Returning from vacation can have it ups and downs. Its nice to get back to a routine but also hard to break from the slow paced life of vacation. But what makes it a great 'back to work' day is my music selection upon return! As you can see below, we don't have much coming the sense of mellow tunes, jazz, blues, etc. Arkells, Shooter Jennings, and the Hercules soundtrack help out this side of the coin. But what we lack in one department, we make up for in distortion and double kickers!
Darkest Hour, Mouth of the South, Godsmack, Wovenwar, and others have some mega riffs for you to feel like a rock star in your living room! So whether you are at home or at your work like myself, be sure to pick up a copy or two from your local record store, online retailer, or authorized digital source. Cheers!
(Arkells - High Noon)
The hooks are still plentiful, and that remains the album's most redeeming quality, particularly on "Leather Jacket," a glitzy Springsteen-esque tale and one of the few occasions the polish meets the raw in harmony. Even "Never Thought That This Would Happen" shines with an intoxicating sway, despite having more layers than necessary.
High Noon showcases Arkells' lofty ambitions, and while it might not be their defining record it's another intriguing step in their evolution. -Exclaim
(Fernando Velazquez - Hercules)
Velázquez utilizes grand melodic lines and choir for the action, and it is in these cues where the score really shines. The album is slow to start due to some shortened cues, but the main ideas of what he further develops in the score are there to lay down the groundwork. Once "Bessi's Valley" hits, the score doesn't let you go until the excellent finale, save for "Dungeon & I Am Hercules," which brings the flow to a screeching halt for 6.5 minutes before picking back up. The aforementioned cue is a good example of some of the somber stoic material in the music, where the sound has life and direction yet a dull edge to it that keeps it in line with the film. It never overbears or becomes too lush for the material. It is in this sound that the main theme is rooted, and while Velázquez keeps it straightforward and simple, it's very effective. "Bessi-Battle," "The Battle," "Comrades Stand Together," "Alternative Ending," and "End-Titles" comprise the highlights of the entire score. The latter is a really fantastic send-off that is worth revisiting just on its own merits. -Film Music Media
(Manafest - The Moment)
If I were to pick a genre that this release fits into, I would have to put it in the rap/pop section. Of course Manafest’s signature rap style is ever present. But again, there is so much going on in this album – commercial hard rock, hip-hop, synth, electronica, and much more pop. And it works. While only hinted at on Fighter and The Chase, Manafest has found a sound that works for his lyrics and vocal style, making this Manafest’s best album to date.
Another thing I noticed is that Manafest seems to have embraced his faith a lot more on this album. I don’t know if he’s come to a turning point in his career or life, but he’s a lot bolder and more evangelical on this album. He proclaims in the opening track, “The Moment”, that his music is his mission. -Christian Review
(Godsmack - 1000HP)
The eleven-track album is primed and ready to cut it with the best of them. Those metal and hard rock influences are evident throughout, however Godsmack deliver their specific brand that sits at the core of their sound. It is edgy, angry and in your face, yet is full of tone, musicality and an evident sense of craftsmanship. 1000hp definitely lies near the top in the Godsmack back catalogue, and serves nicely as a glance back to the past, but with a foot firmly pointing to the future. -Renowned For Sound
(Eluveitie - Origins)
“Origins” expounds upon the formula blazed in “Helveitos,” but harkens a bit back to the days of “Slania,” with much higher production values. I was a bit perplexed by a backlash from some critics of “Helveitos” who cited a rather startling “lack of originality,” so it wouldn’t be a shock to see “Origins” met with similar caterwauling. More astounding is trying to comprehend exactly what the expectation level is given the history of Eluveitie since “Evocation” was released in 2008. With “Origins” you can brace yourself for much greater Celtic “origins,” more bagpipes and flutes, and more participation from Anna Murphy, who has now become just as indispensable as Chrigel.
Eluvetie raised it's stock higher, carving a greater niche and ascending a crowded folk metal scene. In what will surely be a fiddle fight death match with bands like Elvenking and Equilibrium, Eluveitie may just be the strongest contender this year, barring no subgenre. “Origins” will astound the faithful as well as garner more critics desiring “something different.” The fact remains….what Eluveitie does is in of itself “something different” and “Origins” may be the best effort yet. -Metal Underground
(Alestorm - Sunset on the Golden Age)
(Wovenwar - Wovenwar)
Any band that has fallen victim to individual error and failed to recoup should be paying attention to Wovenwar. These guys have been through one of the worst scandals the metal community has ever seen and come out cleaner than before. Wovenwar is the story of their past, the establishment of their present, and the hope for their future. Rife with exhilarating sonic passion, unyielding energy and affective lyrical anthems, Wovenwar isn’t what you’d expect from these guys, it’s more. Powerful pickups and devastating percussion not only compel your body, they pull at your heartstrings. This could easily make the “best of” lists this year, because it makes you fall in love and renders you completely open and waiting for the next page to turn. -Unsung Melody
(Mouth of the South - Struggle Well)
A barrage of wardrums, groove laden Metalcore riffs, and throaty guttural growls/shouts hit the listener’s ear canals hard as Mouth of the South pound through the first song on the album, “Blind Guides”. And there’s not much let up as the album plays out; there are a couple of moments where the band turn it down a notch, but these moments are few and far between.
Struggle Well is a decent Metalcore album that’s as good as the band’s last release, Transparency (2013). The production, musicianship and writing on this album are as good as it gets. -Christian Review
(Darkest Hour - Darkest Hour)
Many alternative music fans have different perceptions of the ‘Metal’ genre, hence why there are so many sub-genre’s. This also mean’s this type of music has become over saturated and it is difficult to show true originality. So what Darkest Hour have done with their new self titled record is try take all the best parts of metal and blend it into one.
There definitely is an audience for the music that Darkest Hour produce, but there are times where I think even they aren’t sure of their identity. Overall the pro’s of the album outweighs the con’s but for personal taste it just isn’t quite the fall package of what I expect when listening to a metal band. -Already Heard
(Capture The Crown - Reign of Terror)
Reign of Terror may not be overly complicated or unique, but damn if it isn’t a highly enjoyable record from start to finish. In fact, I’ve had this collection on repeat for the past two months, soaking it deep within in preparation of this review.
Capture the Crown may not have created something “fresh” or “new,” but they have done a wonderful job with this particular formula. Reign of Terror is much more accessible and enjoyable than ‘Til Death, and will occupy your mind for months to come. -New Noise Magazine
EPs:
(Shooter Jennings - Don't Wait Up [For George])
Shooter Jennings knew George Jones as a good-hearted guy who used to stop by and visit his father sometimes, and when Jones died in 2012, Shooter lost both a family friend as well as a musical hero. Don't Wait Up (For George) is a five-song EP Jennings released in tribute to the Old Possum, featuring two originals and three covers of George Jones classics. Ultimately, it's the new tunes from Jennings that are most effective here; "Living in a Minor Key" was written by Jennings with Faren Miller for Jones to sing, and this simple but evocative tale of good and bad times sounds like something that would fit Jones like a glove. "Don't Wait Up (We're Playin' Possum)" pays homage to Jones while allowing Jennings to indulge in his badass persona as he ponders both cheating songs and real-world infidelity, and the mix suits him well. As for the covers, Jennings and Katy Cole deliver a strong version of "If Drinkin' Don't Kill Me" with a potent last-call-at-the-honky-tonk feel, and the dark electronic sheen on "She Thinks I Still Care" works better than expected, but the tricked-up noise that accompanies "The Door" is pretentious and ultimately doesn't serve the song well. And while Jennings clearly means well, the covers face one insurmountable obstacle -- no one will ever sing those songs as well as George Jones. That said, Shooter Jennings clearly sings from the heart on "Don't Wait Up," and this is a tribute to the artist and the man that rings honest and true. -All Music
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