, and only has a handful of albums: Creed!  For this retrospective, I'll just be focusing on just the four studio albums.

Creed was a band that rode the wave of post-grunge that took over the radio in the late 90s, turning into one of the biggest bands of the moment.  As this style of rock became quite prevalent, Creed eventually became the whipping post for those who didn't care for its radio-friendly variation of the grunge movement, but I think that's been unfair.  Sure, Creed wasn't innovating anything, but at the same time, I think they wrote quite a number of solid rock songs that still hold up quite well.  Let's dig into it.

My Own Prison (1997)

For a small rock band from Florida, this is quite the debut.  This is definitely the rawest the band would ever sound, with the production coming across as a little dirty.  However, it fits the sound of the band at this time, as their riffs were heavier and grittier at this point.  Honestly, some of it is as much as alternative metal as it is post-grunge.

Scott Stapp takes center stage, though, as he is the voice for the song's somber but hopeful tone.  It doesn't matter if the song is slow and acoustic, or riffs out aggressively, his voice is full of authority and character.  I wouldn't say it's quite perfect, as some of the lines are delivered a little stiffly, but for a debut, it's quite a strong and iconic performance.

Of course, much was made of the Christian themes in the lyrics, but I would never consider them preachy, but rather quite introspective, which fits their post-grunge sound very well.  Songs about taking a good hard look at yourself, your mistakes, and your feelings about the world without resorting to whining or tantrums.  It's a controlled frustration that processes itself thoroughly into a form of anthemic relief, making for a very cathartic experience, in my opinion, and it's a feeling the band would carry through the rest of their records.

Overall, I still quite love this album, partially for the grittiness, partially for the dynamics, as songs shift of quieter moments to full-on arena friendly rocking at max volume without losing their theme or character.  Most of the songs are still winners for me, with "Sister" being a bit on the lackluster side.  Seriously a contender for one of the best debut rock albums recorded.

Human Clay (1999)

The big one that brought the band international success.  There is definitely a cleaner, shinier quality to the songs here, probably in an effort to make a more mainstream sounding album, and I won't deny that it certainly worked.  While I do appreciate the shift towards a more arena-filling and radio-friendly sound, I can't deny that it's lost some of the character and honesty that came from their first album.

Human Clay is definitely a broader album, though.  "With Arms Wide Open" might be a power ballad worthy of Journey, but you can't deny the execution as a sweeping, powerful dedication to fatherhood.  "Faceless Man" is probably the band at their most church-like, and features an Arabic vibe, as do a few other tracks.  And the big hit "Higher" shows a brighter side to the band, something that didn't appear much on My Own Prison.  Meanwhile, "What If" is particularly heavy and is probably the track that most resembles their first album.  Other songs with darker themes include "Wrong Way" and "Beautiful," and they both have the riffs to match.

Overall, there's plenty to like here.  The riffs might be a little catchier, and the songs more anthemic, but they haven't lost any of their crunchiness or attitude.  Much of the introspective tone has also been retained, as the lyrics continue to offer reflections of the self, bouncing around concepts like doubt and regret and absolution.  Stapp is definitely more confident here, the band letting his iconic baritone carry the songs for them.

Honestly, I still love "Higher."  It's an elevating song, with the hopeful lyrics backed by some great power chords.  I know when I first heard it on the radio, I was hooked, and Creed quickly became one of my favorite bands.  As for the rest of the album, I like a lot of it, and I do think that it's better overall than My Own Prison just slightly, but it is a bit on the long side for what they have to offer.  Still, a great rock album, even all these years later.

Weathered (2001)

At the height of their popularity, their bassist Brian Marshall ended up having some problems and would end up leaving the band/be fired (it's not completely clear), but this album would be recorded without him, with Mark Tremonti recording both the bass and the guitars.  It's a bit odd as this album is probably my favorite of the first three, as I feel it marries the polish of Human Clay with the grit of My Own Prison very well, making it the best of both worlds.

It kicks right off with two very heavy tracks: "Bullets" and "Freedom Fighter."  The first is straight up alternative metal, very aggressive and powerful.  The second has a 6/8 swing, and may be a bit cheesy, but it's still crunchy and a lot of fun.  "Signs" is almost just as fierce.  On the other hand, "My Sacrifice" and "Stand Here With Me" are great anthemic tracks much like "Higher," and the big, somber ballad "One Last Breath" is solid as well.  "Who's Got My Back Now" is moodier, and quite long for the band, clocking in at over 8 minutes, allowing for some rather proggy shifts in tone and dynamics.  "Weathered" further explores their introspective tone, which the band has mastered by now.  However, after the title track, the album sags for me.  "Don't Stop Dancing" is nice, but doesn't have the same carrying power as the rest of the album.  "Hide" and "Lullaby" feel like after-thoughts.  It's pretty disappointing after 8 strong tracks.

Still, I remember first getting this and being completely blown away, as it was the heaviest stuff I'd heard up to that point (my appreciation for metal would come much later).  I felt like Creed really had it together, with great songs and powerful performances.

However, it was not meant to be.  Stapp's live performances were becoming controversial, and internal tensions in the band caused them to declare in 2004 that they had broken up.  As a consequence, I listened to these three albums to death to the point that I know them like the back of my hand.  I still listen to them regularly, as I think it's solid hard rock that has held up well (though there may be some rose-tinted glasses involved).

Full Circle (2009)

A meaningful album title indeed!  While Tremonti and Phillips would team up with Marshall and singer Myles Kennedy to make Alter Bridge, and Scott Stapp kicked off a solo career, it had seemed like Creed was very much done.  However, by the end of the 2000s, the group brought each other around for another album, which helped inspire its title.

Right off, it seems like we're back into the comfortable shoes of post-grunge.  Scott Stapp is soaring over hard, crunchy riffs, all building their classic atmosphere of cathartic, introspective rock.  However, there is something different about this one that sets it apart from their earlier albums.  It's a little hard to pin down, but I think it has to do with the band's experience in Alter Bridge, making the songs sound a little more complex in structure (and there's definitely more guitar solos in general).  It could also just be the production.  8 years can make a difference in production technology, especially in recent history.

However, it's still a very solid hard rock album.  Stapp still sounds great here, showing some pretty good range between the softer songs and the more aggressive ones.  "Overcome" is a great opener that shows the band hasn't lost any of its power, "Rain" has a very refreshing quality, the title track is solid, and "Time" has a strong, emotional quality to it.  I don't know if I like this one as much as the first three, but I've listened to those three so many times, and I haven't listened to this one as much.  Maybe it will reach the same level as the others as I continue to listen to it.

---

From here, the band fell apart again.  There was talk of a fifth album, but that has since been abandoned.  The rest of the band moved on with Alter Bridge and other projects, while Scott Stapp did more solo work, and ended up going through a pretty serious breakdown.  However, it seems he's recovered, doing work with Art of Anarchy, and recently putting out another solo album.

So that's the first of what will be many band retrospectives.  I knew I wanted to start with a band I loved, but didn't have a long discography, and Creed fit the bill very well.  I know it's become a bit of meme to like or hate the band, but I still think their music has weight and relevance after all these years.  I don't know if they will ever get back together again, but if things do fall together again, I know I'll be first in line to hear what they have in store.

Until then, rock on! \m/

New Videos - November 2020 Part Two!

Well, I hope you had as good of a Thanksgiving as I did, especially one that rocks this hard.  Here's another bunch of new videos from all kinds of bands to help you stay awake through the holidays!

After Walk the Sky blew me away earlier this year, the band has been busy on a new track that they're releasing, along with a bunch of live tracks, in an EP they're calling Walk the Sky 2.0.  This is the new track, and it's heavy.  One of their grittier ones for sure, but very solid and very much in their style.  Great work!

It's hard to go wrong with Iron Savior, I feel.  While, this song is not as strong as the first single, it's pretty solid, straight-forward heavy/power metal.  Sielck still sound great, though, finding that middle point between Kürsch and Dirkschneider.  The album drops next month, and I'm really looking forward to it!

Dee Snider's last solo album was quite the barn burner, and this extra track from a recent live album is much very much in that same gritty, crunchy vein.  I'm really curious to see if he will continue on this path he started 3 years ago, because it could lead to some more great metal.

Inglorious is a band with a really solid blues-rock sound that feels classic without really sounding like anyone specific.  Maybe Whitesnake?  I've liked their stuff before, and this new one has their style in spades.  Nice, crunchy guitars and Nathan James just wailing like a champ over it all.

While I wasn't that impressed with their debut album, I never doubted the talent of these guys, and just from this song, I think there's promise.  There's more energy, and Trewavas gets to do some nice bass lines.  Not sure how I feel about the two different album versions, but the music at least sounds promising.

Another solid power metal track from these guys, though this one makes me think of Sonata Arctica, with the layered keyboards and a tempo that isn't fast or mid-tempo.  While like the last one, I'm not blown away exactly, but it has solid riffs and melodies, and Marco Pastorino brings a lot of confidence to the song.

Last Played - October 2020 Part Two!

So I'm finally catching up on some 2020 stuff.  However, I know I've still got plenty I haven't even touched yet!  Hopefully, I'll get to some good stuff before the year is out, especially with AC/DC and Iron Savior coming up.  For now, though, here's what I've been listening to lately!

One Desire - Midnight Empire

One Desire was the band that blew me away back in 2017, which was about when I discovered Frontiers Records.  I really liked their approach to the pop metal 80s sound that made it seem lively and accessible.  It's been three years and they've finally followed up with their second album.  Once again, we get an album that's full of 80s energy, but with a slick, modern polish, which is why I loved the first one.

If there are any differences, there's more variety, I think.  Some songs are on the crunchier side, like "Shadowman" and "Battlefield of Love," while others make more use of acoustic guitar stuff, like "Rio" and "Only When I Breath."  Another track that's pretty solid is "Through the Fire," which starts off like an acoustic ballad, but then builds and builds into this rock epic.  I also think the production is slightly better than the last album (which is saying something!).  I also got a pretty big Europe vibe from some of the tracks.

However, it doesn't get too far away from the anthemic pop metal they established from their first album, so those looking for more of the same will not be disappointed.  One Desire maintains their standard for solid song-writing and rockin' tunes.  

Judicator - Let There Be Nothing

So while I've been checking out various videos, I came across one for this band's new record.  At the time, I wasn't too impressed by the song, but I was curious about a band who sounded a lot like Blind Guardian, but focused on European History.  After a while, I decided to give their latest album a shot, and I have to say I'm quite impressed.  

It tells the story of Belisarius, a great general of the Byzantine Empire, contrasting his military conquests with the his dilemma of dealing with an unfaithful wife.  The lyrics and music are more dedicated to telling a story, resulting in lyrics that can be a little clunky here and there.  However, it's all performed quite admirably, with John Yelland's vocals belting out all the melodrama the scenario provides.  It's definitely an album that demands attention, reading the lyrics as you listen, and maybe looking up a few names on Wikipedia just to understand the context.

While the Blind Guardian comparison is easy to make, especially with Yelland sounding a lot like Hansi Kursch, this band falls a little closer to the US power metal, with a heavy dose of progressive metal, as tempos and moods shift to match the needs of the story.  Still, I enjoyed a lot of it, with plenty of meaty riffs, noodly solos, and awesome vocal harmonies, though I do wonder if the production isn't a little on the muddy side.   As a consequence, the songs do kind of blend together, as there isn't much to differentiate them from each other. However, as an album, it's definitely a solid experience, telling an interesting story with a Shakespearean fervor.

Those Damn Crows - Point of No Return

Hey, remember when I was freaking out about this band a year ago?  I finally listened to their album!  Based out of the UK, these guys provide a very polished post-grunge sound, making me think of the likes of early Daughtry, or The Calling, with a few heavier riffs here and there.

Overall, it's a pretty fun rock album.  Shane Greenhall puts a lot of charm in his vocals, and band keeps songs riffy without really being bogged down with heaviness, making for a rather light listen for hard rock.  A lot of that has to do with the production, which keeps things tight and clear.  They won't be winning any heaviness awards, but they make up for that with some pretty catchy tunes to go along with their mid-level crunch.

However, there isn't in the way of variety.  There's a piano ballad on there, but otherwise, the songs are pretty straight-forward, mostly jamming at a mid-tempo level.  I will say that that band does get riffier as the album goes on, which is interesting.  Stand outs are songs I've showcased before, but also "Send the Reaper," "Long Time Dead," and "King of Second Chances."  Honestly, though, it's a consistent rock album from start to finish.

---

I think I still have plenty of time to get a few more of these in before the end of the year.  Still, I can't believe October is over already!  This year has been crazy on multiple levels.  I hope everyone is staying safe and gets the chance to hear some good, uplifting music to deal with the chaos.  Until then, rock on! \m/