Year in Review: Looking Back At Music in 2022

Believe it or not, the year is almost over. As always, it was filled with highs, lows, and great music. And some broken promises (looking at you Robert Smith). There were many albums I was downright obsessed with, and some I was utterly disappointed by. It was also a year of discovery. I was hellbent on checking new bands and artists and made some surprising discoveries. Before we say bye bye bye to 2022 and hello to 2023, here’s my brief review of what I was listening to this year.

Trop D’amour – Blaqk Audio

Oh, Blaqk Audio. The artist that, according to YouTube music recap, I listened to the most this year. We have a shaky relationship when it comes to their albums. Anything after CexCells has been very meh to me. This finally changed with 2020’s Beneath the Black Palms. Finally, a Blaqk Audio album that wasn’t a rinse and repeat of their formula or weaker versions of their past songs. It was an album I wanted to listen to again. So, when they announced Trop D’amour, I had high expectations for once. And with singles “Blue Cherry,” “Cowboy Nights,” and “Absolute Scenes” I knew the album was going to be a banger. But when it was finally released, I wasn’t sure how I felt about it. It was…fine, but not the exciting, gripping follow-up I was hoping for.

Yet, over time the album grew on me. It still didn’t grip me the way their previous one did, but I found it stronger than past efforts Material and Only Things We Love. I still think the singles are the strongest tracks. “Cowboy Nights” was constantly on repeat since its release. But other tracks like “Softbitten,” “Sharp Teeth,” and “The One Who Turns to Light” are standouts. Unfortunately, like past albums, this one starts off strong but falters near the end. While tracks like “Dreamyhead” and “EDZ” aren’t bad, they’re less interesting than the opening songs. And I can’t take “Behead the Bee” seriously.

But despite this, I enjoyed the album much more than I initially thought. One thing I really appreciate is how varied it is. Blaqk Audio has this tendency to fall into the same patterns with their songs relying on 80s-inspired synth beats to the point where many of their songs sound the same. While you can find some of that here, it stands out from their past efforts. No two songs sound the same keeping the album from getting dull. Additionally, both the sound and the lyrics are darker. The lyrics are peppered with references to crimes, knives, stabbing, death, and drowning. The music itself often feels cold and moody, especially compared to their last album. Even the upbeat, club-inspired songs have dark undertones. “Absolute Scenes” may be a banger but looking at the lyrics reveals a critical look at what you risk and lose when chasing fame.

Trop D’amour isn’t the band’s best album, but it’s a strong entry in their discography. Not every song is a hit, but overall, it shows the band continuing to move in exciting new directions. Plus, it proves Davey Havok knows how to write absolute club bangers.

Album Review: CMFT – Corey Taylor

Originally posted on GENRE IS DEAD!

For the past 23 years, we’ve known Corey Taylor as the raging singer of Slipknot. His impressive vocal range, which goes from throat-shredding growls to soft croons, wild energy, and zero-fucks-given attitude make him one of rock’s most iconic frontmen. Now, Taylor is ready to go solo on his debut album, CMFT. While the album gives us a different side of Taylor, it struggles to stand out and lacks Taylor’s distinct personality making it sound flat and generic.

On this album, Taylor moves away from the brutality of Slipknot for a sound inspired by country and Southern rock. Opening with the outlaw country-inspired “HWY 666” where he encounters the devil, the album starts off strong with raucous party anthems like “Samantha’s Gone” and “Meine Lux.” These songs have boot-stomping energy with catchy hooks made for singing in dingy bars at three in the morning. Unfortunately, this is where the album peaks.

Read the full review here.

Year in Review: Looking Back On Music in 2019

2019 was not a good year. Not only was it filled with nothing but bad news, corrupt politics, and increasing violence, it was a tough year for me. Due to some personal issues, I stopped listening to music for most of the year. Instead of the comfort and solace I usually find in music during hard times, it was a reminder of what was happening in my life. For the first time that I can remember, music was too painful to listen to. There are a lot of albums I nearly missed and that I didn’t get to talk about due to dealing with my anxiety and depression. But I’ve spent the latter half of the year catching up and it’s funny how most of the albums I listened had the same “everything is going to shit” vibe to them. So before we give a big fuck you to 2019, I wanted to share my thoughts on albums I heard this year and offer my picks for best and worst of 2019.

‘All Out Life’ – Slipknot

 

It’s been four years since Slipknot released new music. Lately, Corey Taylor has been teasing the band’s return with a new album coming in 2019. To keep maggots satiated, the band shared their new song “All Out Life” and it’s everything you want in a Slipknot song: intense, heavy, fast, and loud. And it’s one hell of a ride.

This time Slipknot isn’t exploring their sound or trying new things. They go back to the intense, violent nature that turned heads 19 years ago. The song begins with a quiet intro featuring a distorted voice. The crunching music builds up keeping you on edge waiting for the moment when the music explodes. When it finally does, it’s a rush of aggression that pummels you.

It’s classic Slipknot all the way.  Taylor screams as if spitting venom, percussion is heavy enough to crush you, and the dizzying guitars get your blood pumping. It’s non-stop adrenaline that grabs you by the throat and refuses to let go. It’s a brutal track that harkens back to their first two albums, Iowa in particular. While they don’t get as dark as they did on that album, it’s still a sound that hasn’t been spotlighted on their later releases.

During an interview with Zane Lowe, Taylor reveals the song is about “the toxic idea that unless something came out 10 minutes ago, it’s not any good.” He continues to describe it as a rallying cry that “bring[s] everyone together, but also remind everyone the past is not something to be discarded with disdain.” And that’s exactly what it is.

During the interlude, Taylor chants “I will not celebrate mediocrity/I will not worship empty shells/I will not listen to worthless noises” addressing listeners as if preparing for them for battle. His anger and frustration reach a boiling point as he exclaims “We are not your kind!” making for one of the most satisfying moments in the song. It’s one of those moments that gets your fist in the air and ready to attack.

“All Out Life” isn’t Slipknot’s greatest song, but damn if it isn’t a good time. With its message, rallying cry appeal, and throwback sound, it’s a track made for the fans. They stick with their tried and true formula, showing they haven’t lost their edge over the years. It’s a ferocious return for the band and one that gets you excited for the new era to come.

Revisiting Slipknot’s ‘All Hope is Gone’

Release Year: 2008

Rating: 7.5/10

Ten years ago, Slipknot changed gears and experimented with their sound on their fourth album, All Hope is Gone. Though the record was generally well received and even was their first to debut at number one, it’s not a fan favorite. The record has been dismissed by fans and the band themselves for its standard heavy metal sound an album that divided fans and has been dismissed by the band themselves. Even the band doesn’t remember it too fondly. The shift towards a standard heavy metal sound is jarring, but it’s still an intense record. Yet, something is missing that made their previous efforts brutal, memorable, and exciting. While it’s not a terrible record, it is among their weakest.

“Gematria (Killing Name) is an absolute beast and kicks the LP off on a great note. It has a rush of aggression right from the dizzying guitar riff that opens the song. Things get more intense as Corey Taylor sings “What if God doesn’t care?!” as if he’s preparing listeners for a battle. Though it has an awesome energy and drive behind it, at over six minutes long it doesn’t hold your attention. After a while, everything melds together and you’re ready to move on to the next track. It’s not a song that stays with you very long and it’s an issue that permeates the album.

Very few of the songs are terrible, except for “Vendetta,” which seems better suited for Stone Sour. Tracks like “Butcher’s Hook,” “This Cold Black,” and “Sulfur” aren’t bad songs at all. They’re standard Slipknot fair with tons of aggression, violence, and anger dripping throughout every bar. But that’s really all you can say about them save for a killer guitar riff or two. Some of the lyrics are interesting, but something about them doesn’t hit you the same way the band’s other songs do. Many of the tracks found here are some of their most forgettable.

Luckily, there are some great moments. Though “Psychosocial” wasn’t well received on initial release, it’s actually the most memorable song from the album. The spiraling guitar riff, the pounding pulse that opens the song, and the harsh tone gets your adrenaline pumping for what’s about to come. The part with the bridge where the music drops and everyone screams “The limits of the dead!” is so intense it gives you goosebumps. The song also shows what Slipknot have mastered over the years. It’s a great example of the melodic and brutal melding together. It’s still a stellar track ten years later.

“Dead Memories” is another stand out track. There’s a bit of sonic shift where the guys go more for a standard rock sound. The lighter music and cleaner tones make it one of their more accessible singles. Not to mention the hook is memorable with Corey gently singing “Dead memories in my heart.” It’s a great song, but one that can definitely split fans in two.

Slipknot gets a bit experimental on the excellent “Gehenna.” Similar to songs “Purity” and “Prosthetics,” it has an unsettling nature. The distorted music crawls along while eerie sounds and wailing Theremins put you on edge. Taylor sounds broken and on the verge of snapping as he sings “The blood and the body /control the cut so it’s seamless/show me your heart/show me the way to complete this.” Even when he croons “Free my severed heart/give me you” he manages to sound creepy, not mention the maniacal laugh he throws in. It’s a haunting experience and one of the best tracks on the record.

Slipknot has experimented with ballads in the past, but none are as naked and heartbreaking as “Snuff.” Another album highlight, the song is the band’s softest moment with Taylor singing about the pains of betrayal with an acoustic guitar accompanying him. From the downtrodden music to Taylor’s fragile state, the track leaves you saddened and emotionally exhausted. Everything keeps building to a climactic, yet quiet conclusion. Though music gets more intense near the end, it still doesn’t reach the same volume as the previous tracks. It’s a haunting, yet beautiful track that shows Slipknot aren’t just about crushing guitars and screaming their heads off.

Is All Hope is Gone a bad album? No, it’s actually solid. Is it a lackluster Slipknot album? Yes. In some spots, it sounds like Slipknot doing the same ‘ol same ‘ol: being loud, aggressive, and in your face. In other parts, it’s just there. Very few of the songs are bad, but most of them don’t hold your attention for long. Most of them aren’t even memorable. There are some stellar songs, but most of the album is decent at best. It doesn’t leave you bloodied and searing like past releases. It’s not their finest, but it was an album that had to be made in order for Slipknot back on their game.