Corey's Decade list 30-20

30. Isis - In the Absence of Truth

Narrowing down the decades best releases from one of the decades greatest bands may not be easy, but choosing In the Absence of Truth may have come more naturally to me than many would believe. Despite the fact that this was an Isis album that would open them up to a host of new fans that would have been previously unaware of their sludge meets post-rock efforts, it still wasn't held in the highest regard by old school Isis fans. That is because itAoT is a noticeably more melodic and progressive album in general, although when truly judged by its musical merits, its also one of the band's greatest achievements. The enticing buildup of opener "Wrists of Kings" doesn't continually build and slowly gain volume like one of Isis' former songs might have, instead it works its way into a beautiful mid-tempo groove with Aaron Turner singing instead of screaming. Its a bit of a change, but as soon as an actual verse and chorus are demonstrated twice the bottom drops out and the listener is suddenly kicked into the distorted, climactic ending that they've been waiting for. Its moments like these that show that Isis' did some of their finest and most forward-thinking songwriting on this album. The Opening bass riff of "Not in Rivers, but in Drops" is still one of the most hypnotic things I've ever heard in my entire life and the rest of the song is absolutely trance-inducing with its ethereal, yet always clever twists and turns. They drift off into heart-stopping space metal on "Over Root and Thorn" and "1,000 Shards", and tracks like "Garden of Light" are full of power and commanding presence. The band members performances were at some of their best as well, with drummer Aaron Harris' roomy fills and excellent drum tones being one of my favorite components of the album. The comparisons to Tool would not stop of course as a healthy dose of prog into their trademark combination of post-rock and sludge metal certainly did give them somewhat of a resemblance, but I don't think there's any use wasting time on comparisons here. Isis were something all their own on this album, just the way they've always been.

29. Intronaut - Prehistoricisms

LA progressive metal group Intronaut had hinted at great things within the first couple of years of their career but were still yet to truly fall into their own until this full-length masterpiece. Their first release for Century Media and the first to truly showcase the band's progressive muscle that would expand their sound to uncharted territory, Prehistoricisms was an abrasive yet forward-thinking and highly enjoyable musical statement. Sludge, prog, jazz, fusion, and Indian music all seem to meld together so harmoniously that its almost scary, as is Intronaut's ability to make bizarre time meters groove hard on tracks like "The Literal Black Cloud". They also display a knack for taking something from punishing to jaw-droppingly beautiful on song like "Austropalithicus" which shows come pretty adventurous writing, maybe even more so for an extreme metal band. The prehistoric theme of the album is also brought to life through the dual percussion onslaught at the end of "Any Port" and the range of music explored on the mind-bending 17 minute instrumental "The Reptilian Brain" should win some kind of award for one of the greatest unsung psychedelic metal songs (Joe Lester's fretless bass and Middle Eastern melody and rhythm techniques add a truly unique flavor here). Prehistoricisms might not be for everyone but it was just what I needed, and it was also the start of an exciting evolution for this band.

28. Raekwon - Only Built 4 Cuban Linx Pt. 2

New York Wu-affiliated MC Chef Raekwon took his time for the follow up to one of the greatest hip-hop records of the 90s, but once the end result was dropped in 2009 I don't think anyone was complaining. Only Built 4 Cuban Linx Pt. 2 hearkens back to the greatest days of New York hip-hop and still manages to stay relevant at the same time. Its a thorough look at great hip-hop that slays almost anything in the genre thats been released in the past decade. Rae and Ghosts' most unrelenting crime stories yet are brought to life by perfectly fitting production and beats by everyone from Dr. Dre to Dilla, and its the kind of album that has enough staying power and replay value to warrant a place in any hip-hop fan's collection. Rae does some of his best rhyming here and the other Wu-emcees make everyone feel right at home. Cuban Linx Pt. 2 is full of classic songs, whether its "New Wu", "Sonny's Missing", "Ason Jones" (one of the best O.D.B. tributes ever) or any of the other countless memorable tracks from the album, you can't miss. Although the best thing about it is that it truly feels like a record, and its meant to be experienced that way from start to finish.

27. King Geedorah - Take me to your Leader

Only when dealing with an artist like MF Doom and his cohorts is it possible that one of the greatest hip-hop albums of the decade would be released by a short-lived moniker that only did one album. With that being said, King Geedorah's Take me to your Leader stands amidst the enigmatic MC's vast catalogue as some of his greatest work ever. Consisting largely of guest rappers and unique, eclectic samples taken from sources such as Godzilla movies and the anime series Gatchaman, Take Me to your Leader follows its name in the sense that it is truly like alien hip-hop, refreshing and profound. Its the kind of eclectic, creative record that one stumbles upon and listens to non-stop for months on end.

26. Between the Buried and Me - Alaska

While it might not be as open-minded of a musical expression as Colors was, there's no denying that Between the Buried and Me flexed some of their strongest prog-metal muscle on Alaska. Alaska was the album that proved that this NC group wasn't just another fly-by-night metalcore band, but a group of misfits that still oddly fit in almost wherever they went. The opening track "All Bodies" has all the components of a devastatingly good progressive death metal song; its not just the shredding and odd time meters, its the riffs that truly stick with you. The band also began breaking free from their former genre's parameters by introducing some daring elements (for a Victory band anyway) in the form of the chilling dream-rock section in "Backwards Marathon" and the Brazillian acoustic jazz of album-ender "Lazer Speed". True story: did you know that when I first bought this album and took it home to listen to it that the instrumental section at the end of "Selkies: the Endless Obsession" literally left my mouth open and almost brought tears to me eyes? I had to replay it instantly, and I'm sure I did many times after that.

25. Mastodon - Leviathan

Some may consider it heresy that Mastodon's debut Remission did not make it onto my decade list. Well before it comes to fisticuffs know that I agree that its an excellent album, but this Atlanta, GA quartet pulled out all the stops on their sophomore effort. Leviathan is the kind of album that renews the faith of thousands when hope for modern metal was truly waning, an album that marries heavy and smart in a completely non-cliche and non-fashionable way. Leviathan opens with one of the most infectious and mosh-able songs of the decade; "Blood and Thunder" before the growing Black Sabbath and Thin Lizzy influence keeps "Seabeast" tough, yet melodic. While Mastodon hadn't fully shifted into prog yet, their dedication to progressing as musicians was already evident as not only was the band's writing stronger and more adventurous, but Bret Hinds' and Troy Sanders' vocals had already come a long way and would continue to grow from here. The record is pure classic from start to finish, but its true shining moment is none other than the 13 minute epic "Hearts Alive". As eight-armed drummer Brann Dailor pounds his way through alien rhythms the song develops the way a true progressive rock song should, and there's even a little Skynyrd tribute in Brent's climactic solo. I'd also like to see anyone argue their way out of tracks like "Iron Tusk" and "I am Ahab" being some of the most punishing that Mastodon has ever done.

24. Minus the Bear - Planet of Ice

Its certainly been argued by me before that depending on what you're in the mood for, three of Minus the Bear's albums: Highly Refined Pirates, Menos el Oso, and Planet of Ice, are all equally excellent in quality. While I've believed this to be true at times, deep down I've always felt as if Planet of Ice truly stood above the rest as Minus the Bear's crowning achievement. While perhaps not as pure as the addictive math-pop of Highly Refined, or as hip as the polished glitch-hop rock of Menos el Oso, Planet of Ice still left me utterly stunned with its addition of shimmering prog into the band's already highly agreeable formula. Planet of Ice shows the band's evolved songwriting pushing the catchiness level to pandemic levels while still adding complexity and depth. The album truly paints a picture with its lush keyboard landscapes and shimmering, ether-worldly guitar tones. Opening song "Burying Luck" improved upon what MtB had already done in previous records, while songs like "Dr. L'ling" and "Lotus" are spacey and enjoyable enough in their prog-pop to make David Gilmour smile. Besides, the sheer joy from "Throwin' Shapes" is like sugar to the ears, yet another reason why Minus the Bear have set a high an extremely high bar for themselves with this one.

23. The Flaming Lips - Yoshimi Battles the Pink Robots

While these Oklahoma acid-rockers were already a well-established cult favorite in the decade prior, it still often feels like The Flaming Lips career is sometimes spoken about in terms of before and after Yoshimi Battles the Pink Robots. It could be because Yoshimi was not only a huge breakout album, but a complete masterpiece. Picking up where the Soft Bulletin left off with the Lips' new approach that would define mostly electronic alternative pop for the rest of the decade, Yoshimi Battles the Pink Robots is the perfect marriage of modern pop sensibility and brilliant, slight psychedelic genius. Wayne's friendly voice draws you in the instant you hear it on the whimsical melodies of opener "Fight Test", a song so utterly infectious that you've lost all hope of breaking free by the time it reaches the first chorus. Even in the more melancholy moments like "One More Robot/Sympathy 3000-21" (which features a truly stunning ending) the Lips still manage to push through to your heart in only a way that a band that writes songs about robots learning to love can. Everything on this album literally comes together perfectly, as evidenced by the fact that "Do You Realize?" has become sort of an anthemic celebration of life amongst alternative music fans (its also Ohio's state song). Yoshimi doesn't miss, every track is gold, and whether or not its your favorite Lips record, its not only a defining moment in this legendary psych-rock band's 20 plus year history, it stands as one of the greatest albums period.

22. Pedro the Lion - Control

David Bazaan's relatability has helped make him one of the greatest musical minds to come along in quite some time. And while the story of a successful business who has an affair and is then murdered by his wife might not be relatable to everyone reading this, his knack for stripping things down to a common language and taking all the flowerie-ness of the common "indie" singer songwriter is what makes him such a relevant and essential artist. Here Bazaan appears as he always does, surprisingly calm and collected through his often dark lyrics and timeless songs. Bazaan steps slightly outside of the minimalistic and mostly acoustic approach of his previous records to deliver for all intents and purposes; a rock album, but its one thats still introspective and thoughtful enough to hit harder than the efforts that most indie rock bands can muster. Bazaan's aching low voice is at its best here and the arrangements are simple yet fully realized to their potential. Despite the many gems in Pedro the Lion's back catalogue, Control will always stand out to me as their finest moment. "Wouldn't it be so wonderful, if everything were meaningless. But everything is so meaningful, and most everything turns to shit. Rejoice." Doesn't exactly sound like the words of someone who wrote such a golden album, but then again he knows what he's talking about. He's one of us.

21. Jesu - Conqueror

Who would have known that grindcore godfathers Napalm Death's first guitarist would go on to make the soundtracks to your life's most emotional moments twenty years later? Indeed, Justin Broadrick has been many things, including industrial/sludge hero in the legendary band Godflesh, but he's also been the new king of shoegaze after channeling some of that aggression into his newest electronic/post-metal project Jesu. Conqueror's dream-rock achieves a hypnotic effect that very little music can, while it doesn't sound like it on paper, the combination of crushing guitars, swirling electronics, and soft, dreamy vocal melodies come together to create something that can make your ears bleed and your eyes watery. For a guy who isn't typically thought of as a post-rock writer, Broadrick knows how to use simplicity to create heart-stopping buildups like few others. The sheer intensity of the anticipation in songs like "Weightless and Horizontal" is enough to create a truly mind-altering voyage even without the drugged-out electronic panning effects. Listening to Conqueror again and again one thing is truly evident; there will never be another band quite like Jesu.

20. Made ouf of Babies - The Ruiner

"If you believe in such things then start praying..." hiss

es/pants Julie Christmas at the beginning of the song "Peew", track 8 on Made out of Babie's third LP The Ruiner. The warning could have come a bit sooner. At this point in the album we've already been trampled by barrages of jarring guitars, distortion coated bass, and of course the vocals of one of music's most refreshing, creative, and terrifying female singers. Brooklyn, NY quartet Made out of Babies struck gold on The Ruiner with a truly innovative, yet simple formula. If I had to describe MooB to anyone who had never heard them I'd say imagine a three-way cross between Neurosis, The Jesus Lizard, and Bjork. Falling somwhere between post-metal and art punk, The Ruiner is truly difficult to compare to anything else I've ever heard. And its not all harshness either. The melodic ending half of "Invisible Ink" is beautiful, smart, and surprisingly simple all at the same time, its a nice contrast to the next track "The Major" which features dark, creeping riffs underneath Christmas' haunting vocals that eventually build to a truly bludgeoning climax. Of course Christmas is the star here, her ability to bring different personalities to life with her shapeshifting voice never ceases to amaze. Unfortunately I have to quote Revolver magazine here, even though I'd rather not it could be the most astute observation they've ever made about anything: "Its called The Ruiner because it makes everything else sound lame." Very true words.

Next time its 19-10, thanks for reading!

Corey

Album reviews March 2011

Some recent stuff I've been spinning that I thought I would review:

Maserati - Pyramid of the Sun

Depending on who you talk to and which album you are referencing, Athens, GA's Maserati can be described a number of different ways. Most often described as "instrumental post-rock", they're still a good deal different from the reverbed-out, dramatic buildups that lead some bands of that particular genre into elliciting yawns. Pyramid of the Sun is the tribute to Maserati's tragically departed drummer Jerry Fuchs who was lost in an elevator accident in late 2009 and who's drumming can be heard on Pyramid of the Sun.

The fact that Fuchs has worked with dance-rock group !!! shouldn't come as much of a surprise after hearing PotS, as its instantly noticeable as a harder-grooving album with its strong 80s synth-pad presence and its further deviation from typical post-rock writing. Fuchs and bassist Chris McNeal come together to create tight, danceable rhythms that allow guitarists Coley Dennis and Matt Cherry to let their effected riffs truly flow and intertwine. Delays that create almost ping pong-esque bouncing along with a myriad of other effects let the guitar melodies truly shimmer, and the band layers and builds enticing sounds not unlike what other post-rock bands specialize in. However this is still a much more to-the-point affair compared to other bands of the genre, the album even carries a more fun and experimental vibe than some of Maserati's former work like 2007's epic Inventions for the New Season. If Maserati are indeed creating movie soundtrack music then think less Explosions in the Sky and more as their label Temporary Residence calls it: "A relentless, bloodshot 3 A.M. soundtrack to a car chase beneath city lights." But no matter what your taste, this is some pretty enjoyable and accessible music, proven by the fact that they've shared the stage with acts as different and diverse as jam band Sound Tribe Sector 9 and Japanese chamber-rock heroes Mono.

The only thing wrong with Pyramid of the Sun is that its leaves more to be desired, which is not to take away from the quality of the album. Its to simply say that at 8 tracks it just makes you want more of their music, which isn't necessarily a bad thing. Especially if you enjoy pentatonic space-rock riffing you get on tracks like "We Got the System to Fight the System" as much as I do.

rating: 8/10

I'm not sure who I would recommend this for, but like the band sort of alludes to in their bio, this might be right up your alley if you've ever imagined David Gilmour and The Edge collaborating with Daft Punk.

Crippled Black Phoenix - I, Vigilante

Crippled Black Phoenix are a still mostly unheard European post-rock collective that makes some really great music. They've put out a few records already, but for those who still aren't familiar with them the group contains members from bands as diverse as Mogwai and English stoner-metal/doom legends Electric Wizard. An odd coming together indeed, especially when mystery around the band has apparently started rumors that they are actually a Portishead side project (which will make even less sense after you hear them).

Anyway, their latest offering is a full-length LP titled I, Vigilante that sort of picks up where their last album 200 Tons of Bad Luck left off. CBP are another band that really can't be pigeonholed. Any band with a large number of musicians from different backgrounds is bound to stray outside genre parameters, although if I had to describe their music as anything I'd call it: "minimalist folk-prog dirges". The songs tend to go long and build up a good bit, but CBP are still far from a typical post-rock band. The heavy opening riff of aptly titled opener "Troublemaker" leads the song in both a soulful and sinister direction. The second track "We Forgotten Who We Are" is one of CBP's finest yet, the latter half featuring a winding piano run that accentuates the powerfully building climax showing an epicness that this band has really yet to display. Its the perfect mix of post-rock cinematics and classic rock groove, and its something that bands should do right more often. CBP somehow manage to stay both mellow and intense throughout I, Vigilante, and the band throws some curveballs towards the end. The soulful female vocals and weeping minor duel guitars played commandingly over a bed of synth/organ on "Of a Lifetime" would seem like the perfect ender until a) you realize that this is somehow a cover of an old Journey song and its still amazing and b) the album actually ends with a rather whimsical cover of "Burning Bridges" by Mike Curb Congregation from the Clint Eastwood movie Kelly's Heroes. A little strange yes, but Crippled Black Phoenix are a band that no one should overlook, and I, Vigilante is yet another great offering from them.

rating: 8/10

recommended for fans of: Blueneck, A Whisper in the Noise, and early 70's Pink Floyd

Ghostface Killah - Apollo Kids

Ghostface Killah is one of those musical artists that almost releases music too fast for someone like me to keep up with. He seems to have an album per year quota (or at least it seems that way when you combine his releases with his prominent appearances on albums like Only Built 4 Cuban Linx pt. 2 and Wu-Massacre), the astonishing part being that each one never lacks in quality. Whether or not Ghost is your favorite Wu-emcee, the quality of his approach to pure NY hip-hop is hard to argue with.

Ghost's swift flow is given a huge helping hand by the construction of actual songs, much like the way it was on albums like 2006's superb Fishscale. Tracks like "Superstar" and "2getha Baby" contain memorable hooks, beats, and choruses that elevate the raps to "song" status while always retaining the feel of true gritty hip-hop. Its this balance of accessibility that will draw many to this album like much of his former music. And as always, lyrical themes stick closer to girls that some of his gritty, crime-story spitting cohorts. The lyrical and musical highlight of the album comes in the form of "In the Park", Ghosts' ode to the origins of hip-hop and call to modern rappers to remember where they came from.

Apollo Kids is truly great

through and through, but with such an impressive back catalogue its hard to say how it stacks up to some of Ghosts' finer records and whether or not it truly stands out as "essential". Although it is that time of year again, so if you're needing your Ghost fix then you already know that this is essential enough to warrant a trip to the record store.

rating: 8/10

recommended for fans of: Nas, Method Man, Chef Raekwon

sorry to be so repetitive with the ratings but they were all of consistent quality this time around. Who knows, maybe next time you'll get lucky and I'll find something that truly disgusts me.

Thanks for reading!

C McD

Corey's decade list part 1

I'm about a year late on this, but I didn't really have a place to post it until now. And while its true that Tbots beat me to the punch I still wanted to go through with posting my list of my favorite albums of the past decade. Creating this list was difficult, mostly because opinions do change about certain bands/albums as one crosses from teenage years to adulthood, but also because it was hard to decide on just 50 albums. I could have went on and had a much larger number as there are many albums that aren't on here that still deserve some credit, but I'll try to give notice to as many as I can. For this list I looked for albums that took me back to a certain place and time, something that I know had a huge impact on me at the time I heard it even if the impact has lessened since. I tried to do a fair a job as possible with this so I hope you enjoy.

50. Beloved- Failure On

49. He is Legend - I am Hollywood

48. Zao- the Funeral of God

47. Protest the Hero- Fortress

46. Baroness - Blue Record

45. Torche - Meanderthal

44. Botch - We Are the Romans

43. Coldplay - Rush of Blood to the Head

42. At the Drive In - Relationship of Command

41. Atmosphere - Seven's Travels

40. Jurassic 5 - Quality Control

39. Converge - Axe to Fall

38. Between the Buried and Me - Colors

37. Queens of the Stone Age - R

36. Extol - Undeceived

35. Mastodon - Crack the Skye

34. Pinback - Blue Screen Life

33. Open hand - You and Me

32. The Fall of Troy- Doppleganger

31. Gnarls Barkley - St. Elsewhere

Other notable mentions:

Mogwai - Rock Action

Godspeed You! Black Emperor - Lift Your Skinny Fists like Antennas to Heaven

Black Mountain - In the Future

Astra - The Weirding

Norma Jean - Bless the Martyr and Kiss the Child,

Enslaved - Runn

Neurosis - Given to the Rising

Ghostface Killah - Fishscale

Isis - Panopticon

Eisley - Room Noises

Starflyer 59 - Old

Joy Electric - The White Songbook

He is Legend - Suck out the Poison

Gospel - Moon is a Dead World

Blindside - About a Burning Fire

David Gilmour - On an Island

Opeth - Ghost Reveries

Queens of the Stone Age - Songs for the Deaf

Minus the Bear - Highly Refined Pirates

Minus the Bear - Menos El Oso

Pelican - the Fire in our Throats will Beckon the Thaw

MewithoutYou - Catch for us the Foxes

Project 86 - Songs to Burn Your Bridges by

Next time, for 30-20 I'll have write ups on the albums. Until then, cheers

Corey

2010: the year in music

Best of 2010:

2010 was a weird year for me in the sense that I wasn't really able to keep up with alot of new music that came out, mostly for lack of money. The pickings were a little slim for me to come up with a top ten like I traditionally would, so I'm just going to talk about my favorite albums of the year instead. Granted this list will probably change as there were many releases by bands/artist that I really enjoy whose releases I never even got to listen to all the way through. Bands such as: Mogwai, Tera Melos, Maserati, Nachtmystium, The Ocean, Omar Rodriguez-Lopez, Enslaved, Julie Christmas, Madlib, and probably some others that I'm forgetting. Those all would have a place on this list for sure, but since I don't really feel as if I can review them for the limited number of songs I've heard this list will have to do. I do still have an album of the year however, which I will point out when I get to it. If this list seems to cater to the "stoner" variety then sorry, it seems strange to me too.

High on Fire - Snakes for the Divine

Few things slay quite like a High on Fire record, they are one of the few extreme metal acts thats managed to appease their hesher fan base and still create a brand of music that is widely accepted by heavy music fans from all different walks. Its hard to wonder why on Snakes for the Divine, an album that continues the band's formula of gut-pounding, drum-circle like percussion, bass guitar that hits so hard its downright concussive,and Matt Pike's awesome riffage bumping up its harry bro-fist with his "Lemmy after a carton of cigarettes and a fifth ofbourbon" vocals. The opening (also title) track is one of the best HoF have ever done, and not only do you get classic stoner thrash pit-starters like "Frost Hammer", but some more down-tempo tracks like "Bastard Samurai" and "How Dark We Pray" harken back to Pike's days in legendary stoner-metal outfit Sleep. High On Fire have some past albums like Blessed Black Wings and Death Is This Communion that are pretty hard to top, but Snakes for the Divine certainly gets close.

Mouth of the Architect - The Violence Beneath

As Pelican have proven, post-metal can work in EP format just as well as in LP in some cases, especially since the genre usually deals with very long, drawn out compositions. Mouth of the Architect's 2006 LP The Ties That Blind was truly stellar display of post-rock and sedated prog-metal, but their 2008 LP Quietly seemed to lack a little inspiration and drift on in areas that should have been cut short. The Violence Beneath cuts right to the chase with the opening track that is probably the most up-tempo song that MotA has ever done. With crushing Neur-Isis style riffs that give way to some nice duel harmony licks, its certainly a less shoegazy affair than before. The second track incorporates more clean-singing with great results, and the ending buildup is carried out well by Intronaut bassist Joe Lester's smooth fretless lines. "Restore" is classic MotA goodness while the last track; the suprisingly beautiful cover of Peter Gabriel's "In Your Eyes" fits the band's intense post-metal dirges perfectly. Mouth of the Architect seem to have found a good balance for now, lets just hope they can hold onto it for the next full-length.

Kylesa - Spiral Shadow

Whether it was from a fit of inspiration or perhaps an increased budget (as it takes a nice pedal collection to conjur up this kind of rich, sonic vortex) as a result of their last album, it looks like Kylesa have finally started putting their money where their mouth is with bringing in more diverse influences and ideas. Where they've always been considered a combination of crust punk, sludge metal, and psychedelia, they still always had a sound that was pretty easily indentifiable as sludge. Merely a year and a half after their best release yet Static Tensions, Kylesa have come forward with their most vibrant, psychedelic, and surprising work yet. Of course the heaviness is still there, but this time its accompanied buy enough melody and effect layering to make this band feel like a new animal. Not to mention stronger song writing , even trippier stereo headphone effects, and Philip Cope and Laura Pleasants' strongest and most indentifying vocal performances yet. There are some downright ballsy moments as well. Case and point; the major-key leaning "Don't Look Back" which features a riff poppy enough to pass for the Pixies. And while I can't say the aforementioned track is my favorite, I still respect Kylesa for having the kind of audacity to piss off so many of their heavily-bearded fans. The only down-side to this new experimentation is an occasional lack of focus such as on "Crowded Road". Despite having an awesome middle-easternesque guitar solo halfway through the song, once its over you realize that there is only one repeating riff that bookends the song, and thats it. And hell thats not even that big of a draw-back for me, especially when the title track is probably the best song Kylesa have ever written.

Torche - Songs for Singles

Torche set the bar for themselves extremely high with 2008's full-length album Meanderthal. It was the quintessent look at what makes this band so good, and while Songs for Singles returns to the shorter format the band's accustomed to, it still gives us a shorter, more focused dose of awesome. The opening song "UFO" is yet another prime,fun, stoner-pop singalong that combines Steve Brook's memorable vocal melodies with warm, distortion-coated riffs. Songs like "Lay Low" and "Arrowhead" continue to expound upon the band's Melvins-esque freak rock weirdness that they flexed a little on Meanderthal. The two tracks making this release most worth a purchase in my opinion are the last two: "Face the Wall" features an almost Justin Broadrik style shoegaze quality while "Out Again" is yet another triumphant Torche rock anthem. It might not pack as much bang for your buck as Meanderthal, but short and sweet seems to be how Torche really likes it.

Carolina Chocolate Drops - Genuine Negroe Jig

If there's not really a folk revival going on in North Carolina you now have another reason to believe otherwise. While groups like the Avett Brothers have been busy garnering mass appeal with their style of folk-rock, The Carolina Chocolate Drops have been roughing it playing all styles of old-timey music the only way they know how. Genuine Negroe Jig shows the Durham, NC trio's versatility and ability to channel various emotions through traditional southern music. Some of my favorite moments come in the form of up-tempo bluegrass singalongs like "Trouble In Your Mind" and "Cornbread and Butterbeans", but the trio covers a wide enough range to also include darker ballads such as "Kissin and Cussin" and "Trampled Rose". And I'm not sure if "Reynadine" is a traditional spiritual or not but the Carolina Chocolate Drops are convincing enough to make it all more than pass. There's a genuinity here that is essential to this group's greatness, there is no concern here with hipness or appeal, just real songs presented in earnest fashion. In other words Genuine Negroe Jig might not be your choice if you've spent alot of time growing that beard out for some Austin indie-folk festival, but if you want something good to listen while you sit on your rocking chair out on the porch drinking whiskey, it may be just what you're looking for.

Black Mountain - Wilderness Heart

So unfortunately the 17 minute prog epic "Bright Light" from Black Mountains last LP In the Future was not exactly a sign of things to come as their new album Wilderness Heart features some of the shortest and most to-the-point, accessible rock songs they've done. On the positive side the are proving more and more that they still write timeless songs that are undeniably good. Wilderness Heart starts off with the fun and highly singable hooks of "Hair Song" but also expect some of the heaviest Sabbath worshipping Black Mountain has ever done. "Roller Coaster" features hazy pentatonic grooves while you could probably convince someone that the uptempo riffs of "Let Spirits Ride" were from Iommi himself. But thats far from all you'll get; the beautiful blend of acoustic guitar work and mellotrone/organ/synth domination on tracks like "Buried by the Blues" and "Radiant Hearts" create a vehicle for Stephen McBean and Amber Webb's strongest vocal performances yet. The songs like these are moving and memorable and prove that Black Mountain are truly exceptional at writing easy to love rock songs that are real and without cliche.

Titan - Sweet Dreams

Titan were one of my new discoveries for 2010, and easily my favorite new discovery. As it makes sense that many modern hard rock musicians are rediscovering the magic of 70's prog, Brooklyn, NY's Titan turn to the spacey yet active realms of krautrock, and its about time someone did. Titan may be on Relapse but they're not as much metal as they are a reeling head-trip of epic synth-driven prog and psyche. Although opening song and title track "Sweet Dreams" does have a bit of a galloping 80's metal riff, you're more likely to compare the vintage sonic buffet of songs like "Highlands of Orick" to the likes of Van Der Graaf Generator, Hawkwind, and maybe some Pink Floyd, Eloy, and Baroness all thrown together. In other words; total skull-banging, cosmic-vomitting eargasm. And although some may be tempted to cry "hipster!" at some of Sweet Dreams' slightly tongue-in-cheek song titles like "Synthasaurus" and "Maximum Soberdrive", Titan are simply a band making good music for those who may fancy taking a drug-addled voyage to realms beyond. Nice to meet you.

Wu Massacre - Self-Titled

Before any of us even had time to recover from the thoroughly pleasant beating that we all took last year from Chef Raekwons' Only Built 4 Cuban Linx Pt. 2, Rae and Ghost decided to drop yet another piece of hip-hop gold with Wu affiliate Method Man early this year. Wu Massacre is what we've come to expect from some of the world's most talented emcees, its hip-hop for those that love hip-hop. Criminology 2.5 is a vicious reworking of a Cuban Linx Pt. 1 classic but doesn't overstay its welcome, a common theme on an album thats surprisingly short for a hip-hop LP. Superior sampling combined with the "if it ain't broke don't fix it" rhyme scheme of these three emcees is what makes tracks like "Smooth Sailing Remix" and "Miranda" along with plenty of guest spots of course. The fact that its a short record may leave some fans disappointed but it also leaves one thing for sure: there is absolutely no filler on Wu-Massacre.

Sufjan Stevens - The Age of Adz

Trying to summarize my thoughts on this album quickly after only two weeks of listening to it will be difficult, but I think it deserves to be on here. I think its safe to say two things about American songwriter Sufjan Stevens. A: he's always pretty much just going to do whatever the hell he wants. B: As long as he's doing that we can be assured that its going to be good. Whether that means showing little concern for continuing his beloved states project or making a new album largely based of synthesizers, its really just him. Not that The Age of Adz is the first time that Sufjan has relied on electronics, as the far more abstract Enjoy Your Rabbit would tell you. Although some fans will not relish the thought of a mostly synth Sufjan album, the technology certainly hasn't quelched his creativity. The Age of Adz shows him as inventive as ever, as usual bringing seemingly simple melodies to life with rich arrangements that draw on a variety of instruments and voices. He represents some odd voice fluctuations this time around to compliment the unfamiliarity as well, or at least enough so that it differs from his usual deliveries. Most of the songs on The Age of Adz are not remotely simple; the title track brings forth an orchestra of synths and keyboards as well as stately woodwind flutters and brass reinforcements. The opening song "Futile Devices" is a brief, beautiful glimpse of the more subdued Sufjan that many are used to, and mostly features hushed vocals along with piano and guitar. The contrast being that songs like "Impossible Soul" are among the most ambitious and complex that Sufjan has ever written. Plenty of vocal indulgence can also be found on the ascending and descending lines of "All for Myself", while on one track Sufjan even takes on a little vocoder auto-tune. But in the end this is the artist we know and love, and the Age of Adz might just be the best thing he's put out since Illinois.

Intronaut - Valley of Smoke

Those who are in the know about Intronaut know that to not expect progression from them would be nothing but idiotic. For those of you who aren't in the know, my album of the year pick for 2010; Valley of Smoke is a good place to learn everything you need to know about one of metal's (and progressive music's) most promising bands. Intronaut have continued to expand and build upon their blend of progressive metal, sludge, jazz fusion and middle eastern influences that they brought to a dizzying level on 2008's Prehistoricisms, and if Valley of Smoke boasts the addition of anything, its a larger use of melody. Valley of Smoke augments a unique style of clean vocal from guitarists Sacha Dunable and Dave Timnick that supports this. Although while normally the quickest way for a metal band to sellout is to implement clean vocals, Sacha and Dave present a tough, quasi-melodic style of singing that is unrefined and helps add layers of melody to the already rich compositions. With unpredictable chord progressions that always keep you excited to see where the song heads next, polyrhythmic meters that are incredibly complex yet easy to groove on, and effects pedals that are used more as instruments than for excess, Valley of Smoke defies genre classification altogether. It may be considered prog, but if it is then its for those who prefer their prog deeper, spacier, and less about musical masturbation. And as for the rhythm section? I don't think I can think of a better one in modern heavy music. Danny Walker's drumming combined with the god-like fretless lines of bassist Joe Lester are an unbeatable combination, and just wait until you hear the album's second to last track when Justin Chancelor from Tool joins in on a double percussion and bass onslaught. If you care about this kind of music and thats not incentive enough to buy this album then I can't even imagine what must be wrong with you. Its heavy, beautiful, and smart all at the same time, to me its simply music that penetrates farther into the realms of the mind.

Shows of the year (of the few I saw this year):

Braveyoung at the Milestone in Charlotte, NC

Back when this Greensboro group was Giant, they admirably struggled to find their identity amongst the rising Neur-Isis bands of the time, but as Braveyoung they seem to blossoming into a truly relevant band. Not that I had a problem with their previous post-metal dirges, but Braveyoung's performance at the Milestone this particular February evening had a decidedly more "arty" air about it, despite it being in the dingiest punk venue in town. Braveyoung played a 30 minute set that consisted of two unreleased songs complete with timpani crescendos, acoustic breaks, bows, and other things not typically found in a room full of punks and metalheads. Braveyoung demanded reverence with their moving performance, the crowds devotion to each note played was unwavering even after the raucious performances of hardcore bands Torche Runner and Young and in the Way. As always they balanced dynamics and created building tension the way a good post-rock band should, it was worth the trip.

Eyehategod, Nachtmystium, Joe Buck, and Withered in Spartanburg, SC

Despite the fact that Eyehategod have played Ground Zero numerous times, the turnout at this show suggested that there certainly are some newer fans that understand the band's importance. Decently well-attended for a Ground Zero show, Withered played first due to Graves of Valor's absence. Their blend of doom, death metal, and black metal was just as ear punishing and unrelenting as one would expect from listening to them on record. Withered may not be for everyone, but they certainly don't mess around. Next was the band I was just excited to see as EHG, Nacthmystium. Being a huge fan of Assassins; Black Meddle Pt. 1 I was really looking forward to their performance, although their song choices leaned more towards the band's black metal side and shied away from prog. They still kept things interesting with choices like "Ghost of Grace" and a song off their new record which had just been released. They played a song off of Instinct: Decay and the Doomdsay Derelicts EP before more great cuts from Assassins such as "Your True Enemy". Although I dare say that Ground Zero's downstairs sound didn't complement them like other venues would, the reverb on Blake Judd's vocals still added a nice pinch of psychedelia to the surprisingly metal set. Eyehategod's performance was eagerly anticipated by everyone there, and whether its because they're clean or because they've been doing this for a while, their sound was airtight. After a prolonged feedback drone, with no lead in or count off the band struck one colossal chord that set the mood for the rest of the show; loud, earth-shaking southern sludge by one of the genre's forefathers. The band played until late, with cuts from each album, and since there was indeed some Take As Needed for Pain, I got what I came for. Indeed, many heads had a good reason to bang that night.

Black Mountain and The Black Angels at the Grey Eagle in Asheville, NC

Best show of the year, I already went into detail on this one so I'm not doing it again.

R.I.P.

Isis

The demise of Isis this year was not a normal band breakup. This was not a mere bummer to be shrugged off because of a vacant hole that could easily be filled with imitators. This was the loss of a band whose influence and impact have been felt tremendously since their beginning. A band that more and more people were getting into each year and having their minds greatly expanded because of it. No, this was not a normal breakup because Isis were not a normal band. The music of Isis straddled enough lines to make some very unlikely fans who appreciated very different things, they also served as a gateway to many like myself. I may have only started hearing about the band around 2005 due to the press from Panopticon, but in the few years I've been listening to them they meant more to me than most bands ever have. Sure I had encounters with the likes of Mastodon, Converge, Botch, Neurosis, etc. All bands that challenged my boredom with heavy music and molded me into a different person, but Isis still did it differently than anyone else.

Isis began in 1998 and gained more notoriety each year until they became the go-to band for individuals breaking out into different musical territory. Soon enough metal-heads that usually went for more typical listening were introduced to an entirely new world, while indie/shoegaze types would find one of the few heavier bands they loved. Fans of sludge, prog, post-rock, even ambient electronic music would soon find some common ground, and while many have varying opinions on which years the band put out their best material, I think its all brilliant in its own way. And oh have there been imitators. I'd be lying myself if I said I wasn't one of the many that heard Oceanic for the first time and said "thats exactly what I want to do". But perhaps they were in the right, the band believed that they had milked Isis dry and that anything further from this point would just be repeating what they've already done, so honestly more power to them for having the respect for their fans to stop before their hearts were no longer in it. Now what we all need to do is just reflect on and enjoy their music, I know I myself and making sure to get my hands on all the LPs, CDs, MP3s, or whatever I can find Isis related this year to truly pay tribute. To one of the most influential bands of the past decade: Farewell, you guys had a hell of a run and I can't wait to see what directions you go in next.

In memorium: Ronnie James Dio

Being at the age I am its bitter reminders such as these that let you know that alot of the musicians you look up to might not be around much longer. The passing of Capt. Beefhart this year Pink Floyd's Richard Wright two years ago were such reminders as well of course. Many know Dio as the singer for Rainbow and the second incarnation of Black Sabbath, with him we lost not only an iconic figure that may as well have made one of rock's biggest contributions with his patented horn throw, but an amazing singer and someone who just seemed like he would be a cool guy. And sure I love Ozzy-era Sabbath as much as any self-respecting rock fan, but I still look at Heaven and Hell as being one of Sabbaths finest albums. A sad loss indeed.

Nujabes

A truly profound artist that I wish I would have discovered sooner to say the least. Nujabes was a Japanese hip-hop producer that was most known for having a strong jazz influence in his production/beats. Collaborating with some truly great underground rappers and putting together some really beautiful music, I can truly attest to the work of Nujabes as healing to the soul and I hope that more people continue to discover his music. I've been playing his album "Metaphorical Music" for the past six months and reflecting on how good that it is makes it even sadder that he's no longer with us, due to a traffic accident that took his life in February of last year. One can only hope that somewhere, him and Dilla are working on something amazing.

The Black Angels/Black Mountain at the Grey Eagle, 11/10/10

Black Angels/Black Mountain show

Unfortunately my camera is broken so I wasn't able to take any pictures or videos of the show, the video of the Black Angels is from the show I attended, although I believe the Black Mountain video is from a former performance at the Grey Eagle.

Asheville NC's Grey Eagle club seems like an especially accomodating place to host a tour such as this. As a matter of fact for the past two and half years that I've been a Black Mountain fan I was really just waiting for them to come to Asheville given the band's sort of mountain hippie-rock nods that would endure them to such a location when the actual Black Mountain itself (one of many I'm sure) is merely 15 miles away. The show was still announced months early, but I did well to buy my tickets in advance as the show did sell out on the day of. Alot of this could of have to do with one factor that I was not hip to: The Black Angels, a really good late 60's style psych-rock band that have started to become quite the hot commodoty here lately, even though I didn't even hear the band's name until a few months ago.

My first impression of the Grey Eagle is that its a fairly nice venue, while the stage area itself may not be as nice as the Orange Peel's the restaurant/bar area is pretty classy. I helped myself to a Pisgah leaf amber and talked to friends while a large crowd amassed in front of the stage as the Black Angels began their set. Seeing clearly was nigh-impossible because of the number of people and lowness of the stage but the thunderous tone from vintage guitars could soon be equally felt everywhere. The band played a hypnotic and blistering set of late 60s style psych rock accentuated by Alex Maas' somewhat nasal yet perfectly fitting vocals. The band was cohesive and quite loud, but even with as enjoyable as songs like "Young Men Dead" were, I still caught myself thinking that alot of the songs were starting to sound the same halfway through the set. It was also during their set that I noticed that this show must have been a pretty anticipated event for many as I recognized next to the table I was sitting: members of Savannah, Georgia sludge metal group Kylesa as well as other apparent southeastern musicians from different walks. Once the Black Angels finished their 40 minute set the human flood went in the direction of the bar giving me a chance to finally get closer...

After a nice, quick soundcheck some surprisingly dramatic entrance music announced Black Mountain's taking of the stage. The band opened with the Sabbathian riffs of new album title track "Wilderness Heart". From the very start the band possessed a tightness and commanding power that I was blown away by. They continued with another of Wilderness Heart's heavier tracks "Let Spirits Ride" before they decided to let the head-nodding commence (especially mine) with "Wucan" from their In the Future LP. Here Stephen and Amber's vocals were crystal clear and perfect, the rhythm section played as a single well oiled machine, Stephen's riffs cracked wonderfully and Jeremy Schmidt's Moog synth/Hammond organ/mellotron dominated. They continued with the epic prog of "Tyrants", a song that took on a new meaning in a live setting, evidenced by the fact that I didn't even realize how hard I was headbanging until the end of the song. How much is to be credited with the venue or the band I don't know, but the sound was perfect for every song.

The band then picked up acoustic guitars for two numbers: a beautiful number "Buried by the Blues" which stands as one of my favorites from the new album, and the In the Future acoustic ballad "Stay Free". After that it was a string of favorites from In the Future. "Queens Will Play", "Angels", and "Stormy High" were all highlights for me. They played their new single "Old Fangs" before leaving the stage, but few were convinced that this was the end of the show as an encore brought them back out a few minutes later. They came out with the only two songs from their first self-titled LP that they played all night; the hit single "Druganaut" and fan favorite "Don't Run Our Hearts Around". "Druganaut" was at least ten times better than the album version, with Stephen's myriad of vintage guitar effects ringing clearer and more vibrant than the recording, and the song also ended up carrying an extended instrumental jam that may as well have set the stage on fire. The soulful pentatonic riffing of "Don't Run Our Hearts Around" was a truly great closer to a truly great rock show, one of the best I've seen in a while actually.

Cheers, and until next time!

Corey