Wow. Another huge new release day. A ton of notable artists, and some surprising newcomers. I had to make a “Don’t Forget” playlist because there have been so many new albums lately that the new Car Bomb, Borknagar, Cult of Luna, Opeth, and other albums have already been pushed out of my Recently Added after just one listen. Here’s my take on the things I saved for listening this week.
METAL
Alcest – Spiritual Instinct Another band that I’ve been slightly familiar with for years, but never gave any album a lot of attention. I do know that Alcest is pretty much responsible for starting the “blackgaze” sub-genre, that they gradually evolved further away from metal, and it seems that maybe on the last album they actually turned back towards metal (though I haven’t listened). So this album is definitely more metal sounding than the last thing I remember hearing from them. Two listens through and I’m enjoying this album very much; more than I anticipated. Their signature dreamy atmosphere is still present, but the songwriting and riffs feel more immediate and engaging than I remember (which, granted, isn’t much), and there’s even a little bit of screaming that succeeds in building greater climaxes. Recommended.
Dawn Ray’d – Behold Sedition Plainsong I’m surprised to see a melodic black metal album like this coming out on Prosthetic. Mournful violin melodies are the first thing to note that sets the group a bit apart from other similar bands. The drum production is also a little heavier-hitting, like death metal, but still with plenty of reverb, which is a positive for me. While there are some cool things happening here, it’s not quite unique or memorable enough for me to return more than maybe once more.
Hour of Penance – Misotheism Modern death metal that’s not overproduced or overly technical, but still crushing, really fast, and super evil sounding. This one got my head nodding. Great riffing that is catchy and grimace-inducing in the best way. Pretty relentless in a Hate Eternal kind of way, and I love me some Hate Eternal.
Jinjer – Macro I was surprised at how much I enjoyed Jinjer’s Micro EP from earlier this year, so I was very interested to see if they could keep it up for the following full length. The Ukrainian band melds elements of metalcore, djent, progressive metal, and…nu-metal. I know, I hesitated when I saw the word “nu” in their bio. Thankfully, there’s nothing cringeworthy here. This supposed recent nu-metal resurgence is something I approach with extreme caution, but with Jinjer, the only “nu” elements are some of the rhythms/grooves, and maybe some of the melodic vocal melodies. With occasional blast beats and lots of technical riffs, it’s way more extreme than anything truly nu-metal. The frontwoman is also a total badass, with a dynamic melodic range and a pretty brutal scream, so she’s way better than hearing some bro whine and croon about his own personal dramas. There are also lower, male screams from one of the other band members, so it’s a pretty diverse vocal attack. The instrumentalists are top notch, as is pretty much assumed with the djent and prog tags, but it takes a lot more than that to hold my attention. There is very little under the djent umbrella that gets any of my attention, and this band has certainly become a rare exception thanks to their multi-genre amalgamation, musicianship and above-average vocals. Did it surprise me as much as the previous EP? No, but I knew what to expect, so that initial “oh wow, this is different” has worn off. Maybe I do like the songs on Micro a little more, but there isn’t anything different stylistically. While I appreciate what the band is doing, it’s definitely not one of my preferred genres. So I’ll keep up with them, but the album won’t stay in rotation.
Leprous – Pitfalls I was afraid this was happening to them… Even though Malina made my 2017 year end list, I still didn’t love it as much as their previous two albums. This continues their path towards simpler rhythms, more quiet parts, and less metal. I understand a band’s need to explore new directions, but they’re removing my favorite elements now. The thing that made this band so unique was their approach to rhythm and space, and on this album I found myself too often waiting for a more intense part that never arrived or was too short. There are still lots of cool things happening, but it’s just not as exciting. I’ll probably just listen once more. 🙁
Mayhem – Daemon Mayhem never disappoints, and you pretty much know what you’re in for with every new release. They are perhaps the only band currently putting out this kind of straight-forward, traditional, pure Norwegian black metal that I am completely content with, and don’t wish they would “do something a little different/new/unique/challenging.” Horns up!
Mur – Brutalism Now here’s an interesting surprise. From the looks of the cover, I was expecting some lo fi, grim, black metal that would probably last a track or two before getting deleted. I know, “don’t judge a book by its cover” blah blah, but usually I can get a pretty good idea of the sound of the album from the cover art. Well, they fooled me. While there are black metal elements, as the album unfolds, the black metal part of the band’s identity seems to diminish. First of all, there’s some unexpected, dark, low, buzzing synth parts that pop up here and there. If the band has a dedicated keyboardist, they only take the spotlight occasionally. Then, some Converge influence starts to appear. First it’s the mid-tempo to slower Converge-type riffs, and various other metalcore kinds of parts, then eventually a little bit of the faster side too. The vocals are also a cross between black metal rasp and metalcore scream. There’s a lot going on here, and I like that they don’t show all their cards at once, ending the album in a much different place then one would have expected from the first track or two. More listens needed for sure. Also, I read that this band has a former member of Today is the Day.
Norma Jean – All Hail I lost interest in Norma Jean a long time ago. But they were significant enough to a genre that used to be my favorite that I still sample their new releases. If you like their brand of metalcore, you’ll probably still like them. I just briefly sampled this, but figured it was still worth mentioning as a new release.
Rings of Saturn – Gidim (Partial Listen) I’ve seen this band’s name for years, but this may be my first time actually listening, or at least really paying attention. Tech-deathcore? Meh. I heard recently there have been accusations of their drummer “faking it.” I won’t weigh in on that, but I can see why the accusations exist. I will say that if ultrafast, uber-tech-death shredding, and drop-Z (actually, it’s 8 string “double dropped E”: Eaeadgbe) br00tal breakdowns sound appealing to you, then you may dig this. I, personally, am completely uninterested in chugga-chugs (often deleting an album from my music library at the first appearance of any). And while I do enjoy my fair share of tech-death, these tech parts were entertaining for how extreme they are, but not particularly memorable
Sunn O))) – Pyroclasts I appreciate the concept of Sunn O))) more than I care to actively listen to them. I’ve given full or partial listens to a few albums, but I can’t really talk about their catalog with much knowledge. This sounds like classic Sunn O))), business as usual, to me. Besides (or maybe even including) some collaboration albums, I don’t think they have ever deviated much from their signature sound. So here we have another collection of monstrous, droning guitar distortion and feedback. I like how meditative it actually is, but it’s really just cool background ambience for me.
Swans – Leaving Meaning I have not had the desire to devote more time than one complete listen to the last couple (incredibly long) Swans albums, though I did love 2012’s The Seer. My first listen take-away of late has been that a lot of the songs were way longer than they needed to be, and they could have achieved the same effect by playing “that part” for 90 seconds, rather than 8 minutes. I “get” it, but I just don’t have the time or patience. After one full listen (well, almost; I skipped ahead on a couple tracks to confirm that, yes, they are still playing the same note 3 minutes later), I’m sorry to say that this new album was kind of disappointing. Though the track lengths are actually shorter in comparison to recent albums, the album as a whole is very soft. It sounds like Michael Gira has really mellowed out. There are way more tracks that drift, float, and drone along, and only a few that have any serious tension or even darkness. The soft songs are nice, with a unique vibe, and Gira almost has this gothic Leonard Cohen thing going on with his poetic lyrics and deep voice (though no one may ever reach the depths of Cohen in his final years). But that’s not really want I want from a Swans record. I know Gira doesn’t care what anyone “wants” from a Swans record, and I absolutely admire and respect his legacy, but when I want to listen to Swans, it will not be this album.
The Great Old Ones – Cosmicism This is some really well done, cavernous black metal. Thankfully, the drums are loud enough, and the mix is not just a murky cloud of reverb, so it hits hard enough for my tastes. I’ve listened to this band a little bit before, and don’t remember much, but I LOVE their album covers. Something about the art really stands out from the crowd, and it makes me like them more, even though I’m not very familiar with their music. Will definitely be listening more.
ROCK
Desert Sessions – Vols. 11 & 12 Josh Homme (Queens of the Stone Age frontman) started this collective of musicians/songwriters back in 1997. He gathers various musician friends at a ranch in Joshua Tree, CA, filled with vintage instruments and recording gear, for a pressure-free writing / recording session / hang. They collaborate, play on each other’s tunes, and generally have a grand old time. Sounds like a lot of fun to me, and it’s apparent in the recordings. It’s been 16 years since the last one, but here we have the latest installment in the series. Guests on these sessions include Les Claypool (Primus), Billy Gibbons (ZZ Top), Carla Azar (Autolux, Jack White), Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Matt Sweeney (Chavez, Zwan), and others. I’m a big fan of Homme’s style of songwriting, riff-writing, and vocal melodies/harmonies, so it’s really cool to hear his recognizable sound, but with the addition/combination of all these other accomplished musicians and their creative voices. Save for one “joke” kind of track, where people can be heard actually laughing during the vocal take, the songs all sound like serious compositions that the artists could have written for their respective main bands. This all makes for a diverse and very enjoyable listen. Highly recommended for QOTSA fans.
Neil Young & Crazy Horse – Colorado The last Neil Young album that I really enjoyed enough to give it repeat listens was 2012’s Psychedelic PilI. I just gave this new one a listen, sometimes paying closer attention, sometimes more in the background, and my impression is that it sounds pretty authentically like vintage Neil Young. I love some of his classic albums, and this one sounded good, but I don’t see myself giving it more than maybe one additional listen.
Steve Hackett – Genesis Revisited Band & Orchestra: Live I saw Steve Hackett a few years ago on one of his Genesis Revisited tours and it was fantastic. The concept of the whole Genesis Revisited thing is Hackett playing arrangements of those songs as if he had the last say, and didn’t get overpowered by the keyboards so often. So it’s basically the classic songs you know and love, but heavier. And now here we have an entire orchestra playing the keyboard parts! I am a huge fan of Hackett-era Genesis, and adding an orchestra to those already brilliant and nuanced arrangements works really well. Tony Banks’ memorable keyboard melodies and textures played by winds and strings, and loud brass accentuating the already heavier than the original rhythms and guitar riffs makes for an epic sound. Admittedly, it’s a bit cheesy at times. The singer, though very talented, has a smooth voice, sounding like, say, an aging Phil Collins. It would have been a lot cooler if Hackett hired a younger vocalist to channel the energy and attitude of a young Peter Gabriel. Still, any big Genesis fan should give this a listen. It’s almost 2 hrs long, so it takes a commitment, but I figure that I will never have the chance to actually see this live, which I would, so this is the next best thing.
JAZZ
The Bad Plus – Activate Infinity File under: “bands I’ve been somewhat familiar with for a long time, but have never given a single album a close listen.” Making an impression among young jazz musicians right away with covers of “Smells Like Teen Spirit” and “Iron Man” on their debut (2001) and 2nd (2004) albums, respectively, The Bad Plus’ 21st century approach to the piano trio format is, naturally, similar in style to Brad Mehldau (my favorite living jazz artist). Upon listening to this new release, I immediately still hear strong similarities to Mehldau, harmonically and rhythmically. While I enjoy the style, this album is not proving to be much more than good background music. It’s pleasant, there’s some cool stuff happening, it’s well executed, and I would enjoy it live, but there’s nothing particularly exciting or different happening. And considering how ambitious and virtuosic Mehldau has proven himself to be (I know, I keep mentioning him. I can’t help it), if I want to listen to music like this, I’ll be choosing one of his many brilliant albums over this one.
30/70 – Fluid Motion This was in the jazz section of new releases, but it definitely leans more heavily towards the RnB/Soul/Hip Hop side of the new wave of young jazz artists. For one, there are strong, soulful female vocals on the majority of the album, and lots of swaggering hip hop beats. But there are also a few instrumental tracks, tenor sax, and the musicians are flexing ther jazz chops. I love this new hybrid genre and can never really get enough of it. Lucky me, three more similarly styled albums below!
Blue Lab Beats – Voyage Just from the artist name, album title, and cover art, I knew I was going to like this. Next generation jazz artists incorporating hip hop, RnB, soul, and electronic. There’s a clear influence from Herbie Hancock’s 70’s era (which contains some of my all-time jazz favorites), including some sweet vocoder vocals, plus a guest spot from Zambian-born / Australia-based rapper Sampa the Great. Top notch stuff here.
Captain Supernova – The Voyage Never Ends… More great next generation jazz, but, again, leaning more heavily towards danceable RnB/Soul. Some seriously bumpin’ grooves going on here. It was hard to pause mid-track when I was listening in the kitchen and had to run upstairs. It’s fun, feel-good, smart, and soulful. What’s not to like?!
Mark de Clive-Lowe – CHURCH Sessions This is album number THREE of 2019 from this half-Japanese, half-New Zealander, LA-based pianist, producer, live remixer and composer who spent a formative decade at the heart of London’s broken beat movement. (That one sentence is all I would need to want to listen to this album.) I really enjoyed his Heritage and Heritage II from earlier this year, so I had no doubt this would be great too. This recording comes from his series of “Church” club parties that he describes as “equal parts jazz club, dance party and live remix experiment.” Yes, it is as awesome as it sounds.
Dave Holland, Zakir Hussain & Chris Potter – Good Hope A very intriguing supergroup. Holland started with Miles Davis in the late 60’s and played on In a Silent Way and Bitches’ Brew. I’ve also really enjoyed some of his albums as a bandleader from the past 20 years. Hussain is a world renowned tabla virtuoso who’s playing with Shakti (John McLaughlin’s incredible 70’s Indian/jazz fusion supergroup) is what I’m most familiar with. Potter played sax on a lot of those more recent Dave Holland albums, as well as albums with Pat Metheny, Dave Douglas, Paul Motian and John Patitucci, just to name a few. So you know the playing is going to be world class. When I saw the names, I immediately thought, “Cool! Upright bass, tablas, and tenor sax. A unique sound.” Upon listening, I quickly realized how sparse the album would be texturally. With no chordal instrument, and the somewhat limited sonic range of tablas, as opposed to drum set, there is a lot of open space in the mix. I enjoyed this album, but didn’t love it. Probably won’t return much, but it’s worth a listen for the unique instrumentation.
Marquis Hill – Love Tape Another next generation jazz artist, but this one is more firmly rooted in jazz than the first three albums in this post. As you may assume from the title, the music is mellow and soothing. Warm trumpet and keyboard, laid back grooves. Very nice.
Mary Halvorson & John Dieterich – A Tangle of Stars Mary Halvorson is an avant-garde jazz guitarist with a really unique style. Her use of pitch shifting effects is what sticks out first to set her apart from others. My former band, Normal Love, played with her a couple times and she was always very engaging to watch. John Dieterich plays guitar in the highly regarded noise-pop / avant-garde indie rock band Deerhoof. So if that entices you, and you’re not turned off by the fact that the album is just the two musicians playing guitar and no other instruments, then you’re in for some very interesting music. It sounds like they had a lot of fun making this partially composed, partially improvised album. Some of it reminded me of the old Les Paul records with sped up guitar. Not something I’ll return to much, but I’m glad I listened.
ELECTRONIC
Amon Tobin – Long Stories I’ve been vaguely familiar with this artist since my initial electronic music discovery period in college. By the sound of this one, I’m interested in further exploring his catalog. I’m guessing his earlier material is more beat-driven, but this one is full of lush, cinematic soundscapes. Enjoyable.
Hieroglyphic Being – Synth Expressionism/Rhythmic Cubism Never heard of this artist before, but it looks like his first EP came out in 2004, and from briefly scanning his bio, he’s quite a prolific and highly regarded artist. Aphex Twin’s Syro, but faster, like Drukqs, is a good starting point of reference for this album. Glitchy beats with weird syncopated rhythms and lots of different percussive sounds jitter around under bubbling synth sounds. There’s a lot going on, but it’s not aggressive, just fast and busy.
Steve Hauschildt – Nonlin I’m always looking for new additions to my “Chill” playlist, mostly for late nights and early mornings. This mostly ambient album from one of the co-founders of the electronic trio Emeralds has been added to that playlist. Really nice, warm synth sounds, sometimes rhythmic, sometimes vast and spacious. Occasional percussion.
Teebs – Anicca Chill, “downtempo” electronic on Brainfeeder (Flying Lotus’ label). Some exciting guest singers: Sudan Archives (I love this artist, and because of this guest spot, I looked her up and discovered she has a debut full length coming next week!), Anna Wise (multiple tracks with Kendrick Lamar, and a debut album of her own from last week), Panda Bear. Excellent!