The 69 Eyes – Death Of Darkness (Album Review)

Death Of Darkness, the thirteenth studio album from The 69 Eyes is a stunning addition to the band's legacy and showcases their signature sound of melodic, haunting, and catchy gothic rock music. Add a touch of country, a little metal, and a dash of punk and The 69 Eyes is just about as compelling as any hard rock band ever could be. Oh, and I forgot to mention the vocal influences of Jim Morison, Johnny Cash, Nick Cave and Billy Idol. While Jyrki 69 incorporates all these legends and is legendary in his own right, Death Of Darkness is a musical masterstroke that incorporates all band members beautifully and will go down in history as one of their greatest musical achievements.

Visually, Death Of Darkness offers one of their greatest album covers and is only comparable to X in that regard. As is the case, often with the presentation of modern album artwork, the full impact isn’t truly appreciated on the smaller canvas of one’s smartphone. Subsequently, may I suggest that if you love Death Of Darkness as much as I do, then consider picking up a physical copy for they look sensational.

Sonically, the lossless Apple Music stream, an Apple Digital Master, is superb. Yes, there is a little cymbal crunching in a couple of areas and while it is mastered to modern loudness standards, it’s mastered exceptionally well for the style of music. The soundstage is as wide as it is deep, resulting in separation between each and every musical element. It’s so good that I’m going to go out on a limb and declare that it is their best-sounding record to date.

Death Of Darkness sets the tone for the entire album with its heavy guitar riffs and dark and brooding atmosphere. It’s a great opener!

Drive has a killer riff and rhythmic introduction. If you haven’t turned the volume up by now, stop reading and do so for Drive is simply magnificent and instantly reminds me of Billy Idol’s overall style. Even though Jyrki 69’s vocal is a little recessed in the mix, thereby allowing the musicality to take centre stage, I’m so glad that the mixing engineer chose this approach as the vocal subtlety works wonders here.

Gotta Rock is one of the greatest rock tunes of 2023 and one of the best in all of recorded music history. Without a doubt, it’s the best song The 69 Eyes have ever recorded. It’s a stadium filler, for sure, and stops me in my tracks every time it comes on. You’ll find yourself singing along to the addictively good chorus and, additionally, I simply love the synth elements throughout as it harks back to the 80s without necessarily intending to do so.

This Murder Takes Two (feat. Kat Von D) shifts the tempo of the album and while it could initially be seen as a jolt to the senses, the country-based Johnny Cash style is spectacular. Although, while I’m not convinced of Kat Von D’s inclusion, the more I listen to This Murder Takes Two, the more I come to appreciate her contribution. I would say, however, that I prefer their collaboration on the 2013 song Rosary Blue for that is one beautiful song from the get-go.

California kicks things up a notch and is a killer rock and roll tune.

Call Me Snake is a monster of a song and reminds me, again, of Billy Idol, but Jyrki 69 takes that influence, makes it his own, and adds a little demonic touch to it. Magnificent!

Dying In The Night has a great bass introduction that continues throughout thereby setting a rhythm that, again, is somewhat planted in the 80s but with a modern twist. While it may be unintentional, Dying In The Night is a magnificently mellow tune that has a David Bowie vibe to it. A fantastic song!

Something Real is a solid tune but it isn’t a standout. I simply don’t feel it’s perfectly suited to the album as it sounds as if it were recorded at another time, with a different album in mind.

Sundown, similarly to Something Real, isn’t exceptional but it has one thing that the aforementioned track doesn’t; it sounds perfectly aligned with the other music on Death Of Darkness. Additionally, for those of you who love a guitar solo, there’s an incredible one to be heard here.

Outlaws is the perfect closing track for it’s got all the killer rock elements we expect from a 69 Eyes recording but most importantly it closes out the album with a mellow, yet energetic, feel that ensures that I’ll be spinning the album again.

Overall, Death of Darkness is a fantastic addition to The 69 Eyes' discography, and it's clear that the band has not lost their touch when it comes to creating dark and melodic gothic rock music. They simply keep getting better and better. Death Of Darkness may have a more melodic feel to it than their other albums, which may result in some questioning if The 69 Eyes have mellowed as they’ve aged, but I’d say they sound better on this 2023 release than they ever have. Death Of Darkness, subsequently, is a must-listen for fans of the band, the genre, and is a great starting point for those new to the music of The 69 Eyes.

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The Cold Stares – Voices (Album Review)

The blues with a healthy dose of rock and roll has never sounded so good. 

Released on the 10th of March 2023, Voices is the sixth studio album from the American rock band The Cold Stares and will stun those of you who appreciate blues-based rock and roll for the Indiana based rockers have recorded a modern masterpiece.  

Recorded, mixed, and mastered with kid gloves, Voices is one of the best albums you’re likely to hear in 2023 and is, without a doubt, one of the finest blues-based rock releases this reviewer has ever had the pleasure of hearing. There’s no extraneous musical interplay for every aspect is perfectly considered and even though the original lineup, up until this release, was presented as a duo with Chris Tapp (guitar/vocals) and Brian Mullins (drums) handling all musical aspects, the inclusion of bassist Bryce Klueh has added yet another dimension to their already exceptional blues-based rock style and sound signature. 

Voices is subsequently their greatest creative endeavour and while I wouldn’t have ever thought that the band needed a dedicated bassist, based on the fullness of their previous releases, the addition only further amplifies their music.  

Sonically, the Lossless Apple Music Stream is absolutely stunning. You’ll get that classic blues meets country meets rock vibe and you’ll find yourself constantly wanting to turn the volume up for music, especially in the modern era, is rarely produced so well. Yes, it’s a little louder than what may be considered ideal, but not obnoxiously so as the loudness is designed to merely bring it in line with other modern music mastering levels but at no time does that detract from the wondrous enveloping soundstage.

Adding to the sound of the record is the appealing cover art design. I don’t know about you, dear reader, but I love it when artists create modern record covers that hark back to those of yesteryear, particularly from the vinyl era. Granted, it doesn’t work for all styles of music, but it works for Voices and while I’ve yet to pick up a copy on vinyl, this is one album that would stand out on the larger canvas. 

Nothing But The Blues, from the very first note, sets the tone for the entire album; a fantastic opener!

Come For Me has a little Eric Clapton influence, particularly from his classic cover of Cocaine. That correlation, intentional or otherwise, is a compliment, for the groove and guitar licks of both songs are infectious.

The Joy shifts the tone a little and for a moment I was taken back to the 90s as Soundgarden and Stone Temple Pilots were ringing in my ears due to the level of distortion used on The Joy. Joyous is one way, albeit a lazy way, to describe The Joy for its internal shifts are thoroughly enjoyable and that guitar solo is off the charts. 

Lights Out picks up the tempo and has a greater focus on rock elements throughout. It’s like Led Zeppelin meets Deep Purple with a blues twist. Magnificent!

Got No Right is a fun little tune with a correlation that could be made to The Doors’ Roadhouse Blues. As much as I enjoy it, however, I feel it could have had a bolder focus on the guitar as it could have been a standout track had a grinding guitar element been added to this mix. Yes, I acknowledge the short solo, but it deserved more prominence throughout. While Got No Right wasn’t ever going to be a standout song on Voices, as an album track, it works perfectly in the chosen sequencing. 

Sorry I Was Late is a sonic masterpiece and is the best song from Voices. Music such as this reminds me why I’m so passionate about music for it makes you stop, listen, and become captivated by the tale that is being presented audibly. Sorry I Was Late is one of those songs that has to be heard firsthand for there really isn’t an adequate word, or series of words, that can describe the feeling one gets from listening to such an exceptional song. 

Voices is a great toe-tapping head-bopping title track. Unlike Got No Right, Voices has the bolder guitar element that I wish the aforementioned track had. Subsequently, if you’re not grooving along to this tune, you’re listening wrong. 

Waiting For The Rain Again flows perfectly from Voices and has a killer guitar lick. Sometimes that is all that’s required for music to speak to you and while I’m not a music lover particularly focused on listening to and interpreting lyrics, instead choosing to listen to vocals as an instrument in the mix, it’s songs like this that have the perfect mix of all elements that allow me to intersperse the occasional lyric into my own thought process. 

Sinnerman has a great low-fi sound that amplifies the song to heights that would have been missing without it. I am, however, glad that it was used as a technique and not applied to the entire album for its more monotonous tone works exceptionally well here, but would likely have detracted from the album experience should it have been overused. This is one aspect that allows me to appreciate The Cold Stares even more in that they’re not afraid to use a recording style but to use it sparingly and only to amplify the music.  

Throw That Stone is akin to Sorry I Was Late in that it is sonically and musically impressive. I’d comment further, but it’s time to sit back and simply enjoy the song. 

It’s Heavy picks up the tempo with a rocking tune. I love these shifts and the chosen sequencing was done brilliantly as the flow, and space between songs, don’t cause a jolt to the senses meaning that you can go from the more mellow, Throw That Stone, to the much weightier, It’s Heavy, and not skip a beat. 

Thinking About Leaving Again is more of the same, you know, the good stuff! Despite diversity throughout, it could be said that much of The Cold Stares’ music seamlessly blends so well because it is so similar to the rest of the music within their catalogue. I wouldn’t fundamentally disagree for knowing what to expect offers a level of assurance that is arguably more important than an artistic tangent.  

The Ghost is a beautiful closer. It slows the tempo down to a contemplative pace while simultaneously encouraging repeat listens of the album. However, it is that slow and continuous build that is the highlight here for you get a sense that the song could go into a blues-rock number but, instead, it remains very low-key and delicately ends without additional fanfare; perfect!

From start to finish you’re not going to find a tighter blues-based rock and roll album to sink yourself into. Yes, there are numerous classic albums that could be referenced, but The Cold Stares have written and recorded such an incredible album that I truly believe it is a landmark release and one that already has classic album status written all over it. You may disagree, and that’s your prerogative, but Voices is not only one of the very best albums from 2023, but one of the best albums ever recorded in all of music history; it’s that good!  

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Avatar – Dance Devil Dance (Album Review)

True to its album title, Dance Devil Dance is Avatar’s most rhythmically melodic groove-based metal album to date. Some may lament the shift from the slightly heavier sound heard on their previous albums, but it’s not a difference so far removed that fans will be left out in the cold. It’s complementary, rather than contrasting, thereby making Dance Devil Dance one of the most compelling releases of 2023.

Visually striking and downright creepy, Dance Devil Dance is almost deserving of inclusion on the list of The Worst (And Most Disturbing) Album Covers Of All Time. Yet, it doesn’t make the cut as it is true to the band’s musical style and is at least more visually compelling than their 2018 release Avatar Country and Hunter Gatherer from 2020. Still, when a band has artwork as stunning as Hail The Apocalypse, you know the cover art, this time around, could have been better.

Thankfully, we don’t listen with our eyes and while cover art can either make or break an album, yes it remains that important, the music heard on Dance Devil Dance is extraordinarily good. The overall recording, mix, and mastering are some of the very best I’ve heard from the Metal genre. Metal tends to be too compressed and lacking in depth and detail. It isn’t uncommon to hear your favourite metal album as a wall of sound and while some may enjoy that, the additional space between musical elements ensures Dance Devil Dance is a sonic masterpiece. Don’t get me wrong, this is one loud recording, but for the style of music, it is utterly perfect. The drums alone are masterfully recorded and it’s the little elements such as the cymbals ringing out, rather than crunching, that make a real impact. 

While I’ve yet to pick up a physical release of this album, the Hi-Res Lossless Apple Music stream is marvellous. It isn’t an Apple Digital Master but it need not be as you’ll be in metal heaven from the very first note. Depending on how you prefer to listen to your music, you may prefer to add a little bass EQ to give the album a further earth-shattering punch; an advantage, for this music lover, even if it results in slightly reduced clarity and detail. I want to feel Dance Devil Dance in the deepest depths of my soul and the stream, with a slight adjustment, doesn’t disappoint in that regard.

Dance Devil Dance sets the tone for the album, and that opening guitar lick, which is repeated throughout, is magnificent. I only wish it had been a little more prominent in the mix, perhaps a decibel or two higher. Regardless, Dance Devil Dance is an epic opener and I simply adore Johannes Eckerström’s vocal dexterity as he’s got incredible control over it and when he hits the high notes, I'm reminded of the great Ronnie James Dio. 

Chimp Mosh Pit gets the groove going and while it may not be a standout, it holds the album together perfectly and sometimes that is all that’s required. That said, the mid-song musical solo, by the entire band, is off-the-charts good. It will, subsequently, be interesting to see how fans react to Chimp Mosh Pit when played live as I have a feeling it has the potential to be more powerful live than via the studio recording. 

Valley Of Disease has an interesting grinding opening element that works remarkably well. The unrelenting rhythmic core of Valley Of Disease has a tribal feel that is going to make this a fan favourite.  

On The Beach shouldn’t work, particularly with the seagull entrance, but it somehow does. Another aspect that doesn’t seem as though it should work, on paper, is the vocal shift. Yes, it has the potential to take you out of the album experience, especially if you don’t like the vocal style, but the more I listen to On The Beach, the more I get it. It works. It shouldn’t. But that’s okay because Avatar are pushing their, and our, creative boundaries and the correlations in varied styles are ultimately a highlight of their recordings. 

Do You Feel In Control? returns us to a more traditional metal approach and while Do You Feel In Control? is a solid tune, it’s ultimately album filler.

Gotta Wanna Riot is the GREATEST SONG Avatar has ever recorded. It might even be my favourite metal song of all time. The ba-ba-ba-ba lyric element is what gets me every time for it’s The Beach Boys meets Avatar and I love it! Additionally, Eckerström’s vocal delivery throughout is masterful and the band are on fire. Gotta Wanna Riot is going to be a stadium-filling tune; no doubt! 

The Dirt I’m Buried In is groove metal 101 and is a great followup to Gotta Wanna Riot. A special note needs to be given for the guitar work on this track. It isn’t pushing the limits of what’s possible, but damn it’s got an addictive rhythm that will have you pulling out your air guitar.

Clouds Dipped In Chrome is thunderous and will appeal to old-school metal fans. It does, however, feel a little out-of-place in the tracking of the record. I probably would have positioned it closer to the start of the album, or before the closing track Violence No Matter What, but that is just a subjective preference. Regardless, it’s a solid tune, even though I feel it is unlikely to become a standout amongst fans.

Hazmat Suit has a drilling rhythm that integrates perfectly with my soul, especially during the chorus. The drumming and guitar work here is exceptional and is as much a tip of the hat to the performance of the band as it is to the Mixing Engineer and co-Producer Jay Ruston. 

Train gets you going then slows things down. It’s great when music isn’t predictable. You’ll hear a little David Bowie, Tom Waits, and Nick Cave influence throughout, further showcasing Eckerström’s vocal capabilities, particularly in the lighter regions of the recording. In fact, it’s the more melodic alternative rock styling as opposed to the metal elements, that are the highlight of Train. Although, I do wish that the song would have ended on a metal curve as the shift to the closing tune, Violence No Matter What, is a little sharper than I’d ideally like to hear.  

Violence No Matter What (Duet With Lzzy Hale) is a great closer and it’s wonderful to hear Lzzy Hale on this duet, but she’s a little too recessed in the mix. Her vocal growl,  mixed with her higher pitch, is deserving of a slight bump in volume. Granted, it’s an Avatar album and while I’ll praise the mix in every other way, on Dance Devil Dance, I truly feel that this was a missed opportunity. I also would have excluded the dropping of the drumsticks at the end as I don’t feel it works. Regardless, as I originally stated, it’s a great closer and when looking past these aspects, it encourages me to play the album again.

Dance Devil Dance is not only a great metal album, but it’s also a great album in general and is deserving of its position as one of the best albums released in 2023. With its melodic groove-based styling, it will appeal to a broad range of listeners; many of whom wouldn’t give music from within the metal genre a second thought. While its accessibility may perturb hardcore metal fans, I say the more the merrier, so if you like Dance Devil Dance as much as I do, please consider sharing this review with everyone you know or at the very least send them a link to the album so they can experience it for themselves. 

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Måneskin – RUSH! (Album Review)

If Gene Simmons was right and rock is dead, nobody told Måneskin for RUSH! is a modern rock masterpiece. 

Released worldwide on the 20th of January 2023, RUSH! is the Italian rockers’ third studio album and while the previous releases, particularly their debut Chosen, have been exceptional in their own right, RUSH! takes their musicality to another level entirely and, certainly at this point, I don’t know how they’ll top this album; yes, it is that good and even though the year is still young, it most certainly has the potential to be not only the best album released in 2023 but to become a classic rock album for generations to come.    

Perhaps one of the most compelling aspects of RUSH! is Måneskin’s continued homage to their heritage by intermingling Italian-based lyrical tunes with English ones. Some may lament this fact, but as someone who appreciates the human vocal as an instrument far more than a storytelling device, I love this amalgamation and sincerely hope that they never change the formula for it works perfectly. It also doesn’t hurt that Damiano David’s vocal prowess, and natural charisma, is one of the greatest and most unique to enter the music scene in decades.  

Sonically, the band and the entire production team need to be congratulated for this is one exceptional release. The soundstage is as wide as it is deep and is utterly immersive and I’m just talking about the stereo mix for we’ll get to the Dolby Atmos mix in a moment. There’s no audible clipping or loudness atrocities to note and this is one album that you’ll never experience fatigue when listening to it. Yet, it’s loud and has a full-bodied sound; it simply rocks. 

While I’ve yet to pick up a vinyl edition, my only hope is that the physical counterpart will live up to the Lossless Apple Music stream. It may not be an Apple Digital Master, but it doesn’t need to be as it has been mastered so well, to begin with. That said, given how much I appreciate the stream, I subsequently question the need to pick up the vinyl release; although the larger artwork is compelling. 

As it pertains to the Dolby Atmos mix, it doesn’t knock my socks off. Look, surround mixes are great, when they’re done with discrete channels in mind, but the modern simulated surround options don’t always offer the greatest reproduction for music; films are another matter entirely. Nevertheless, while there will be many who will enjoy the Atmos mix, I found that it tried to place the listener in the middle of the band too much, thereby reducing the impact of each instrument within the mix. Rock music needs to be felt and the surround mix reduced that thumping rock sound we all know and love. There’s just more emotion to be heard and felt from the wall of sound style that is associated with the stereo mix. 

OWN MY MIND is a great album opener with a killer drum and bass rhythm throughout. OWN MY MIND sets the tone for the entire album and gets your body moving involuntarily from the very first note.  

GOSSIP (feat. Tom Morello) continues with the upbeat rocking rhythm and is one of my favourite songs on the album. It’s a fun listen and if you have a chance, check out the music video for it amplifies the song. Additionally, Tom Morello nails his solo and perfectly complements Måneskin’s style while staying true to his own recognisable sonic signature; such a great musician!

The music video is brilliant. It’s been quite some time since I’ve seen such a well-produced music video and it plays to the band’s persona as well as highlights the song. Morello as the security guard is priceless. I’ve never seen a better introduction for a guitar solo, ever. Yes, the non-musical elements, throughout, detract somewhat from the song itself, but they never feel out-of-place; although the ending is a little slow in direct contrast to the energy of GOSSIP. 

TIMEZONE dials the tempo down a little, but the shift doesn’t shock the senses as can often occur when albums shift direction. While TIMEZONE is unlikely to be a fan favourite, or stadium-filling song, it’s a solid album tune; sometimes that is all that’s needed. 

BLA BLA BLA is FUN! 

BABY SAID continues with the upbeat rock meets pop meets dance floor vibe. It’s so addictive as the rhythm intertwines with your soul; an aspect present in all good music. 

GASOLINE opens with the most overdriven, yet perfect, bass tracking I think I’ve ever heard; Victoria de Angelis, you’re a rock goddess! GASOLINE, without a doubt, is a stadium-filling tune if there ever was one and fans should expect to see it performed live for decades to come.

FEEL opens with David’s incredible vocal and, on this particular song, reminds me of Freddie Mercury. While the vocal is of particular note here, that would be dismissing all other aspects of FEEL for if you haven’t already, you’ll want to turn this rock and roll tune up to 11; exceptional!

DON’T WANNA SLEEP again features some incredibly talented vocal licks that are a highlight and in this case, are the specific reason why DON’T WANNA SLEEP works so well.  

KOOL KIDS has a punk-rock Iggy Pop feel. What’s not to like? 

IF NOT FOR YOU shifts the style of the album, but the tracking has been done so well that, again, there is no jolt to the senses. Regardless, IF NOT FOR YOU is a simply beautiful song and only bested, from a ballad perspective, by THE LONELIEST. 

READ YOUR DIARY is a thoroughly enjoyable album-based rock tune; but other than a deep cuts playlist, READ YOUR DIARY is unlikely to receive much attention outside of this album as, when compared to all other songs on RUSH!, it simply isn’t as strong. 

MARK CHAPMAN is a song you need to listen to for the chorus alone; brilliant! The verses and musicality throughout, while adequate, are filler by comparison. 

LA FINE is so good. As one of the Italian-based tunes, I don’t even care what the song is about for every musical layer, including the lyrical delivery, permeates my soul to become an experience that has to be heard and felt. Exceptional!

IL DONO DELLA VITA in a similar vein to LA FINE will still appeal to those of us who don’t speak or understand the Italian language for it is so beautifully crafted that it can be appreciated from a musical perspective alone.

MAMMAMIA ain’t ABBA’s Mamma Mia but one can’t listen to MAMMAMIA without correlating the whimsical catchy aspects of both tunes. Released as the lead single, the punk meets rock with a touch of dance styling ensures MAMMAMIA will be a fan-favourite. 

The music video, while artistic, does little to amplify the song.

SUPERMODEL has a bit of a Red Hot Chilli Peppers vibe to it. It’s a solid pop-rock tune but isn’t going to be as timeless as some of the other songs featured on RUSH!.

The music video simply exists. It isn’t great.

THE LONELIEST is the perfect closer and one of Måneskin’s greatest musical achievements to date. It’s contemplative with a slower tempo, meaning that you can either finish listening to the album and ponder in appreciation or spin it again for RUSH! is an album you can’t listen to only once. 

The music video, for THE LONELIEST, is cinematic and well-produced, but it’s not as memorable as the song itself.

Overall, RUSH! is tight with a perfect runtime and linear tracking. It is most certainly an album experience and one that should be enjoyed in that context. Naturally, you’ll find individual songs that will stand out from the crowd as each has its own story to tell. THE LONELIEST is one such song, but I find it becomes even more special waiting in anticipation for it to appear in the chosen tracking, than placing that single song on repeat or in a playlist. That said, it really doesn’t matter how you choose to enjoy RUSH! as it’s an outstanding example of modern rock at its very best.  

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Missy Higgins – Total Control (EP Review)

While fans will undoubtedly be longing for a follow-up to Missy Higgins’ fifth studio album, Solastalgia, the Total Control EP has the potential to tide them over as she returns in fine form with an incredible rendition of The Motels’ Total Control amongst other songs. 

For those not familiar with the songstress, Missy Higgins is one of Australia’s greatest singer/songwriters and has been pivotal to the Australian music scene since her 2003 debut The Missy Higgins EP; an impressive first showing! Higgins’ unique vocal style is instantly recognisable, in much the same way as Paul Kelly’s is, but it is her ability to tell stories that ensured she’s achieved three No. 1 albums in Australia. Not bad considering she’s only, thus far, released five studio albums. 

Total Control is somewhat different, however, as the storytelling has been inspired by the TV Series “Total Control”; an Australian political drama. Plus, ironically, it isn’t Higgins’ narrative that is the most notable aspect of this release but her cover of the title song. Originally written by Martha Davis & Jeff Jourard, Higgins’ version will blow your mind and ensures that Total Control makes its way into the list of the best album releases (in this case a mini-album) of 2022.

Watch Out is sensational. The introduction alone, with the fundamental instrumentation, sets the tone of the song as Higgins’ poetic vocal soars above the musical bed. It reminds me of the style that Sophia Pfister applied to her music but most importantly Watch Out will stay as an earworm in your mind. While some may detest that fact, and sometimes I do too, Watch Out is so good that I thoroughly enjoy the repetition as it reminds me to play this mini-album again.

The Collector similarly will capture your soul and not let go with its catchy hook. It’s a toe-tapper with a southern rhythm and blues influence that is infectious.  

Edge Of Something (from the TV Series “Total Control”) offers listeners a beautiful soundscape and highlights Higgins’ glorious vocal; she’s magnificent, isn’t she? Edge Of Something is one of those songs that can be appreciated at both low and room-filling volumes and I suggest you consider the latter for it truly soars. Another magnificent performance but you’ve yet to hear Total Control so hold on to your hat. 

The music video, for the Edge of Something, is stunning. It’s simple, yet elegant, as Higgins performs from a side profile as scenes from the associated TV Series are interspersed throughout.

Total Control is magnificent! I hope you haven’t turned the volume down for Higgins is in the room with you and the soundstage is extraordinary and well worth appreciating at higher volumes. Yes, the original recording from The Models is excellent, especially the saxophone solo, but Higgins has made it her own and this rendition is nothing short of perfection.

Big Kids has a killer harmonic vocal introduction but the shift to Higgins’ vocal is a little clunky. Yet, as the song progresses, this stylistic choice makes sense and flows far better than initially expected. A solid song by any measurement but I can’t help but wonder if it couldn’t have been more impactful for I feel Higgins is a little too restrained in her vocal delivery on this tune. 

I Take It Back is a lovely closer that will leave you in a reflective mood. As with the rest of the songs on this mini-album, I Take It Back represents one of the best songs Higgins has ever recorded. It’s simply magnificent and the choral backing towards the end of the song will leave you speechless. 

While some may lament the mini-album runtime of this release, Missy Higgins once again proves that less is more by ensuring she has total control of your attention for the entire duration. While a full-length album would have been nice, it is by no means necessary especially considering there isn’t any filler to be heard on Total Control; an aspect I can’t say is present on all of her studio albums. Total Control is highly polished, well-considered, and purposeful, thereby making it an essential release that should be in everyone’s music library.

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Zeal & Ardor – Zeal & Ardor (Album Review)

While Zeal & Ardor may be conveniently positioned within the metal genre, that placement is simply too limiting for their experimental metal style incorporates black metal, melodic metal, and industrial metal cues with numerous other musical influences including African American and blues rhythms. They’re unique and have never sounded as influential, all-embracing, and fired up as they do on this eponymous release; their third studio album.

Produced and written entirely by founder and lead singer, Manuel Gagneux, Zeal & Ardor once again showcases what a creative genius Gagneux is. While many of us wonder what the future of music is, especially when we contrast modern releases against those that came before, Zeal & Ardor prove that the future of metal music is alive and well. 

Every aspect of the production has been meticulously considered. From the songwriting to the recording, even the mix and mastering represent some of the very best within the respective genres. The result is an album that is full-bodied, dynamic, spacious, and immersive while also being impactful. It really is an experience that needs to be heard firsthand and as revolutionary as Devil Is Fine (2017) and Stranger Fruit (2018) were, Zeal & Ardor takes their music to a whole nother level. 

From a sonic perspective while I often look to vinyl releases for the pinnacle of sound quality, the lossless Apple Music stream, an Apple Digital Master, is so good that I see no need to search for better. Seriously, there’s no unnecessary clipping or distortion, the soundstage is wide and enveloping, and most importantly it simply sounds right; a subjective perspective, yes, but one that is valid nonetheless. 

Zeal & Ardor will wake the senses. It’s bold, reminiscent of the music that you’re about to hear, and arguably heavier than their previous releases thereby signifying a shift in their chosen style. My only complaint is that it’s too short, yet in a contradiction, it is the perfect length for it gets to the point without any extraneous elements to weigh it down. I couldn’t imagine a better title track; could you? 

Run has demonic undertones that reach into your soul. It’s an example of the alter-ego that Gagneux puts into his music and while scream metal is often an acquired taste, Gagneux hits the intonations perfectly. Thematically, regardless of your beliefs, Run makes you think and ponder your life, your actions, and ultimately, despite the knee-jerk reaction that some will have towards the negative side of the scale, Run asks that you don’t give up. At least, that is the message that I get from this song. 

The music video offers a terrifying look into the mind. Don’t get me wrong, it’s a brilliant musical accompaniment, but it will simultaneously shock you to your core. 

Death To The Holy is more musically upbeat with a touch of soul music threaded throughout. The pounding drum and bass rhythm is infectious and reminds me of Korn’s music.  

The music video is odd. While it questions what we know about our existence and societal belief systems, it isn’t quite as uniform with the music as the music video for Run was. 

Emersion is interesting for it isn’t the song you initially think it is as it weaves in and out of a kaleidoscope soundscape only to re-enter as frenetic moments in time. As an instrumental with an occasional vocal growl, it’s a solid tune that splits up the album nicely. 

Golden Liar is an absolute masterpiece! Gagneux's vocal delivery on Golden Liar is next-level and while I’ve no doubt Zeal & Ardor will continue to evolve, I hope it is in a similar direction to the performance captured here for when music is this good you simply want to experience more of it. 

The music video simply exists. It doesn’t build upon the song in the ways that I’d like to see from such a massive tune. That isn’t to say that it’s irrelevant, but that I feel it could have been something far greater than it is. 

Erase, despite not being out-of-place, isn’t the strongest song on the album from both a lyrical and musical perspective. It works within the album structure, but it’s unlikely that you’ll seek it out on its own. 

Bow is, however, a song that you will want to play on repeat for it’s astonishingly good. It’s metal, it’s soul, it’s blues, it’s simply a killer tune!  

Feed The Machine intertwines musical styles as many of the other songs on Zeal & Ardor do but it’s the playful nature of the non-metal elements that shine here and in some ways, I hear two different songs within this single composition and I can’t help but wonder what the song would sound like if it were recorded in both manners.

I Caught You is a bit of a mixed bag. While it continues the overall style fluidly, it isn’t as groovy as many of the other songs on Zeal & Ardor thereby resulting in I Caught You being album filler. 

Church Burns redeems I Caught You with a groove-infused tune that is an amalgamation of musical influences. A great song!

Götterdämmerung is a solid scream metal tune that shifts to a more common vocal structure throughout. This approach won’t appeal to all, but if it appeals to you, you’re bound to thoroughly enjoy Götterdämmerung. I know I do and that charging rhythm reaches into my soul. 

Hold Your Head Low is a little like I Caught You whereby it isn’t a bad tune but is most certainly filler. Yes, not every song can be genre-defining or single-worthy, but Hold Your Head Low is so close that the differentiation needs to be mentioned for there is a killer song to be heard here if it had only been pushed further with a more vicious soundstage.  

J-M-B shifts the style of the album, arguably a little further than one would expect. It simply sounds a little too alternative and post-grunge for my liking. 

A-H-I-L is sonically awesome. Take a listen on headphones and you’ll understand what I mean. It’s immersive and sensory, but most importantly it leaves you wanting more, even though it’s an instrumental track, thereby ensuring you’ll play Zeal & Ardor again for it is one of the best releases of 2022 and is the pinnacle of Zeal & Ardor’s music to date. 

While the cohesiveness and drive of Zeal & Ardor may have started to wane towards the end of the album, the diversity of musical styles is to be celebrated. Zeal & Ardor is genre-busting; a rare occurrence that not only brings more awareness to the metal genre but also informs those with a solitary focus that crossovers into other styles are as important as the genre’s legacy. With that in mind, I can’t wait to see what Zeal & Ardor will do next. 

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Midnight Oil – RESIST (Album Review)

New albums by beloved artists can be a challenging dichotomy for few reach, or surpass, their creative peak; arguably 1982-1990 in the case of Midnight Oil. Yet, with RESIST The Oils have returned to form by releasing an album that rivals their greatest releases. While nothing will ever compare to the groundbreaking Diesel And Dust, RESIST comes awfully close. The political style remains determinant in intent and the rock tuning and melodic rhythm are in perfect unison with Midnight Oil’s renowned sound signature. More than that, however, the biggest development in their music can be heard in the mix and mastering whereby the sonic experimentation that, while previously present throughout their career, is amplified to an extent previously unheard of by Midnight Oil. 

As it pertains to the overall recording, the lossless Apple Music stream is stunning. When an Apple Digital Master is this good, I question the benefits of picking up an album on vinyl. Yes, the ownership and tactile arguments are justified, but vinyl is mastered differently and that difference can be enough to change the overall tone of the record meaning that there is a chance it could sound inferior to the stream that I already adore. It’s just something to consider, especially as the price of new vinyl releases is at an all-time high. While I do not doubt that those of you who choose to go the vinyl route will be thoroughly pleased, streamers can rejoice in the knowledge that RESIST sounds perfect with no excessive compression throughout, only really showing up on Nobody’s Child. 

For those who can’t get past the political direction of the band, I implore you to put aside your own opinions and give RESIST a listen for it will take you on a musical journey that isn’t easily forgotten. Of course, their message is clear, if you care to hear it, for it is one of solemn reflection with numerous calls to action but RESIST is one of the best rock albums you’ll likely hear in 2022; it’s classic Midnight Oil.

Rising Seas opens the album magnificently with a solemn Peter Garrett on vocal in an acoustic-styled manner, but that quickly dissipates into the rhythmically-charged Midnight Oil sound we all know and love. There’s no interpretation of lyrical intent required here, for Rising Seas is, arguably, the most direct, and to the point, song The Oils have ever recorded. Rising Seas is also a wonderful acknowledgement that we’ve failed the coming generations as it pertains to critical environmental matters. It’s reflective and that is ultimately its superpower for it makes you think, perhaps reconsider, and ultimately want to act.

The associated music video is the best five and a half minutes of footage you’ll likely see this year. They generally don’t make music videos like this anymore. It’s powerful and influential, but most importantly it delivers a very real concern in a manner that touches the soul differently than other forms of media. I strongly believe that music as a messaging platform can be extremely powerful and when you add visuals that match the lyrics the way Midnight Oil has, you’ve got a compelling storytelling device that everyone should see, regardless of their beliefs. 

The Barca-Darling River is Midnight Oil 101. That driving rhythm has Garret’s obscure dance moves written all over it and The Barca-Darling River, while not necessarily forging new ground, is an expansion of their previous works. The musical lull in the middle may detract some who were more interested in a continuous rock tune, but as far as I’m concerned it’s masterfully placed and the transition isn’t awkward. 

Tarkine reminds me, musically, of some of the songs from Paul McCartney’s Egypt Station but Tarkine isn’t a standout. The chorus and musical aspects of the song are compelling, as an album track, but you’re unlikely to seek out Tarkine on its own. 

At The Time Of Writing has a killer hook and is arguably the best song on the album. While the mix is complex, with numerous sonic cues, the soundstage remains solid and you’ll want to turn the volume up on a song that I dare say will become a classic. Sensational!

Nobody’s Child is a bluesy number and is the first time that compression is heard on the album and is particularly noticeable via cymbal crunching. It isn’t nearly as bad as many other modern recordings, but for those of you who detest compressed sound elements, you may wish to skip this song. Regardless, Nobody’s Child is arguably a little different than one may expect from Midnight Oil, but it’s a solid tune nonetheless. 

To The Ends Of The Earth is a masterful composition. It may be an album track, rather than being single-worthy, but I’ll be damned if I don’t acknowledge just how good To The Ends Of The Earth is. Garret sings it perfectly and the band is subtly present but equally dominant throughout. It takes great skill and restraint to have such synergy; a position that could easily apply to the entire album. 

Reef harks back to the classic Midnight Oil sound we all know and love; hence, it’s a killer tune and is another with pure honesty declaring that coral reefs don’t belong to governments or mining corporations but to people; a simple but easy concept for anyone to understand. It's a shame when something that should be common sense is neglected by many and subsequently needs to be expressed in this manner.   

We Resist is perfectly placed in the album structure and while the song is a call to action, I feel that it isn’t directional enough and therefore is too open to interpretation that may not have been intended by Jim Moginie when he wrote it.

The music video offers more context but isn’t nearly as compelling as the Rising Seas video. Again, it comes down to a feeling that it lacks direction and while that shouldn’t undermine its intent, it does mean that the topics being discussed have the potential to be overlooked. 

Lost At Sea is a song that puts me into bass rhythmic heaven for Bones Hillman's bass track is utterly perfect. It’s another song that will remind you of Midnight Oil’s classic era and while that isn’t necessarily a bad thing it’s a little too predictable; if you’re looking for an evolution of the band of course. Predictability, however, is perfectly acceptable when lyrical meaning is strong enough to rise above the music itself. 

Undercover sees Peter Garret deliver the vocals with an exceptional cadence. Yes, he’s been singing in this style for his entire career, but the effect is amplified here and can subsequently be thoroughly appreciated. Undercover is a great song and the more I listen to it, the more it unpacks itself. While it likely won’t be the first song you seek out, it’s one that I feel will become a fan favourite; after a few plays, of course. 

We Are Not Afraid is musical bliss. That introduction is magnificent and it’s fair to declare We Are Not Afraid as one of The Oils' greatest recordings; it’s certainly their greatest slower-tempo song. It’s one that I’d love to see Midnight Oil perform live with a Symphony Orchestra for as amazing as it is, there’s a more ostentatious song to be heard in We Are Not Afraid. The lyrical interpretations that can be devised from We Are Not Afraid are broad and diverse, but the underlying principle meaning is one that anyone can get behind and apply to their own circumstances.  

Last Frontier starts promisingly, even if the radio chatter and overall sonic interlude are a little distracting. I would have preferred that Last Frontier started at around the 1:30 mark, but alas that isn’t the case. As for being the closing song, I would have preferred if We Are Not Afraid closed out the album for the hook of Last Frontier is great, but the song itself is a little too disjointed, from a musical perspective, to close the album on a high note. Nevertheless, the lyrical questioning leaves the listener contemplating, and most likely Midnight Oil chose this song to act as a call to action for it is their motif. 

While RESIST will support the Oils’ final tour, and more new music is always appreciated, if RESIST were to close out the Midnight Oil story, I couldn’t think of a more appropriate swansong. RESIST is also the final series of recordings from Midnight Oil that featured their longtime bassist, Bones Hillman, who passed away in November 2020. His bass chords are ever-present on RESIST and are some of his finest ever recorded. That too could be said for the contribution of the entire band but perhaps what is most remarkable is that Midnight Oil doesn’t sound as though they’ve aged, or taken a hiatus. RESIST, ultimately, is a worthy addition to their extensive back catalogue and one that will undoubtedly appeal to fans and newcomers alike. 

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