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.

Fabulous Faves - All That Jazz (1979)

Fabulous Faves - All That Jazz (1979)

All That Jazz doesn't sound like my kind of film.  I love movies in general, but we all know that I'm a horror guy first and foremost, and I greatly enjoy a lot of pulp.  And a lot of the stuff I call pulp, the rest of you would simply dub trash.  All That Jazz is a musical.  Not really my thing.  All That Jazz is famous for its dance choreography.  Again, not really my thing.  All That Jazz is a surreal narrative that frequently delves into the metaphysical, to include a healthy part for Death herself.  Yeah, just not the type of thing that usually does it for me.  And yet, . . . I cherish this picture.  I fell head over heels for it the first time I watched it, and it is one of those masterful endeavors where I seem to find more to love every time I revisit it.  The plot is a manic exercise that straddles so many genres that it would be hard to list all of them, and I feel that it hits every note that it aims to deliver.  Fosse's dazzling spectacle is buoyed by humor at every turn, but it is an unflinching look at dying.  It showcases the excitement and drama of performing on stage with dizzying grandeur, but it does so while also probing self-destruction and addiction with painful intimacy.  All That Jazz explores the highs and lows of fame, and love, and life as we know it.  With Fosse in the director's chair, the authenticity on the screen is a joy to behold, and Roy Scheider is unbelievable in the lead role.  I have always been a fan of Roy's work, and this is both a big stretch for him and his greatest achievement; he went big, very big, and he delivered something so mesmerizing that it could aptly be described as magical.  Everyone involved in the production of this quizzical and riveting jewel succeeds, and this is one that I can't really find any faults with.  It is a trip, and it oozes morbid humor and surreal escapism while dissecting immense and controversial behavior issues with shameless attention to detail, so I can see where many would be put off by it.  That's okay, some of the best movies ever made can be uncomfortable and astounding in equal measures.  This is one of them.

Final Grade: A+*

*All Fabulous Faves get an A+ from me.  That's why I call them Fabulous Faves!

To truly understand what Roy is capable of, you must watch this movie.  Seldom has a performance been dubbed "a revelation" for such good reason.  My take: it is absolutely one of the most powerful star turns ever realized, and it shows that while he is rightfully regarded as a legend, Scheider could have gone much farther given the chance.

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+

Short Attention Span Review: Atomic Blonde (2017)

Short Attention Span Review: Atomic Blonde (2017)

Stylish, vibrant, and exciting as hell, Atomic Blonde is a top shelf thrill ride that features two incredible performances and some of the most vicious action sequences ever captured on film.  First off, Charlize Theron is great in every role she decides to tackle, so it can't be considered much of a surprise that she is such an incredible asset to this slick spy thriller.  In what has to be her most physical role to date, she proves to be one of the most dangerous cinema badasses we've yet to encounter, and Atomic Blonde boasts several quality showdowns and one brutal battle royal for the ages.  She is almost matched by James McAvoy, who gets to cut loose in one of his most outlandish roles.  In truth, this may be my favorite thing he has done, and I consider myself quite a fan of his work, so that's high praise.  He's so volatile and so entertaining, and he shows off some action chops as well, though the film clearly belongs to Charlize.  Director David Leitch makes great use of an 80s setting for this vintage spy caper and even greater use of a fabulous 80s soundtrack.  He rounds out his cast with heavyweights like John Goodman and Bill Skarsgard, and even gets a deft showing out of Til Schweiger.  Leitch also wisely allows Daniel Bernhardt to give the heavies a boost with his menacing persona and his martial arts prowess.  Given that Leitch has a background in stunts and made his mark directing some scenes for John Wick, it should come as no surprise that he handles the action with incredible finesse.  However, I feel like it is his apparent skill in other areas that makes Atomic Blonde such a captivating success.  Yes, the film features several high-octane action bits, but it is also a mesmerizing thriller with numerous twists and turns, and enough emotional heft to keep viewers fully invested in both the characters and the intrigue.  Add the great use of a pivotal period in global history and a massive soundtrack, and you have a killer flick that deserves far more acclaim than it has received to date.

Final Grade: A+

Let's face it, Charlize kills every role she takes on, so it should come as no surprise that she slays it in perhaps her most physical role to date as an ultimate badass in Atomic Blonde.

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: Troll (1986)

Short Attention Span Review: Troll (1986)

Is it merely a bad movie?  Or is it so bad that it's good?  That is the question.  Honestly, as much as I want to pardon this turkey because it was a staple of my childhood, I think the verdict is clear.  Like most any movie featuring the name "Charles Band" in the credits, Troll is lousy.  Now, it has a few things going for it, to be sure.  Sonny Bono is a riot, the basic premise is silly enough to guarantee a few outlandish thrills along the way, and Michael Moriarty is always a joy to watch in pictures like this.  In fact, his madcap dance scene where he grooves/suffers a seizure/goes gleefully insane while listening to "Summertime Blues" by way of Blue Cheer, is not only the highlight of this particular show, but it may be my favorite scene from Moriarty's career.  And if that doesn't do it for you, the big musical number performed by the trolls will definitely convince you that were a lot of drugs floating around on the set of this 1986 oddity.  So, yeah, all that stuff is fun and all, but that's where the fun ends and the ineptitude begins.  Aside from Bono and Moriarty, the cast struggles to bring much to their parts, and in fairness, the script does no one any favors.  The plot is clunky and littered with gaping holes.  While some of the effects are actually kinda gnarly, most of them are so pitiful that they wouldn't cut it if we were talking about a children's puppet show and not a motion picture.  To summarize, Troll is zany enough to make a viewing tolerable and yet amateurish enough to make the overall experience regrettable.

Final Grade: D-

Sonny Bono is one of the few good things about Troll.

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!!!!!!!

New Project, New Playlist/Soundtrack

I've mentioned this to some of my peers before so it may be a rehash, but if not, consider yourself privy to an inside look at the workings of a deranged writer's mind.  When I'm working on a project, I like to compile what I think of as a soundtrack for that tale.  Whenever I'm working on that material, I put on my headphones and rock out to the playlist I have prepared.  I feel like this helps me get in the groove and arrive at the same mindset whenever I work on that piece, so the vibe and the voice that I'm looking for are easier to summon.  That may seem perfectly rational to some of you, and it may seem like utter nonsense to others.  That's just how I work, and it does seem to help me get to where I need to be to sling some ink. 

Anyhow, I rarely share much about any project I'm dealing with while it is in progress, but I occasionally dish out the working title and the playlist.  I do this because I love my peeps and I like to share.  Such a reveal may pique your curiosity so far as the current story is concerned, and it may also inspire you to check out some groovy tunes.  With all this in mind, let's get right to it.  I'm currently throwing down a novel about the most nightmarish camping trip ever, and I'm thinking of calling it "Southern Fried Hell."

This is the soundtrack I've put together to keep me on track while I put five lovely souls through the ringer:

Cattle Car – Clutch

Don't Step On The Grass Sam - Steppenwolf

Green Valley -Puscifer

One Horse Town - Hank Williams III         

Some Days – Sturgill Simpson        

Maggie M'Gill - The Doors   

Head Down – Soundgarden

Beercan - Beck

Shake Your Foundations - AC/DC  

Maybe I Am Amused - Melvins

Blue Monkey Disco - Syrup

Down To This – Soul Coughing

Spill the Blood - Slayer

I'm Shakin' – The Blasters

I Ain't Living Long Like This – Waylon Jennings

Vulture – Iggy Pop

Small Bones, Small Bodies – Future of the Left

Killing Floor – Body Count

Throw It On Me – The Hives featuring Timbaland

This Is Violence – Soulfly

Collapse - Motograter

D7 - Nirvana

Short Attention Span Review: Beyond the Valley of the Dolls (1970)

Short Attention Span Review: Beyond the Valley of the Dolls (1970)

Some might label this film trash.  Some might describe it as a true masterpiece.  I tend to think that both views are accurate, and the potent blend of sleaze and artistry make it one of my favorite pictures.  The story is also a medley, with Beyond the Valley of the Dolls emerging as a parody, a melodrama, a skin flick, a musical, a comedy, and even a horror movie, all rolled into one.  Written by Roger Ebert (his sole credit as a screenwriter) and directed by softcore maestro Russ Meyer, this sordid affair is populated by zany characters and buoyed by solid performances.  It's a credit to Meyer's ability as a director that even the most absurd sequences are played straight by the talent involved.  In fact, the humor born of the rampant satire embedded in the piece works because no one involved treats it as camp.  Most impressive is the editing, with Meyer cutting, and cutting, and cutting, yielding several impressive montages and numerous scenes where dozens of shots are utilized to propel the action.  There are points where Meyer may cycle through as many as forty or fifty shots in a minute, and the results aren't choppy or jolting but rather sublime.  I also have to give the music some serious props and John LaZar's work as Ronnie "Z-Man" Barzell is a joy to behold.  Finally, the movie goes off the rails in a bonkers finale that firmly solidifies this one as cinematic gold.  Beyond the Valley of the Dolls is definitely one of the sleaziest movies ever made--and I also think that it's definitely one of the best movies ever made.

Final Grade: A+

Equal parts sleazy, quixotic, and masterful, Beyond the Valley of the Dolls is wholly unique and totally entertaining.

Totally Random Blog - David Lee Roth's Ladies' Night in Buffalo

I'm a big David Lee Roth fan.  When I was kid, I had Diamond Dave right up there with Spider-Man and Batman, and my first legitimate heartbreak came when Van Halen and Roth parted ways.  Of course, it wouldn't be long before Dave hit us with Eat 'Em and Smile, and while Van Halen would lose speed with Sammy Hagar at the helm, Roth was still killing it.  Now, I'm a bit iffy on some of his solo work beyond Eat 'Em and Smile, but that album still gets a lot of play in these parts.  Like most, I think that "Yankee Rose" is the best cut on the record, but lately I have been really taken with "Ladies' Night in Buffalo."  In particular, I'm really digging Steve Vai's stripped-down guitar track, something he apparently rebelled against initially, though he has come to appreciate it over the years.  The song is so very chill and it features Roth at his low-key coolest, exchanging all the usual bells and whistles for a bit of spoken word that is part quizzical rock song and part poetry.  I was looking online and apparently it was pretty well-received at the time of the album's release, with Spin labeling it "alarmingly cool" and Rolling Stone also taking time to give the track props in their review of Eat 'Em and Smile.  Anyway, they say sharing is caring, so that's what I'm doing.  It may be 2016, but I'm still rolling with Diamond Dave and trying to figure out just what the hell this sublime groove that is stuck in my head is all about.

Well, it's not Van Halen, but the band Roth put together for Eat 'Em and Smile is a hell of a lot better than Van Hagar.

Short Attention Span Review: This is Spinal Tap (1984)

Surprisingly, This is Spinal Tap merely enjoyed modest success during its theatrical run before landing a cult following on home video.  Over time, it has become an iconic parody and the make believe band of the title has actually sold a lot of records and played a lot of shows.  The film hasn't lost its power to amuse thanks to all the keen wit on display, and the music industry has only grown more and more absurd, so the picture remains timely.  Rob Reiner's actual direction of this mockumentary and his performance as director Marty DiBergi are both rock solid, but the leads (Michael McKeen as lead singer David St. Hubbins, Christopher Guest as guitarist Nigel Tufnel, and Harry Shearer as bassist Derek Smalls) are so superb that I have to give them the lion's share of the credit for the movie's success.  All three are capable musicians and they are beyond perfect choices for the film--it's an adequate tribute to their efforts that this ridiculous comedy led to genuine confusion among many fans as to whether or not Spinal Tap was a real band.  This is Spinal Tap is so awesome that it is damn near impossible to pick the funniest part.  Is it the amp that goes to 11?  Is it Derek getting trapped in his pod?  Is it the Stonehenge set?  Is it being billed second to the puppets?  What about the woeful legacy of the band's drummers?  I'm sure that every fan has a favorite part, mine just might be that perspective-laden trip to Graceland, though I'm also rather fond of the big show at the military base.  In fact, there are so many amusing sequences that This is Spinal Tap never seems to fall flat, and even the few bits that don't work are often saved by one of the brilliant performances.  I'm a fan of silly comedies and rock and roll, so my affection for this one should come as no surprise.  Still, I think it is fair to say that That This is Spinal Tap's greatness extends well beyond any niche or niches--it's not just a good comedy, it's a remarkable comedy.

Final Grade: 11 (A+)

This is Spinal Tap is one of the best comedies ever, and it is
a must-see for anyone who enjoys a good laugh or rock and roll.

EODM's New Song Totally Rocks (No Surprise There)

Zipper Down from Eagles of Death Metal is due out on 10/2.

Thus far, those dashing Eagles of Death Metal have released three tracks from their upcoming album, Zipper Down.  The first two, "Complexity" and "Got a Woman," are solid tracks.  The first is cheeky and upbeat and the second is a lightning-paced rock and roll jam that I liked a bit more.  However, both of those songs pale in comparison to the track the band debuted most recently.  "Silverlake" is a fab song that is full of oomph and humor, allowing the band to shred and make fun of hipsters in equal measures.  The end result is one of my favorite songs from this groovy band and it definitely ramps up my enthusiasm as the arrival of Zipper Down draws nigh.  If you've never experienced this silly rock affair anchored by the lovable Jesse Hughes and his wacky pal Josh Homme (Queens of the Stone Age) on drums, this new album may prove to be a great starting point.  Arriving seven years after they last dropped an album on us (2008's Heart On, a nifty record that I liked--even if it is easily the band's least impressive offering to date), the upcoming release boasts eleven tracks, including a cover of Duran Duran's "Save a Prayer."  If it lives up to the feel good vibe that the red hot and unabashedly cool "Silverlake" generates, music lovers everywhere are going to have a great time getting down with Zipper Down.

Listen to the latest from EODM here.

Slayer - Repentless Singles (Album is Due Friday)

Like many Slayer fans, I'm looking forward to the release of Repentless on Friday, but I'm also a bit conflicted about this latest offering from heavy metal's biggest and baddest act.  While Dave Lombardo is probably my favorite drummer, it isn't really his absence that bothers me.  No, I'm still on board in light of that unfortunate development, largely due to the fact that Paul Bostaph is a monster on the skins in his own right.  It's the fact that Jeff Hanneman is no longer around to contribute that makes me wonder if the album will measure up to the band's considerable legacy.  Fortunately, Slayer has dropped four singles to give us some idea of what to expect.  None of them are bad, that's for sure.  Each new song has some value and there is surely no indication that Repentless won't be a solid release.  Having said that, none of the songs are great either, leaving one to wonder if we can hope for more than an average record from Tom Araya, Kerry King, Bostaph, and newcomer Gary Holt.  Slayer fans don't dig on mediocrity and the band has always rewarded their feverish base with blistering albums loaded with rich songs that most metal acts wish they could dream up.  It will be interesting to see if Repentless rises above the four decent singles that have hit the scene or simply offers up more of the same.  I guess it's possible that the rest of the songs could suck and Repentless could wind up being the trainwreck that some longtime fans are expecting, but I doubt it.  This is Slayer, after all.  Anyway, I'm going to provide track notes for the singles and you can drop by on Friday for a review of the album itself.

Tracks released thus far:

Track 2 - "Repentless" - Probably the strongest single we've gotten thus far, this is a fitting nod to Jeff Hanneman's love for speed and aggression.  It's a brief jaunt with a nifty chorus and it isn't overburdened with a lot of that Kerry King "Fuck the cohesion of the song and check out my solo!" bullshit.

Track 5 - "Cast the First Stone" - Brooding and brutal, it has some punch even though it doesn't really make any attempt to stray from the formula.

Track 6 - "When the Stillness Comes" - Bolstered by some deft vocals c/o Araya and a driving beat, this is a dark and demented song that doesn't disappoint.

Track 8 - "Implode" - This nearly rises above the pack and emerges as a stellar assault on the eardrums, but there is a bit too much of that Kerry King bullshit happening in the last third of the song. 

The new album hits Friday and I will be posting a review here at Land of Way.

Faith No More w/ Refused (7/31 - Raleigh, North Carolina)

 On Friday, 7/31, I had the privilege of catching Faith No More live at the Red Hat Amphitheater in Raleigh, North Carolina.  FNM is my favorite band and I had never seen them perform before, so this was a big show for me.  Bonus points: Refused was the opening band, and despite anything you may have heard about Refused being fucking dead, Refused is alive and well--and awesome.

Refused played a blistering set and then gave way for the band that has given my life an eclectic soundtrack since I reached the age of reason.  FNM has a reputation for killing it live, and on Friday, the 31st of July, they showed the good people of Raleigh, North Carolina that this reputation is well-deserved.  They seemed to be having a blast and they were positively amazing--this was definitely the best show I have ever been to.  Enjoy my pics and then scope out the epic--sorry, I couldn't resist--set list.

Set List
Motherfucker
Be Aggressive
Caffeine
Evidence
Epic
Sunny Side Up
Everything's Ruined
Midlife Crisis
A Small Victory
The Gentle Art of Making Enemies
Easy
Separation Anxiety
King For a Day
Ashes to Ashes
Superhero


Encore
Cone of Shame
We Care a Lot
Just a Man

Faith No More - Sol Invictus (Review + Track Notes)

Fans of artists who partner incredible talent with vision and a powerful need to think outside the box (that's a pretty short list, right?) can circle May 19 on their calendars.  That's when Sol Invictus arrives, and the first Faith No More album since 1997 is absolutely delightful.  It may have been a while since these alternative innovators have produced an album, but you wouldn't know that by listening to Sol Invictus.  This brief yet stirring smorgasbord of sound surely warrants a piece of premium real estate on the island of misfit records FNM has provided us with.  It's obvious that these guys have grown as musicians and yet it is amazing how in sync with their overall approach and their impressive catalog this release is. 

Faith No More is my favorite band and there was surely a point when, like most fans of this vastly underrated act, I didn't really think a reunion of any sort was ever going to happen.  Then they shocked us all by getting back together to play some shows, but most of the dates were on foriegn soil and there was no talk of another record.  Lo and behold, new songs began to emerge, and then there came a most blessed day when the band announced that they were going to create another sonic odyssey for the faithful (faithless?) to enjoy. 

If I were to say that I was eager to listen to Sol Invictus, well, that would be a bit of an understatement.  The first time I gave it a listen there were moments where my smile grew so wide that it was almost painful.  It was a joyous experience, truth be told, and some of the music is rather joyful--though much of it is tongue-in-cheek and there's enough cynicism sprinkled throughout to give the feel-good elements of Sol Invictus an edge.  These light and tender sounds frequently give way to some of the most forceful and jagged landscapes the band has created, and the range of material is pretty damn epic (forgive me).  A few days have passed and I have listened to Sol Invictus maybe a dozen times, but that estimate could be a bit low.  Who's counting?  One thing is certain: Faith No More is back and these lovable weirdos have dropped a fabulous album on us.

Final Grade: A+

Bonus Points: I'll be at the show in Raleigh on 7/31.
That's bucket list stuff, peeps!

 Track Notes

1. Sol Invictus - warm and incredibly rich, this is a perfect way to get things started

2. Superhero - fierce, fun, and very catchy

3. Sunny Side Up - maybe my favorite track on the album, this one is incredibly lighthearted with just a hint of malice to keep you on your toes

4. Separation Anxiety - this is probably the heaviest song on Sol Invictus and it is one hell of a rollicking ride

5. Cone of Shame - there's something a little spooky about this slow burn with a thrilling transition and Patton at his most metal

6. Rise of the Fall - this is one of those trademark "impossible to classify yet incredibly groovy" gems that have made FNM such trendsetters

7. Black Friday - take my thoughts on "Rise of the Fall" and multiply by 2

8. Motherfucker - the first single that the band released for Sol Invictus (only Faith No More would release a single called "Motherfucker" to promote an album that legions of fans have been waiting nearly two decades for) aims to take my thoughts on "Rise of the Fall" and multiply by 10--seriously, it's one of the coolest and most bizarre songs that these guys have ever created

9. Matador - my bad, "Sunny Side Up," "Matador" is probably my favorite track on the album--it's incredible, it's kind of operatic when it isn't too busy being totally badass, and it allows everyone in the band ample opportunity to shine

10. From the Dead - the title may not make it sound like a soft and gentle way to close out a marvelous album with the sort of diversity that one doesn't expect from any band but FNM, but that's just what it is

Are FNM back and better than ever?  Well, they're back and they're as good as ever.
Honestly, with their eclectic output, ranking their albums is a bit of a fool's errand.

Top 5 Main Themes from John Carpenter Movies

It's no secret here that I'm a fan of John Carpenter.  He could be my favorite director, though I can never fully determine whether I would put him atop my list over Walter Hill and QT.  Regardless, I treasure his work and I've frequently raved about Carpenter's scores, most of which he composed himself.  I decided to take a look at his filmography and rank my Top 5 Main Themes from his pictures.  I'm not calling it my Top 5 John Carpenter Main Themes because one of my favorites is from The Thing, and that particularly nightmarish bit of music was composed by the impeccable Ennio Morricone and not Carpenter himself.  Of course, that is the only piece of music on this list that Carpenter isn't responsible for.

Top 5 Main Themes from John Carpenter Movies

 5) Assault on Precinct 13 (1976)
Like many Carpenter efforts, this theme seems a bit simple in that it is only comprised of a few layers, but the way these elements are layered together and the effect that they combine to create are anything but simple.  Bonus points: Carpenter claims that budgetary concerns dictated that this theme (and in fact, the entire score for Assault on Precinct 13) be composed in a single day.
Assault on Precinct 13 theme on YouTube

 4) Big Trouble in Little China (1986)Much like the movie itself, this theme is cheeky and full of energy.  If there's one theme on my list that others may swap out for another Carpenter gem, this is probably it, but I love it.  I offer up my sincerest apologies to the Escape from New York theme.
Big Trouble in Little China theme on YouTube

 3) The Fog (1980)
Eerie and intense, this is the epitome of a horror movie theme.  I'm inclined to think that it may in fact be Carpenter's creepiest composition.  It's so haunting, so melodic, . . . so damn awesome.
The Fog theme on YouTube

 2) The Thing (1982)
An ominous masterpiece that reeks of doubt and doom, the theme for The Thing builds the perfect mood for the movie.  In truth, this sounds more like Carpenter's work than Morricone, but Ennio was at the wheel and contrary to some reports, Carpenter didn't tell him what to do.  They didn't even speak the same language.
The Thing theme on YouTube

1) Halloween (1978)
Intense, iconic, and still imitated, the main theme for Halloween has to be viewed as one of the best themes of all time.  Sure, there are richer pieces of music to be found throughout the motion picture landscape, deft and nuanced works of art with a higher pedigree.  Yet this riveting theme is right up there with the very best of them in terms of impact and popularity for a reason.  It's pitch-perfect. 
Halloween theme on YouTube