Like most record release days, I am torn on where to start and where to finish. Everything that gets put on AFGM is worthy of mention so even though it seems like it's a little too much, believe me that all these albums are worth a spin or two. I have been mainly focusing on a few artists listed below such as Prince, White Empress, Gerard Way, Vestascension, and Nonpoint. All artists have been coming up frequently in news in anticipation for their respective releases. I highly recommend any of the artists listed above as they are sure to keep you smiling.
And let's not forget about the others on zee list. Melissa Etheridge, Lucinda Williams, Flying Colors, Finch, and all the others are equally important and will have you jumping from genre to genre. The DVD/Blu-Rays will also have your eyes peeled to the screen. I have had the pleasure of seeing Dream Theater, Meshuggah, and Between The Buried and Me live in concert so those plus Katatonia will not disappoint you.
So be a doll, go show some love and pick up a copy of the album(s) that you can't stop listening to. Hit up a local record store, and online retailer, or a trusted digital source for purchase. Cheers!
Art Official Age also finds Prince incorporating his spirituality into his composition with a deftness and openness often missing from his other records. Many songs on the album, from “U Know” to “What It Feels Like” and “Way Back Home,” are explicitly religious — and indeed, the story anchoring the album is really just another version of apotheosis — but they aren’t oppressive or heavy-handed. Instead, they posit spirituality as just another source of pleasure and fulfillment, the way sexuality once dominated that aspect of Prince’s music, and illuminate the similarities between the two. It’s a restrained, mature expression of a major part of his life. -TIME
(3RDEYEGIRL - PLECTRUMELECTRUM)
For those that haven’t been suckling at every bit of information that was offered, you’re going to love everything PLECTRUMELECTRUM has to offer. For the hard core masses, this album is a phenomenal addition to the collection, but we were surprised at the omission of not just a couple songs, but a lot. The addition of which would have really made this album more definitive. -Funktopia
(Gerard Way - Hesitant Alien)
Now in his late-30s, he’s going back to the things that turned him on, from pretentious ’70s glam-rock, fractured ’80s post-punk and all the English sonic conventions of ’90s Britpop and shoegazer noise. Sure, Way might not get fans to sell their old Black Parade hoodies to drop megabucks on eBay for vintage Pulp tees. But Hesitant Alien has enough requisite cool and clamor to insure he stays both relevant and remarkably vibrant—and, you know, cool as fuck. -Alt Press
(Melissa Etheridge - This Is M.E.)
"This Is Me” and her recent live performance suggest that “the old Etheridge” is back, putting words and music from the gut into her songs, and presenting them with such passion that she needs to be witnessed live. Her voice only got stronger as the night went on, culminating in an emotion-charged encore of “Like the Way I Do.” -Go Weho
(Seth MacFarlane - Holiday For Swing)
For the album, MacFarlane and McNeely cherry-picked both timeless holiday songs and lesser-known gems. MacFarlane slides from a warm, introspective introduction with a vocal quintet into a bright, uptempo swing in “Let It Snow! Let It Snow! Let It Snow!”, and brings a new interpretation to the Lee Gordon rarity “Christmas Dreaming”. Continuing a longtime friendship and creative partnership, Norah Jones joins him for Seger Ellis and Al Stillman’s “Little Jack Frost Get Lost”, while Sara Bareilles lends her powerful pipes to Frank Loesser’s “Baby It’s Cold Outside”, which is perfect for a warm moment under the mistletoe. -Renowned For Sound
(Lucinda Williams - Down Where The Spirit Meets The Bone)
Williams's new double album, Down Where the Spirit Meets the Bone, starts with words from one of her father Miller Williams's poems. "Compassion" urges treating others with concern even when it's not wanted: "You do not know what wars are going on/Down there where the spirit meets the bone," Williams sings, accompanied only by acoustic guitar. It's a grim line on a grim-sounding track, but the sentiment is a tonic in the current media landscape. In an ever more connected world, it's paradoxically easier to extricate oneself from the complicated, everyday realities of others. Compassion, in its most basic form, is more vital than ever. -Slant Magazine
(Tove Lo - Queen of the Clouds)
This sort of color—which might feel whimsical, were the content not so dark—pops up frequently across Nilsson’s assured major-label debut, Queen of the Clouds. Her foibles and off-kilter perspective on heartbreak offer shape and personality to a record that might otherwise be written off as too slick or inert, or indistinguishable from a host of peers making competent, spacious, and downcast pop music. -Pitchfork
(Flying Colors - Second Nature)
Second Nature has a sound that not only covers the many influences of each band member, it also shows that the band can hit genres of so many different musical techniques (i.e. Classic Rock, Progressive Rock, Jazz, Blues and Folk). Although some of the songs may not keep you riveted, missing some of that unique sound you’ve grown to expect from Steve and Neal. Don’t get me wrong; if one keeps comparing this album to hit the levels of the previous album then you may be let down. However, if you focus on the work that has been achieved musically and all of the various styles offered here you will be quite impressed with what this stellar group of musicians can and will achieve. -Prog Metal Zone
(Vestascension - Breaching The Sound)
Finding a weak spot in this album is actually quite difficult, especially when the music is just so positive, uplifting and fun. Listeners could nitpick or throw shade on the fact that there aren’t many new compositions, and there are not many sizable differences or alterations to the older songs – with the exception of track four – or people could be upset because they prefer Mike Semesky over Brian Wade, or any other minor detail. But in the end, Breaching the Sound is a surprising, and ultimately satisfying debut from a delightfully positive group of young musicians. The wait was long, annoying, and maybe not exactly what was promised, but give this one a listen; you won’t regret the decision. -The Monolith
A ravenous horror movie fan, Rocky Gray has successfully meshed inspirations ranging from John Carpenter to 70s zombie flicks with his own devious gothic rock desires to unleash "Accursed". The record will be available everywhere digitally through iTunes, Amazon, Spotify, and others. Physical copies will also be available through select retailers. -The Horror Nation
(Finch - Back To Oblivion)
Back To Oblivion opens with its title track, which brings bradycardia to forward-thinking hearts. It's a 'getting-back-on-the-horse' song with lyrics to match, all concerned with the tribulations of band living. The music goes over old ground, with none of the inspiration found in Finch's material after-...Burn. Then a post-rock-influenced guitar break arrives and they start to gather momentum. It's like Still Crazy, when Bill Nighy breaks down on stage during the opening song and the only way to rouse him from his fog is for Stephen Rea to play 'The Flame Still Burns.' Nighy returns to the present, temporarily hands lead vocals over to Jimmy Nail and the band build a triumphant closing set. -Drowned In Sound
(Nonpoint - The Return)
AFGM: Nonpoint - The Return
Bringing aboard Grammy-nominated producer Johnny K (DISTURBED, STAIND, MEGADETH) for the second album in a row, let that serve notice as to what you're getting on this album. Strong out the gate, the album settles for gross predictability with a noisy metalcore experiment along the way.
As ever with bands like NONPOINT and their peers, they have a stout following but are advertently scorned by those with heavier tastes. Subjectivity applies with this band, of course. Though "The Return" as a whole doesn't live up to the promise of its openers, NONPOINT do drop their game with a professionalism befitting of their tenure. -Blabbermouth
(Electric Wizard - Time To Die)
It’s an ambience that practically bleeds from the speakers during Time To Die, their first album in four years and their debut for Universal’s Spinefarm imprint. The other thing the record exudes is confidence. Somehow able to get right up in your face and grab you by the throat while swimming around in a maelstrom of distortion, Electric Wizard present heavy metal as a barely controlled beast, tamed and kept in check by the bare bones of their song structures. Jammed out and demonstrating real chemistry, Time To Die is perhaps best appreciated as one piece of music and proves both atmospheric and immersive in the extreme. The band have lost none of their twisted genius in the four years since their last full-length. -Record Collector Magazine
(Evergrey - Hymns For The Broken)
For an album to demand this much introspection says a lot about the power of great songwriting. There was countless times where I was taken away on a weeping daydream of my late parents (“Missing You”), to thoughts of past relationship nightmares and a random kaleidoscope of moments both happy and sad. Evergrey has a certain magic in all the gloom…the ability to relate on so many human levels and translate those exact emotions to “hymns for the broken” to follow. -Metal Underground
They try everything on The Wreckage Of Stars to differentiate songs from each other, which means that the whole album is a journey through different exotic instruments on top of some some well-written death metal that, yes, even has some pop sensibilities and isn’t afraid to go for a big, sing-song heavy hook that is bound to bore its way into your skull before the damned song ends. -No Clean Singing
Of course, after all this time, staying true to the hardcore genre could be seen as a blessing or a curse. After 30 years, fans may be looking for something a little less formulaic from the band, and when singer Lou Koeller sings “Hardcore is our life now,” in “Road Less Traveled,” I had to wonder if he meant it as a source of pride or as a lamentation. Also, the less hardcore of hardcore fans may find themselves becoming bored midway through the album.
Overall, I commend original members and brothers Lou and Pete Koeller for sticking to their guns and releasing an album that represents who they truly are. Also, the collaboration with producer Tue Masden seems like a good move for the band. True Sick of It All fans will not be disappointed in Last Act of Defiance. -Geeks of Doom
*No reviews as of yet
(White Empress - Rise of the Empress)
If you are expecting Cradle Of Filth mark two then you are in for a shock. Yes there are some elements here which do hark back to them but this is something much more melodic. Opening with the title track which is a largely instrumental piece, it’s a haunting start, it is a perfect set up for what is to come as it picks up speed and heaviness before ‘Congregation’ stomps into action. Nice chunky riffs and strong rhythm section are joined by fitting orchestral music. It is when they are joined by the female vocals Mary Zimmer that it really shifts up a gear. Bringing some much needed melody into the mix and showing what a versatile vocalist she is. -Hit The Floor
EPs:
(Butcher Babies - Uncovered)
The songs have all been given a Butcher Babies sound – some bands doing cover versions do their best to imitate the original version down to the small details, but Butcher Babies have taken the other approach – take a song and make it totally different to the original. The EP kicks off with the ZZ Top cover – “Beer drinkers & hell raisers”. With it’s chanted chorus, screaming vocals and heavy guitars it certainly sounds different to the original and I have to say it sounds great – I definitely want to hear this one performed live next time they tour the UK. -Planet Mosh
(Between The Buried and Me - Future Sequence: Live At The Fidelitorium)
“Future Sequence: Live at Fidelitorium” was directed and edited by Justin Reich, with director of photography Ismail Abdelkhalek, and audio engineers Jamie King and Kris Hilbert. Audio mixing and mastering was completed by Jamie King. Guest musicians include: Walter Fancourt (tenor saxophone, flute), Julian Hinshaw (Tuba), Will Goodyear (marimba, glockenspiel), Taya Ricker (violin), David Parks (violin), Leigh Dixon (viola), and Socrates Razo (cello). -Prog Sphere
There is a fairly large tech-metal/djent scene in England and beyond, but no one delivers quite like Meshuggah. Tomas Haake’s drumming is a joy to witness, and the abilities of lead guitarist Fredrik Thordendal coupled with rhythm guitarist Mårten Hagström help drive an unbelievable sound. All of this is glued together by Dick Lövgren on bass.
The Ophidian Trek is a fantastic document of a fantastic band. Although they have been around for twenty five years, their input into the extreme metal scene is unrivalled. Extreme metal needs Meshuggah; they are unique, cathartic, punishing and ultimately awesome. -Louder Than War
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Just the double CD concert and DVD version of it would be an excellent collection, but Katatonia take it one step further with a second DVD that’s a documentary. The extensive 136 minute documentary chronicles the band’s history from 1991 to 2011. It’s narrated by Jonas Renske, Anders Nystrom and Daniel Liljekvist. Archival photos and videos are shown as the band members talk about their history.
The only downside of the collection is that it took so long to come out. Even in the three years since the documentary was made a lot of events have taken place, including the release of two albums. Hopefully a part two will be coming at some point. At any rate, for fans of Katatonia, Last Fair Deal Gone Night is a must own, both for the concert and the documentary. -About.com
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