Benny Andersson – Piano (Album Review)

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Benny Andersson – Piano (Album Review)

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.

While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular. 

More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.

I Let The Music Speak is beautiful and while I love the original from ABBA’s The Visitors, this rendition is incredible. 

You And I takes you on a magical ride whereby if you let it, the music will elevate your soul and take you to that very special place within your consciousness that only you know about. Music like this is the epitome of subjectivity and it’s thoroughly relaxing. Without a doubt, it’s one of the best interpretations on Piano. 

Aldrig is a lovely song, but I feel it’s positioned badly as it’s musically different to You And I and Thank You For The Music, thereby creating a less than cohesive album experience. 

Thank You For The Music is legendary, but this recording sounds as though it could have been played in any piano bar. It doesn’t mar the album, but one can’t help but wonder if a slightly more stylised interpretation wouldn’t have yielded a better result. The accompanying music video, however, appeals to me as it showcases not only Andersson performing the song but takes us on a visual history of Andersson’s creative endeavours.

Stockholm By Night is breathtakingly beautiful.

Chess is a modern-day masterpiece. Amazing!

The Day Before You Came is performed flawlessly. The soundstage is immersive as the piano fills your space, captivating you from the very first note, in a musical presentation that has to be heard to be believed.  

Someone Else’s Story is another beautiful selection from Chess.

Midnattsdans is a lovely interpretation from BAO!, the second album from Benny Anderssons Orkester. 

Målarskolan is a little more upbeat when compared to the rest of the songs featured on Piano, but it works flawlessly within the album structure.

I Wonder (Departure) is magnificent! I’d even go as far as suggesting that this rendition greatly improves on the gem that was already present on ABBA’s The Album. 

Embassy Lament is enjoyable but isn’t to the same standard as the rest of the songs on Piano.

Anthem is such a delicate composition that it never ceases to amaze. 

My Love, My Life is one of my all-time favourite ABBA songs and this rendition only enhances my feelings about this song. Spectacular!

Mountain Duet is quite an interesting composition. It sounds fully developed, yet it also feels incomplete. I know that makes no sense, but there are multiple ways one could appreciate this song and despite having heard it many times, I’m not really sure how, or if, I connect with Mountain Duet. 

Flickornas Rum is a great tune that I thoroughly enjoy. 

Efter Regnet has me closing my eyes as I picture Andersson playing a private performance for me, and only me. The recording is so transparent, however, that you too will experience that feeling. 

Tröstevisa is an absolutely beautiful song.

En Skrift I Snön is tranquilly exquisite.

Happy New Year was a lovely song when released by ABBA on Super Trouper, but I much prefer this rendition to the original. 

I Gott Bevar is a perfect song to close the album on as it encourages me to listen again. 

Overall, Piano is one of the greatest pieces of music Andersson has ever released and it deserves a place in everyone’s collection.

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Kacey Musgraves – star-crossed (Album Review)

Kacey Musgraves – star-crossed (Album Review)

star-crossed, Kacey Musgraves’ fifth studio album, explores introspection through the lived experience; a consistent theme in her music that is relevant and relatable to all of us. Her modern interpretation of Country Music continues to amaze, for star-crossed traverses numerous musical divides, sometimes simultaneously, to deliver an immersive selection of music that has a country origin while remaining easily accessible to modern music lovers.

Listening to the Apple Music lossless 24-bit 48kHz stream, star-crossed sounds simply stunning with a broad soundstage that is well-defined and enveloping, but nothing could have prepared me for the Dolby Atmos presentation via the AirPods Pro. Stunning would be an understatement and in many respects, it’s modern recordings where Dolby Atmos truly shines; where the concept of the technology was approached from the get-go rather than simply remixing existing recordings. Regardless, if you have the opportunity to listen to the Atmos stream, I would highly recommend it as the music becomes borderless and while the stereo soundstage was already impressive, I much prefer the envelopment that is offered via the Atmos stream. 

Yes, the argument could be made that there is a little too much vocal processing applied throughout, but once you get past that aspect, and appreciate star-crossed for what it is, that element somewhat disappears as you become drawn to the musicianship and musicality.

One aspect that I’m not sold on, however, is the album artwork. I get what the imagery is trying to present, but after the exquisite, and aesthetically pleasing, artwork that adorns Golden Hour this new artwork is a letdown and is a deterrent to picking up the album on vinyl; thankfully the Apple Music stream is so sonically pure that it is more than I will ever need to experience star-crossed.

star-crossed is the perfect song to open the album as it sets the scene for the songs that are to follow. The vocal harmony is out-of-this-world, as is the Spanish guitar, and the slow build in tempo and musical depth is nothing short of pure perfection. 

good wife sees me move involuntarily to the groove. It’s a wonderful exploration of the pressures we put ourselves under to be the other person, in every relationship, and to meet often unspoken, but implied, expectations. While this is Musgraves own personal journey, her writing is relatable. 

cherry blossom has a cheerful musical tone, despite the slightly more sombre lyrical significance. While my body moves involuntarily to the rhythm, when listening to cherry blossom, I find it to be a little too treble focused and would love to have seen a smoother presentation with a focus on the midrange.

simple times is head-bopping and toe-tapping bliss and is a perfect song for our current times. As much as our social and technological advancements have been a blessing, especially with recent worldwide events, I too wish for the simpler time I once knew. 

if this was a movie.. isn’t my favourite song on the album, but is compelling in a way that I simply can’t articulate. That said, I love the life imitating art comparison.

justified is a great tune that I could listen to on repeat indefinitely. It’s catchy and I’ve no doubt you’ll find yourself singing along to the chorus; I know I did. 

angel is simply beautiful.

breadwinner has an addictive rhythm with a catchy chorus that will appeal to many as it can be seen as a precursor to avoiding relationships with the wrong person.

camera roll has a vocal presentation that sounds eerily familiar; yet, I’m at a loss to explain the correlation. Regardless, camera roll is beautifully mellow and sits perfectly within the flow of the album. Lyrically, camera roll is a masterpiece. We’ve all been there, reflecting on our past, yet unable to move on at that moment. Musgraves absolutely nails it and while the song is presented literally, sometimes that’s what’s required as meaning tends to get lost if written in metaphors alone. 

easier said is a solid tune, but arguably isn’t as strong as the other songs on the album. That said, it doesn't sound out-of-place either and the more you listen to star-crossed the more it grows on you.

hookup scene has a stripped-down, near-acoustic, sound but the vocal distortion remains; especially apparent on headphones. In this instance, I would have loved to have heard Musgraves, with guitar, in her natural, unaltered, singing voice as I feel it would have had far more emotion. That said, the meaning of hookup scene is fantastic and reminds me of the meaning behind the song Love the One You're With. 

keep lookin’ up is a killer tune, especially the Atmos mix with the backing vocals being presented as disembodied souls throughout the surround mix. Plus, the guitar surrounding you is simply something you have to experience firsthand. Magical! 

what doesn’t kill me isn’t the strongest song on star-crossed; it’s album filler, despite fitting in musically to the overall style of the record.

there is a light gets your body moving involuntarily and is one of the best songs on the album with a positive vibe that showcases that darkness won’t last forever. 

gracias a la vida is a classic tune, but it feels out-of-place on star-crossed. That said, it isn’t too much of a deterrent and I find that star-crossed can be easily appreciated on repeat listens. Of course, if you have a chance, take a listen to the original from Violeta Parra; a lovely recording in its own right but Musgraves’ modern interpretation is more emotionally charged thereby making it my preferred version. 

Despite obvious clichés in the lyrics throughout, star-crossed is an incredible album and while the lossless stereo edition is spectacular, star-crossed is simply magical via Dolby Atmos as it takes the album to another level, and doesn’t simply add surround effects for the sake of it. While it would be easy to look at star-crossed as being a sombre album, especially considering its context, I consider it to be a reawakening that rejuvenates the individual’s soul and one album that can appeal to everyone for it examines when things don’t necessarily go the way we’d like; a lovely contrast to our modern, outwardly positive, public personas. 

ZZ Top – Eliminator (Album Review)

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ZZ Top – Eliminator (Album Review)

With a signature sound like no other, ZZ Top is the very definition of blues-rock and roll; a no-frills trio that are, in my opinion, only topped by AC/DC. Although, let’s be honest, as cool as Angus' schoolboy uniform is, the signature beards remain unchallenged.

Eliminator is the eighth studio album by ZZ Top and is arguably their most polished release as Eliminator plays like a Greatest Hits compilation with no B-sides to be found. It’s easily one of the greatest rock and roll albums in music history and one worthy of inclusion in every music-lover’s collection. 

Before you even listen to the music, the artwork for Eliminator will amaze and looks simply fantastic on display or in the hand. However, I have always been perplexed by the coloured box within the artwork itself. Initially, I had thought it was an indicator guide for other formats that were simply left in the final artwork, but that isn't the case as the reformatting, of even the cassette version, crop tighter into the artwork. It is an absolute mystery. If you have any thoughts regarding this interesting design decision, I'd love to hear from you.

The 30th Anniversary vinyl reissue that I’m fortunate to own is a collector's dream come true. Despite its simplicity, the print and pressing quality is exquisite. Sonically, the 2013 vinyl reissue is flawless. Beautifully quiet, although not a major issue for rock music, and sonically pure. I’ve never heard the album sound better. It’s honestly a 10 out of 10. There is something to be said for reissues that provide you with the very best the format and album have to offer without the bloat of demos and other unnecessary elements. At the time of release, it was priced in the budget range at sub $30 ($AUD), yet the sonic performance of this record trumps many of my more expensive audiophile pressings, thereby proving that one does not need to go broke in the collecting of new vinyl for one's passion.

Although, there are some caveats that one may wish to be aware of when considering picking up the vinyl release, specifically with regards to how it compares to the CD and streaming counterparts. 

The CD, by comparison, sounds concealed and lifeless, as if a blanket has been thrown over the speakers. This is particularly noticeable when comparing it to the lossless 24-bit/48kHz ALAC edition streamed via Apple Music. The stream is effortless in its delivery ensuring that you’ll not only hear every aspect of the recording but will get the fullness of sound that this album demands. 

Usually, this fullness, or warmth, is associated with the vinyl record, but it is also true to say that the vinyl reissue, despite sounding right, isn’t as detailed as the Apple Music stream. Now, that may concern some music lovers who prefer accuracy in their music, but I’m more than happy to lose a slight amount of fidelity for a more relaxed listening experience. That is, subsequently, why the vinyl reissue is my preferred version but the differences are so small that you’ll undoubtedly be pleased with the streaming edition. I would, however, only select the CD as a last resort as it simply doesn’t deliver the album as I believe it would have been intended. The bottom line is that this is one record that plays well, and should be heard, on vinyl; but you won’t be disappointed with the Apple Music stream.

Turning our attention to aesthetics, the vinyl reissue is printed in a high-gloss that looks incredibly impressive but quickly becomes a fingerprint magnet. Inside, you get a singular printed inner sleeve with Eliminator (the car) on one side while the other side remains black. Yes, it is a basic design but appeals to purists as it remains faithful to the original 1983 release.

The CD by comparison has a standard booklet, sans lyrics, and a CD that is about as plain as you can get. Of course, the vinyl reissue doesn’t feature the lyrics either, but Apple Music does! 

SIDE XI

Gimme All Your Lovin’ has an incredible rhythm and is the perfect song to start the album with as it sets the tone for the entire record.

Got Me Under Pressure continues the toe-tapping head-bopping rhythm. Sensational!

Sharp Dressed Man is a song that defies explanation. Just turn the volume knob to 11.

I Need You Tonight slows the rhythm, but increases the blues. It's absolutely gorgeous and that guitar is, as with most ZZ Top recordings, pushing the distortion right to the limit while remaining hauntingly clear. I love it!

I Got The Six is a perfect rock and roll song.

SIDE X2 

Legs is iconic! Interesting fact: every time I hear the first few chords, I'm reminded of the Mythbusters television series theme song. I’m honestly surprised there wasn't a lawsuit around this unless they obtained permission, of course. Either way, after watching an episode it makes me want to listen to Eliminator so I’d consider it a win-win.

Thug is a solid tune and despite not being one of my favourite songs on the album, I would miss it if it wasn’t on Eliminator.

TV Dinners is one of my all-time favourite ZZ Top songs. Seriously, to take something as mundane as a TV dinner and turn it into a rhythmic blues rock and roll masterpiece; that takes exceptional skill! It’s soloing heaven and features some of the best musicality heard on the album. I also adore those mid-song pauses as they're executed perfectly.

Dirty Dog is a great song with a tone and overall style that is borrowed from Legs. While plagiarism is bad, in and of itself, self-plagiarism in music ensures an identifiable sound signature. 

If I Could Only Flag Her Down is rhythmically engaging but the vocal tracking, in particular, gets lost in the mix. It’s more Motörhead than ZZ Top. 

Bad Girl has an addictive rhythm and I thoroughly enjoy the rawness of the pseudo-live performance. As the closing track, it certainly compels me to spin the record again. One thing I don’t like, however, is the final spoken words at the end of the record just before the runout groove. It isn’t present on any other releases and while I acknowledge that it is a form of artistic expression, it detracts from the listening experience. 

What isn’t a distraction, however, is the culmination of songs that make up Eliminator. It’s not only one of the best albums ever recorded by ZZ Top, it’s one of the greatest rock and roll albums of all time.

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Barry Gibb – In The Now (Album Review)

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Barry Gibb – In The Now (Album Review)

While many individuals who reach their seventh decade are content with tending their gardens, musicians such as Barry Gibb are proving that age is not a limiting factor in the creation of their art. While some commentators may be critical of musicians continuing past their prime, I welcome it with open arms. Yes, there are some exceptions and there will always be a selection of artists who should have stayed in retirement, but Barry Gibb is not one of them.

In The Now is the second solo album by Barry Gibb, although written and recorded with his sons Stephen and Ashley, I had honestly thought he had released more albums, under his own name, but his last album and solo debut was released in 1984. That album was Now Voyager.

I can’t help but wonder if my confusion, relating to his solo releases, was due to the incredible Bee Gees compilation Mythology that highlights the most notable works of each Gibb brother. With 81 songs, and a playtime exceeding 5 hours, it is one of the most extensive compilations ever released. While In The Now is uniquely independent, I also find it eerily reminiscent of the Bee Gees but I had no idea that Gibb was writing and recording again. Yet, upon a visit to my local record store in 2016, I saw the album quickly rising in the charts. As a life-long fan of the Bee Gees I, of course, had to check it out. 

While the vinyl aficionado within desired picking up that release, it was three times the cost of the CD counterpart. This price variance is further exacerbated when you consider that the Deluxe Edition CD includes three extra tracks; a value-added proposition for this fan. 

The Deluxe Edition CD comes in a standard jewel case and includes a full-featured liner notes booklet. However, the lyrics for the bonus tracks are omitted; a disappointing omission for those of you interested in perusing the lyrics while listening to the music. Interestingly, the liner note credits for these additional tracks are included behind the CD storage shell, rather than in the master booklet. This has most likely been done as a cost-saving measure and while it isn’t a major issue, I would like to see more effort put into releases that are considered to be Deluxe. With that in mind, a redesigned booklet, and digipak presentation, would have made this collector very happy.

Another interesting omission, in the liner notes booklet, is the lack of photographs with Gibb and his sons Stephen and Ashley. Both his sons were instrumental in the writing of the album and it seems to be a missed opportunity to celebrate their contribution. Of course, perhaps this exclusion was to avoid obvious comparisons between this work and that of the legendary Bee Gees trio. 

That all said, if we consider the recording, mix, and mastering quality, In The Now is nothing short of exceptional. When comparing the CD to the lossless 24-bit/44.1 kHz ALAC Apple Music edition, both are tonally and dynamically identical to my ears. However, it is important to note that the three bonus tracks are not available to stream, thereby ensuring that the CD release is essential for any Gibb fan. 

In The Now immediately shows that Gibb still has, arguably, the most identifiable vocal in the world. The composition is pop-driven and predictable, but in a good way as it allows Gibb to be at the forefront of the music. It’s a stellar song to commence the album on. I love it!

Grand Illusion is a little edgier with a rock rhythm that’s addictive. I absolutely love the beat and guitar riff in this song and while it may remind me of the Bee Gees, particularly with regards to the interweaving backing vocals, it’s fresh and compelling.

Star Crossed Lovers slows the album down a little with a ballad style but I’m not convinced that this song was a good selection for Gibb as I much prefer his faster tempo tunes. Of course, my subjective point of view doesn’t change the fact that Star Crossed Lovers is a lovely song and many people will thoroughly enjoy it.

Blowin’ A Fuse picks up the pace with an erratic intro that continues throughout the entire song. Despite the unpredictable tempo, it will get you toe-tapping and head-bopping. Although, I would have preferred to have had this song positioned before Star Crossed Lovers as it would have helped with flow. Additionally, the electric guitar solo, about two-thirds of the way through the song, is excellent and a welcome surprise after the song pretends to end prematurely as it makes you sit up and listen.

Home Truth Song is a modern country-pop styled song that works extremely well with Gibb’s vocal style. It will remind you a little of Bruce Springsteen, although, I can’t imagine anyone else singing this song.

Meaning Of The Word is beautifully mellow. Gibb’s vocals are so delicate in this song and I love the tailing off of notes as his vocal almost breaks up, but remains in key. It is simply amazing to hear such a delicate vocal delivery.

Cross To Bear is a lovely composition. I love the acoustic guitar elements, the choral delivery, and the overall twang of the song.

Shadows has a tonality that reminds me fondly of the style used throughout much of Julian Lennon’s Photograph Smile. Simply beautiful!

Amy In Colour is a song that I adore. The verse is so reserved in comparison to the increased tempo, that builds with the chorus, that it creates an interesting dichotomy.  

The Long Goodbye highlights Gibb’s unique vocal style and prowess. I’m continually amazed at how he can maintain such a varied singing voice, especially when you factor in his low-pitched speaking voice. A master vocalist if there ever was one. 

Diamonds is incredibly dynamic with a soundstage that is so immersive that you’ll swear you were in the studio when it was recorded. Incredible!

I do wish that the album had been re-tracked, rather than simply adding the bonus tracks to the end of the album because I believe that End Of The Rainbow is the perfect song to close this album on. End Of The Rainbow is also dedicated to Robin, Maurice, and Andy thereby making it even more symbolic. That shouldn’t take anything away from the additional tracks, as they are exceptional, but it does change the feeling of the album, especially when the first additional track, Grey Ghost, is quite a musical shift from End Of The Rainbow. Grey Ghost has an oriental influence that is lovely in its own right, although it isn’t the strongest song in Gibb’s collection and it causes the album flow to become disjointed.

Daddy’s Little Girl, by comparison, is simply gorgeous and should have been included on the standard release of the album. It features some exquisite guitar work and Gibb’s vocal will touch your soul.

Soldier’s Son is epic! The beat, the tonality of the vocal, the instrumentation, the guitar work, simply everything just fits into place perfectly. While Soldier’s Son becomes a fitting end to the Deluxe Edition, I would have, nevertheless, still preferred End Of The Rainbow to be the closing song.

Overall, it doesn’t matter which edition of In The Now you decide to listen to. Yes, the bonus tracks are worthy of inclusion but the core album is a piece of musical art that will appeal to fans of Gibb and the Bee Gees alike. While reminiscent of the Bee Gees it’s also uniquely a Barry Gibb album and should be listened to with reflection rather than comparison. 

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The xx – I See You (Album Review)

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The xx – I See You (Album Review)

The more music we listen to, the more we refine our likes and dislikes. Yet, there is no guarantee as to which emotion we’ll feel for that is equally elusive; a somewhat puzzling conundrum I explored in Music Isn’t Always The Universal Harmoniser. Hence, when I came across The xx, a band that I had completely ignored until their 2017 release I See You, I was left in a state of emotional flux for I was intrigued, but as I sampled I See You, I simultaneously felt as though something was missing. 

It turns out that there wasn’t anything missing in the music, but by listening to I See You on a relaxing Sunday drive, everything fell into place and allowed me to connect with the music in a manner that I was incapable of via any other method. It was such a revelation that I couldn’t help but wonder if other albums, that I had dismissed, wouldn’t have appealed more to me in different listening situations. 

While I acknowledge that The xx isn’t your typical driving music, escaping from my familiar surroundings ensured that my mind was ready to accept a new musical experience, one that allowed the music to intertwine with my outdoor surroundings thereby permitting a greater sense of connection, realism, and appreciation for I See You and The xx. 

The real lesson here is, of course, there is no perfect way to listen to music.

Dangerous sets the tone of the album with a horn introduction that is pure perfection. The bass beat throughout, while predictable, is pleasing to the ears and has more than enough depth to captivate your senses.

Say Something Loving has a unique vocal introduction that is well-suited to the track and as the song progresses the vocal tonality and variance in the beat is superb. It’s an exceptional song, but I would be lying if I didn’t say that it could be more dynamic as the soundstage is a little too shallow and subsequently fails to completely absorb the listener in the music.

Lips launches with a glorious vocal interlude, reminding me why, more often than not, I consider vocals to be akin to a musical instrument. Lips has a perfect harmonic presentation and is thoroughly engaging. If you only listen to one song from I See You, make it this one!

A Violent Noise slowly builds to a sonic masterpiece. It pulls you in, captivates your soul, and is nothing short of spectacular!

Performance is a lovely ballad-styled song that presents Romy Croft’s vocals so clearly and forward in the soundstage that one would believe she is present in the room with you. It's a performance, no pun intended, that has to be heard to be believed.

Replica follows the ballad pace of Performance beautifully and is equally compelling. Simply Magnificent!

Brave For You is perfectly tracked and isn’t merely there to provide filler for the album as it, along with the previous two songs, are amongst some of the best compositions on the album. The bass tracking throughout Brave For You has an incredible timbre, amazing me every time I hear it.

I simply love On Hold.

I Dare You has a fantastic rhythm that would make a perfect addition to any road trip playlist.

Test Me, while not as upbeat as the rest of the music, is a lovely song to close the album with.

While it may have taken listening to The xx’s I See You in the background, on a Sunday drive, for me to fully appreciate their musicality, I See You is a sonic masterpiece that has become a valued addition to my music library.

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Alter Bridge – Fortress (Album Review)

Alter Bridge – Fortress (Album Review)

Released in 2013, Fortress may not have broken new ground as Alter Bridge were already on a roll following Blackbird and III, but if it ain’t broke, don’t fix it. After all, AC/DC has been applying the same formula for decades and fans adore it, for a little more refinement is often better than a complete shift in style.

Speaking of style, one of the most compelling aspects of picking up the vinyl record, if you can find a copy, is the artwork and gatefold design. It is elegant with a touch of simplicity that works extraordinarily well when sitting and holding the album; an aspect that is sadly missing from the streaming counterpart. 

While the Apple Music stream may lack the tactility of the vinyl record, the lossless 24-bit 44.1 kHz ALAC stream is impressive with a clear separation between all musicians and elemental aspects while maintaining a solid low end; a feat that I’ve often been disappointed with on various streamed albums within this genre. In the past, it was as though, the fullness of sound suffered as a result of the compression applied and thankfully this is no longer the case as streaming services are increasing their quality across the board. 

While Ted Jensen did an admirable job on the vinyl record, and it still has greater dynamics, the Apple Music stream has a more rocking feel to it. You know, the kind where you feel compelled to get out your air guitar and rock out with the band. It also, arguably, has greater detail and a clearer vocal presentation than the vinyl record which sounds, by comparison, a little concealed. 

One may point to the addition of the vinyl warmth that many of us know and love and while that is naturally lacking from the digital stream, I increasingly find that as soon as music is delivered in 24-bit, rather than the CD-based 16-bit format, that the fullness and warmth transfer to the digital file. Not as much as via the vinyl record, of course, but it tends to sound more realistic and less treble focused. 

The bottom line on sound quality is this: If you love vinyl, you’re going to love the vinyl release of Fortress for it hits all the right notes, but if you’re focused on streaming, then rest assured that the Apple Music lossless stream is spectacular. 

Cry Of Achilles opens the album beautifully with an acoustic element that I feel works extraordinarily well. Although, it is a little too compressed for the cymbals have that crunchy sound that is detracting from the song; a shame, but given it is present on the vinyl release as well as the streaming alternative, you can almost guarantee that it was created in the studio with either poor microphone placement or a bad mix. Nevertheless, if you can get past that aspect, you’ll likely find something to like about Cry Of Achilles and for me, it is the guitar solo and the final minute of the song which I feel takes on a life of its own. 

Addicted To Pain is, where I believe, Fortress really begins. Its rapid and rhythmically fired vocal and musical aspects ensure this lead single would be a stadium pleaser if for no other reason than its killer guitar solo.

Bleed It Dry has a chorus style that I don’t dislike, but I find it challenging to listen to at times. Something about it doesn’t gel with my internal rhythm, but you may love it. 

Lover is my favourite song on Fortress. If I were the band, or their record label, I would have most certainly released Lover as a single.

The Uninvited kicks things up a notch, following the more melodic Lover, but despite a promising opening, I find The Uninvited is lacking a cohesive focus. 

Peace Is Broken is another song, not unlike lover, that I feel should have received greater attention than it did. A gorgeous song that needs to be turned up to 11 as you rock out with your air guitar. One of Alter Bridge’s finest songs! 

Calm The Fire is a dynamically shifting song that can take a few listens before connecting with your soul. Once a connection is made, however, the song can be thoroughly appreciated. Although, I do wish that the soundstage was significantly wider and it would have been nice to have heard Calm The Fire with a mix that focused more on the lead and backing vocal aspects of the song as I feel they get lost in the mix; a problem that results in a wall of sound but not necessarily a memorable song. 

Waters Rising switches vocalists with lead and rhythm guitarist, Mark Tremonti, taking the reins while Myles Kennedy delivers strongly on backing vocals. While one may be concerned as to the flow of the album, it need not be an issue because Tremonti does a phenomenal job and while Kennedy could have belted out this tune, I’m glad the microphone was passed because it showcases a different approach and launched my interest in Tremonti’s other band, Tremonti. Plus, it’s one of Alter Bridge’s greatest tunes with some killer guitar work.

Farther Than The Sun is rather mundane until that mid-shift guitar solo enters the mix. I hope you’ve got your air guitar with you! 

Cry A River has a solid lyrical hook, with a heavy-hitting musical accompaniment, but Cry A River was never going to be a stadium filler. A solid B-side, yes, but far from a defining song. 

All Ends Well is a gorgeous vocal-focused ballad with a country style and a killer chorus. What’s not to like?

Fortress as the title track, and album closer, is utterly spectacular. As with all closing songs, you should be left wanting more and Fortress certainly achieves this goal ensuring that I’ll spin the album again and stay within Alter Bridge’s catalogue for the rest of the day.

Fortress was amongst the best hard rock albums of 2013, joining the ranks of Avenged Sevenfold’s Hail To The King, AFI’s Burials, and Rob Zombie’s Venomous Rat Regeneration Vendor, but despite being a stellar release, and valued addition to Alter Bridge’s catalogue, Fortress simply isn’t as strong, or cohesive, as III is from my perspective. 

Sepultura – Machine Messiah (Album Review)

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Sepultura – Machine Messiah (Album Review)

Music discovery is like love, it’s a wonderful thing!

Hold on a second there Mark, are you really quoting Michael Bolton in a Sepultura review?

Well, dear readers, I had to come up with something as the truth of the matter is I know next to nothing about Sepultura. Sure, I’ve heard of the band. Even listened to the odd song on various playlists, but Sepultura never made it into my collection; until now, that is! As Machine Messiah is their fourteenth studio album, I thought I better sit up and take notice. Plus, that artwork is extraordinary. While I’m obviously pro-Apple Music, artwork like this is one of the reasons why I still enjoy collecting vinyl.

So, will this album have what it takes to ensure I become a Sepultura fan? 

If the album, and band, can be represented by the title track Machine Messiah, then I can unequivocally say yes. Machine Messiah is a sonic wonderland with a slow burn towards the chorus. I love it! The guitar work is exquisite and the first thing I notice is that the recording and mastering are not overly compressed. There is plenty of depth in the soundstage and everything is in its place, putting many other heavy metal albums to shame. 

I Am The Enemy is pure thrash metal. It’s hard-hitting and doesn’t let up. While I miss the more melodic Machine Messiah, I am thoroughly enjoying the energy of this track. It takes a very special vocalist to sing like this and Derrick Green has a massive amount of talent that I would liken to Corey Taylor’s vocal range and shifting capabilities. 

Phantom Self is bound to damage my hearing as I can’t help but turn the volume up. Is it worth it? Ask me when I get to 70! I like to feel the music, not just hear it. While I may regret that later on, as I’m sure many people do, songs like Phantom Self reach the soul in a way that is simply not possible without excessive volume levels. The oriental characteristics throughout initially sound a little disjointed but make perfect sense when you hear the epic duel that takes place during the guitar solo. 

Alethea thankfully slows the pace, of the album, to allow the soul to recover from the onslaught that was Phantom Self. That said, while I enjoy the tempo of the instrumental backing, I find that the vocals don’t fit the song well. To me, it sounds as though the vocal track has been unnaturally slowed down. 

Iceberg Dances is a purely instrumental track and I love it!

Sworn Oath made the hairs on the back of my neck stand up when it started. In an interesting dichotomy, it has a demonic, yet not evil, sound. I can’t put my finger on the contrasting factor, but Sworn Oath is thoroughly enjoyable and the vocal delivery is masterful. Actually, one element that I feel is important to note, on the entire album, is how clear Green’s guttural vocals are. With this style of music, vocals can become incomprehensible, but this certainly isn’t the case with Machine Messiah.  

Resistant Parasites has some killer bass notes. I love the sound of the bass guitar and while I acknowledge that everyone wants a guitar solo, I also love it when the bass guitar is featured prominently in a recording.

Silent Violence isn’t a bad song, but I’m not connecting with the beat as much as I would like and I find myself listening, instead of being enveloped in the music.

Vandals Nest has a killer guitar intro that immediately reminds me of Metallica’s thrash days. There is so much going on in this song that you simply don’t have an opportunity to rest. Believe it or not, this is a good thing!

Cyber God is an interesting song as it reminds me of Avenged Sevenfold, yet it is completely unique. The guitar work and drum beat are simply exquisite and world-class. Green’s vocal style is also amazing as he shifts tone and pitch seamlessly throughout the song. 

Chosen Skin is a skull shattering song that has a rhythm and attitude that invokes movement in the listener. When I listen to a song like this, I am continually amazed at how music is captured. It is pure magic and while I know the fundamentals of how it is done, it never ceases to impress me.  

Ultraseven No Uta is a song that should have been excluded from the album. That said, this is a bonus track that, along with Chosen Skin, is not included on all formats. Ultraseven No Uta is awful and sounds like a pop song with rock and roll distortion added. What was Sepultura thinking? 

While Ultraseven No Uta doesn’t encourage me to listen to the album again, the sonic perfection and musicality of Machine Messiah mean that I will be adding Machine Messiah to my collection; sans Ultraseven No Uta, of course!

As regular readers would note, I don’t listen to music for its literal interpretation. When seeking out this information, I find comfort in hearing an explanation directly from the artist for my interpretive meaning is likely to be entirely different to the original intent of the song. Therefore, the following videos by Sepultura give us further insight into the writing and recording of the songs that make up the exceptional Machine Messiah.  

Without a doubt, Machine Messiah is one of the best metal albums I have heard in recent years. While it has become a welcome addition to my streaming library, I still long for a vinyl copy but I’m not sure which one to choose from as there are a few interesting variations, including an incredible picture disc version. 

Sepultura Machine Messiah Vinyl Picture Disc.jpg

Yes, I’m still jaded by Iron Maiden’s Seventh Son Of A Seventh Son picture disc, and I acknowledge the limitations of the picture disc format, but I also have several picture discs that play extremely well; Rob Zombie’s being amongst the best. The problem is knowing if Sepultura’s Machine Messiah will be one of them.

Nevertheless, the Apple Music lossless stream (24-bit / 48 kHz ALAC) is nothing short of an unforgettable sonic experience and will, certainly for the foreseeable future, be my go-to edition. 

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