New Releases 2026 Part One!

Well this certainly took much longer than I wanted it to.  There are plenty of albums coming out this year that have me intrigued, but I'm just not getting to them (so far; still plenty of year left).  I mean, my first one here was the talk of the internet at the beginning of the year, and I'm just now publishing my thoughts on it.  (I've never been particularly great at being timely!).  Eventually I pulled together enough reviews to fill out an article, but I have to warn you, none of these are impressing me much.  Here's what I've been checking out lately.

Megadeth - Megadeth

Of all the most anticipated albums to kick off the year, this was pretty much unavoidable.  Not only was it going to be the band's last album, but it featured a Metallica cover (one of the few Mustaine helped write).  However, I'm not really a big Megadeth fan.  I've listened to their first five, as well as Dystopia and The Sick, The Dying... and The Dead!, but overall, they're kind of hit-and-miss for me.  I also know I'm way behind on reviewing this, as it's been out for months now, but I figured I'd give their swan song a listen, as I was pretty curious.

My first thought is that the songwriting is even more stripped down than Dystopia was, perhaps as much as Countdown to Extinction.  Most Megadeth fans will find very little that's new or surprising, and perhaps might get frustrated with how familiar it is.   While there are a few fun thrashy blast-fests, much of the album plods along as Mustaine sings about his observations and frustrations.  The opener "Tipping Point" and "Let There Be Shred" are highlights for being some energetic thrash tracks, and "Made to Kill" feels like it could have been on Rust in Peace, with its meter changes and dynamics.  "The Last Note" also has some decent energy as he reflects upon his career before ending the album.  And then there's the Metallica cover.  It's alright.  It's a bit of a weird choice, too, as I understand the song changed after Dave was kicked out of the band, so playing this final version is strange.  While the performance is fine (and has Megadeth's typical tightness), the main problem is Dave's voice.

And this is where I address the elephant in the room.  I get that getting older isn't for wimps, and throat cancer is no joke, surely affecting his voice, but it feels really weak and rough on this album.  Much of his snarling charisma is gone, and while it's not bad on every song, it is something that gets a little hard to ignore.  And with "Ride the Lighting," compared to James Hetfield's roaring bark, Mustaine's voice feels so weak and kinda drags the song down.  If he had covered it just 10 or even 5 years earlier, it would have sounded better.  I don't mean to be a jerk about this, as I've heard that his voice has been failing for a while, and I hope he's able to keep it working through the farewell tours he wants to do.  But when Mustaine's singing was such an iconic part of this band's sound, it's a little depressing to hear it struggle so much.

There is something to be said about going out on your own terms, though, and for Megadeth, this farewell is about as Megadeth as it gets, for better or worse.  I'm sure the guitar nerds will enjoy picking these solos and riffs apart as they always do, but otherwise, it's honestly more of the same.  I don't think it's a bad album, overall, but it does feel like a simplified version of the band's sound, which makes for perhaps a bit of an underwhelming last album.

Lovebites - Outstanding Power

Well, I asked for another full album and here it is!  Their last one was quite a blast, and it made it into my Top 5 for that year, and since then, they released an EP that was also pretty solid.  Keeping the same lineup as before, the band seems to be trying to expand their sound beyond power metal, but I don't know if it's really working for them.

Things start off well enough with "The Castaway," but then they go right into thrash metal mode with "Silence the Void" and later on again with "Reaper's Lullaby."  They proved they could do this well on Lovebites II with "Where's Identity," so I'm pleased to hear them do this again.  However, they also try some symphonic metal ideas with "Forbidden Thirst" and "Dream of King," but feel like they might be stretching a little too far from their base with these, especially the syncopated riffing in the latter song.  Other experiments include the AOR-like "Wheels of Fire," a classic metal approach for "Out of Control," and some uptempo rock for "Blazing Halo."  Then they go all-in on the extremely sentimental power ballad "Eternally," which really didn't need to be seven minutes long.  These tracks had some good moments, but it does make the album feel uneven and inconsistent (and your mileage may vary with these genre shifts).  Fortunately, they do bring back the power metal on "Phoenix Rises Again," and the closer "One Will Remain."

I kinda hate to say it, but this is a bit of a disappointment.  After the incredible Electric Pentagram and the worthy follow-up Judgement Day, I was ready to sail with them into the power metal seas.  However, after listening to all this variation, I'm wondering if the band is having a bit of an identity crisis.  While I do like some of the ideas, especially the faster, thrashier songs (I think "Silence the Void" is the best track here), this album doesn't feel as strong as what they've done before and leaves me worried about what they might try next.  

Yes - Aurora

Once again my favorite band has put out another album.  I admit it has been tough to get into their recent material.  The Quest had a decent start but eventually settled into a soft rock pace that I found lack luster.  This was followed up with Mirror to the Sky, which I thought was an improvement, but still struggled in the rock department.  After that one, I had a bit of hope that it was at least an upward trend as they explored this new era of their sound.  When this album was teased at the end of last year, I tried to keep my expectations low, but as the singles were released, I felt underwhelmed.  Now, after listening to it a few times these past few weeks, I think it's about time I gave up on this version of the band recovering the legacy of their rock prowess.

To be clear, this is by no means a bad album, just kind of inoffensive.  It meanders a long from song to song, providing some decent atmosphere, and the increase in symphonic sections shows their theatrical pretensions.  They do have a few interesting shake-ups, with "Outside the Box" messing around with synths and vocal harmonies, "Countermovement" was a decent epic song with some curious twists and references, "Jambustin" is a playful, quirky song that almost works, and "All Hands on Deck" sounds like they're channeling Deep Purple, of all things.  The opening title track is probably the best at embracing the band's current positive mood, which resonates throughout the album.  Overall, it's nice to listen to.

Unfortunately, it's just not very memorable.  Even with their experimentation, there is this intention of a slower, easier pace without really having any impact on me as a listener.  At least The Quest and Mirror to the Sky had tracks that felt like complete ideas or had some energy, but here, they are content to stick to this laidback version of their style, perfect for their Cruise to the Edge events.  It was after I listened to this album the second time I finally had to come to terms that this current lineup just has no desire to bring back the rock music side of their sound, something that Jon Anderson did very well with the Band Geeks.  I understand this album has its fans, but I am not one of them.  It's such a shame, too, because I know these musicians are very talented, but they don't seem to interested in putting their mastery into what I'm interested in.  Maybe in the future, they'll remember to be a rock band, but for now, this is just another disappointment.

New Releases - September 2024!

It's been a while!  I still kinda catching up on things, but I've worked out a plan that should get me back on track before the end of the year.  And for once, I'm not reviewing any metal!  All three of these albums are ones I have been looking forward to, each for their own reasons, but it is nice to see some older styles still be represented by artists both old and young.  Let's get this prog rock article started!

David Gilmour - Luck and Strange

So we finally have the latest from this guitar legend.  There's been some talk from him about maybe moving beyond Pink Floyd, and getting a producer who has no interesting in respecting Gilmour's past.  However, I don't think he can really escape it, especially with an album like this.  Once again, David takes us through another bluesy journey, this time with an emphasis on themes of aging and mortality.

Those looking for Pink Floyd vibes will certainly find them here and there.  The title track, which features a recording from Rick Wright as a basis, feels like it could have come off of Division Bell, and "Scattered" references some of the band's 70s ideas, including a heart beat and that reverby piano from "Echoes."  As for the rest, the album tends to drift between his last two.  "The Piper's Call," "Sings" and "Yes, I Have Ghosts" feel like a folky variation on the songs fom On An Island, while some of the darkness of Rattle That Lock shows up on "A Single Spark" and "Dark and Velvet Nights."  The latter one actually gets pretty funky.  If there's one that maybe feels like an odd duck out, it's "Between Two Points," which is sung by David's daughter Romany.  It's an interesting song, but the production feels much more modern, like a contemporary pop song.  I didn't mind it, but folks who like their Gilmour material to feel classic may find it jarring.

Of course, Gilmour hasn't lost a step in his guitar work.  He still has his tasty licks and legato-style solos, so fans will get their fill for sure.  However, I feel like this album was more focused on the song-writing than the solos, and I think it makes the album feel a little more whole.  I don't know if I can really compare it to his other albums too well; I'd have to really dig in deep to compare.  However, on it's own, it's a solid album that shows how well Gilmour is aging, despite what the lyrics might imply.

Jon Anderson and the Band Geeks - True

So the story goes that the Band Geeks were just a cover band who happened to include a lot of Yes covers.  When Jon Anderson joined up with them, fans were talking about how good they were at playing classic Yes stuff.  Then they announced an album, and despite that pretty terrible cover art, they did end up recording something that sounds like classic Yes.

While Jon Anderson's singing and lyrics give this a heavy Yes-like tone, I do wonder if maybe the rest of the band is trying a little too hard to be like Yes from multiple eras.  Obviously, there's some classic Yes stuff, mostly Tales of Topographic Oceans or Going For the One, but there elements of their 80s pop sound, especially on "Shine On," and even some symphonic flourishes making me think of Magnification.  The Band Geeks are due a lot of credit, as they're playing is definitely spot on.  They are eager to sound like the classic members of Yes, with keyboard runs like Wakeman, basslines like Squire, and guitar solos like Howe.  

I guess my main concern is whether this stands on its own as good music or if it's just reminding me of music I already love.  I know I struggled with Arc of Life's two albums, to say nothing of what Yes has been doing lately, for the same problem.  However, I can't deny that Jon and the Geeks have worked out the kinks and made something that really clicks with me here and there.  "Shine On" has a lot of good energy on it, "Build Me an Ocean" sounds like it comes from The Living Tree, and the 16-minute epic "Once Upon a Dream" sounds like a sequel to "Awaken."  I get the feeling that if I listen to this more, I'll start to come around on it, but for now, it's a solid collection of tracks that fans of classic prog will probably enjoy.

Monkey3 - Welcome to the Machine

After loving their last album so much that it was my album of the year for 2019 (and checking out their first), I was pretty excited to hear they had a new one in the works.  However, this came out back in February.  I didn't plan to set it aside for so long, but life happens.  In any case, I'm finally catching up.  Despite the five year gap, these guys haven't lost a step.

As if the title wasn't obvious, these guys have a very Pink Floyd influenced sound, mixing in elements of post-rock, stoner rock, and even some crushing, Tool-like segments.   However, they are able to weave this together so that it all flows really well.  Their tone remains intact, drifting between mysterious and uplifting as the songs build and breakdown.  There is a stronger mechanical feel in the songs (matching the title), but it's only sprinkled in here and there, adding another layer to their iconic wall of sound.  Another factor I love about this band is, while they are experts at creating a solid spacey atmosphere, they aren't afraid to jam it out for a bit, freeing up the band to let the guitars go wild for a while.  Playing this stuff live must feel liberating.

I'm not going to lie: this is a Top 5 contender for the year.  "Ignition" gets things started perfectly, "Collision" is a solid follow up with the mechanical bits, "Kali Yuga" dips pretty deep into their atmospheric side, "Rackman" builds up really well, and "Collapse" is a good closer with a lot of fun Pink Floyd references and excellent transitions and dynamics.  I don't know if it's quite as good as Sphere, but it's very close, and certainly a standout album for 2024.

Retro Reviews - August 2024!

Wow, where did the time go?  I was on a good schedule and then fell behind somehow!  I'll work on getting back on track, but I will admit that the next Anniversary Article is gonna be late as well because that's going to be another stack of reviews.  I'll keep trucking along, but for now, here's what I've been checking out lately.

David Gilmour - Rattle That Lock

With a new album coming out next month, I figured I should catch up on this legendary guitarist's solo discography.  I've already reviewed his first three albums, so this is the last one left.  While On An Island was very chill and pastoral, Rattle That Lock goes for a darker tone.

While we're not in Pink Floyd territory (though bits will feel that way with his guitar solos and some of the layering of strings and synths), this definitely feels like a more personal darkness.  The songs end up feeling a bit long with all these slow tempos, but if you can get into the somber headspace it's creating, the time flies pretty quickly.  Gilmour's solos are still beautiful, emotional, and majestic, but his voice sounds a little rougher this time around, but he makes it work.  The songwriting is interesting as well, leaning often into cinematic ambience and some jazzy sections here and there.

The album also flows well, but the songs shake things up here and there.  I did connect with some of the emotions on "In Any Tongue," and I felt that "A Boat Lies Waiting" is the closest to his previous album.  "Dancing Right In Front of Me," gave me some Dire Straits vibe, and the instrumental "Beauty" starts of pretty ambient before getting into some Pink Floyd territory, and I liked both halves.  "Today" was a jarring shift, going from a church hymn to this 80s alt pop thing.  It made me think it should have been on About Face instead of this album, given how upbeat it was.  Overall, I enjoyed a lot of this, and might considering it my favorite of his solo stuff (though I'd have to listen to the others more to really say).  It's a shame I didn't listen to this when it came out, as I did know about it, but I guess hearing it now means I get to share my thoughts with you here, for what they're worth.  Anyway, I certainly recommend this one as I think it's very accessible and easy to get into.

Iron Savior - Interlude

As I continue my quest through Iron Savior's discography, I'm a little baffled that this is considered an EP when it's over 50 minutes long.  Sure, half of it is live stuff, but it's really pushing the limits of "extended."  Then again, Sonata Arctica sorta did that with Successor, so maybe there's precedent.  In any case, this release carries on the story of the Atlantean super-computer with another chunk of power metal.

The live stuff is good enough.  Performances are tight, and there is a bit of stage banter in German with a crowd excited to be there.  The new tracks seem to lean more toward traditional metal, and capping it off with a Judas Priest cover really cements it.  The production seems a little weird, like the bass has been turned up, but without consideration of how it affects everything else.  However, that's just a nitpick for what is a handful of decent tracks.  "Controtions of Time" has some interesting gritty riffing and "The Hatchet of War" feels very Gamma Ray (though with Kai still on board, that's not a surprise).  I don't know if this is really a substantial release, but as an Interlude, it provides a solid collection of songs before the next chapter of the saga.

Angra - Rebirth

While I found their third album underwhelming, the band went through a pretty big change after recording it.  The vocalist, drummer, and bassist all left, so guitarists Loureiro and Bittencourt had to pull together a new band, thus the album title Rebirth.  As far as I could tell, it's not a concept album, but it's still a solid set of progressive power metal songs.

The balance of Helloween and Dream Theater continues on, but some synthisized strings give them a touch of Rhapsody of Fire, provided by Günter Werno on loan from Vanden Plas for this album.  He even gets a few noodly solos along with the guitars.  New singer Edu Falaschi feels like a cross between James LaBrie and Fabio Lione, so he fits in pretty easily.  Aquiles Priester and Felipe Andreoli are the new drummer and bassist, and they keep pace pretty well, while still squeezing in a few tribal beats for some of the more groovy sections.  The songs themselves are an interesting blend of ideas, going from soft to hard, slow to fast, sometimes even within the songs.  For what it's worth, I'm not saying that Angra is a copy-cat; they definitely have their own sound, and it's pretty iconic.

This album just seems to take the best of what worked before and polish it with more modern production for the time.  I remember hearing "Nova Era" a long time ago, and it's still a great power metal track, while "Running Alone" is an interesting blend of power and prog.  The rest is solid, though maybe a bit ballady at times.  They're not bad, but the energy does kinda go up and down across the album, ending on a piece of Chopin that sorta feels like the album deflating.  Overall, there's a lot to like, though, as it's pretty similar to Holy Land, and about as good.

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 - February 2019

This month has some great albums coming out, but that doesn't stop me from checking out videos.  Here's what I've found this time!

Iron Savior has been in the power metal world for a while, but take a more sci-fi route with their lyrics and story-telling.  Perhaps not the most innovative, but certainly a fun listen.  As far as I'm concerned, we can't have enough epic power metal!

Bloodbound is another band that's been cranking out power metal since the hey-day of the 2000s, and they play it like it never went out of style! Sure, lyrics about fantasy and dragons might be clichéd for the genre, but if it's done this well, who cares?!

Alright, here's something different.  Tremonti is clearly a band I've been sleeping on because this rocks real hard!  I've admitted before that I'm only really familiar with his work on Creed, but if he cranks out stuff like this on his own, I have some catching up to do!

I can't say I've heard of this band before, but Darkwater seems to bring some nice, melodic progressive metal here.  Mixing solid uptempo energy with a brooding atmosphere, and some nice synth leads, there's lots to like here!

Here's an interesting group!  Combining former members of Judas Priest, Alice Cooper, Ozzy Osbourne, and the Scorpions, we get a decent, hard rockin' track that shows potential.  Calling themselves A New Revenge, they might be someone worth keeping an eye on.

Let's finish with something very different.  I admit I'm not familiar with Status Quo (which Francis Rossi is known for), but I stumbled across this song and it gives me a very strong ELO feel (like a folky "Mr. Blue Sky").  Worth a listen, I think.