Monster Jams: Mike Patton and Jean-Claude Vannier - Corpse Flower (released 9/13/2019)

Monster Jams: Mike Patton and Jean-Claude Vannier - Corpse Flower (released 9/13/2019)

Talk about a strange brew--this bizarro collection of adventurous tracks from vocal mad scientist Mike Patton and famed composer Jean-Claude Vannier is genuinely an album without boundaries. An eclectic ensemble provides strings, keys, and percussion for this boisterous effort that roams a broad musical landscape with playful abandon. There is a cinematical feel to the compositions that veer from blues to pop amid a great many detours into various sounds and moods. At times cocky and sarcastic, Corpse Flower also hosts numerous moments of gentle amusement and loving tenderness. It even growls at various junctures, and the artists have so much fun exploring the space that it is often hard to discern whether or not they are winking at the listener or cracking a whip. The lyrics are occasionally blunt and direct, but veer more toward the poetic or even the surreal--and also plunder Oscar Wilde's material in the opening salvo. As a Patton fan, I would classify this among his most curious endeavors, yet it is infinitely more accessible than his most challenging recordings. A hearty buffet of sonic delights, Corpse Flower is one of 2019's most unique releases, and it takes listeners on a delightful journey with a lot of eerie subtexts. Standout tracks include "Browning," "On Top of the World," and "A Schoolgirl's Day," but there isn't a bad cut in the mix. 

Final Grade: A

Monster Jams: Tool - Fear Innoculum (released 8/30/2019)

Monster Jams:  Tool - Fear Innoculum (released 8/30/2019)

It's not easy to review an album like this, an experience that must be heard, but I will take a stab at it nonetheless.  Tool has always been a visionary act, an astounding collective fueled by imagination, artistry, and serious chops.  Thirteen years after their last release, they are back with Fear Innoculum, a deft masterpiece that proves to be well worth the wait--and undoubtedly houses hidden treasures that will emerge upon repeated listenings.  There is a depth to these songs that seems to dwarf most of what's out there, and there is a brazen thirst for exploration that remains as unified as it is bold.  The band embarks upon songs that feel like the sonic equivalent of epic journeys, and they do so with an ease that belies the innate grandeur of their musical dexterity.  The cuts here are fierce, haunting, playful, driving, ominous, absolutely beautiful, and, most importantly, fully immersive.  Despite running contrary to anything that the current landscape represents, these powerful contributions to the band's robust catalog are nothing if not accessible, this in spite of the scope and complexity on display.  Most tracks exceed ten minutes in length and cover a lot of territory, but there is a cohesion that never falters.  Expectations are repeatedly cast aside so that the music can explode in another direction or recede into a valley, where it may emerge as either a loving harmony or an aggressive attack.  This may sound rather exhausting, though it is truthfully anything but; there is no fatigue when dipping into this provocative pool, only excitement, and perhaps even joy.  I'm not sure exactly what I wanted from Fear Innoculum, but I know it will take some time to properly embrace what I got--and it's more than we deserved.

Final Grade: A+

Well. it took long enough, but Fear Innoculum is a delightful cabinet of curiosities for fans to cherish and explore.

Monster Jams: My Diligence - Sun Rose (Released 1/30/2019)

Monster Jams: My Diligence - Sun Rose (Released 1/30/2019)

Terrible name, gnarly Belgian band.  Some might bill this as stoner rock or some variety of progressive rock, but I'm not really sure where it fits.  I don't particularly care either--I'm not too keen on this whole label craze with what seems like a zillion different little niches where sub-genres of music are concerned.  In this case, I'm totally cool with filing My Diligence under rock and taking it from there.  These guys are aggressive, with driving riffs, a steady beat, and some serious cohesion keeping the sound exquisitely forceful and equally tight.  The vocals, however, are subdued if not lethargic by comparison, though the melodies are sweet and the grooves pair nicely with the band's emphasis on momentum.  The precision involved is ruthless, and even those who don't favor the sound should be able to acknowledge the talent involved in crafting this music.  The contrast on display yields a surprisingly smooth output that never veers off course while blancing catchy harmonies against a potent dose of adrenaline.  Maybe it's a weird marriage; it doesn't matter, what matters is that it works.  Standout tracks include "Resentful,""Backstabber," and "Lecter's Song."  I'm not sure that anything included in this release is truly explosive, but there are no misfires.  Sun Rose is a thirty-eight minute foray into a hypnotic sound that will not necessarily blow your mind, but it will take you to some unique places, and it will leave you wanting more.

Final Grade: B+

Monster Jams: Clutch - Book of Bad Decisions (released 9/7/2018)

Monster Jams: Clutch - Book of Bad Decisions (released 9/7/2018)

Clutch has released a new album, the latest advance in their quest to transition into a rock and blues band with some jazz influences popping up in the mix as well.  There are still moments when they display the fire and gusto that made them a force to be reckoned with in their wild and woolly days, but the band has clearly embraced restraint and nuance to go along with advanced musicality at this stage of their evolution.  This may or may not be a bad thing; the album definitely rocks, and even if there are boundaries in place and less ferocity than old school fans may yearn for, your average rock fan is more apt to enjoy Book of Bad Decisions from start to finish.  For many, this new approach may be preferable--if your opinion of the band has been rising since they started taking fewer risks and toning down their intensity (say somewhere between the release of Robot Hive/Exodus in 2005 and From Beale St. to Oblivion in 2007), you may rate this among the band's best offerings.  If, on the other hand, you greet each release from these former stoner rock titans with some measure of hope that the guns blazing glory of Elephant Riders will rise from the ashes, you're bound to be disappointed.  I fall somewhere between these two categories.  I enjoy the new flavor, and I can't dispute the fact that this is a quality album (though it must be stated that it offers more material but less punch than their 2015 album, Psychic Warfare), but I wouldn't dare put it up there with releases like the previously-mentioned Elephant Riders, Blast  Tyrant, or Transnational Speedway League.  Is the band more precise?  Absolutely.  Are they still doing it their own way and making raucous noise?  Certainly.  Does it compare to that era when they offered up wild exploration and deftly intertwined metal, funk, and something akin to rage in the first half of their discography?  Man, I don't think it's even close.  Still, Book of Bad Decisions is a tight collection with several killer grooves, and Neil is still spitting about absurd shit even if he has mellowed out a bit.  "Hot Bottom Feeder" and the title track even flirt with the notion of serving as throwbacks to the band's furious past.  Other standout tracks include "Gimme the Keys," "In Walks Barbarella," and "H.B. is in Control."

Final Grade: B-

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

A killer surprise, Ultraphonix's Original Human Music is a stellar album that may be the best rock album to hit my radar in 2018.  Heavy on variety, the album offers up some dope rock that leans toward metal, some funky jams, a soulful ballad or two, and frequent splashes of jazz and blues to keep things popping.  It never misses, and as so-called "supergroups" go, singer Corey Graves (Living Colour), guitarist George Lynch (Dokken), bassist Pancho Tomaselli (War, Philm), and drummer Chris Moore (Cry Wolf, Damage, DeathRiders), deftly intertwine their respective talents to produce something new and distinct.  While their efforts do conjure their greatest strengths, the end result isn't a nod to any of the performer's bands and certainly seeks to cover new ground.  This is a key element of the album's success, and it is impressive that the band is able to take an experimental approach to much of the material without sacrificing intensity or cohesion in the process.  Everyone has brought their A game, and everyone has their moment to shine, though Graves occassionally dominates the proceedings with his range and passion.  Though he may not enjoy the same fanfare as Lynch, Tomaselli surely holds his own on bass, and while George shreds all over the place in blistering displays of talent and vision, Pancho provides Ultraphonix with a lively heartbeat and several deft flourishes of his own.  Moore's work here is a bit more deliberate and less showy, but his steady hand is a key element of the band's ability to cover so much territory without getting lost in the wilderness.  Standout tracks include "Walk Run Crawl," "Free," "Wasteland," and "Take a Stand," but you won't find a bad cut on this gnarly recording.  Highly recommended!

Final Grade: A+

Short Attention Span Review: Dead Cross

Short Attention Span Review: Dead Cross 

In fairness,  I should make my readers aware of the following tidbits:

1) Faith No More is my favorite band, and as such, there is little doubt that I would classify Mike Patton and the versatility and creativity that he brings to his vocals as the best things ever to happen to any microphone, anywhere.

2) I'm a diehard Slayer fan, and while I take nothing away from the band as a whole, I have stated on more than one occasison that if the band were to offer any album featuring Dave Lombardo as a drums-only release featuring his work on the skins alone, well, I would snatch that shit up in a hot minute.

So, this whole Dead Cross thing is a bit of a dream project as far as I'm concerned, and I want to make this clear as I obviously have a considerable bias at work as I sit down to write this review.  By the same token, these tidbits should denote a potent set of expectations regarding this latest release from the throbbing treasure chest of unruly sounds that is Ipecac Recordings.  As with anything one approaches with high hopes and a decided thirst, it was entirely possible that even a solid recording would have been a bit of a disappointment.  Yes, I listened to this album mere hours after it was released fully expecting to hear something noteworthy, and I'm very happy to report that I wasn't disappointeed.  In point of fact, Dead Cross has surpassed my expectations, and if there's a better way to spend 28 minutes listening to music, I'm not aware of it.  Most surprisingly, while Patton and Lombardo both rise to new heights and bejewel this stash of hardcore gold with the very best that they have to offer, it's the guitar work courtesy of Mike Crain (Retox) that really puts this sonic blitz over the top.   Justin Pearson (Retox, the Locust) also nails the bass parts for this brief but incredible descent into unbridled fury, but I was constantly amazed by the twists and turns that Crain threw down, thrashing and grinding his way through a guns-blazing assault on the eardrums that never fails to surprise or entertain.  Quirky, energetic, and brimming with tongue-in-cheek hostility, this is hardcore at its most enticing and inventive.  Dead Cross is a serious kick in the pants that should thrill any fan of exciting music in general, and those who are enamored with any of the participants will find everything they're hoping for and more.  Make no mistake, this is a fiery bundle of lunatic rage where 9 out of 10 songs come up short of 3 minutes in length, yet no stone is left unturned.  Standout tracks include every fucking one of them, no bullshit whatsoever, my friends.

Final Grade: A+ 

Buy this shit now!!!!!!!

Post Pop Depression - Iggy Pop (released 3/18/16)

I know it's early, but I'm here to tell you that it's entirely possible that the best album of 2016 has hit the scene.  Pairing punk rock icon Iggy Pop with groovy guitarist Josh Homme proves to be a wonderful idea on Post Pop Depression, a masterful release that fires on all cylinders.  Dean Fertita and Matt Helders round out the band, and they surely hold their own on bass and drums.  In fact, while I'm not a big fan of the Arctic Monkeys, I found the groovy percussion courtesy of Helders to be a bit of a revelation here.  Homme does some killer work on guitar (no surprise there) and provides some nifty vocals as well, and Fertita is also on point throughout, but make no mistake: this riveting gem is all about Iggy Pop.  There are rumors that this may be his last release, and if that is the case, Iggy is definitely going out on top.  The last track is about as fitting a swan song as one could imagine for a frontman with Pop's presence and vigor.  There isn't a bad track in the mix, and the album deftly weaves a plethora of styles together, covering new ground when it isn't revisiting bygone eras with the sort of expertise and power that should humble most modern acts looking to make their mark in any of the same territories.  Highlights include the invigorating odyssey that is "Sunday," the Bowie-esque "Gardenia," and "In the Lobby," a spunky and morbid affair that would have meshed nicely with all the rollicking tracks that made Funhouse* such a classic.  However, it's that grand finale ("Paraguay") that really sets this one apart, and this vicious and operatic farewell may be the best punk song I've heard in a decade or so.  It's 100% Iggy Pop, and it stands as a brilliant way to close out an extremely cool album from one of music's most vibrant performers.  In truth, I have to note that as a longtime fan of this brazen artist, the previously-mentioned Funhouse is the only recording Iggy has blessed us with that I would rate higher than Post Pop Depression.

Final Grade: A

If Post Pop Depression is the last entry in Iggy Pop's catalog, the dude is going out in style.

. . . . .

*If you dig punk rock and you have never listened to Funhouse, you're doing it all wrong.  I know that most people in the know would probably anoint Never Mind the Bollocks, Here's the Sex Pistols as the best punk album ever (and it is positively sublime), but I have a hard time putting it above Funhouse.

Psychic Warfare from Clutch (released 10/2/15)

Clutch is back with a new album, unleashing Psychic Warfare on their legions of fans.  They remain consistent, churning out a steady stream of rowdy rock and roll with a touch of blues while a deranged lead singer drops curious vocals with a nifty combo of grit and style.  Clutch will never be as heavy as they once were, but this record is a bit more aggressive and a bit less somber than some of their groovier releases.  There's some serious bravado on display here, and it cannot be denied that Psychic Warfare offers listeners a thumping good time with an emphasis on excess.  Yet it still emerges as a far cry from Elephant Riders or the band's glorious self-titled album, so it's hard to review this one without penalizing Clutch for being so damn awesome once upon a when.  Is new Clutch that much different from old Clutch?  Well, while the band has always remained true to themselves, they have certainly grown over time.  As musicians, these guys are truly top-notch, and they are better at what they do now then they were back then.  However, there was something damn near primal about those unruly days when the sound was a bit more raw and everyone was a bit angrier (and the lyrics were a bit sillier) that has proven difficult to replace.  Having said all that, this is probably my favorite album that Clutch has released since Elephant Riders and it is a real kick in the pants.  I love "X-Ray Visions," "Firebirds," and the semi-operatic "Son of Virginia," and there isn't a song on Psychic Warfare that doesn't work.  It's a quality recording that is worthy of the band's legacy even if it is a bit overshadowed by those monumental releases that still define these unique rockers from Maryland.

Final Grade: B

Clutch is back with another rad record. unleashing Psychic Warfare on eager listeners.

Zipper Down from Eagles of Death Metal (released 10/2/15)

Zipper Down arrived from EODM today, and this crazy band's first album since 2008 is probably their silliest offering yet.  That's okay, for being silly and having a groovy good time while rocking out and making fun of themselves is precisely what the Eagles of Death Metal specialize in.  I thought their last album (Heart On) was a little less spirited than their previous outings, but though they may have cranked up the humor on Zipper Down, they're certainly not phoning it in.  It doesn't have quite the same punch as their first release (2004's totally stupendous Peace, Love, Death Metal) but it is a mean recording.  It has a lot of juice, and the boys are clearly having a good time tearing it up on tracks like "Oh Girl," Skin-Tight Boogie," and "The Reverend."  "Silverlake," the previously released jab at hipsters, is probably the most entertaining song from Zipper Down, but the textured revamp of the 1982 Duran Duran single "Save a Prayer" (from Rio) is seriously impressive.  Cheeky, high-octane, and full of swagger and style, Zipper Down is another super cool album from one hell of a super cool band.

Final Grade: B+

If this picture could make noise,
it would sound like an Eagles of Death Metal song.

Slayer - Repentless (Released 9/11/2015)

Slayer hit us with Repentless today, the first album the band has released since Jeff Hanneman passed away.  The impossible task of stepping in for Hanneman falls upon Gary Holt of Exodus.  Holt is a quality guitarist and he works hard to fill a significant void, though his efforts are somewhat diminished by Kerry King taking on a larger role.  For the most part, King actually plays it straight, but there are enough "Hey, look at me!" solos around to drag the proceedings down at times.  Paul Bostaph fills in nicely for Dave Lombardo on drums; there can be no doubt that he fits this band just as well as Lombardo, though I still give Dave a slight edge in ability and a bigger edge in finesse.  Tom Araya does a fine job with the vocals and bass, but that should come as no surprise.  It's a good album, much better than much of what's out there right now.  How does it stack up alongside Slayer's best recordings?  Come on, man.  Still, an average Slayer album trumps a top-shelf disc from the vast majority of acts playing the heavy metal scene in 2015.  I contemplated giving this album a "C+" but it occurred to me that I wasn't being very fair.  This would get no less than a "B" if it was released by most bands in the same vein, and there are several big name entities out there that have never produced something as worthwhile as Repentless.  The opening track, an instrumental entitled "Delusions of Saviour," is perhaps my favorite cut, though it seems like it should exist as the intro for the title track.  Speaking of the title track, the song is cool but the "Repentless" video is totally gnarly.  Slayer + Danny Trejo + a grisly prison riot = 1 extremely metal music video.  Other standout tracks include "Piano Wire," the punk-esque thrashfest that is "You Against You," "Vices," and "Pride in Prejudice."  I don't think that any of these offerings stack up well against any of Slayer's best cuts, but none of the songs on Repentless fall flat.  In the end, I am enjoying this one, even if it will never be confused with one of this legendary metal band's greatest albums.  It's still Slayer, even if things look and sound a little different, and Slayer still raises hell better than anyone.

Final Grade: B-

Slayer's new line-up delivers a solid album that is head and shoulders above
most of what's out there right now, though it is surely a far cry from their best stuff.