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Thoughts on Albums
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HardRockChick’s Top 10 Albums of 2009

by hardrockchick [about 8 months, 16 days ago.]

It was actually a pretty easy process to pick my top 10 albums for 2009. All I had to do was look at what was played the most on my last.fm and itunes, filter by year, do some balancing to account for differing release dates, and there you have it- behavioral based research! I had the top 7 pegged perfectly beforehand. I guess you could say that this list speaks to my somewhat eclectic tastes, for which I make no apologies!

10: Goatwhore’s Carving Out the Eyes of God

I missed Goatwhore three times this year….something that will be remedied with my first show of 2010 when I see them with Devildriver. Though I don’t have any real personal affinity for the album, it’s been a reliable source when I’m looking for something hard & fast.

9: Slayer’s World Painted Blood

Seeing Slayer three times this past year and having one more to look forward to in January makes me happy. I’m looking forward to hearing more of these new songs live. It’s a great album- I get in ‘Slayer’ moods and this album slots in nicely with the rest of their material.

8: SSSC’s Street Sweeper Social Club

SSSC’s debut album will always be a go-to record to get me amped up. Not only do the tracks mean to be a call to action politically, but seeing them open for Nine Inch Nails and Jane’s Addiction this past summer means that I am programmed to think of SSSC as the party starters. Besides being a huge Tom Morello fan, it’s been great to see local music man Boots Riley in action.

7: Puscifer’s C is For…

I’m a big Maynard fan, but I didn’t find myself going back to the first Puscifer release a lot. This EP has me wrapped around it’s little finger. It has two live recording of tracks from the first album, and I prefer the arrangement of them here better than the original. But it’s ‘Polar Bear’, ‘Potions’, and ‘The Humbling River’ that are the great songs that hooked me. And hearing them live after having so many problems getting to a Puscifer show was a great experience.

6. A Place to Bury Stranger’s Exploding Head

I’d been anxiously awaiting this album for a while, having been a huge fan of their debut. It didn’t disappoint. While I still prefer their first album to this one, it’s a solid, better produced sophomore effort for one of my favorite newer bands. And the tracks sound great live. I look forward to seeing them again in March.

5: Satyricon’s The Age of Nero

Satyricon’s brand of accessible black metal continued with this album, one that’s been in heavy rotation for me this year. Hook laden riffs and phenomenal drumming make me wonder why this album hasn’t made it on any other top ten lists I’ve seen. And finally seeing them live was a dream come true….I have a *tiny* crush on Satyr.

4: The Horror’s Primary Colours

Hmmm….where to begin? I totally dissed them when I first heard the album because it didn’t sound anything like their debut album Strange House. But I kept hearing about how good it was, so I buckled down and listened to it again, and fell in love…hard. I got to see them a lot this year, and it was all amazing.

3: Behemoth’s Evangelion

Demigod made me a fan, but Evangelion made me a fanatic. It’s just brutal, pure and complex. I got to see them three times this year, and will be seeing them twice in January. Very excited!

2: Alice in Chain’s Black Gives Way to Blue

AiC has always been one of ‘my’ bands. Everyone, including myself, was skeptical about this album, but it really overdelivered. At first, I complained about the lyrics to a couple songs, or how it sounds like Dirt and Jar of Flies had a schizo baby. But a few listens in, and I fell in love with AiC all over again. And seeing them live was simply incredible. I’m very excited to be seeing them three times in the new year. It’s just a shame I can’t listen to them in the car….

1: Mastodon’s Crack the Skye

It comes as no surprise to many that this is my number one album of the year. I saw it performed in it’s entirety six times this year, and if there was an opportunity to see it again tomorrow, I’d be there. I had always been a bit on the fence about Mastodon- loving a few songs but not being too excited about others. But the first time I sat down and listened to CTS back in March, by song two I was already blown away. Like Evangelion above, this album turned me into a fanatic. It’s helped me through a lot this year, and it will probably always hold a special place in my heart.

Head over to Bay Area Metal Scene to see the Top 5 Local Metal albums I helped select.

Genre(s): Lists,Thoughts on Albums,You should check out:

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Thoughts on Albums: Behemoth ~ Evangelion

by hardrockchick [about 1 year, 1 month ago.]

Sometimes an album comes along at just the right time, and everything clicks. For me, Behemoth’s Evangelion sounds like how I feel right now. So I’ve been listening to it on repeat since I ‘obtained’ it last week. Don’t worry, I’ve already ordered my autographed copy.

There are many typical metal review words that could be used to describe this album, and they would all be true: It’s epic. It slays. It’s brutal. But, similar to my obsession with Mastodon’s Crack the Skye, this album goes beyond all ov that. Intentional or not, it takes the listener on a journey earmarked by departures from the black metal norm. It goes deep into my brain, affecting something primitive that I don’t quite understand.

I could tell you to pick your poison, pop in the album, and lean back against your speaker and let the music massage it’s way into your soul (or lack thereov) as it did mine (with a happy ending, ov course!), but here’s my track by track commentary if you so desire:

1. Daimonos:
The album begins with screams- and maybe a crying baby- and Nergal shouting a rallying cry. Heavy guitar enters the picture, along with the machine gun drums that almost never let up for the entire album. The track is menacing- if you are not into black/death metal, this will surely end your listening session with Behemoth. Seth provides a nice guitar solo towards the end that sings over the helicopter drums. I must take a moment to LOL that the guitarist goes by ‘Seth’ when the others are Nergal, Orion, and Inferno….

visual: the band are warriors heading into a battle

2. Shemaforash:
The second single from the album hits you in waves. Growls are followed up by guitar, over and over again. It’s a complete takeover ov every sense. While other bands might have made this song overwhelming, it is softened in a sense with classical elements- a slight hint ov opera voices and strings in the background, and the sitar at the end. If this song does not get your heart beating, there is something wrong with you. It has complimented my coffee every morning for the past 5 days.

visual: the charge into the fray

3. Ov Fire And The Void
The first single from the album has an unfair advantage as my favorite, since I’ve already seen it live twice, and know how it feels to pump my fist in the the air and toss my head around to it. It feels great by the way. It’s a bit slower and more dramatic than the first two. The drawn out guitar over the pounding drums is a wicked contrast. There are some pauses in the music that let you breathe and take it all in- a very important element.

visual: warriors standing in the battlefield surveying the land in their first victory.

4. Transmigrating Beyond Realms Ov Amenti
Going into the second climax ov the album, I love the way Nergal audibly breathes before screaming into the beginning ov the song. And then the track ends with one ov the more demented screams I’ve ever heard.

visual: theater of war type screams by the warriors to scare the enemy away

5. He Who Breeds Pestilence
This song could trick a newcomer at the beginning…a slow build ov somber guitar is followed up by a complete massacre ov sound, and repeats this throughout. The desperately shouted “Give me a God!” pops out ov the song and punches you in the ear. The stark contrasts within this song- the changes in tempo- are maddening. It sounds like the most angry track on the album…and that says a lot.

visual: an all out massacre

6. The Seed Ov I
I can see this being the third single. The Zakk Wylde squealies mentioned in the production videos posted earlier this year are prevalent throughout this track. I love the guitar hook…it almost seems slightly out ov place within the album, but ends up being part ov what gives it character and makes it stand out from other death metal albums.

visual: stepping back from the battle, mustering strength to keep moving forward.

7. Alas, Lord Is Upon Me
I love the intro to this song. Ov all the tracks, this one makes me think more than it makes me feel. It’s the shortest on the album, and has a very abrupt ending.

visual: there’s a strong sensation ov floating or swaying, within this song, and then being attacked from all angles.

8. Defiling Morality Ov Black God
Any song with ‘Defiling Morality’ in the title is a win in my book. This song just never lets up. However, if I had to lose one track on the record, this would be it….it’s almost too much at the end ov the album, and I feel like it lacks a bit ov the character that the other songs do. Perhaps part ov that is stating the song title at the end…feels a little awkward.

visual: a sprint to the end

9. Lucifer
Love this track. It’s the longest one…go figure. It starts out like a scene from a film. It’s dark and dramatic- the chanting into the guitar into the screaming really gets me going. I wonder what film is sampled there- I enjoy hearing Polish even though Nergal sings in English. If I saw this song live it would be well complimented by pyro.

visual: celebrating a victory in the middle of a bloody battlefield, but still being left unsatisfied.

So there you go. Go forth and preorder this album now.

Genre(s): Thoughts on Albums

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Record Recap: Marilyn Manson/The High End of the Low

by hardrockchick [about 1 year, 3 months ago.]

First let me get this out of the way- I HATE the cover art for this album. What is going on there?

On the other hand, I kinda like the album name. Mostly because I think it’s a good descriptor of the album itself (it’s not good but it’s not bad), Manson’s state of mind (coming out of a depression), and hopefully, a foreshadowing for his career (on the upswing from a low point, perhaps?).

I actually liked Eat Me, Drink Me. I thought it was a good change of pace, ‘Manson Unplugged’ if you will. However, I expected this next album to go back to the angry industrial Manson, when it actually is sort of splitting the difference. The result is a couple great songs, a couple terrible songs, and an all around lack of cohesion. It’s already been said, but there is a lot of repetitive stuff going on in this album.

Arma-blah-blah: I kinda like the beat, the psycho surf trip start, but the lyrics just kill me. All of them. No fucking and eating it for me, thanks.

Blank and White: It’s ok…..not terrible, but not memorable. It feels too shallow lyrically.

Devour: Me likey this one. Feels like it could have fit on EM,DM. The chorus is a bit generic and odd for Manson’s vocals, but I appreciate it. It ends strong, but the sudden cut off kinda bugs me.

Four Rusted Horses: Unexpected and I like it. It’s got the acoustic element blended with the industrial element and it sounds pretty powerful and unique.

I Have to Look Up Just to See Hell: This is an album of insanely long song titles. The beat is good- strong drums, bass, sounds more like old school Manson here.

I Want to Kill You Like They Do In the Movies: My favorite song by far. I’m sad they will probably not play it when I see them considering it’s nine minutes long. I like the way that Manson’s voice and the guitar seem to be in a race, fighting for the lead throughout the song.

Into the Fire: These lyrics REALLY bother me. I ain’t even gonna repeat it.

Leave a Scar: It’s a really poppy song for Manson lyrically. It’s catchy, but I feel like it is for the wrong reasons.

Pretty as a Swastika: I have mixed feelings about this song. It’s a good metal song, but it feels very surface level shocking, ya know what I mean?

Running to the Edge of the World: Starts out almost like ‘Wild Horses’….which is weird, then it turns into a Monster Ballad…Like Extreme ‘More Than Words’ style. Also weird.

Unkillable Monster: The title made me think I was getting something different than a slightly angry ballad.

We’re From America: Extremely catchy, extremely repetitive. Kinda tired of this theme right now.

Wight Spider: A solid song. The pace of it makes it stand out from the rest of the tracks. The name intrigues me….as do the lyrics. Hmmm….

WOW: Has Manson been playing World of Warcraft? This song is fucking weird. It has Jeordie written all over it. Which means there is something sort of endearing about it, but I’m scratching my head a bit. And shaking my ass a little.

15: I really want to like this song. But I feel it is lacking something and I don’t like hearing Manson talk about his birthday. It’s just too soft for me.

Because HRC has something chemically weird about her, and tends to not fully understand songs until she has seen them live….we’ll see how my two date following of Manson goes in early July…

Genre(s): Thoughts on Albums

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Record Recap: Fischerspooner ~ Entertainment

by hardrockchick [about 1 year, 4 months ago.]

Fischerspooner, a Kraftwerk and Depeche Mode influenced ‘electro-clash’ duo from Brooklyn, is one of the more interesting live acts out there. A theatrical, high energy experience, their current tour is a must see.

Fischerspooner’s third album, the somewhat generically titled Entertainment, is a more mellowed out version of their style. ‘The Best Revenge’ starts the album off; a dreamy dance track with the occasional interjection of some horns. ‘We Are Electric’ contains some screaming guitar at the end- touching on the psych/electro space that Fischerspooner pulls off well. ‘Money Can’t Dance’ starts out with a clip from Gene Krantz on ‘To The Moon’. A quasi-parable of sorts about being “off track”; the song states, “it’s too late for someone like me”. Something about the beat of ‘In A Modern World’ reminds me of this. “In a modern world it’s hard to be heard”…commentary on the state of the music industry, perhaps? In ‘Supply & Demand’; “I got supplies, you got the demand, I got the feeling that you don’t understand” speaks of a struggle between two people. ‘Amuse Bouche’ features grinding, hypnotic synths backing up the song title being repeated along with “don’t look back”. The albums most overtly political song, ‘Infidels of the World Unite’, muses the need to stand for something, but how some are “doing wrong in the name of right”. ‘Door Train Home’ speaks of being betwixt and between two places, a guitar mimicking the roar of a train. ‘Danse En France’ is perhaps the album’s oddest track, slowly trudging along to a mix of French and English lyrics. The album finishes with ‘Too the Moon’, an upbeat number that seems hopeful despite the fears expressed in the previous songs.

Entertainment, oddly enough, is less fun sounding than prior Fischerspooner abums. It’s more mature, weaving a story of a journey from point A to point B. It may not get you dancing to infectious beats like their previous work, but it will get you thinking.

Entertainment is available on May 4th.

1. “The Best Revenge”
2. “We Are Electric”
3. “Money Can’t Dance”
4. “In A Modern World”
5. “Supply & Demand”
6. “Amuse Bouche”
7. “Infidels Of The World Unite”
8. “Door Train Home”
9. “Danse en France”
10. “To The Moon”

Youtubes of recent performance:

Money Can’t Dance

Danse en France

Emerge

Catch Fischerspooner at The Fillmore on May 22nd.

Genre(s): Thoughts on Albums

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Record Recap: IAMX ~ Kingdom of Welcome Addiction

by hardrockchick [about 1 year, 4 months ago.]

What exactly is IAMX? Electronic? Rock? You really can’t accurately convey to someone what IAMX is; it has to be heard. And this is exactly the point of it.

Kingdom of Welcome Addiction is the third album from Chris Corner’s IAMX. While the album stays consistent with past efforts in terms of its danceable qualities, dark lyrics, and strong, soaring vocals, it possesses a slightly different formula than The Alternative and Kiss & Swallow. The majority of the tracks are structured around hooks rather than being led by Corner’s vocals. It takes some getting used to. The album feels a bit more mellow and thoughtful than The Alternative, which is much more visceral.

The record seems to deal with the theme of settling into oneself, despite an addiction. The last elements of an internal struggle dissipate in the ‘Nature of Inviting’; surrendering to a power, in a love/hate relationship. In the title track, the lyrics ‘suck at life’ seem a tad pedestrian, but this melancholy march speaks of taking ownership of a fault, and is ultimately an empowering song. ‘TearGarden’, a song about lustful aggression, possesses that half step down in notes that just tugs at my soul- despite my distaste for the name. ‘My Secret Friend’, featuring Imogen Heap, is a very synthy, lightly veiled love song to substances. ‘An I for An I’ is industrial, aggressive, and foreboding; warning about an imminent disaster. Lines such as “we owe it to the sex toys, to the icons of our time” are followed up by the rare bit of guitar. This is proceeded by ‘I Am Terrified’, a stripped down love/lust song with very poignant lyrics:

“I am terrified
I think too much
I get emotional
When I drink too much
I buy every cry
Cause I don’t trust
I am terrified
I think too much”

‘Think of England’ is a transitional song about gathering strength again, and is pointedly biographical in referencing where Corner lives, in Berlin. ‘The Stupid The Proud’ is the most theatrical, telling a story; “God is dead, we get to sleep tonight”, brings up religion and gender themes. ‘You Can Be Happy has a middle eastern intro, and discusses empowerment with a positive beat. ‘The Great Shipwreck of Life’ feels very eighties, and more like it belongs on The Alternative. “I’ll be Peter Pan and you just be pretty”. Acceptance is the message. ‘Running’ has a ‘Closer’-like beat with very melancholy vocals. The tone is ‘sleepy after staying out all night’. A reflective track, the album ends with this comfortable downer.

Kingdom of Welcome Addiction is as equally well crafted as past IAMX albums, however, it’s tone keeps it from becoming immediately attachable. By listen 3, you’ll start to understand.

Kingdom of Welcome Addiction is available on May 19, 2009.

1. “Nature Of Inviting”
2. “Kingdom Of Welcome Addiction”
3. “Tear Garden”
4. “My Secret Friend” (featuring Imogen Heap)
5. “An I For An I”
6. “I Am Terrified”
7. “Think Of England”
8. “The Stupid The Proud”
9. “You Can Be Happy”
10. “The Great Shipwreck Of Life”
11. “Running”

Youtubes of some of the new songs:

I Am Terrified:

Teargarden:

You can see IAMX at Slim’s on June 9th

Genre(s): Thoughts on Albums

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BRMC’s The Effects of 333

by hardrockchick [about 1 year, 10 months ago.]

BRMC released their latest album, The Effects of 333, at 3:33am on November 1. A psychedelic industrial soundscape, the album reminds me of what NIN did earlier this year with Ghosts I-IV, but much more ambient.

Listening to the first three songs, I would have never bet this was BRMC. But the moment track four starts, ‘And With This Comes’, it becomes instantly recognizable, before splintering back off into mysterious- almost scary- instrumentals. ‘A Twisted State’ and ‘Or Needed’ are the other more BRMC sounding tracks.

The song titles seem to form a poem:

The Effects of 333. Still No Answer.
I Know You’re In There.
And With This Comes, A Sad State, A Twisted State, Sedated With Sterilized Tongues.
We’re Not Welcome Alone, Or Needed.
And When Was Better.

‘And When Was Better’ is an interesting one. It’s newscasters talking about the Kennedy assassination. Could this be political? With all of the Obama-Kennedy references out there, coupled with the timing of the album drop, it makes me think so.

This is BRMC’s first independently released, downloadable only album. As with NIN, this is the type of non-commercial material that record labels never want anything to do with, but artists always want to release. That’s why we’re getting these high concept, artistic pieces from bands out the gate of their unedited, self-published careers. I’m digging it, but I do miss the lyrics and guitars…

effects

Genre(s): Thoughts on Albums

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record recap: M.I.A.’s Kala

by hardrockchick [about 3 years, 0 months ago.]

Having been fortunate enough to hear most of Kala’s tracks face to face with M.I.A., I’d been not so patiently awaiting this album. It’s the kind of listening party I wish I could get for every record. Maybe I should work for a record company. Noooooo.

Where Arular succeeded in being main room dance floor jams- hot, sweaty beats that draw the best moves from everyone, Kala is definitely the more grown up, been around the block, back room/VIP version. It’s darker and more seductive, with an aire of sadness.

I remember walking the stacks of record stores, and coming across the ‘World Music’ section- which was basically a catch all for anything not American. Kala is truly world music- it’s African beats and Reggaeton, Australian Aboriginal beatbox kids and Bollywood, London Grimecore and J-Pop. And it outta be, considering she recorded it on practically every continent.

The album contains amazing uses of aural metaphors- the gun shots and cash register combo is truly unbelievable on Paper Planes. Or how ’bout the psychedelic sounding usage of ‘Where is My Mind?’ by the Pixies in 20 Dollar? Phenomenal.

Paper Planes

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20 Dollar

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Kala somehow succeeds at making me want to tear up both the dance floor and world injustices. Quite the sophomore effort.

Genre(s): Thoughts on Albums

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Record Recap: The Smashing Pumpkins’ Zeitgeist

by hardrockchick [about 3 years, 1 month ago.]

Billy Corgan is trying really, really hard to redeem himself. He’s been quite the whipping boy for the press over the past few years, before he gave in and decided that a Pumpkin’s reunion is what we all needed. His full page ad antics just didn’t go over well.

Being one of the few lucky holders of tickets to the upcoming Fillmore concert series that the newly ‘united’ Pumpkins are playing, I’ve been doing some thinking about where the Pumpkins fit in my band affinity list. I think I had 2 or 3 copies of Siamese Dream–I wore them out. Thirty-three holds a special place in my heart. But I think I just got pissed at them when they canceled a show I had tickets for in 1997, and didn’t really look back much after that.

It seems that SP’s reunion has been met with the most mixed reviews of any reunited band as of yet. I reserve judgment until I see them next week, but, based on the new album, I have tepid feelings. Some of the songs almost get me there…Bleeding the Orchid, That’s the Way (my love is)…that is until I look at the name–is that an R&B song? I really wanted to like Doomsday Clock, Tarantula, and United States, but they were missing something (D’Arcy and Iha?). God and Country is pretty nice. The rest I could do without. And the business about their being 4 different versions of the CDs isn’t the best way to deal with album issues these days.

Whatever damage has been done will not reverse the fact that I will get goosebumps when I hear the first few notes of Today. Rock on, Pumpkins.

Genre(s): Thoughts on Albums

217Comments (2)2007-07-23+02%3A41%3A42hardrockchick

Record Recap: Velvet Revolver’s Libertad

by hardrockchick [about 3 years, 1 month ago.]

As many of you read, I had an exciting time seeing Velvet Revolver a couple of months ago. At this show, I got to hear 4 Libertad songs, and it was quite an introduction.

Since I exist on a diet made up of a lot of indie bands, it can be a bit of sensory overload to hear a clean, produced album. It’s like watching HDTV, when your eyes can’t believe how clearly they’re seeing.

Libertad is the perfect choice of titles for this effort. Their second album as Velvet Revolver, it frees them from some of the perceptions of the supergroup, patchwork identity of two bands meshed together. It also marks a more sober period in the drug and alcohol riddled pasts of Weiland and Slash. I won’t go so far as saying that sober bands suck in comparison to their chemically enhanced pasts…but they’re, you know, different.

Libertad is missing a ballad of Fall to Pieces status (Gravedancer is nice, but doesn’t quite do it for me), and the grittiness of Do It For the Kids. The album is more consistent across the board- fast paced, high energy rock tracks that highlight Slash’s forever phenomenal guitar skills. I tend to listen to the first four tracks: Let It Roll, She Mine, Get Out the Door, and She Builds Quick Machines…and then skip to American Man. I expect I’ll like it better once I hear the other tracks live, since that’s how I work. I have to hear it in context.

And, in related news, Slash will be an unlockable character in the next Guitar Hero. Sweet!

Genre(s): Thoughts on Albums

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Record Recap: The White Stripes ‘Icky Thump’

by hardrockchick [about 3 years, 1 month ago.]

The White Stripes are one of the most critically acclaimed rock bands around today. Detroit American rock with a Southern injection, The White Stripes can be found on a 15 year olds ipod as well as a 50 year olds. It’s timeless, simplistic, and maintains a teeter totter balance on catchy and edgy. I feel like The White Stripes may be in that enviable position where they can do no wrong.

I like The White Stripes- don’t get me wrong. But I do feel like they are a bit overrated. The White Stripes are flourishing in a rock-starved world, where Jack White remains to be the last rock star. Where nearly every other band that can be classified as rock/something– indie rock, pop rock, electronic rock, industrial rock, goth rock….The White Stripes have no slash. They are just rock.

‘Icky Thump’ is the band’s sixth studio album, releasing as the band is about to celebrate their 10 year anniversary. This album comes after a lot of personal transitions for both Jack and Meg: both moved out of Detroit, Jack got married and has a baby and another on the way. In a sense, this album reflects a less self-centered view: the first single is The White Stripe’s first overtly political effort, dealing with immigration. The love songs are more tender, and the country and Spanish influences are more romantic (hence the promotional photos gracing every music magazine of them dressed in Mariachi costume).

Icky Thump is a good road trip listen, but I don’t feel like there is a stand out track on the album that will repeat in your head all day long.

Genre(s): Thoughts on Albums

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