Politically-charged, poignant, and powerful, War On Women’s latest is equally their most ferocious and most important album to date. There are records you turn on and within barely thirty seconds you can tell they’re just magic like Wonderful Hell which is sonically transcendent of anything War On Women has done so far matched by the pointed words of vocalist Shawna Potter.
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Delays are inevitable yet sometimes delays work for the greater good producing some unprecedented magic like Magnetic Eye Records has had as of late. Whether it’s pandemic or production-related, there’s been a slew of releases from MER affected by recent events but the silver lining in this story is that it’s caused a flood of material to come out one after another as of late bringing us to Vol. 4 [Redux] (Following Zakk Sabbath’s Vertigo and the Alice In Chains [Redux] both released last month) focusing on the iconic Black Sabbath album as reinterpreted by a bevy of current legends, legends on the rise, and legends-in-the-making.
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Remember when Nu-Metal exploded and all these bands came out of the woodwork with these impressive anthems trying to hook new listeners for the long haul beyond the initial fad? Rise As Equals is like ALL of those songs collected in one place. And it’s freaking glorious.
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Listening through Nappy, the latest EP from Japan’s Draw Into Disorder, is like being transported back to the state most associated with perpetual rain and flannel in the ’90’s. Call these six tracks and homage or an ode but at the core of Nappy is a group of tunes made in the 21st Century that truly triumph.
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If ever there was an album title that more accurately described the overall sound of a record, it’s “DOOMPOP”. Downtrodden yet delightful, the latest slab of sonic soliloquies from Detroit’s Zilched is a driving collection of unforgettable Rawk that elegantly eschews norms to forge a new genre built from Alternative, Grunge, and Dream Pop.
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Cortez’s latest is a ripper from start to finish and you should’ve already pre-ordered your copy. That’s it. That’s the review. If it only it were that simple, right?
But I digress.
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Andee Blacksugar’s Return Of The King, his Godfather Part III…his Dark Knight Rises even! If you’re picking up what I’m throwing down then you get that we’re at the final part of a trilogy and like many a third in a cinematic tale, what fans are getting is something really freakin’ epic.
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Hot on the heels of three fantastic singles, AshenMoon readies their first proper collection of songs with Umbra I which further highlights the Pop meets New Wave Rawk of this breakout quartet.
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Confession time: John Bush was my gateway drug into the world of Anthrax. My musical awakening hit around the mid-’90’s where the Big Four was at a crossroads and, in the case of NYC’s resident Thrash titans, going through a major personnel overhaul as well as a musical one. As I got older I appreciated the old stuff but Bush will always be my guy and underrated albums like Volume 8: The Threat Is Real still stand the test of time and remain in my regular rotation to this day.
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With the recent announcement that Burton C. Bell is stepping away from Fear Factory to focus on Ascension Of The Watchers, Apocrypha might just be the most important record of Bell’s career. And upon listening through AOTW’s first full-length since 2008’s Numinosum it’s apparent that, regardless of that news, Apocrypha is destined to be something important.
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