The Birthday Massacre have yet to disappoint. In fact, with each new offering the Toronto Electro outfit seem to continually push the envelope and defy expectations over and over again so it should come as no surprise then that on their 12th release they go further down the rabbit hole to come out the other side into an expansive new haven filled with all their synthetic signatures and grandiose Gothic overtones on an album that is undeniably TBM through and through.
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I don’t why I thought it’d be a good idea to do both an end of the year list and preview list reflecting the year they’re happening in….but here we are. Our list of twenty one albums and change has already posted (Which you can read here) so now it’s time to close the book on 2021 and look to the future with 22 albums we think will make this year sound even better than the last…and change.
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Forget Morgan Freeman, I want Bill Leeb to narrate every inane facet of my life! With biting tones laid out so smooth, can you really think of anyone else who delivers messages of chaos prophesying the end of days so well? For now, though, I’ll settle by hearing Leeb recite mechanically-tinged raspy rhymes on the latest Front Line Assembly record. For now.
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With an association as prolific as the one that Raymond Watts had with KMFDM, it’s inevitable that there will be comparisons from time to time. While Watts’ work as <PIG> is definitely its’ own monster, the latest offering in this current second coming of the Industrial giant is easily Watts’ Nihil. Filled with all the substance to back up that larger-than-life swagger, Pain Is God is a hefty record encapsulating all that’s made <PIG> great yet soaked in this mid-90’s synthetic haze.
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Diamonds, the eighth album from Toronto’s The Birthday Massacre, is a blissful slab of elegantly executed Electro that’s sure to be an exquisite listening experience for all the earholes.
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KMFDM is back. Again. But why should you care? Because the Godfathers of Industrial consistently deliver the Ultra Heavy Beat and on PARADISE, their 21st album which celebrates their 35th year as a collective, they’re offering up their most diverse and, quite possibly, their best record of the 21st Century.
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I’m not going to start this review off with my typical “Remix albums are a mixed bag” rant because Chris Kniker, the mastermind behind Primitive Race is a pro when it comes to these things. The man is also a pro when it comes to subverting expectations relating to the recorded output of this particular outfit. The debut from PR was shrouded in mystery before revealing a veritable melting pot of Industrial luminaries and iconic guests while the follow-up, 2017’s Soul Pretender, went a completely different route with more of a band structure showcasing the talents of the late, great Chuck Mosley.
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Electric Six is to THE RAWK what AC/DC is to the hard rock genre meaning when you dive into a new E6 outing, you definitely know what to expect. And like any AC/DC album worth its’ weight, that ain’t a bad thing by any means.
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One day soon I hope to run across some newer <PIG> fans and, like a crotchety old man of 40, spew off lines like: “You kids have it so easy! Back in my day, Raymond Watts waited a decade between albums! And when he did release records it was only in Japan! Before Amazon! And the internets!” Seriously though, and unlike a crotchety old man of my age, I feel blessed to live in this wondrous time where Watts has rediscovered the fire and has re-emerged with a (seemingly) untapped well of new material. [Read more…]
If you’ve been with <PIG> since the beginning then the natural progression of this awesome Electro/Industrial/Glam project has been the absolute best rollercoaster to ride on, especially with the recent second coming phase. However, if The Gospel and subsequent current outings haven’t been your cuppa then my best advice is that you’d best scurry back to the fold and beg for forgiveness because all you non-believers are about ready to bear witness to a more even keeled, well-rounded, and fine tuned incarnation of <PIG>. [Read more…]