Black Sabbath - "13"
For any metal fan Black Sabbath is surely something to behold. Their history and legacy in music is unquestionable, and they'll forever remain one of the most important bands who'll continue to inspire generations well after a lot of us are gone. But how would Ozzy and company fare with their first studio album together since 1978's Never Say Die? Well, for me the result was a mixed bag. First and foremost it's important to state how awesome it is hearing Ozzy with them again, and they surely haven't swayed too far from their original formula. I suspect master producer Rick Rubin was the main factor in making sure Sabbath sounded like how Sabbath should sound. My main gripe being that because of that, the creativity might have been muted a bit. Don't get me wrong, this record is great; dark and dreary, with lengthy odes of a holy morbid nature and if you didn't know better you might assume that these are still youthful young men in their twenties. But after a few listens it just got a bit humdrum and routine for me. I feel everyone should own this -- if not out of pure respect -- but ultimately it's not going to be emitting from my headphones or speakers as much as a record almost thirteen years in the making should've been.
7.8/10
What's that? Tony Starks dons the mask yet again and has gone back to the grittier nature we all love to hear from the Wu? Yeah, this album was a blessing for me before I'd even listened to it. I'm a Wu-head until my days end, and I'll be the first in line every time there's a new release or show from any of the gods.
The production, lyrical content, length, imagery of this record -- everything for me was a welcomed triumph and what I crave when I listen to hip hop: No flashy, simplistic swag, just lyrical death in a booth with 70's kung fu and bloody horror film undertones (in particular in this case is an homage to Argento films). Thank you, Ghost. You've made yet another gem to add to your already intimidating collection.
8.9/10
Yeah Yeah Yeahs - "Mosquito"
Some bands are hit-and-miss, but the Yeah Yeah Yeahs always hit it out of the park. Even if you didn't consider the wild-spirited Karen O one of the best lead female vocalists (which you should), you have to respect her unique style and voice and this band's essence in rock. It took me awhile to get around to it, but once I finally did Mosquito was just what I expected it would be: Another quality release from an already astonishing band. They might be an acquired taste to some, but I feel this release has something for everyone. A collection of furious surging melodies, slower more emotional odes, and uncommon rhythms, all fronted by Karen's vocals stabbing through the musical fabric like the swooping talons of a hawk to comprise this magnificent work which is Mosquito.
8.7/10
Device - "Device"
Device is the side project of the lead singer of Disturbed, David Draiman, and since it was streaming for free I figured I'd give it a listen. I used to hate Disturbed so much but then two things happened many years ago: I stopped listening to the radio, and I saw them live. They put on an eventfully damn good show, and I started to appreciate his vocals more after seeing them live because his grunts and animal shrieks aren't necessarily easy to execute. I don't know why they didn't just make a Disturbed record, however, because to be blunt that's basically what this is, sans the guitar solos and harder tempos. It's not bad. In fact, some of these tracks are pretty enjoyable. The Ozzy/Lita Ford cover was awfully interesting, and the M. Shadows appearance was kind of cool, albeit brief. I still don't see the reason for this record, but there wasn't much for me to dislike and pick apart besides a few minor qualms. If you like Draiman or Disturbed you'll probably enjoy this.
7.6/10
Megadeth - "Super Collider"
I'll start with this: I've seen Megadeth more times than I can count on two hands, and they'll probably always remain my second favorite band. Lately -- and I'll gladly not beat around the bush in saying so -- their material has blown. The last two records by 'Deth were easily dismissible and sucked. I don't know whether Mustaine is unmotivated, or if he feels that the meandering, mellower work he's manufacturing is actually better than their older efforts. In my humble opinion, it's a case of 'Deth's older work being more riddled with angst and spitefully focused, rather than lately going for a more radio-friendly rocker approach. Having stated that, Super Collider is better than their last two efforts. But that's not really saying a whole bunch, is it? It's alright but forgetful, and the sad truth is it'll go in my collection but I'm not going to play it much. What Metallica did with Death Magnetic Megadeth needs to do soon. Or perhaps don't, and I'll just shrug and continue listening to Countdown, Cryptic, Rust and The World Needs A Hero.
6.9/10
Depeche Mode - "Delta Machine"
I love Depeche Mode, and I'm baffled if you say you don't. I don't care what you think of my saying so, but this group has way too many infectious classics, and the album Violator alone has some of the hardest drum breaks and is widely considered a masterpiece. On my first listen, Delta Machine underperformed and I was left a bit unimpressed -- even with the few singles and songs I did highly enjoy. Maybe my hopes were too high and I was too enthusiastic. But then I realized -- like an idiot smacked his face into a brick wall -- that my speakers weren't working correctly and there was a problem with my bass. Needless to say, once it was fixed I was pleased and totally appreciated the album. Dave Gahan still holds a note wonderfully, and I could give this a spin any time. Fans of Depeche should not be disappointed. I only wish their live show hadn't sold out so quickly, so that I might've finally heard some of it in the flesh. Listen to "Welcome To My World" and "Heaven" and tell me it's not astonishing...
8.6/10
Stone Sour - "House of Gold and Bones: Part 1 & 2"
This allows me an opportunity to do something I'd not yet done in these record reviews that I've been bumbling with for a few years now; I'm going to give my thoughts on two records at once, and what better instance than with a two-part concept album? I adore Corey Taylor, but more so because of the Slipknot than the Stone Sour, but both are bad-ass. These two pieces are different in that one I enjoyed greatly, and the other not so much. HOGAB part one is alright, but a majority of the songs didn't connect much with me, for whatever reason. Maybe it just felt lazy. On the other hand, however, part two begins beautifully and never lets up, save for a country-type track and another selection I wasn't terribly fond of. It really finishes hard (that's what she said) and Corey showcases a good range and the riffs are radical. It's kind of perplexing realizing that they were both conceived together, yet one I'm ultimately indifferent about and the other I adore. Also worth mentioning is the fantastic and original idea for the packaging of both albums, in which that they both join to form an actual, physical miniature house with the CDs and booklets. Perhaps the point being with these is that you can't have the good without the bad? Hmm.
Part 1- 7.0/10
Part 2- 8.7/10
Ill Bill - "The Grimy Awards"
A Brooklyn emcee immersed in the drug-addled gutters of New York with a penchant for death metal, chaos and classic hip hop; Ill Bill is incredible. Any lyricist who can compose an entire song showcasing the history of Slayer is special and should be admired. This man doesn't make bad music. Whether it's working with Jedi Mind Trick's Vinnie Paz, or penning a piece about the Unibomber and Bad Brains, this Nonfiction soldier is nothing if not brutal. I only wish more people would take notice of quality hip hop like this, instead of fawning over mindless acts like whatever's playing on your radio and MTV. Search any video by this La Coka Nostra frontman and instantly become a fan. The Grimy Awards is more of what you want from Bill and it's beautiful: Ridiculous lines of lyrics layered over punching production. I only wish I would've told Bill how much of an influence he is when I met him.
8.3/10
Killswitch Engage - "Disarm The Descent"
Reaching towards the homestretch and nearing the finish line, my second to last review is an album that completely surprised me and had me convinced that it might be the best of the year. Well, it was certainly the best I'd heard in 2013 for a good while. Of course I'm talking about the pictured above Disarm The Descent. I've liked Killswitch since I first heard them, but this return to their original lead singer had me floored. I said god damn this is outstanding! This is basically the epitome of what I want in metal: Furiously fast shredding, well thought-out lyrics expressed through a mixture of sonic screaming and soothing singing, and tempo changes that keep it interesting and fresh. My very very tiny gripe is that the guitar display is so mesmerizing I could've easily gone with more solo work, but this album has already been in my constant rotation and shall continue to stay there. Consider me blindsided, but this release made seeing these fellows in a few days even more exciting. I usually wake up on work days and play this. You should, too.
9.2/10
Queens of the Stone Age - "Like Clockwork"
If you know me, you know this is one of my favorite bands. Hell, Lullabies To Paralyze has been my sixth favorite record of all-time ever since its release. Josh Homme is near rock-god status and there's simply no other band that sounds like Queens or has that hard voodoo blues feel that they've cultivated. One thing I need to say about Like Clockwork: It really starts on the third track. The first two songs are great and lower your guard and then blam. A piano accompanies some of the most remarkably candid and relatable lyrics I've heard over a Queens record. From then on, it's a marathon of remarkable melodies that only Queens can do. I don't care what you listen to, I sincerely urge you to check this out and tell me I'm a moron for enjoying it so much. On first listen I knew it'd easily dethroned the above Killswitch and instantly became my favorite piece of music this year. I can't help but consider Like Clockwork remarkable, and I hope you do, too.
9.5/10
To be honest, I don't see anyone -- not even Kanye West, or should I say Yeezus now -- knocking this record from atop its throne of my favorites of 2013. Wait... Aren't Nine Inch Nails releasing an album later this year? Damn. Perhaps I speak too soon. We shall see. For anyone who might've read this, I hope you at least slightly enjoyed my meaningless words and opinions and please feel free to shoot me some suggestions for listening pleasure any time. And if you care to tell me how ridiculously wrong and imbecilic I am, that's fine and dandy, too.
Until the next eleven in a future EACIC, I thank you for reading and take care of yourselves.
~ CAStLE 💀
