THE APRIL FOOLS: THIRD; MICHAEL OWENS: THE RIGHT KIND OF CRAZY

(BLACKBERRY WAY RECORDS; 2019)

In the past, whenever I got bogged down with too many records to listen to and review, I would lump a lot of like-minded releases (straight-ahead rock, Jazz, Country, compilations,,, whatever) together, giving each a nice little paragraph (or more, depending on how many I had to write about… I remember doing something like fourteen Punk records in the course of one review) about each. I still do that occasionally, when it makes sense to do so; this one is a no-brainer: Michael Owens produced both releases, Fools Brian Drake and Terri Owens do some backing vocals on THE RIGHT KIND OF CRAZY, both records were released by Michael’s Blackberry Way Records on the same day. It really wasn’t my intention to review them together, but the final piece seemed to fall into place when the Owens record showed up at my door in the same package as THIRD. The die, as the saying goes, was cast.

THE APRIL FOOLS (Scott Hreha, Brad McLemore, Terri Owens, Brian Drake, Ben Kaplan) (photo credit: ERIN DRAKE)

The April Fools’ third release (thus the name of the record) features a retooled band, having lost guitarist Clay Williams, whom, I assume, has gone on to greener pastures. Williams was replaced by two musicians, guitarists Brad McLemore and the aforementioned Terri Owens. The result made the original quartet’s tight sound even tighter as a quintet. This is borne out on the opening track, “Bell of Stone,” a sort of updated psychedelic Americana. Vocalist Brian Drake has a rather world-weary rasp that is immediately the crowning glory of this song and album, somewhere between Bob Seger and a young Levon Helm. The guitars (by McLemore, Owens and Drake) seem to shimmer and there’s an undeniable sting and bite to the solo. Ben Kaplan offers up some solid drumming and an insistent, melodic bass line by Scott Hreha gives the whole thing a certain buoyancy that is not unappealing. “Long Shadows” is a tune that reminds me of both the Band (musically) and the Dead (vocally). It’s a slow ballady sort of thing that highlights the group’s four part harmonies. The piece borders on overstaying its welcome, but seems to end at just the right moment. Graham Gouldman’s (by way of the Hollies) “Bus Stop” is a shimmering piece of Pop history that gets a fairly faithful retelling here. The guitars may be a bit more urgent and Terri Owens’ mandolin adds a new flavor, weaving in and out of the mix, just under Drake’s pleasantly gruff delivery. For some reason, the First Edition’s “Just Dropped In (To See What Condition My Condition Was In)” comes to mind listening to “Shaky Ground.” Could be the wah-wah guitar and utterly haze-inducing solo; maybe it’s the swirling vocals that are brilliantly scattershot, alternately overlapping each other, then complimenting the rest with a great harmony part. Owens is a lady that certainly knows how to write a great ‘60s acid burn of a tune! “If I Can’t Make Her Happy” is sort of a throwback to those star-crossed tragic lover songs from the late ‘50s, all gussied up with a new millenial sheen, and highlighted by some really pretty guitar work and backing vocals.

The Fools put a nice gloss on Dylan’s classic “My Back Pages.” This version features finely understated vocals and a Byrdsian approach to the instrumentation that has always worked so well on the Zim’s music. There’s more of the brilliant guitar solos that we’ve come to expect from this band, with the rhythm section highlighting their ample abilities with a great Hreha bass line and a solid backbeat and fills from Kaplan on drums. Terri Owens takes on the vocal duties for “You Make My Heart Beat Too Fast,” a slow-burning rocker written by Julie Anne Miller (originally recorded for the BUDDY AND JULIE MILLER album in 2001 by, well… Buddy and Julie Miller). The track features killer guitar throughout, as another awesome solo rides the cut into the fade. “Summer Sun (Redux)” has a slightly psychedelic Blues groove, a distinct highlight of this remake from the Fools’ first album. I know I’m sounding like a broken record by this time but… again, great guitar, both straight and effects-laden. Scott’s rumbling bass, Ben’s spot-on drumming and an idling organ part from guest Glenn Manske (of which we’ll hear more later) add to the lazy feel of the song, the musical equivalence of the lethargic feeling brought on by the summer sun. Closing out the record is “15 Minutes.” It’s a Country-flavored tune that features a brilliant bass part that could very easily have appeared on an album by the Jam or Elvis (the important one, not the dead fat guy). With a dobro and Terri’s mandolin filtering through the swampy miasma of the instrumentation, the drums offer a lot to enjoy just under the current. The backing vocals are a nice counter to Brian’s gruff voice. As an introduction to what’s happening in the Minneapolis music scene today, you can definitely do worse than the April Fools’ THIRD.

MICHAEL OWENS (photo credit: LARRY HUTCHINSON)

Cementing the connection between the Minneapolis of the Replacements, Prince and Husker Du is producer/recording studio owner/record company owner/songwriter/multi-instrumentalist (and probably another string of slash marks that I’m missing) Michael Owens. Owens’ latest record, THE RIGHT KIND OF CRAZY, is fourteen tracks (and one bonus cut from a reunited Fingerprints, Michael’s late ‘70s band) that is as varied as the scene that spawned that first major wave of the “Minneapolis sound,” as well as Michael’s own Blackberry Way Studio and the record company that shares that name. The first track, “Comic Book Creep,” features some awesome boogie with a little bit of woogie thrown in for good measure. Owens has a pleasing, better than average voice; there’s some very nice guitar leads and solo from guest artist Curtiss A and Owens himself and excellent piano from Glenn Manske, who plays a major role on this record. “A Song For You” switches gears from a rockin’ Blues to a slow, tragic type of girl group sort of song that features strong backing vocals (as such songs require) from Robert Langhorst and Terri Owens. Also on display is an echoey, reverb-drenched solo and another strong piano part from Glenn. Sounding very much like vintage Monkees, “60 Cycle Rumble” sees Michael delivering an over-the-top vocal performance that reminds me of a younger, still-alive Wolfman Jack. Manske’s organ and outstanding guitar work from Owens make the Pre-Fab Four comparison even more relevant. As the name implies, “Used Blues” is a slow Blues that falls somewhere between Stevie Ray and Michael Buble on the Blues authenticity scale. Owens former Fingerprints bandmate, Robb Henry, offers up some solid lead work and a soulful solo. “Without Sin” sounds a little like “Minnesota boy does the Eagles” during the intro.Thankfully, it morphs into another slow-burn number with a strong Bill Grenke bassline. I kept waiting for a child’s voice to say “Mommy, where’s Daddy?” during the breaks leading into the guitar solos and, of course, anything that elicits memories of the Coopers ranks very high on my list. However, the cut, at more than seven minutes, does tend to drag on; thankfully, though, it doesn’t overstay its welcome by much. Up next is “Old Man Joad,” a kind of jangly Byrds-cum-Tom-Petty thing, only without the jangle. Continuing a nice little theme here, the number features some nifty lead and backing vocals, more solid bass from Grenke and a killer guitar melody throughout. In a different time, this one coulda been a hit at AOR, Adult Contemporary or Country radio. Unfortunately, as radio has become ever more genre-centric, it’s unlikely that today’s programmers could figure out what to do with such a great song! “Chase the Rain” is yet another slow tune with some nice guitar. Grenke continues to impress on bass as does Manske with some more great organ work. I guess the title comes from the sounds of falling rain at the beginning and end of the track.

“Falling” is not a cover of the Tom Petty song; this one has more of an Alternative Celtic feel to it (if that makes any kind of sense). The Celtic vibe is enhanced with Manske adding strings and flutes to his solid piano playing, while Kevin Glynn (another refugee from Fingerprints) adds a little added thump to Owens’ programmed drums with some live tom toms. The vocals blend into the hazy mist of the musical backdrop, leaving the listener with a gooey warm feeling somewhere around the heart. A short little ditty called “Over the Moon” follows. With a jaunty, bouncy feel, it’s simply a fun love song, evoking the feeling the name conjures in one’s mind. Gifted with one of the best song titles ever, “Just Got Over Being Hungover,” has a melody that puts me in mind of Billy Swan’s “I Can Help.” The cut is loaded with an abundance of honky-tonk piano, organ accents and lots of guitars doing guitary things. “You Can’t Get In” is a frantic little piece of Swamp Punk, with Glynn offering some percussive help while a weird Replacements vibe permeates the whole 1:48. Some cool backwards guitar and massive riffage courtesy of Robb Henry informs “High Price Shoes,” a Beatlesy piece of Pop fluff. Not surprisingly, the piece features more heavy lifting from Glenn on organ and Bill on bass. All of the above makes this one a current album favorite. “Hole In Your Pocket” is another tune that sounds vaguely familiar (Minnesota’s favorite sons, Bob Dylan meets Prince maybe?), with a tinkling piano coda and a vocal mostly buried in the mix to good effect. The sing-songy partially spoken lead vocals definitely gives rise to Dylan comparisons. The lyrical coda, “I know there’s magic out there,” isn’t indicative of this song, but… if the lyrics fit, right? There’s a slight echo on the vocals on “The Last Thing,” adding a bit of a dreamy feel to another strong offering.Again, the cut features strong organ, bass and guitar leads and solo; the backing vocals are nice, as well, with Brian Drake joining Robert Langhorst and Terri Owens for this one. A bonus track, “14 South 5th Street Blues,” features four fifths of Fingerprints (bassist Steve Fjelstad was missing from the recording/performance with Michael taking over those duties). The song, featured in the documentary, JAY’S LONGHORN, is an ode to the late ‘70s/early ‘80s Minneapolis scene’s venue of choice, the title derived from the address of the legendary club. Besides Owens on bass and guitar, the other featured Fingerprints are lead vocalist Mark Throne, the previously introduced Robb Henry on lead guitar and Kevin Glynn moving to an ancillary percussionist role due to Owens’ very organic-sounding drum programming. The quartet are augmented by former Figures guitarist Jeff Waryan on slide, Chris Osgood of the Suicide Commandos on additional lead guitar, the legendary Curtiss A on harmonica and the by-now ubiquitous Glenn Marske on piano. The rollicking paean to past triumphs is a fitting close to solid release from a man who should be a household name outside of the relatively small Minneapolis region.


NO VALENTINE: KNOCK KNOCK

(SELF-RELEASED EP; 2019)


The should-be-signed-immediately New York trio, No Valentine, live by the old Punk credo of “Loud, Fast Rules!” Their latest release, an EP called KNOCK KNOCK, features five songs clocking in at an impressive thirteen minutes. The group is fronted by songwriting force, guitar-slinger and powerhouse vocalist Cindy Pack; Pack is quite ably supported by the rhythm section of Laura Sativa (who has played bass with legendary punks Sylvain Sylvain and Jayne County) and versatile sticksman Mike Linn.

NO VALENTINE (Cindy Pack, Mike Linn, Laura Sativa) (uncredited photo)

Things are off to an ominous start with “Down Down,” a tune so dense that you could caulk an entire house with the riffs alone. Guitar, bass and drums all meld together in a thick soup of awesomeness, while Cindy relays a spiraling mental anguish, climaxing with this final verse: “Sometime I feel like a walking train wreck/An epidemic, a viral agent/A bad narcotic/A hopeless neurotic/But mostly, I just feel psychotic.” Even the backing vocals sound somehow wounded. “Barnyard Apocalypse” sounds brighter, a rollicking type of Rock ‘n’ Roll, kinda like Unknown Hinson or Reverend Horton Heat on a bender. Still, the lyrics belie the jaunty feel of the music, with such poetic gems as, “Hallelujah, motherfuckers/Pass the mashed potatoes.” Ms Pack is apparently on a mission to prove that she is the manifest destiny queen of snotty punk music; she gets my vote! Yeah, I know that with a monarchy, you ascend to the throne (or take it in a most brutal fashion); she still has my full support. Sounding very much like a shorter version of “Halo of Flies,” the classic Alice Cooper track, “You’re Sick” grinds, grooves and hisses along ‘til the charging beast simply comes to a sudden end, as if felled by a shot from a master huntsman. The number – undoubtedly my favorite here – is the longest on the EP, coming in at an economical 3:52, besting its predecessor by a full second.

NO VALENTINE (Cindy Pack, Mike Linn, Laura Sativa) (uncredited photo)

Lemon Pie” features a spry bassline, some nimble drumming and a wickedly fuzzed-out guitar delivering a decidedly whacked approximation of a classic Country tune. If you listen closely, you can even hear Cindy’s sly vocal twang, offered, as usual, with her tongue firmly implanted in her cheek. It’s probably the most upbeat song you’re ever gonna hear from No Valentine but, it in no way sounds out of place nestled amongst the harder, punkier fare on display with KNOCK KNOCK. “Detour” is a meaty slice of early ‘70s proto-punk heaviness, sort of a bookend of dismay and misery with the opener, “Down Down.” Still looking for answers on a trip to nowhere, Pack intones her dilemma with lines like, “Ran out of gas/Ran out of oil/Can’t pay the tax/Can’t pay the toll/And now I’m stuck in the slow lane of life/And I can’t get over.” All I can say is, “And who hasn’t been there?” All in all, KNOCK KNOCK is one of the best indie releases I’ve had the pleasure of listening to in quite some time. I just wish there was more to it! Full-length, anyone? Until then, KNOCK KNOCK and No Valentine’s three previous EPs can be acquired through the group’s website or Bandcamp page.


SLIPKNOT: WE ARE NOT YOUR KIND

(ROADRUNNER RECORDS; 2019)

Slipknot are back with their sixth studio album. Entitled WE ARE NOT YOUR KIND, the record is their first since 2014’s .5: THE GRAY CHAPTER. It is an absolute masterpiece of rage, brutality and destruction; I urge everyone to listen to it as soon as you possibly can. In an age of singles, it sits amazingly well in its entirety as a collection of musical mayhem. That’s how you’re going to want to digest it first: As an album. There are plenty of individual tracks to listen to and enjoy on their own merits.

SLIPKNOT (Shawn Crahan, Craig Jones, Alessandro Venturella, Jay Weinberg, Jim Root, Corey Taylor, Mick Thomson, Sid Wilson, ?) (photo credit: ALEXANDRIA CRAHAN-CONWAY)

The album opens with a hallucinogenic little intro titled “Insert Coin,” a bunch of trippy noises with a bit of vocals from Corey Taylor. This moves into “Unsainted,” which is a killer track. It opens with the Angel City Chorale singing the song’s chorus. Then Corey comes in with the chorus as well, before the whole thing goes into the absolutely SLAMMING verse riff. Taylor has crazy fire in his vocals during the verse as he barks the lyrics in a supremely dark way. The song is an absolute gem and one of the best songs from the ‘Knot in years. The contrast between verse and chorus work really well. There is also a really heavy breakdown in the middle that moves into a short chaotic instrumental section. Since the cut was released a few months back, it has grown on me the more I’ve listened to it. The next song, “Birth of the Cruel,” is another dark anthem, the last single to be released before the album’s release. It starts with an ominous, drum-heavy melody before moving into some clean vocals; the clean gives way to a really heavy groove and angry, screaming vocals. The chorus is amazing; I love the lyrics, “Death of the fool/Birth of the cruel.” What a wicked line! All in all, another solid track, capturing an amazing anger and darkness. There’s a ridiculously heavy groove that hits at about 2:50, coming off the back end of the chorus. Sid Wilson’s scratching is the highlight of this one as it adds a whole new element to the song. “Death Because of Death” is a slight interlude with strange sounds, tribal percussion and the repeated phrase “Death because of/Death because of you.” It leads into an absolute BANGER of a track in “Nero Forte.” This one is everything you could want in a Slipknot track. The drums stand out immediately, with the fills absolutely crushing you. It then moves into a nasty groove that has Taylor coming in with vocals like I haven’t heard from him in years. The song has some of everything that makes Slipknot original and awesome: Taylor’s rapid fire vocals make a triumphant return and the melodic vocals in the chorus are haunting. The break at about 3:10 is brutal. This all points to the fact that “Nero Forte” is one of Slipknot’s best songs… EVER! “Critical Darling” is more of the same, an absolute masterpiece of a metal song and everything you could want from Slipknot. While not as rapid fire as “Nero Forte,” the melodic vocal work in this one is worth the trade off. “A Liar’s Funeral” downshifts to a cleaner, slower, brutality filled dive into Taylor and company’s rage and aggression. Corey goes from singing beautifully over an acoustic guitar accompaniment to a slow, chugging groove with Taylor roaring “LIAR” over the distorted guitar. A great break to the fast paced assault up to this point, but not any less pissed off or aggressive. In fact, this could be the most aggressive song on the album. Again, an absolute masterclass in metal. Words can’t even describe how heavy “Red Flag” is! It sounds like it belongs on SLIPKNOT or IOWA. This is the heaviest song I have heard in 2019. It is absolute chaos… beautiful, heavy, brutal chaos. This is who Slipknot were when I was growing up. It reminds me of the Slipknot that trod the earth from 1999-2005. At about 2:15, the music stops, building into a breakdown where Jay Weinberg shows the world why he is one of the best drummers alive. From here to the end of the song, the drum work is absolutely inhuman. On an album with stellar songwriting and playing, “Red Flag” stands as another song that is among the group’s best ever.

What’s Next” and “Spiders” are eerie and strange. The melody choice and use of piano leave one with a feeling of unease that flows throughout the couplet (“What’s Next” is an intro piece to the “full” song, “Spiders”). Uneasiness aside, Taylor uses really awesome harmony choices with his vocals in the chorus, making it another solid track. It manages to capture the same raw intensity that the rest of the album does, while recalibrating and giving you a nice reprieve before moving on to the closing numbers of the album. Shawn Crahan and Weinberg offer up a decent bit of percussion on “Spiders” that really adds to the eerie vibe. “Orphan” is my favorite track on WE ARE NOT YOUR KIND. The drum work is the most insane I have ever heard; I’ve listened to the cut numerous times and I am fairly certain that it is impossible for one person to play. The song is among the most raging and heavy thing I have ever heard from Slipknot. The groove, the vocals, the guitars, the percussion, and ESPECIALLY the drums work together on a level Slipknot has never realized before. Taylor’s trademark melodic vocals mixed with powerful, aggressive screams have never sounded better than they do here. You can hear Slipknot’s twenty-plus years of musical experience combined with an energy they haven’t had for the last fifteen years throughout this record, but it seems to all peak right here. “Orphan” is, to put it mildly, a perfect song. The perfection and immediacy is followed by a strange musical journey called “My Pain.” An ethereal intro with some disconcerting whispers moves into a section featuring an electronic drum kit and droning piano chords. The melody keeps things strange, kind of like an acid trip. Corey’s vocals are particularly haunting on this track. The lyrics are extremely dark and sad. It definitely feels like it’s building to something, but… what? There’s really not much more to say. “Not Long For This World” is amazing! It starts with Taylor singing over muted percussion before it pops off into the big riff at about 1:20, one of my favorite riffs on the whole record. It’s got pop, groove, and seems to live in total darkness; I love the way this song is written. It doesn’t feel rushed when the riff and chorus are introduced. At 3:20 in, this song becomes one of the heaviest parts of the album. Taylor’s vocals are fierce, hate filled. As the groove moves back into the original flow of the song with heavier guitars, it works quite well. The cut definitely elicits an emotional response from the listener. Sid Wilson shines here, as he is all over the track displaying his skill on the turntables. “Solway Firth” closes the album out with a bang. It starts with a spoken word piece from Taylor and then explodes; the percussion and turntables make the beginning really stand out and the track features some of the best lyrics on the entire record. The pace is incredible, slamming forward with a reckless abandon toward the listener, not caring whether you survive it or not. On an album of unrelenting brutality, “Solway Firth” may just be the darkest, the most brutal song on WANYK. There is ZERO reprieve, just fast-paced metal destruction. Some of Jim Root and Mick Thomson’s best guitar work of the entire album happens here. At about 4:28, a breakdown pushes the limits far past what has already taken place. This is close to the angriest song Slipknot has ever made. After too long a wait, Slipknot has released a perfect album; a masterpiece of mayhem. I cannot stress highly enough that you give this record a listen!


ADULT CINEMA: TEASER TRAILER

(ILLICIT RECORDINGS; 2016/vinyl reissue, 2018)

North London-born Mike Weston is Adult Cinema. It is Weston’s purpose – some would call it his destiny, considering his familial legacy and musical heritage – to tear down and rebuild classic Progressive Rock in his own thoroughly modern image. TEASER TRAILER is the debut record from Adult Cinema, recently re-released (to coincide with the release of album number two, THIS IS YOUR LIFE) on glorious vinyl. Mike handles virtually everything on the self-produced recording. This approach means that most everything sounds exactly as the artist heard it in his head while writing the album. Also, I’ve gotta tell you that, though the vinyl version is the latest, the track order reviewed here is actually the original CD version. And, so, after getting those pieces of technical info out of the way, let’s look at the music itself, shall we?

Feel Your Eyes” gets things off to a very nice start, with a general approximation of early Steely Dan, some Doobie Brothers vibes, a Brian Eno era kind of Roxy Music psuedo-prog and just a sniff of early Gilmour period Floyd. The song features some great guitar, bass and a Hammond organ owned (but not played here) by a certain Mister Winwood. Adding to the atmosphere is some quite nice piano and Weston’s laconic, somewhat breathy vocal performance. Much of this album was originally released on a self-titled promotional/demo record before TEASER TRAILER was unleashed upon the world-at-large. Such is the case with the next song (as well as the opening track). Here, “Flowers” is presented in what I must assume is either a re-recorded or remixed version parenthetically called “Fallout Version.” I like this tune so much that whatever Mike wants to call it is fine with me. The number starts out as a very nice acoustic thing for the first couple of minutes before heading deeply into a Floydian psychedelia, complete with very Syd-like vocals. The track continues to mutate with a great hard rock ending, putting one in mind of early Uriah Heep or Hawkwind. “Asleep At the Wheel” is very trippy, with another solid dose of spacey Hawkwind noises, not a tribute to Ray Benson. The tune features a great bassline, while the piano and organ are very prominent throughout. Guest performer Paul Nelson’s guitar has a rather metronomic quality to it, adding to the late ‘60s psychedelic vibe. “Dreamt the Other Night (Prog Version)” would not sound out of place on DARK SIDE OF THE MOON or WISH YOU WERE HERE. Acoustic based, the song features understated guitar, powerful bass and a nice, simple drum pattern. Short and sweet, “Dreamt… ” really pulls you in. The album’s first half ends with a dramatic, sorta Styxian shanty, “We Sailed Across the Ocean.” The multi-layered vocals reinforces the Styx reference. There’s a thumping, swirling break before the tune begins ramping up with a slightly heavier organ sound and a dive-bombing bass pattern. This heavier turn is very Deep Purplish, save for a far lighter guitar sound (which is not necessarily a bad thing, by the way). The twist and turns in styles, if not genres, make the track a personal favorite.

ADULT CINEMA (Mike Weston) (photo credit: KENT MATTHEWS)

Got To Prove Myself Today” features a far more powerful vocal approach than the previous cuts on the album, matching the heavy feel of the song. Nelson returns, with an intricate guitar weaving its way through the organ and above the massive bass and drums that underpin everything. It all gives way to an acoustic guitar and piano coda that drives home the tune’s intent. In sort of an English Folk meets Country way, “My Tangled Mind” is filled with a nice acoustic guitar lead, some solid bass, pretty vocals and some darned fine whistling. The beauty and simplicity does the memory of the Beatles and, in fact, the entire British Invasion sound quite proud. “Rowboat” is featured in two versions on the original 2016 CD of TEASER TRAILER. The first (and the one featured on the vinyl reissue) is the original. Trippy, watery machinations of Paul Nelson’s guitar and a lugubrious bass runs throughout the mostly instrumental tune. The vocals are purposely buried in the mix but, checking the lyric sheet, it would appear that the story revolves around a troubled individual who, apparently, has killed and disposed of someone in a watery grave. The second version, offered as a “bonus track” on the CD, is called the “Southend Version.” It’s definitely a heavier take, featuring some serious Hammond organ. The vocals and the number’s true meaning comes into finer focus on this longer version (more than two minutes are added to the original’s 3:47 running time). With the guitars, bass and drums pushed to the front, the studio trickery is gone until the end of the song. If I had to choose one version to listen to on repeat, it would most assuredly be the latter. “Witches” is a rollicking kind of Dancehall Jazz, with some nice period drums from Andy Russell, Nelson moving over to upright bass, a player piano and a traditional Jazz trio featuring Weston’s Dad, Tony, on clarinet. The piano coda from “Witches” wanders back in on “La La La La La,” a rolling kind of tune delivering the tune’s sole lyric, “La” over and over again. The birds chirp, the guitar dips in and out of the mix, cementing a rather pleasant end to what is a better than average album. Head on over to Mike Weston’s website to get a free download of TEASER TRAILER and, while you’re there, pick up a copy of THIS IS YOUR LIFE, too.


KRISTEEN YOUNG: LIVE AT THE WITCH’S TIT

(SELF-RELEASED; 2017)

Holy crap, where did THIS thing come from? I’ve heard some Kristeen Young stuff before and thought it was unusual and compelling, but this record… whoa, mama! It’s full-on ass-kicking weirdness of the kind I used to revel in at the turn of the millennium. Young has been compared to Kate Bush before (her tendency to favor the higher registers, her unconventional delivery), but she also reminds me of a couple of Scandinavian singers such as Sofia Hardig and an artist whose name escapes me. Point is, there is a focused, melodious quality to Ms Young’s voice that you hear at times, but she is making the case here for high-stakes sonic melodrama. Young is a wild thing, untamed and sometimes scary. She takes a risk in virtually every song, and it’s breathtaking. You don’t hear stuff like this very often. And despite that title, this is NOT a live album. It’s Young’s eighth studio album and, although Tony Visconti is listed as co-producer and he has worked with Young for many years, this album was largely recorded just after David Bowie’s death; Kristeen has said Tony was not around that much. Bowie’s passing and the release of BLACKSTAR affected his availability during the sessions. Guitars growl, the bass lumbers around not necessarily keeping it linear, and Young herself stalks these soundscapes like an utterly fearless musical predator. It’s really quite glorious.

KRISTEEN YOUNG (uncredited photo)

In “You Might Be Ted, But I’m Sylvia,” a title that invites discourse, Young carefully balances some emotive, disciplined singing with a series of loud, boisterous piano octaves. At the one-minute mark, a ferocious sound emerges that sounds at first like it could be an attacking animal, but no, it’s an ominous synth sound distorted to resemble a primitive electric guitar, that bites instead. It’ll take a piece right outta ya if you aren’t prepared. “There’s a chance he might disappear,” the singer tells us, before intoning the song’s title, powerfully, preceded and followed by a hypnotically dissonant piano interval banged over and over, taking you prisoner. You CANNOT remain indifferent to the sound slicing into your ears here. You’ll either find it enthralling, as I did, or you’ll run away with your tail between your legs. “Why Am I a Feelmate” turns up the electronica, and takes things into territory occupied by the Knife (I’d be real surprised if Young was not familiar with Karin Dreijer). The vocal is spooky, partially distorted, and the music seems to celebrate chaos. And yet, Young’s control over this boundary-bashing sound is remarkable. I honestly feel rather inadequate to describe it. It’s thoroughly modern and thoroughly uninterested in anything but its own path. You can follow, yes, but you better stay a few steps behind, or something vicious may chomp into you. “These Are the Things I’m Not the Most” (another fascinating title) reminds me of what might happen if the Residents tried rapping for a bit, except the musical wilderness Young is wandering through here might freak out even the Residents. Yes, I just said that. This is really, truly strange rock music by any normal standard. But it DOES rock, and it does move and it does pulse. And it clubs you over the head sometimes, and it contemplates the universe sometimes, and it steps back with its arms crossed and simply stares at you sometimes. Often, in fact. And you don’t want to look away, cause that would make you a wimp. And you will be, some of you. This will put hairs on your chest, honestly. Or send you crying to Mommy.

KRISTEEN YOUNG (photo credit: TONY VISCONTI)

In “I Love You SOOOO Much,” Young sings “I have always been so alone… everything I say/No one can translate,” probably the album’s most self-revealing lyric. The relatively restrained keyboard and pretty-ish vocal really WANT to walk through the door that says “NORMAL,” but they end up entering the room next door, which is labeled “ACCESSIBLE BUT OFF-KILTER.” Young is just too much of an original spirit, after doing this thing for quite a few years, to settle for anything predictable. An early Eno-evoking guitar solo sees the track out the back door, and suddenly the tune ends. Lordy. “Catland” begins with a child’s voice wanting to coax a sound out of a “kitty cat,” but you just KNOW that kind of cuteness will be short-lived. It is. The song quickly turns into a crazed rocker with tempo and chord changes that the likes of Zappa might have admired. There is no attempt to please the audience here at all, unless you are, like me, in the audience that adores flat-out weird music. The word “challenging” was meant for discs like this. And it goes on and on: “Monkey On My Breast,” “I Know You Are a Coward” (you ARE, by the way, if this record overwhelms you), the short and sarcastic ghostly mini-song that calls itself “Everything About You is Always More Important Than Anything About Me,” which is pretty much the full lyric, uncharacteristically. “Come to the Party” offers another insistent piano track before rubbing your face in all sorts of other sounds. Young seems to be issuing an important psychic missive here, but you may or may not receive it. You are probably already whimpering in the back room by now. But she closes with “Different,” certainly the most obvious adjective that timid listeners will apply to this record. There is real melancholy at work in this song, and as this wildly original artist sings “But I’m different” repeatedly, it’s actually a bit touching. I have no idea in the world how audiences have responded to Kristeen Young in the past, and the fact that she is from Saint Louis has me beaming with pride right now. This record is absolutely fucking KILLER. Except for the newest Low album, there isn’t an album that has made a stronger impression on me this year. It’s insane, it’s fresh, it’s completely unpredictable, it’s weird as hell, and apparently proud to be so. Kristeen, I think I’d be afraid to talk to you in person, but allow me to say, totally sincerely, THANK you. Thanks for kicking every kind of ass in the world and showing that yes, a female singer/songwriter can beat most men when it comes to breaking the well-established rules of the game, and not have to apologize in the slightest. I’m in awe of this record. No, it wasn’t recorded live, but my God, does this thing have an unstoppable LIFE force flowing all through it.


DANIELSON: SNAP OUTTAVIT

(JOYFUL NOISE RECORDINGS; 2018)


Love ’em or hate ’em, Danielson, as they have been called for a while (used to be Danielson Famile), have given the pop world one of the most aggressively original and impossible to ignore musical styles ever conceived. That’s not easy to do, and it has something to do with Daniel Smith’s remarkable falsetto voice (he doesn’t use it ALL the time, but it’s there in abundance on the early albums), the crazily off-kilter arrangements and the blend of sweet sonics (the female members of the troop have light, soothing voices which contrast effectively with Smith’s style) with lyrical wildness. It’s no longer a big deal to talk of Smith’s sincere brand of Christianity; there is literally nothing about that which should influence your response to the music anymore. Smith is after bigger game anyway; he has the instincts of an impassioned art rocker, and the razor-sharp focus of your favorite classic rock singer/songwriter. I have been a fan of Smith’s creation since his family’s masterpiece of a second album, TELL ANOTHER JOKE AT THE OL’ CHOPPING BLOCK. I delighted in hearing the extreme reactions of friends here and there upon encountering this highly original sound. While often challenging and a bit abrasive, I could handle anything Master Smith and company could throw at me. Therefore, it’s a bit odd to report that SNAP OUTTAVIT, a recent five-song Danielson EP, is… accessible. Sorta commercial. Easygoing. There isn’t a single track that would make anyone I know gripe, “Take that off, please!” It’s still original, of course.

The title track features, well, the title, chanted over and over by Smith while his wife Elin and sisters Rachel and Megan sing a contrasting ethereal chorus. It’s kind of strange but definitely not unlistenable. And that weird “chorus,” if you can call it that, stops here and there for a fairly normal verse or two, that sounds like, well, a singer/songwriter with something to say. Whatever that might be. “Dry Goods Dry Power” was released previously on a limited-issue vinyl EP; it’s a catchy, “normal” sounding rocker with a propulsive two-chord structure overall. Sure, there’s an eccentric middle section that has some of Smith’s patented falsetto, but not that much. It certainly is not weird compared to, say “Good News For the Pus Pickers” or “Cutest Li’l Dragon.” By the time you reach “Pendulum Mania” on this disc, you’re sort of WANTING the weirdness, if you’re a dedicated Danielson fan… and this tune mostly delivers. The girls keep singing “Swinging back and forth/Swinging back and forth now,” while Smith goes on about some convoluted topic that moves in a nice non-linear fashion, thematically. This is an imaginative song, and I have no idea what it’s about, but it’s Danielson. I like it!

DANIELSON (David Smith, Elin Smith, Rachel Galloway, Andrew Smith, Daniel Smith, Megan Slaboda) (publicity photo)

Then we get to “On Purpose,” the first song to break the five-minute mark. Here, Smith does a thing he does so well and that I used to dream about doing in a studio myself: chanting a commonly used phrase over and over, in this case, “What do you know?” It’s eminently listenable, beginning with subtle marimba and a surging background sound before that repeat phrase kicks in. Yeah! Best song here, methinks. The structural ambition of Smith’s songs is really a thing to behold, and this’un shows it quite nicely. But again, it’s not abrasive. It won’t drive anyone from the room. In fact, I can imagine some favorable “Hey, what are you playing right now?” type responses. “Who Hears Twell Van Dunder” is the kind of bizarro Danielson title that every album features examples of: What you get here is spoken voices saying things like “So happy to see you” and “Been thinking of you” and tingly marimba notes, before a childlike melody kicks in. I’m betting the children’s voices belong to Danielson offspring, and that everyone had a good time recording this gently ruminative little number. This is family music, all right. But not the family you know down the street. It’s the very talented, very original Danielson family, Mister. They play music. They sing combinations of things you’ve never heard before. They are passionate, driven and in love with life. And even if this modest little disc doesn’t truly blaze new trails, it’s a nice little reminder that one of the most original acts in pop is still out there, doing their thing. It’ll do fine until and if, Smith feels like launching another wacky full-length into the sonic universe. If you’ve never given Danielson a chance before, well, this might be a good time to “snap outtavit.”


SHREDHEAD: LIVE UNHOLY

(LEGEND RECORDINGS; 2019)


Shredhead are an Israeli thrash metal band formed in 2009. They have three studio albums out and they are starting to find some mainstream success in America with their latest effort, LIVE UNHOLY. T
he album opens with a hell of a crash. Shredhead launches into the record’s title track; the guitar work is magnificent and the breaks are awesome. Aharon Ragoza’s vocals are all mid-fry screams. They fit really well until the bridge hits and the highs come in. The vocals are stellar, the break is filthy and, right about halfway through, they go into a Slayer inspired chug with guitar harmonies that sound evil as Hell. The tune transitions to “Overshadows,” which is a solid thrash song. The vocals are more lows through the track and the double bass that hits during the chorus is super fast and heavy. This one sounds awesome! It features killer drumwork from Roee Kahana, alongside a great groove. It’s just under three minutes long but, a lot happens in that three minutes. The last 60 seconds are a great, ominous chug. The third track, “King Maggot,” sounds a bit more old school punk and thrash inspired. But, I’m sensing a trend… it seems that the group is saving their best riffs and grooves for the choruses. All in all, “King Maggot” is another solid track: Good groove, great break and awesome guitar work; the solos are masterful! About three minutes in, it changes direction completely and hits a nasty feel at half time. “Burn Your Master” starts out with another wicked riff, probably my favorite on the record. As the number progresses, the inspiration would appear to be Black Metal. The melodic guitar sounds have a very old school Venom or Cradle Of Filth feel. Lyrically, the song is my favorite on the album and the delivery is exceptional. Sort of Children Of Bodom meets Cradle of Filth meets Lamb of God. The breakdown for this one is absolutely brutal! “Hope is a Mistake” follows, with some awesome guitar work on display. It opens with a really melodic harmony guitar riff… the best guitar work on the album is right here! Which is the perfect time to introduce the guys behind the sound, Razi Elbaz and Yotam Nagor.

SHREDHEAD (Yotam Nagor, Roee Kahana, Aharon Ragoza, Lee Lavy, Razi Elbaz) (photo credit: AVIHAI LEVY)

Unmarked” is more of the same: Great riffs, awesome vocals, kick-ass grooves. The drums shine on this one, with a great driving beat throughout that makes it feel like chaos. The track breaks about a minute and a half in and hits a great new groove while getting a bit more melodic. The phrasing on the vocals and the guitar break at two minutes in are the shining moments. From the two minute mark to about three-and-a-half minutes in, is the song’s best part, with an absolutely brutal breakdown and a massive guitar/drum monstrosity. “Create Hate” is extreme, high octane metal, with what feels like a Death Angel/Decapitated vibe. It’s short, but definitely gets the point across. The band (at this time, may I present bassist Lee Lavy) really shines on this one: It’s intricate while still maintaining a good, driving beat throughout. “Fuck The World” sounds exactly like you think it would. The song is aggressive, raw, hateful, and very well crafted. From 2:18 on, this is some of the best metal I have heard in years. “Skin the Wolf” doesn’t bring a whole lotta new to the table, but it’s still a VERY solid track. I’d say that 45 seconds in is where it really shines. There’s a killer melodic chorus and a bad-ass guitar break in the middle. While it is probably one of the weaker tracks on the album, the low screams are epic, nonetheless. “Zen” changes things up a bit leading into the final track. The number’s an instrumental that has an almost apocalyptic feel happening. It’s kinda like it’s the end of the world and you’re watching, helplessly, but… you’re gearing up to make your final stand anyway. And then, “The Rope” happens. It’s definitely a strong closer, immediately ripping into a filthy galloping groove and a Wayne Static-esque vocal. It’s a bit slower than the rest of the album, but in no way any less brutal. In fact, the slower groove makes the song one of the heaviest on the album. When the chorus comes in and the guitar harmonies, the thing really starts to catch you. “The Rope” leaves you wanting MUCH more. Three minutes in, a really ominous guitar solo comes in, conveying emotion rather than speed… I love it. What a great way to end an album! Shredhead are everything we need in metal.

The band won me over throughout the course of this album. They prove to be far beyond capable of keeping up with the heavyweights of the metal world. I can HIGHLY recommend checking this album out. It’s a super solid effort. My only critique would be that I would like to see them slow it down a bit more to show some contrast. But for what it is, I give it a 9/10.


CORROSION OF CONFORMITY: NO CROSS NO CROWN

(NUCLEAR BLAST RECORDS; 2018)

NO CROSS NO CROWN is the first album from the “classic” lineup of CoC in nearly twenty years. AMERICA’S VOLUME DEALER was the last album we got from this lineup… way back in 2000! Pepper Keenan is back on vocals and it sounds… RIGHT. They come in with a psychedelic opener in “Novus Deus” and it moves along until… a sharp left into “The Luddite,” and then… there they are. Like they never missed a beat. Classic Corrosion sound; Pepper has some age in his voice now, but the fire is still there. Lyrically he’s better than ever. “The Luddite” ends and “Cast the First Stone” comes in and sounds like …VOLUME DEALER-era Corrosion. It’s everything you want: Aggression, groove, melody, and phenomenal guitar work. The drop in the middle moving into the solo is a great way to jar you awake and make you pay attention… super interesting! Pepper lets a demon scream out a few times on this track and it is AWESOME. In a time where the state of modern rock is… well, the way it is, it’s great to see an album come out sounding this way. A short instrumental titled “No Cross” leads into my favorite track on the album, “Wolf Named Crow.” This song is CoC in a nutshell. Groove heavy, Sabbath inspired riffing with Pepper laying down grimy vocals to tie it all together. The middle section goes into an almost jam band style movement before it comes back around into the main riff of the drums dropping out and guitars shining, and Pepper screaming “BEWARE THE WOLF NAMED CROW.” There’s not a skippable track on the album so far!

Little Man” is the weakest track on the album. I enjoyed it but, it just didn’t feel up to the same standard as the rest of the record. It’s the first skippable one. “Matre’s Diem” is a GORGEOUS instrumental. It’s a fingerpicking acoustic track that is just beautiful and conveys a ton of emotion. It fades out with a trippy effect right into one of the strongest grooves of the album, as “Forgive Me” is killer. Pepper’s best vocal work on the whole album, from melodic vocals to screams. Great riffs, solos everywhere, jam section: It checks all the boxes and has an AMAZING breakdown in the middle. The number is an instant playlist selection for me.

CORROSION OF CONFORMITY (Pepper Keenan, Mike Dean, Woody Weatherman, Reed Mullin) (photo credit: DEAN KARR)

In my opinion, songs like “Nothing Left To Say” is where CoC make their best music. It’s got a “13 Angels” vibe. The slow, clean vocals into the harsh riff and gruff vocals make the song insanely easy to listen to. And to get lost in. Very close to my favorite on the album. Next up is a dark instrumental, with “Sacred Isolation,” which moves right into “Old Disaster” which, to me sounds… okay. It’s got a decent groove, but again, like “Little Man,” just feels a little weak. It does have an incredibly good solo section, so that does redeem it a bit. “ELM” comes next and this is my favorite riff on the album. Super solid work on this song on every front. When Pepper hits into the “Eternity is long gone” line in the bridge, it’s simply badass. Short, but awesome; you can’t deny the groove.

CORROSION OF CONFORMITY (Reed Mullin, Woody Weatherman, Pepper Keenan, Mike Dean) (photo credit: DEAN KARR)

No Cross No Crown” is doom-y, with creepy vocal lines from Pepper to start it and a choir to back him up. There’s just a simple guitar accompaniment that changes about halfway through and has a reprieve, but gets darker from there. Wicked! It has almost an Opeth/Type-O Negative vibe. “A Quest To Believe (A Call To the Void)” sounds like it fell off the back end of the DELIVERANCE album. It kicks ass. The trippy guitar effects on the solo are amazing and Pepper’s vocals over top of the simple drumming and funky bass line just… again, check every box you’d want from Corrosion of Conformity. The tune is by far up to the high standards they have set over the years. A cover of Queen’s “Son And Daughter” closes the album out. And, just like the original, it’s dripping with a heavy Sabbath influence. It features the best drumming on the album. The thump from the drums keeps the track moving, and the riffage is stellar. Hell of a way to close an album out. Pepper’s vocals are filtered on this song, so it sounds even closer to classic Sabbath.

CORROSION OF CONFORMITY (Pepper Keenan, Reed Mullin, Mike Dean, Woody Weatherman) (photo credit: DEAN KARR)

What a spectacular album! To my ears, there were only two songs that weren’t a mandatory listen for any CoC fan. Or any fan of badass, groovy, southern fried metal. Pepper cements his status as a rock god. Although his voice is aging, his songwriting skills are better and it sort of evens out in its own way and you can tell that bringing back the classic lineup makes a difference. Check it out. The instrumentals are awesome and the other tracks are a killer delve into what the old dogs can bring to modern rock and metal. Never count them out – they may surprise you.


LAMB OF GOD: ASHES OF THE WAKE FIFTEENTH ANNIVERSARY EDITION

(EPIC RECORDS/LEGACY RECORDS/PROSTHETIC RECORDS; 2019)

What is there to say about Lamb of God’s third release, ASHES OF THE WAKE, that hasn’t already been said? By FAR one of the greatest metal albums of all time; COMPLETELY changed metal; nominated for a Grammy! See what I mean? What else can I say? This fifteenth anniversary edition (vinyl and digital only) has some demo tracks and an unused track that absolutely belongs on the album.

LAMB OF GOD (Randy Blythe, Mark Morton, John Campbell, Willie Adler, Chris Adler) (photo credit: MICK HUTSON/REDFERNS)

Lamb of God does what only they can do on that tune, “Another Nail For Your Coffin.” Absolute brutality with Randy (that’s Mister Blythe for the uninitiated) hitting pure aggression with his screams. Mark Morton shines with a blistering solo about three quarters of the way through. This track has everything you could ever want, melody, guitar solos, brutal screams, awesome lyrics. Why it was left off of the original release is a mystery.

The rest of the bonus material (side four of the double vinyl record) are demos of cuts from the original release. The first is “Laid To Rest.” It sounds almost the same; the lyrics are the same, just a little less production value, so you can REALLY hear Randy’s raw vocals. Sounds great… just shows you how talented this band really is! Next up is “Ashes of the Wake” that again, just shows how badass Lamb of God are: Tight, solid and brutal. Blyhte sounds absolutely awesome on the final cut, “Remorse Is For the Dead.” His presence here is palpable; you can feel it all the way through! The highs he hits about a minute in are just amazing, while the lows at two minutes in are just… evil. Randy is on fire.!

LAMB OF GOD (Chris Adler, Mark Morton, Willie Adler, Randy Blythe, John Campbell) (publicity photo)

ASHES OF THE WAKE is one of my favorite albums of all time and the addition of the extras is really cool. This is one album that should be in everyone’s library and playlists. It’s one of the best ever. Check it out!!


PRIMUS: GREEN NAUGAHYDE

(PRAWN SONG RECORDS/ATO RECORDS; 2011) A REVIEW FROM THE VAULTS


For those of you who have been living under a rock, Primus is an experimental fusion rock band that incorporates more genres than I can even begin to list here. They have a sound that is completely original, theirs and theirs alone. The trio formed in 1984 in San Francisco, California coalescing around the songwriting talents of bassist and vocalist Les Claypool. Guitarist Todd Huth and Claypool, were later joined by drummer Jay Lane, though both Lane and Huth departed the band at the end of 1988. The GREEN NAUGAHYDE lineup is composed of Claypool alongside Larry LaLonde on guitar and the returning Lane on drums. The three-headed beast has had many different lineups over the years, Claypool having been the only constant. GREEN NAUGAHYDE is the group’s seventh studio album.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (publicity photo)

The opening minute or so of “Hennepin Crawler” features some ethereal bass soloing and swooshing effects, then immediately bursts into a classic Primus bass line of the type that only Les Claypool can come up with. The slinky guitar playing and pumping drums make this track really groove and with Claypool graveling out the vocals in his signature way, it starts the album off in a definitively Primus way. The next few tracks are a journey, honestly; really easy to just sit back and get lost in. “Last Salmon Man” is a nice continuation of the opening track.There’s a very strange bridge leading into the chorus that is definitely original. LaLonde’s guitar is the one that shines in this track, with the solo and the bassline behind it sucking you in, getting you lost in the extremely well crafted soundscape. This album is meant to be listened to as an album which, in the singles era is super refreshing. I found myself really enjoying the record, almost losing my place and forgetting what track I was on a few times. That rarely happens to me. I thoroughly enjoyed GREEN NAUGAHYDE and you can absolutely tell that there was a ton of effort put into it by Claypool and company. If you are a Primus fan, then this will not disappoint; even if you just enjoy listening to masterful musicians play their instruments, you’ll find something here for you, as well.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (photo credit: TAYLOR CROTHERS)

There are a few tracks here that attempt to make a statement on the state of current events. Those, you will either really enjoy or choose to skip. I’ll be honest, there are a couple on here, like “Eternal Consumption Engine” that really ruined the groove I had going, and pulled me out of the experience. All in all, I liked this album a lot, though. Claypool is as badass as he has ever been on the bass; there are some seriously original moments on the album and a few gems that I originally overlooked: “Eyes Of The Squirrel” is a brilliant, bass filled ride into madness. “Lee Van Cleef” is by far my favorite track from the record, from the popping bassline all the way to the commentary about how everyone moved on, preferring the younger Clint Eastwood over legendary Western star Lee Van Cleef. Musically, it is an incredibly catchy song that you’ll find yourself singing and humming for quite awhile. It’s an instant addition any Primus “greatest hits” compilations. “Moron TV” is an absolute masterclass on funky bass playing. Les proves, in this song, why he is consistently placed on lists of greatest bass players of all time; there’s a thumping bass line that incorporates chords, slaps, and tempo changes that are just crazy. With high and low harmonized vocals and another slinky guitar line from Larry, with Claypool spitting out lyrics underneath that flow extremely well. Another absolute gem. All in all, I would highly recommend GREEN NAUGAHYDE as one to put on your “listen to” list, but you’ll definitely want to set aside enough time to digest it as in its entirety. That’s where it really shines!