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I’ve been very busy the past two months, and basically haven’t been able to write any full reviews. So let’s just jump right into it.

  VII Sturm Und DrangLamb of God – VII: Sturm und Drang

I can’t honestly say that I was all that excited for a new Lamb of God album. I’ve always liked the band, but in all honesty I’ve also found them to be a bit same-y. Basically, while I still enjoy their work, I came to the conclusion that I didn’t really need any more of it.

Sturm und Drang did a fantastic job at proving me wrong. On this album Lamb of God end up sounding fresh and revitalised. It’s clear that Randy Blythe’s time in prison motivated him on this release, and the outcome mostly works. My biggest problem with Lamb of God has always been that, while Blythe’s vocals are unique, they can often become a bit monotonous. Fortunately, it seems like he’s really tried to push himself with his screams on this album.

That, coupled with guest vocals by Chino Moreno and Greg Puciato (as well as clean vocals from Blythe himself) are a big part of why this album works so well. It has a dynamic quality that previous releases from the band have been lacking in. That said, it doesn’t always work. For example, the cleanly sang “Overburn” is a major mark on the album. That said, as a whole, this was a pleasant surprise for me.

Greatest Hits Vol. 1Teenage Time Killers – Greatest Hits Vol.  1

Just looking at the lineup for this album should be enough to get any punk and metal fan excited. Featuring vocals from talents such as Randy Blythe, Corey Taylor (Slipknot, Stone Sour), Neil Fallon (Clutch, The Company Band), Lee Ving (Fear), Jello Biafra (Ex-Dead Kennedys) and Matt Skiba (Alkaline Trio, Blink-182) among many others, Teenage Time Killers showcases some of the best the genres have to offer. And that’s not to mention the instrumental talent involved, with members from Bad Religion, Foo Fighters, Sunn O))), Corrosion of Conformity and Queens of the Stone Age (once again, among many others).

Fortunately, the album lives up to the names involved, delivering 20 short, fast-paced punk and metal songs. At no point does this album let up, and manages to mostly feel like a cohesive package despite the different styles involved (compare the pop-punk of “Barrio” to the doom-esque sound found on “Crowned by the Light of the Sun”). Those going into this album just to hear their favourite singer on one track may leave disappointed, as nobody on this album outshines the rest, as often happens on collaborative albums like these. Instead each song compliments the other, delivering an energetic, fun album that refuses to let up.

Immortalized Disturbed – Immortalized

I feel really bad. I’d like to offer my sincerest apologies to David Draiman.

I’ve insulted Disturbed before for their shitty music, and Draiman for his shitty opinions, but it was only while listening to this album that I realised just how stupid I’ve been being. Of course Disturbed aren’t a shitty metal band. They’re one of the best examples of parody in modern popular music.

And I’m entirely at fault for this, I should have realized far, far sooner. As in, “Down with the Sickness” sooner. Of course Draiman’s monkey-esque yelps that he once used so frequently are a pisstake on the “pig squeal” style of vocals found in some extreme music. Of course the ending to their biggest hit, with Draiman getting physically abused by his mother, is just the band turning tables on the hyper-masculinity of modern metal. It also heavily implies that most metal frontmen are only angry because of some sort of anger at their mothers, perhaps even on Oedipus complex. The “my brothers, my sisters, my blood” chant used at their concerts is subtly yet brutally attacking the popular narrative of metalheads as a family of outcasts, instead painting them as an insular cult (see also “Ten Thousand Fists).

But most of all I should have realised just how perfect the Draiman character is. The idea of a man preaching peace and tolerance in his music while supporting torture on social media is a scathing takedown of the “sensitive but still tough” metal frontman first popularised by Phil Anselmo in Pantera, but more recently fully realised by the cartoon character that is Five Finger Death Punch’s Ivan Moody.

Come to think of it, I wouldn’t be surprised if Five Finger Death Punch were a comedy band. But finding out would require listening to Got Your Six, so perhaps some things are better left unknown…

So I’m sorry David Draiman and co. It was only near the end of Immortalized, specifically your hilariously overwrought cover of Simon & Garfunkel’s “The Sounds of Silence” that I realised that you’re not a shitty cock-rock band. Instead, you’re an incredibly well put together takedown of bro-metal. Bravo. Immortalized is not only a fantastic album, but retroactively, so is every other Disturbed release.

And yes, as you probably could have guessed by this moment, I have decided in 2020, to run for president.

ComptonDr. Dre – Compton

Those entering Compton expecting another The Chronic or another 2001 will likely be disappointed. But those entering Compton with expectations like that don’t know Dr. Dre.

Dre has always been a pioneer in his sound, and while seeing him go back to an old style may theoretically be satisfying for some old-school hip-hop fans, but it’s just not what he does. Compton is a modern rap album through and through. The instrumentals are more closely reminiscent of Kendrick Lamar than N.W.A, mixing the cinematic nature of Good Kid, M.A.A.D City and the expansiveness of To Pimp a Butterfly.

And for the most part that works really well. This album may not be a soundtrack to the Straight Outta Compton movie, but there’s a damn good reason why it’s been called a soundtrack. This album is incredibly cinematic with the feeling that Dr. Dre is making a score not just for the city of Compton, but for his life up to this point.

But that doesn’t mean the album is lacking in the grit that N.W.A helped bring to hip-hop. In fact, every rapper on this project goes hard, bringing angry, gritty verses. Special mention has to go to Kendrick Lamar who features multiple times on this album and will no doubt have satisfied fans who were unimpressed at the supposed lack of “bangers” on To Pimp a Butterfly. His verse on “Deep Water” deserves special mention, and I won’t be surprised to see it go down as one of Kendrick’s best verses. Even Snoop Dogg eschews his usual relaxed flow to remind us just why he was once considered the most dangerous rapper around.

The album has some issues though. The production has a lot going on in its attempt to feel cinematic, and it can often just end up feeling cluttered. Dr. Dre’s new voice is certainly an interesting artistic decision, and takes some getting used to. And no, it doesn’t hold up to The Chronic  or 2001. But it is a fantastic rap album in its own right, and perhaps even worth the wait.

 

I’ll close this up with some extra short reviews for albums that I want to give my opinion on, but don’t have enough for a full write-up.

Ghost – Meliora: Call me pleasantly surprised. I’ve never been a fan of Swedish throwback metal band Ghost, despite all the hype they’ve gotten over the last few years. But Meliora is pretty great. It keeps the throwback sound of their first two albums, but expands with some heavier moments and more progressive ideas.

Hopsin – Pound Syndrome: Hopsin in many ways is a very frustrating rapper, because it’s clear listening to him that he has talent. The guy has great flow on this project. But he doesn’t really say anything on here that he hasn’t said before, and what he’s said before wasn’t exactly worth saying. We have the usual “I’m better than all other rappers” songs, which are more obnoxious than ever, and we of course have an uncomfortable nice guy anthem too. I’ll at least say that some of the topics, like on “Fort Collins” and “Ill Mind 7” are pretty unique for a rap album, but not handled well enough to work.

Motorhead – Bad Magic: It’s the same Motorhead you’ve always known. If you’ve listened to any of the band’s previous 21 albums you’ve practically heard this one. But it’s surprisingly full of energy and fun. It doesn’t feel as triumphant a return as their last album, Aftershock, but it does serve as a nice addition to that release.

Between the Buried and Me – Coma Ecliptic: In one ear and out the other, it’s hard to believe the band that once released the fantastic Colors could bring out something so forgettable. I would love to say more about it, but try as I might, there’s just nothing memorable about this release.

The Sword – High Country: I have no problem with a band changing their sound or getting lighter, but it really didn’t work for The Sword on this release. The stoner metal band lightened up and took on more outsider influences, but they just end up sounding neutered.