For about fourteen months, I've lived in Germany for the third time in my life (second time as an adult). My life here has felt wildly different than the lives I lived in Georgia and Utah. I had forgotten how different Europe in general is--it's not that the place is completely alien to me, but there are hundreds of small, subtle differences that sets its far apart from America. The cities are more ornate. Streets are smaller. Highway traffic is more ordered. Pedestrians and bicyclists are everywhere. Trains are more ubiquitous. You have to put in the effort to separate your garbage accurately. I find some things more desirable here, but there are things to miss about the States as well. I wouldn't say one place is necessarily better than the other, it's just different.
I took the job here with great uncertainty--managing a motorpool is an area of logistics I had rarely become involved with, and it carries its own sets of pressures and expectations. Thankfully, it's never been as heavy as I've experienced with other positions. Part of this could be related to the different people I work with and the nature of the location, but I think I've changed my attitude in a way that makes this business more conductive. As I've seen other personnel antagonize others with negativity and attitude and burn their own bridges, I understand that we all reap what we sow. Attitude can impact any interaction for the better or for the worst, and keeping these interactions positive has led to greater successes. I found that letting certain things go--things like anger, irritation, or fear--has helped make my life more harmonious. I could stand to embrace other practices, like meditation and gratitude, a little more to maintain the right state of mind.
Outside of work, I made the time for a little travel. Biggest highlights this year was visiting my parents in South Carolina, where we went on a drive to the Outer Banks and visited the town of Manteo. In Europe, I had a trip to the Netherlands to see Amsterdam, Volendam, and Zaanse Schans. In touring these places, I had the chance to sample authentic gouda cheese, see how clogs were made, see windmills, and in Amsterdam, I took a boat ride in the canals. More importantly though, I visited the Keukenhof to see the countless tulips in bloom. It was an explosion of color. In the summer, I took a drive to see Castle Eltz, and even took a tour to see its interior and hear about some of its history. On the drive back, I walked around the towns of Boppard and Bacharach. On sporadic occasions, I would visit the towns of Mainz, Wiesbaden, Rudesheim, Bingen, and Eltville for photos. There were occasional fests as well.
Time flew by as I settled into this location and became accustomed to a new routine. Now that one of our long-standing employees has gone, I expect our workplace to change substantially in the coming months. It might mean more work and running around for me. But while that prospect would have made me anxious before, I find myself at ease more. My confidence stems from knowing and understanding the processes we have to complete the work.
What I need to do in the coming year is to do more--not only in the work that's needed, but also in regards to my goals. Every year I fret about working out, dieting, changing personal habits, reading and writing more. The issue in the end is that I've failed to take action on many of these aspects. For one reason or another, I lose motivation and fill my time with hollow, time-wasting pursuits. If I have any resolution this year, it will be to make the most of my time. I don't want to spent too much time being idle any more, especially knowing that I've been far less idle years ago. My goal this year is to become as productive as I used to be through proactive action.
In the coming year, I expect to take at least a couple of trips--one will be to Venice to see Carnivale, and in a couple more months, I'll visit my parents again in the States. Chances are strong I'll find more sights to visit within Germany in the summer. 2024 could be an exciting and fulfilling year--it's just a matter of taking action and following through.
Max Mercer is left home alone when his family heads out on a trip to Japan and they just kinda forgot to bring him along. While they scramble to get back home, Max discovers that a couple is trying to break into their home with the goal of retrieving a valuable heirloom. When Max mishears their intentions, he believes they're trying to kidnap him, so he sets up a series of dangerous traps to thwart the would-be criminals.
A reboot designed to stream to families for Christmas on Disney+, this might be the most frustrating Home Alone movie to date (which really says something after all the gripes I had about the casting for Home Alone 4). Archie Yates plays Max as an insufferable brat. It'd be understandable if there was a maturity arc to him like there was in the original Home Alone, but not enough time is spent on that kind of development. The worst mistake this film makes is with the burglars. The film puts most of its focus on characterizing them as relatable, down-on-their-luck citizens simply trying to regain possession of their own property. All of the film's conflict is enabled through a fundamental misunderstanding. Literally all of this could have been avoided with a simple talk. They even try to reason towards the end, but the kid choses violence. Our sympathies wind up becoming twisted and confused—we've always rooted for the kid before to outsmart the buffoonish villains, but now it seemed like the kid became unreasonably violent and cruel. This happens precisely because the "villains" are no longer villains. There is a scene where Pam has her feet burned, and she lays on the snow crying—this hit way harder than a Home Alone film should have, and I realized I was rooting for the crooks and not the kid.
I see this as a fundamental failure in storytelling. Even though there seems to always be a big push to make villains relatable, this franchise demonstrates that this is not an approach that works for every story. Previous films worked perfectly fine with one-note villains with simple, selfish motivations that made us love to hate them, and thus we root for the kid. If the goal of Home Sweet Home Alone was to deconstruct that formula, to make the kid a villain, well how messed up is that? And when the final act kicks off, with Max shooting pool balls into Jeff's head, or using a treadmill to hurl weights at them with lethal force, the kid comes across as an absolute psycho. It didn't have to be this way. There is a place for one-dimensional villains, and this was the place for it. Granted, it wouldn't be anything new or interesting, but the film by nature is not new or interesting.
As the film balances multiple POVs (some of which are absolutely unnecessary), the film aims to make us understand all sides of the picture, but the end result is a frustrating situation where all the characters resolve their differences and all the conflict just evaporates. It renders the whole affair pointless. This is the other problem with the film's approach—you wind up walking away from with with a shrug, and maybe the frustrated impression that all of this could have been played out differently. At its worst, it's a waste of time.
It is a shame, because I do feel that the quality of the film is improved from the fourth and fifth movies. Cinematography is not too shabby, often boasting shots with interesting lighting. I'd even say that the jokes are a grade funnier and edgier than the last few movies, and the traps showcased in the finale are pretty inventive. Performances are fine, but none of them were huge standouts one way or the other. It is interesting to see various nods to the first couple of films, strongly suggesting a continuity (even though it's also a reboot? I dunno). As such, Devin Ratray's cameo is probably the most pleasant surprise to the movie. That, and the music, which apes the original themes John Williams initially composed (although any original tunes are not particularly good standouts).
If this was meant to spin things around and make Max a villain and the crooks "good guys," the film fails because why would I want that in a Home Alone movie. This isn't freakin' Eden Lake, where violent kids are a horrific problem that has to be villainized and exposed. If this is meant to be taken as a Home Alone reboot, where we are 100% behind Max and want to see the crooks harmed, the film fails because of the sympathy it garners for those crooks (even if unintentionally). While deep relatable villains have done well for previous Disney hits like Frozen, it has no place here. This film would have worked if it kept things simple, but by toying around with character depth and sympathies, I came out of it troubled and confused. It's easily the worst story I've seen for a Home Alone film (even factoring in the direct-to-video sequels). It's a bummer, because the film itself isn't that bad to look at.
When a family moves into a supposedly haunted house, Finn opts to spend the holidays engrossed in his video games. But when thieves attempt to break into the house to steal priceless art that was hidden in a secret room by bootleggers, Finn has to arrange traps and outwit the crooks to defend his house and his sister.
Well, at least they aren't bastardising the McCallister family again. The fifth Home Alone film attempts to stand out on its own with its focus on video game addiction (although, funnily enough, it is gamer techniques and even the help of a stranger online that helps Finn win the day in the end). I'll even say that the way it incorporates a historic house with a secret room used in the bootlegging days is kinda neat. There is a whole shtick where Finn believes the house is haunted, which factors into the story in a few ways, but I think it could have been a stronger element. It's pretty harmless in the end, with some goofy antics, but there are moments where it feels like the film tries to break the mold somewhat. There's even an amusing montage where Finn tries to buy $2K worth of tools at a hardware store, but winds up walking away with a reel of twine.
Sadly, other aspects to the film struggle to impress. The traps and home defense scenes are barely memorable, and easily some of the weakest of the series. The melodrama pads out the movie somewhat, serving little more than to find an excuse for the kid to actually be home alone rather than adding any heart or depth. Nothing in the film's quality helps—it's blandly filmed with functional, but not exceptional, editing. Performances are fair. The biggest name here is Malcolm McDowell as the villain, but a man of his stature deserves better. Christian Martyn plays the lead as Finn, and he's fine—thankfully not as obnoxious as the last couple of leads, but there are moments where I wish this kid could have gotten his act together quicker.
Everything about this production comes across as mundane—from the script to the execution, it exists simply for its own sake. In the age of Internet streaming, it could be pegged as merely "content," offering a familiar story with no real flair or anything of interest. Superficially entertaining, but notably weak.
The McCallister family goes through some things, with Peter divorcing his wife and falling for a wealthier woman. When the two finally reveal their intentions to marry, they invite Kevin to their high-tech house and regale him with gifts. But when a familiar crook snoops around the house and causes havoc that Kevin is blamed for, Kevin has no choice but to use his new toys and the house's features to outsmart the burglars and expose their plans.
The first (and sadly not the last) direct-to-video Home Alone sequel doesn't leave a great impression, even from the first frame. With its cheap editing and transition effects, over-the-top acting, and bizarre cinematography that sways from overly mediocre to overly cartoony, it just looks cheap and lame. What makes this entry a hard sell for me, however, is the cast. These are supposed to be the same characters from the first two movies, but they look and act nothing like their respective counterparts. Jason Beghe as the father is probably the best standout, but even then, he's no John Heard. Heard played a father figure who was supportive, assertive, firm when he needed to be, but still loving. Beghe plays this character up as more conflicted and confused than he should be, and it doesn't help that Clare Carey plays Mrs. McCallister as passive. By comparison, Catherine O'Hara played this character with equal parts motherly love and fiery determination. Carey and Beghe both made me realize just how strong the original performances actually were. Sadly though, the weak casting extends to Kevin himself—Mike Weinberg struggles to really nail any emotional depth, and he comes across as just another hyperactive ten-year-old. It's a definite far cry from Macaulay Culkin's take. I'm also a lot less enthused about Giddeon Jacobs as Buzz, who doesn't even look the part with his shorter stature and curly hair—he plays this character strictly as the obnoxious bully. But the one casting choice that really grinds my gears, sadly, is French Stewart playing Marv. He doesn't really bother to inhabit the same character that Daniel Stern brought to life so vividly before—Stewart simply falls back on his usual shtick, focusing on goofy faces, lots of bumbling, and playing a lame, dumb character. This works with enough charm in something like Third Rock From the Sun, but it does not translate into this character at all, because it lacks threat. Even with all the stupid things Marv said and did in the first two movies, Stern could still play the role with menace and angst—Stewart has none of that.
As if the characterizations alone aren't enough to be distracting, none of these players even look like their respective characters (except maybe Beghe, who sorta looks closer to Heard). It really says something when the cast of Home Alone 3 looks more spot-on than the cast that's actually supposed to re-adapt the McCallisters. Seth Smith looked closer to Buzz than Jacobs. Haviland Morris looked closer to Kate than Carey. And, of course, Weinberg is a weird choice for Kevin, since he looks much smaller and mousier than Culkin.
Casting choices might be the most distracting thing about this movie, but it has a trickle-down effect, since the story hinges on all these characters. Most of it plays out more like a Lifetime drama, with the focus put on the love triangle between Peter, Kate, and Natalie (played by Joana Going in one of the film's better performances). The melodrama is (maybe understandably) sidelined by the cartoony hijinks that occur when Marv and his girlfriend repeatedly attempt to break into the house (all part of a scheme to kidnap a royal prince that's supposed to visit the house, and all of this absolutely feels tacked on and contrived, especially given the unlikely wish-fulfillment outcome of all these threads). There are additional subplots in which Kevin suspects the butler of being an inside man, but any twist the film pulls is as predictable as they come. There are enough jokes, gags, and pratfalls to keep anybody's monkey brain engaged, but it all comes with no real setup or subtlety. God help us, there's even one or two fart jokes in the mix. It's a kid's movie to the core, even though it looks like it also wants to be a family drama too, but it all comes across as goofy and lame.
The production quality is notably weak, with functional photography and editing that looks like something I could have made at home. Despite the unique setting, most of the set design and props look overly-polished and fake, and sometimes cheap. While most of the performances are off-key, I have to admit that the best standouts are in the more original characters. Erick Avari, for example, plays the stuffy butler about as well as you'd expect Avari to play him as, and it works. I also have a soft spot for Missi Pyle, who absolutely goes over-the-top in her role to match Stewart's buffoonery, but at least she comes across as original. Barbara Babcock is fine. Seeming to match the picture itself, the music score is also lame.
Beyond merely being weak, this film is poorly-written tripe that offers nothing really new or original. Even worse, it takes familiar characters we loved from the first two movies and takes them down unbecoming directions, both in the story and with the performances. With lame, cartoony gags spacing out the predictable melodrama, it all comes across as cliched and dumb. If it was made today, you could even accuse it of being AI-generated. Unfortunately, humans are responsible for this, and someday an AI god will probably judge all mankind for the head-scratching decision to bring Home Alone 4 into existence with this god-awful cast and script.
In a Chicago suburb, Alex is a young mischievous kid who has to stay home from school due to chicken pox. He receives a gift of a remote-controlled car, but little does he know that a series of events lead to a super-secret military microchip being concealed inside of it, and a gang of thieves are actively tracking it down. Alex will need to weaponize his house in order to outsmart the criminals.
I had ignored this sequel for years, pegging it as lame, disconnected trash. My curiosity got the better of me, but now I can confirm that it is indeed lame and disconnected. By 1996, Macaulay Culkin took a break from acting and turned down the chance to play a teenage Kevin McCallister—now we’re given a different group of characters who just can’t hold a candle to the original cast. Outside the hands of Chris Columbus, Raja Gosnell takes the director’s chair and cranks up the slapstick comedy to an obnoxious degree, clearly designed to cater to children with no regard for nuance or maturity. Worst of all though, this is a film that sacrifices credibility for the sake of its gags. You really want me to believe that a kid with an RC car can really outsmart high-tech international thieves that have eluded the FBI for seven years? This only works because the villains are nerfed repeatedly—even to the point of being outsmarted by a parrot on a few occasions. And a rat (although I did laugh at the callback to the “don’t move!” gag that clearly echoes the tarantula scene from the first film—Alice hitting her own teammate in the nether regions to hit a rat dangling from his pants might be the only funny part in this movie, but that might be saying something). It’s one of those comedies where the situations are so stupid and the setups are so weak that the gags have very little payoff. It’s not enough to watch bad guys wallow in mud and ice or get hit on the head with stuff—they bumble too much to be taken seriously, and the plotline fumbles too much to let it be taken seriously.
It is a shame though, because I can tell that this film really wants to jump on the tech-thriller bandwagon that defined the late 90s. The whole MacGuffin of the film definitely echoes the microchip from Sneakers, while using the thieves as villains only reminds me of The Saint, Ronin, and Entrapment. In an age that boasted The Rock, Air Force One, Brosnan’s Bond movies, and the first Mission Impossible movie, invoking terrorism and technology must have seemed like a slam-dunk decision to push this movie as relevant and spicy. And hot dang, even the inclusion of Rya Kihlstedt seemed like a way to make all of this even more modern and sexy, like having Catwoman in the movie (…you know what, it worked. Rya’s performance is my favorite part of this whole thing. Shame the plot demanded that she had to bumble through the climax across some lame gags though). The thing is, none of this should have ever factored into a Home Alone movie. Because it’s freakin’ Home Alone. Adding spy movie nonsense to a Christmas comedy is just coloring way too far outside the box. Could it have worked? Maybe with a lot more finesse. As it is here though, as part of an established franchise, it comes across as hackneyed, try-hard, and stupid.
Sadly, there really isn’t much more to this story. It does play up the whole “boy who cried wolf” angle as it shows grown-ups constantly clashing with Alex, who tries his hardest to do his due diligence and report crime when he sees it. It’s predictable more than it is tense. There is a major subplot in which Alex warms an old lady’s heart and she comes to realize how sweet he is—it’s cute and all, but it comes with the force of a sledgehammer, whereas the heartfelt connections in the last two movies were brush strokes. Worst of all, it feels weirdly disconnected as the film swings from the goofy comedy to super-cereal tech-thriller stuff to comforting Lifetime movie territory. It doesn’t help that Nick Glennie-Smith scored this like a cartoon, which only makes the goofy scenes sound lamer (and certainly a far cry from John Williams’ masterful scores from before).
Aside from Rya Kihlstedt, a very young Scarlett Johansson, and an acceptably fair performances from Olek Krupa and Haviland Morris, the cast is not particularly great. Alex Linz definitely tries to match the lovable mischief and good-hearted nature that Macaulay Culkin brought to Kevin in the previous films, but Alex stands no chance to fill those shoes—the character he plays comes across as superficial at best. The other villain characters (jeez, there are four of them) only exist to be buffoons, and it is frustrating since there are scenes where they actually are competent, until the script demands that they aren’t and have to bumble through buckets of adhesive and other ridiculous hazards. The film is presented with a notably brighter, more colorful flair than before, which makes it look candy-coated. Cinematography is often fast, loose, and in-your-face, catering even further into the kid demographic, but at the loss of depth and gravitas.
If I had seen this as a ten-year-old, I likely would have been sufficiently entertained, but still let down by the drop in quality concerning the writing and performances. Changes in the cast and crew are a large part of it, but the film still flunks out because of how it deviates from its predecessors to embrace the cartoony kid-friendly shenanigans without any sense of discipline. It is superficially entertaining with its gags and focus on ridiculous stakes involving military technology, but it still comes across as stupid. It’s ultimately on-par with movies like Cats and Dogs, Zoom, or the live-action Thunderbirds. Kids might love it, sure, but they deserve quality too. Let them watch the first two Home Alones at the least.
The McCallister family plans a trip to Florida, but a series of events leads to one of their youngest, Kevin, getting on the wrong flight and becoming stranded in New York City. While the family scrambles to locate and reunite with him, Kevin scams his way into living at a hotel, but a pair of familiar criminals spot him in the city and plot their revenge.
Given the box office success of the first Home Alone, a franchise was likely inevitable. At the very least, the second film remains consistent to the first thanks to the returning cast and crew, to include writer John Hughes and director Chris Columbus. Both of them weave a new story but with the exact same story beats as the first. It does come across a rehash this way, forcing Kevin to undergo a whole new round of discovery, moral lessons, and home defense that feels very familiar (if not utterly derivative). The same elements of comedic, slapstick mischief and cartoony violence play out like they did before, but with a different set of circumstances and different setpieces. While Marv took an iron to the face in the last movie, how he’s hit by many bricks. While Harry had a blowtorch singe his scalp before, now it’s set totally on fire before literally exploding (and somehow he survives this). When you’re an 11 year old boy watching these shenanigans, with paint, toolboxes, kerosene, and pigeons becoming the mechanisms for a new round of vigilante justice, it comes off as so much bigger, bolder, and funnier.
This extends to the story as well. Going far beyond the premise of a boy stuck alone in a house, now the scenery opens up to the grandeur of NYC, which is romanticized to a huge degree but occasionally shows its threatening side. The familiar beats of Kevin splurging and exploring carry over from the first film, but there is something more significant in the way he navigates the city, tests the hotel staff, discovers Duncan’s Toy Chest, and connects with the pigeon lady. It’s a much bigger sand box than before. Even though the story pattern remains the same, it helps that Kevin carries himself with the same maturity he showed in the end of the first film. He came across as a total brat in the opening scenes of Home Alone 1—in the second film, he’s agreeably tempered, and even relatable. It only makes sense that plunging him into a whole city is the next greatest adventure for him, because it pushes his newfound maturity to the next level. His assumptions and perspectives are challenged once again. Threats are bigger and more dangerous. It comes across as an expanded and bigger-scale adventure, as every good sequel should.
One interesting quirk about the script is that it does play up the absurdity that Kevin is abandoned twice across the two movies, leading to scenes where the characters jokes about it. Parallels do factor into most scenes, often mirroring the first film either for contrast, to keep various gags running, or to expand on the family dynamic. If the repetition doesn’t bother you, then it comes across as consistent, and maybe even charming.
A big part of the film’s appeal is in its city setting, which is showcased with quality cinematography. The same qualities from before carry over, with camera movement and placement giving the film some snap where it’s needed, but not always drawing attention to itself. Colors continue to be naturalistic, but factor into key scenes where necessary. Editing is pretty snappy, and it’s especially notable (maybe even a little obnoxious) how it frequently cuts to close-ups with characters delivering a reaction phrase or expression. The cast is well-worn at this point, with Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O’Hara, Peter Heard, and many other familiar names delivering spirited and entertaining performances. A few good additions to the cast are Tim Curry, who plays a stuffy hotel concierge with a regal flair, Rob Schneider, who succeeds precisely because he’s toned-down and plays things straight, and Brenda Fricker, who balances menace and emotion with surprising nuance. John Williams returns to score this movie with the same themes as before, and it’s just as effective the second time around. And of course there are some commercial songs in the mix—strangely, I find them more fitting this time around.
I wouldn’t blame anybody for accusing this of being a shameless rehash, but I have a nostalgic bias. Then and now, I always admired how this film expanded the scope while staying true to the formula and gags of the first film. It helps that Hughes and Columbus put in the effort to make the story stick and still deliver wholesome messages and feelings where it counts. It’s much more than can be said about most other Christmas movie sequels.
When the McCallister family takes a vacation to Paris, a series of events leads the clan to accidentally leave one of their youngest, Kevin, behind. Alone in the home, Kevin learns to take care of himself. When a pair of shady burglars target the house, he takes steps to scare them away, but must eventually confront them and defend the house.
Home Alone was a smash hit in 1990 and it continues to be a regular staple for Christmas time. It has plenty going for it—slapstick comedy and goofy hijinks for the kids, and a few serious narrative threads laid over the scripts to unify its morals and deliver some stronger emotional payoffs. The former is easily the most memorable part that draws the most attention, even to the point of drawing parallels to Die Hard and Saw thanks to the way Kevin choses violence to torment and humiliate the robbers. I’m 76% certain these comparisons are satirical though—it’s easy to see that Home Alone carries a lightweight tone even during its busy climax. When the home defense subplot kicks in, it’s played in a bloodless, cartoony fashion, albeit with some level of creditability and without too much mugging to the audience (something that gets lost in the execution from Home Alone 3 onwards). Somehow, this film straddles a fine line between playing up the buffoonery of the villains and maintaining them as serious, creditable threats (in no small part thanks to Joe Pesci and Daniel Stern, both of whom commit to their parts admirably). As a kid, watching Kevin outsmart and torment Harry and Marv was certainly the biggest highlight since these scenes rolled up action and comedy into an exciting bundle. As an adult, I can’t help but to see it as a form of low-key absurdism.
The build-up to the thrilling climax is no less compelling though as the story focuses on Kevin’s shenanigans and his family’s struggle to reunite with him. There are many scenes that show off Kevin just being a wild and crazy kid (a shtick that would define Macaulay Culkin as the most famous wild child actor of the 90s—leave it this kid to make a ridiculous face-slapping scream iconic), but the story’s trajectory firmly propels Kevin on an arc that emphasizes maturity, responsibility, and gaining perspective. The plotline maintains its snap as characters overcome a variety of challenges, both mundane and major. It feels unified and complete thanks to the way it sets up various assumptions in the first act, then forces the characters to discover different truths through their challenges (as any good story should). There are good moral lessons embedded into the story, and with the Christmas setting, it is pleasant (and perhaps enlightening) to see the moments when people are actually good and kind.
This film doesn’t really beat you over the head with style—the photography is firm and steady, but rarely a huge standout. It finds subtle ways to accentuate the story though, so the invisible nature of the cinematography could be one of the reasons why the film succeeds as it does. There are plenty of effective scenes where the camera places us in Kevin’s shoes, invoking a more connected experience. I didn’t think much of the film’s color scheme since it's mostly natural-looking, but I have to admit that the way it contrasts the warm interiors with the cold, gray outside world is likely an inspiring creative choice. It all serves as a comfortable backdrop to let the actors shine—aside from Culkin, Pesci, and Stern, there is a plethora of other great performances from the likes of Catherine O’Hara, John Heard, Gerry Bamman, Devin Ratray, and a bunch of child actors that help breathe life to this massive family. John Candy appears towards the end in a few select scenes (an appearance that he shot for one day only, for a mere $414, and was entirely improv—what a guy). Permeating the entire film is the magical score by John Williams (boasting some classic carols in the mix, in addition to the “Somewhere In My Memory” theme). Its memorable leitmotifs invoke a number of emotions, while some cues (like the whole “Making the Plane” bit) successfully draws inspiration from Tchaikovsky. Naturally, the film also uses its fair share of commercially licensed Christmas songs, some of which have their place and some of which are dully inserted because Christmas. For all that goes, keep your eyes open for a cute nod to It’s A Wonderful Life (although the film noir pastiche, Angels With Filthy Souls, is a funny and creative inclusion that stands out as its own funny centerpiece).
When this film came out, I had taken it for granted, because as a young boy I was more invested in the exciting final act and the rest seemed mundane (although there are a ton of great lines that makes the whole film entertaining all the same). As an adult, I’ve come to appreciate the effort John Hughes and Chris Columbus put into the script. It does a perfect job of setting up a number of gags and delivering good punchlines. Above all though, it sets up the characters in a way that they learn and grow into better people, leading up to a heart-warming denouement where family connection is celebrated. The film is memorable for its slapstick, but it still resonates thanks to the way it invokes heart and the Christmas spirit.
Throughout 2022, I had quite the active engagement with music. Moving around did put me in greater proximity of the popular radio hits, some of which were admittedly not too shabby. But I was also making the effort to dive into whole albums more, to include some of the highest-rated and the most reviled. Naturally, this spread includes a plethora of new '22 albums, and I've been quite enamored by what I've heard.
Most of my favorite music from this year have come from many of my favorite usual suspects. I have found plenty of great new tunes from bands like Therion, Celldweller, KMFDM, Korn, Halestorm, Jack White, Steve Vai, Epica, Arjen Anthony Lucassen, Muse, UNKLE, and The Yeah Yeah Yeahs. New work by older bands--Def Leppard, Journey, Talas, and The Scorpions--are kind of a mixed bag, but there are some pleasant surprises to find in their albums. I was surprised, but ultimately pleased, to hear new material from a Turkish band I like called Mezarkabul. Stabbing Westward also made their comeback this year, and I was rather impressed by the effort. Of all the rock and metal though, Edenbridge's latest release probably stunned me the most--there's a lot of serious power put into that album.
There are good tunes I've discovered from artists I've never heard of before. One of my favorite new obsessions is a band called Psychostick, whose songs go hard but are also hilarious. I've always fancied that there should be either a metal parody band or a band that marries the heavy, grating metal style with ridiculous content--this band does both, and I find it continuously entertaining. I also found a Finnish industrial band that I found appealing (RTPN), and I will plan to explore their discovery in more depth. I've found a smattering of good songs from other interesting bands, including Suzi Moon, Wet Leg, Neonnoone, and Nekroglobicon.
As much as I enjoy rock and metal, I find myself listening to electronica more often these days. Mostly older albums, but this year did see new releases by Tosca, Bonobo, and Orbital, among others. Towering above every other release, for me anyway, is Röyksopp's Profound Mysteries. It's a release so ambitious, they made it not one, not two, but three whole volumes packed with compelling music. Beyond merely being stylish, hip, or catchy, the music often touched me in a way that elicited genuine emotion.
Some albums fell flat for me, including many that seem highly-rated but just leave me scratching my head. Modern rap in particular hasn't gelled with me personally. Still though, I found more to love this year than before.
Imagine a sea of slime, formless and slimy. Occasionally, a human-shaped stalk emerges from the sludge and words come out of its mouth-hole, seeming to whine endlessly. That's the experience of this album. Most of the instrumentation becomes a distorted mush, leaving the "singing" as the sole draw. It's already annoying when every word is mutated by the autotuning, but even without it, the singing quality wavers so much that it's either unintentionally funny or embarrassingly bad.
In a year where I started seeking out the worst albums ever made, this is surprisingly not as bad as others I heard. But it is the worst 2022 album I've encountered so far.
Listening to this was also part of my ongoing exploration of the worst albums ever made. It's easy to see why this album is reviled--the lyrics seem purposefully written to push as many buttons as possible, offending everybody on all sides of the political spectrum. It's sad, because on a melodic and structural level, the songs are fine to listen to. It'd probably be a fair experience if it was all instrumental. But as it's said in one of the songs, "I don't want to hear it if you're bringing drama."
Second in a series of plant-themed albums, ICP continues to deliver their twisted brand of circus-themed horrorcore rap. It's about as vulgar as one would expect, to the point where it comes off as more mundane than outrageous. This selection of music in particular comes off as garish, seemingly noisier than usual with the bass, weird vocal effects, and stronger EDM elements layered over the ridiculous rap vocals. The songs themselves seem random, offering no inspiring (or even funny) message as you'd find in earlier works (maybe....okay, a big huge maybe). What's worse is that the effort just sounds off to me. You hear it the most in their bizarre cover of "Hungry Like The Wolf"--something about the chorus sounds off-key.
Tasteless, vulgar, offensive...but with sick riffs and licks. Yep, it's as if nu-metal never died. Surface-level construction on Kid Rock's songs are rock-solid, and if this was all instrumental I'd probably love it more. With the lyrics, we are bombarded with more than language--there's definitely a cascade of right-wind ranting and raving that's guaranteed to tick people off (and it's probably at its most overt with the opener "Don't Tell Me How To Live"). The effort comes off as juvenile at best. It probably would have struck a stronger nerve 15-20 years ago, but in this day and age it's just cringe.
One of my all-time favorite albums, re-recorded for its 20th anniversary. I really wanted to root for this one, given that the band's last few albums have pushed into harder and darker territory, and Andrea Ferro's vocals have grown a lot more guttural in the process. Giving Comalies more of a death metal veneer could only turn out awesome, right?
Problem is, they changed the arrangements so much that the songs become mutated, and some would say "drained of life." I can't unsee the effect--what was once a lush and exotic sound (key reasons why I gravitated towards this band in the first place) is now stripped down to a monotonous engine of noise. It's loud, sure, and it's a testimony to the songs themselves that the melodies and hooks can stand out (at least a little). "Swamped" seems to hold up the best imo, but it's a shocking chore to sit through the rest. Whatever they did to "Heaven's a Lie" is exceptionally garish. Sadly, the album cover exemplifies the album itself--something that was once alive is now withered and dead.
Didn't hate this as deeply as other listeners it seems, but it doesn't leave a great impression either. It's a rather typical, saccharine blend of autotuned voices, lightweight beats, airy pads--it naturally sounds dainty this way even when there's decent hooks. It's something I can listen to, but like some of the modern retrowave albums, I find myself bored and disinterested in the individual songs.
Somehow this album is both cool and boring. Disturbed's sound is as raw and awesome as usual, with agreeable (but rarely exceptional) quality to the guitars and vocals. It is a struggle to find fresh hooks in the songs that draw my ears in, so much of it comes off as a bland noise.
Alestorm is a unique concept that sustained a few good albums. At this point though, the releases have been so frequent, with songs so similar in style, composition, and tone that their latest work feels mundane. Alas, the music itself is mundane, offering little new to the table. It's the same pirate-themed shenanigans they always do, invoking familiar elements concerning sailing, partying with rum, battle, tavern wenches, and raiding foreign places. Some of this sounds awesome and all, but it's become to samey-same that it doesn't elicit excitement anymore. How could a band make pirate metal boring?
Not sure yet, but this album might be an acquired taste that I'm still in the process of acquiring. Guitars are certainly awesome, but song construction has a complex structure that I struggle to keep up with. Haven't found much to hook me to the sound (at least in terms of melody or hooks--I'm starting to think these are my mortal weaknesses). Metal fans should get a kick out of it, and I have to admit that the mood and tone are on-point.
52: Kendrick Lamar - Mr. Morale and the Big Steppers
This is a big album with a lot of big things to say. No doubt that Kendrick Lamar fans and rap fans will find things to relate to, everything from the social messages to the rapid-fire vocals and backing sounds (I have to admit that the latter is pretty solid). Me, personally, I'm not sure I'm a fan of the lyrical style or the way it sounds--it comes off as obnoxious and maybe a bit garish to my ears. Nothing about this work really spoke to me or even hooked me, but chances are that rap fans will find virtues to it that I can't see.
Gave this one a spin because it seemed so highly-rated. It's a fair album that I can't fault for much--for rap music, the beats are decent and the rapping achieves an agreeable tempo. It also runs rather level, offering little variation in the highs and lows the music achieves. Backgrounds change, but the songs themselves remain similar, to the point where the rapping seems to run continuously throughout. Choruses and versus are so subtle that they're barely noticeable, and I struggle to pinpoint songs that appeal to me.
One of the best surprises I had this year was Slipknot's "Adderall," which barely even sounds like a Slipknot song at all. Stripped away of the metal elements, this is simply a good song, with catchy hooks, a great beat, and compelling vocals. It invokes a sound, style, and feeling I come to expect out of headier rock bands like Radiohead or guys like Damon Albarn, and I have nothing but respect for the band for producing something different.
I also appreciate that this might be the band's swansong, at least when it comes to their commercial relationship with the record labels (and the parting might be a little bittersweet in the wake of drummer Joey Jordison's passing, to whom the album is dedicated). It probably hits the hardest with "Finale," the other song I admire the most, which achieves a phenomenal emotional high thanks to its compelling choruses, the choral voices, and the somber tone. Everything in between the first and last tracks is the same loud, noisy, screamy metal we've come to expect out of the band--some of it hits, some of it doesn't. I've always been rather lukewarm towards this band, finding only a few big hits that appeal to me, but if this is their last album, they managed to go out with a surprisingly emotional bang.
The intro track didn't leave a good impression on me, given the jumbled bombardment of noise that immediately pours out (I can't even tell, are those horns I hear?). It segues seamlessly into "Chaos Space Marine," which plays like a David Bowie song crossed with an Irish drinking song. I honestly still can't figure out of I like it or not, and that feeling persists for the whole album. It could be that there's specific moments I find agreeable, but I'm still not fond of the folky style or progressive structure. To say nothing of the lyrics, which seem so esoteric (the "Bread Song," for example, makes me scratch my head more than anything). Like it is with the album title, you're given very specific phrases and imagery and you're left to fill in some gaps. There is an artistic merit to all of this, but I struggle to connect with it. It sounded like noise at first, but after a few spins, I find it simply odd. Maybe the artistic quality is the reason it's so highly-rated, but it's far from my favorite thing right now.
Imagine Dragons is the type of band where I tend to cherry-pick a handful of catchy tunes I like, and ignore the rest. Having given both acts of Mercury a listen-through, I find I wasn't missing much. I do love their single "Bones," the sheer catchiness and beat captivates me. The rest, though not terrible or anything, I find it hard to latch onto other tracks. The tone's often too sentimental for my tastes--both positively and negatively. Then there's tracks like "Sharks" that's just kind of goofy. I don't think it's a terrible album, but it doesn't beg for a revisit anytime soon.
It's hard to separate the Radiohead influence behind this album, leaving one to wonder why they didn't simply make this a new Radiohead album. The elements are definitely there, with the strange, progressive nature of the instrumentations and Thom Yorke's haunting vocals. Most of the album is a slow, gentle vibe with a few interesting hooks I can appreciate. The tempo picks up a lot in "We Don't Know What Tomorrow Brings," which is probably the one song I find the catchiest and most hip. I'm not sure if the rest of the album really sticks, but on repeat listens I suspect I'll come to appreciate the mood and tone.
Oh nice, this trio of British girls won back the rights to their band name, and with it, they recovered a wealth of music. There's a whole history to The Lost Tapes given the band's turbulent history over the past 20 years, so it is a bit of a treat to have nearly a decade of unreleased content collected together for fans.
The songs themselves are fine. There's definitely some catchiness to songs like "Drum," and emotion to songs like "Flatline." Can't say it really captivated me the same way some of their earlier hits did, but there's definitely a good amount of energy and quality put into every track. Given the surprisingly complex history behind this release, it's an admirable effort all the same.
Pretty much on-par with the tone and style we've come to expect out of Journey, both old and new. Arnel Pineda is still a remarkable mimic of Steve Perry, although I wouldn't blame anybody for calling the music a mere copycat of better material from the 80s. And I can see it that way, since everything in Freedom feels like more of the same with nothing really innovative. Sure, some of the melodies, guitars, vocals will be nice, but the hooks aren't necessarily deep, especially when compared to the classics. For me, it wears its welcome out rather fast--especially when the ballads hit. I do not miss the slow, sappy rock ballads, please stop.
This one is mostly worthwhile for "Morbid Fascination," which is a about as perfect as this kind of song can get. Catchy, energetic, well-built, memorable, it's right on up there with the alternative rock hits I loved in the 90s, only with a modern, synthy polish. Everything else though? Eh, it's all listen-able, but no other tracks really stood out to me. It's not for lack of trying--every song has good beat, energy, and melody. Beyond the one track though, I struggle to find anything worth latching onto.
I couldn't say no to a band named after my field of work. This short EP offers a fair selection of engaging, danceable electronica. I am naturally enamored by the strong beats, while the sound achieves a lightweight, dreamlike vibe with its keyboards and pads. Vocals are sparse. It's all rather functional, striving for good feelings, even if the sound never breaks convention or reaches any remarkable heights.
Not bad for what it is. The vocals are smooth, beats are nice and firm. The big single, "Break My Soul," is a solid dance tune with a melody that's at least halfway memorable. There's even a fair level of soul behind some of these songs, and chances are that some listeners will latch onto themes that I'm probably oblivious to. For me, it's a fair pop album, plain and simple.
Seems rather slow for a death metal album, isn't it?
Devoid of guitars and drums, this is best taken as a pure ambient album. I struggle to rate albums like this, because the music by nature has none of the juicy hooks, melodies, bridges, licks, riffs, or anything else that tickles my music bone. What it does have is tone and mood, with the long, droning keyboards and pads occasionally producing a hint of structure that catches my attention. It could be that the spaces of quietness makes the fainter tunes stand out more. As structureless as the sound is, it works phenomenally as a relaxing background while you work, read, meditate, or do other things--I see value in this kind of music that way, but it's something I'm still learning to appreciate. Thankfully, I find myself enjoying this album as ambience, moreso than, say, the usual sap that Moby bangs out on his keyboards.
I haven't heard any of Blood Incantation's other work. I have a feeling fans will be let down by this album's sheer lack of noise.
The good news is that kaRIN's voice is as elegant as ever, lending each track the same seductive, ghostly quality we're accustomed to in Collide's best work. Instrumentation is full of groovy beats, keyboard noise, and roaring guitars. The style is just what I expected. It just rarely stands out. I suspect there's something lacking to the songs--less hooks maybe, less punch to the choruses, leaving a flat structure in most songs carried only by the (admittedly good) vocals. It's fair to listen to in the moment, but it doesn't leave an impact.
39: Zbigniew Preisner and Lisa Gerard - It's Not Too Late
About what I expected--it's a very slow, somber, meditative experience that marries minimalist orchestration with Gerard's signature ethereal voice. The voice is lovely as ever. Melodies are lacking though, leaving only the relentlessly somber mood to stand out. It's a fair listen in the moment, but nothing about it moved me as deeply as Gerard's best, and none of it struck me as memorable. It sure is classy though.
Few fresh tunes, but most of this is simply redone versions of older tracks. There are definitely some exciting beats, uplifting pads and keyboards, and unique vocals to make the first few tracks stand out. Once you get into the remixed works, it feels a bit more stale, rehashing familiar melodies with little innovation or variation. I doubt I'd prefer any of them over the originals. It's a nice 30th anniversary occasional for fans, but that's all.
There's definitely mood to this modern jazz production. As the album title promises, the tracks are dark and slow, invoking a noir-like atmosphere through jazzy elements. It's also a bit of a pop / downtempo thing given the drums, strings, and the weird airy nature of the background sounds. Can't say it's as compelling as I'd expect it to be, but there are a couple of good tracks I'd probably want to replay, and the listening experience is fair.
As relaxing of music as anybody could ask for. As expected, you get a good amount of smooth, flowing synths and air pads, some nice harps and strings, strong percussion, and with it all, a gentle, soothing experience. The nature of the vocals and drums often times invoke a tropical ambience that can be rather unique, but it's not something that moves me personally. If anything, I struggle to really care for the vocals, even though it's often presented as soulful. After a while, this album starts to sound like the same sound repeated over and over. Very little of it stands out in the end, but it is fine in the moment.
I've struggled with some of Def Leppard's last few albums (and let's face it, their best work is still from the 80s). I have to hand it to them though, there are some surprising standouts in their latest release. "Take What You Want" goes in hard, offering solid hooks and plenty of energy to get the blood pumping. Tone and style, remain on-point--some songs fare better than others, but the album overall is a good experience for rock fans. I question how memorable the best songs will actually be though.
More remixes of recent UNKLE songs, as expected. I certainly find this more palatable than Rōnin I--the revisited songs are naturally smooth and flow well, offering a new experience that sounds relaxing in its own right. "The Way Back Home" stands out with its more soulful style and background piano. Vocal quality is soothing throughout the album, even in a song like "Sonata," which has a more eerie quality. Can't say I like what they did with "Looking for the Rain," which becomes way too discordant. Every other song is fine though.
Look at that album art. I can't say no to an album that has the Back to the Future DeLorean on its cover.
This is my first exposure to Talas, but understanding that this is an 80s heavy metal band and this is a kind of reunion album that presents some old material and some new material freshly recorded, it only makes sense that the album rocks as it does. That is to say that it sounds like the same timeless rock and roll you might be familiar with from the 80s--the hard drums, hard guitars, and pitch-perfect screaming all sound on-point. The songs themselves are fine, but "Crystal Clear" is the only one that grew into a fully-formed earworm for me--the rest sounds pretty samey-same to me, although chances are that some of it might grow on me on future spins ("Do You Feel Any Better" is growing on me as I write this). As it is though, it might behoove me to check out Talas' earlier works first.
Yay, I knew this was coming. I have to admit that I enjoy Part 1 more, but I am still enamored that Therion has gone back to the quality of their earlier work with strong production quality. Melodies are fair--not sure I'd call them outstanding--but the choral voices and guitars are still rather gripping. The album hits a few good highs, and some of the slower moments (especially in "Hades and Elysium") can invoke enough emotion and style to make them stand out. Both Leviathan albums are a solid effort.
Aging rock stars struggle to make great music these days, but thankfully, the Scorpions deliver a solid effort in Rock Believer. Guitars sound great as ever. Melodies and hooks are prominent. I'd argue that the vocals rarely reach the highs it should--they can hold a verse just fine, but choruses leave something to be desired (especially in songs like "Gas in the Tank," which I feel like should rock harder than it does). The biggest standout for me is "Call of the Wild," which has a melody that I find attractive as-is, but it also suits the more low-key vocals perfectly. Even if it doesn't have as much oomph as it could, the album is a fair listen, and certainly more memorable than, say, the latest AC/DC album.
On the surface, I enjoy this album a lot for how hard and heavy it kicks off, and the energy hardly lets up. In fact, maybe it tries too hard. It's hard not to think of a lot of this as try-hard, given how the opener "Will of the People" rhymes a little too much with Marilyn Manson's "Beautiful People," and how much the energy and style of "You Make Me Feel Like It's Halloween" feels like a repeat of "Supermassive Black Hole." And yet, I find these songs enjoyable for all their surface-level aspects--the hooks, riffs, guitars, electronic elements are as catchy as ever, and Matt Bellamy's voice remains an elegant throughline through every song. It dips into some of the same retrowave styles and vibes from Simulation Theory. It might bring up the question as to whether any of this is really that fresh. It might not necessarily be "good," but I do enjoy the album.
29: Jody Wisternoff and James Grant - Anjunadeep 13
I discovered this series recently and have been enamored by the selections Jody Wisternoff and James Grant collect and mix for these collections. Anjunadeep 11 and 12 struck the right chords for me, presenting a small wealth of elegant, uplifting dance tracks. And number 13 does the same. There's almost three hours of decent electronica in this collection--so much that it's almost mundane, especially after a dozen other volumes of similar tunes. I couldn't pinpoint any specific tracks (or even just individual moments) that stood out and demanded repeat listening. For how attractive this package is, it's a little disappointing that this didn't speak to me more.
Do love me some more Arjen Lucassen, and I do love me some sci-fi movies, so Star One was always a no-brainer for me. Revel In Time offers a new batch of movie-themed songs with a shared theme of time travel (so naturally, the songs invoke such titles as Back to the Future, Bill and Ted, Predestination, and so on). The prog metal sound is strong as ever--maybe too much. With a full chorus of voices pitching into each track (plus a totally different cast on the second disc, so we have two versions of each song), it really does come off as more of an Ayreon thing than a Star One thing. What I dislike about it is that it doesn't stand out--if you've heard Ayreon and other Lucassen song before, this sounds like more of the same. And it's a slight disappointment since earlier Star One albums stood out to me thanks to their more unusual qualities. The only fresh thing here are the melodies and the strong production quality. A fair listen, sure, but not one that really moved me the same way Space Metal or Victims of the Modern Age did.
There's a small wealth of solid hooks to Wet Leg's debut album, enough to make it an enjoyable and consistently-energetic listen. What stands out to me is the writing though--playful and jam-packed with innuendo, to the point where it might come off as a bit too much. It's definitely raunchy. I'd call it cheeky though. I appreciate the levity, tone, and energy of the songs, and they sure are catchy.
26: Nekroglobikon - The Fundamental Slimes and Humours
Hot contender for most disgusting cover art of the year.
This is my first foray into this weird band with the weird name. And it is a weird experience. I appreciate the energy they put into it though, stuffing almost every song with rumbling guitars, shouty vocals, and slick electronic beats. Lyrics swing from outrageously violent to outrageously goofy, matching the manic nature of the music itself. There's some serious power to be found in songs like "Bones," but I have to admit that the album overall is growing on me just for how obnoxiously noisy and goofy it is. It strikes me as a hot mess at first, and definitely something weird, but I might have found a new goblin friend with this band.
Psychostick is one of the best musical discoveries I made this year, and if you're a fan, this album will be a neat treat. It's a bizarre collection of novelties, and even the intro track admits that it's largely B-side material. As such, there are a number of interesting, nerdy covers (the Ghostbusters theme, the Bill Nye theme, the Earl and Toejam theme, some Star Trek material), one amusing metal cover ("Mi Queso" will certainly make the rounds on my playlists), and a fantastic butchery of a bunch of Madonna songs. Like the album cover itself, it's mostly a bunch of stuff thrown in a box. Some of it is great, and it's quite a big album with a lot to pick through, but it's not quite as solid or consistent of an effort as their other releases.
By far, the strangest 2022 album I've heard. Of course Björk made it.
I have to admit that through the bizarre mish-mash of woodwinds, banging drums, trumpets, and vocal hums, it comes out all the more unique. There is a dark, ethereal quality to it that I admire despite the more avant-garde nature of the music. So much of it is noise that I should hate, but something about its construction and Björk's voice makes it compelling in its own way--that's art, I suppose. Can't say that any one song from this will make my normal playlists (certainly nothing as catchy as her previous hits), but the sheer strangeness of this album definitely makes its mark and it's worth a listen.
Hot contender for dumbest album cover of the year.
I feel like I haven't given Epica the chance they deserve with much of their latest work, but I was pleased to dip into their latest collaborative EP and experience a powerful symphonic experience that seems more familiar, invoking the style and quality I came to expect from earlier albums like Design Your Universe. The Alchemy Project has the distinction of boasting a bunch of guest artists, which bring much to the table. It is the melodic beauty of Simone Simons I admire the most in these songs, but I appreciate the additional vocals and the spectacular guitar work that's layered onto the songs. Some of this becomes a little too aggressive and too fast for my tastes (although I might learn to forgive it on repeat listens). There's definitely power behind this EP, reminding me of qualities I enjoyed from the band in the first place.
A modern punk rock act, Suzi Moon explodes on the scene strongly bursting with energy and attitude. There are qualities to her vocals and lyrics, as well as the guitars, drums, and song structures that pushes her in the same stylistic sphere as Joan Jett. The production quality is top-notch, and I have no real complaints about any of it--the album is a consistently good rock album. I just find that I like some songs more than others, and most of my favorite so far stem from her earlier EPs.
About what you'd expect from Lzzy Hale. Her voice is as raw and powerful as ever, and she breathes remarkable life to a plethora of high-energy rock songs. The album kicks off strong and maintains its bite for a good long time, presenting a fresh batch of hook sand riffs that make most songs stand out well. There are a few soft spots--"Terrible Things" is an acoustic ballad, but hot dang, the melody and lyrics hit me in the feels more than the rest of the album. Rock fans will find plenty to admire here.
I can admit that my previous infatuations with nu-metal could have been rather misguided, and I've often questioned if Drowning Pool's earlier works actually hold up. They've wavered all across the spectrum of good and bad, but if nothing else they've always been consistently loud. No surprise, their latest release is just as bombastic and explosive as ever. It's so unabashedly raw and aggressive that it might come across as obnoxious. You know what though? I enjoy this noise. I don't even care if it's cringey, how it measures against the best and worst of the genre--there's just no pretension behind this, and if it's noise you want, you got it. I admire the fast and furious energy behind songs like "Down in the Dirt" and "Devil More Damned." Might have to chalk this up as a guilty pleasure, but it is probably some of the band's best work in a while.
It's simple with Steve Vai. I listen to this dude for the guitars. He delivers guitars and it sounds awesome. Inviolate offers enough spectacular guitar work to make my ears happy. There's style and mood across the board, swaying often from high energy to smoother, more relaxing vibes. I find it all superb.
It's just what you'd expect--Korn has reliably supplied their signature sound for almost 30 years, and it remains as grim, gritty, and unsettling as ever. "Let the Dark Do The Rest" is a magnificent stand-out thanks to the highs achieved in its chorus and the spectacular bridge halfway through--it demonstrates a level of expression that goes above and beyond the band's typical brand of grungy noise. Other tracks are perfectly listen-able, offering fair (but rarely spectacular) melodies and hooks. The style is fairly compelling--not as dark and dour as past albums, but still intense, mournful, and aggressive. There is a maturity to this that I can admire, in vast contrast to their debut album and some of their others. All that being said, I don't find many of these tracks as memorable as their best hits. Chances are that this might sink in on repeat spins.
This is one of those bands I've been meaning to explore in greater depth. What I've heard from The Gathering has often been sublime, marrying ethereal vocals with layers of mood, energy, and emotion. There is a gentler vibe to this album, opting for a stronger pop and electronic influence. Guitars still emerge with stirring power, but it's Silje Wergeland's vocals that dominate the most thanks to the smooth, elegant quality. It's rather relaxing for a rock album--maybe even too much so for many fans--but I think it's lovely.
I struggle with black metal often, and even with this album, I find it hard to really latch onto specific melodies and hooks (probably because, by design, music like this doesn't hinge on those things so much). Still, Gaerea has a mood and style I can appreciate. Same kind of qualities that I found admirable in bands like Opeth, Mirage starts off compellingly with a moody, ghostly, gothic sound courtesy of its strings, whispering vocals, and background instrumentations. The sound eventually does hit harder with a tidal wave of aggressive guitar and death growl vocals, which is bound to please many metal fans. It borders on being too aggressive for me, but I can stick with it thanks to its finer qualities. There is a layer of elegance in the background that contrasts with the rawer qualities, and combined with the spectacular guitars, it comes off less as noise to me and more like a haunting, nuanced art form. It's albums like this that makes me appreciate the genre more, while some bands seem intent on beating me over the head with their screams and noise. Noise with nuance and atmosphere, however, seems to win me over, and this Portuguese band genuinely clicks for me.
It's been a long time since I went through my White Stripes / Jack White admiration phase, but I still look up to the dude's music as, simply, good rock music. It hasn't always been a hit for me personally though, and even with this album, I find myself equal parts enthralled and confused. The songs sound generally awesome--there's plenty of energy to the album thanks to the consistent beat, the buzzing guitars, Jack's screaming voice, and the way all the squeals and noise congeal into unique hooks. Much of it is just weird though. Song construction is as wild as they come, causing a lot of these songs to swing heavily between crazy noise and more soothing moments. Some segments are goofy. Some of it sounds awesome.
My first impression of this wasn't great, but on repeat spins, it's naturally growing on me. The song construction strikes me as strange, to the point where it feels like an over-the-top art project. But maybe that's the point, and I have to admit that it's growing on me. It must be this unconventional weirdness that makes Jack White stand out and makes his work persist over the years.
KMFDM releases are rather mundane, but hot dang, I do love what I hear from them. It helps that I am naturally enamored by their style and the way their merge awesome-sounding guitars with electronica and funk. Hyëna showcases a fresh batch of tunes I find catchy, to the point where I find it easy to replay pretty often. It helps that most of the album is structured so that it front-loads the best tracks and it never really wears out its welcome until the last few tracks (at which point I have no qualms about just stopping it short). But even the worst tracks are fair listens. I wouldn't rank Hyëna over Hell Yeah, but it is an enjoyable spin.
Given all the singles Klayton released throughout the last few years, nothing in Satellites is really surprising (or even fresh, really). The mundane nature of this release drains all the excitement I have for it, but that doesn't mean it's bad by any means. If anything, this stands out as some of his loudest and hardest work. While the instrumentation is naturally chopped and distorted for a groovy futuristic effect, Klayton's vocals often become scathing against the harsh electronic background, and the album maintains this aggression for the whole 42 minutes. I was always fond of "Electric Eye," which boasts some nice, sharp beats and smooth choruses, but I've grown to appreciate the raw intensity of "A Matter of Time" and "My Disintegration." It's a solid album that should appeal to metal fans all around, although I'm much more enamored by the experience (and even the whole sci-fi worlds built) in End of An Empire.
How have I never run across this band before? This industrial rock band from Finland hits up all the same style points that made me enjoy Celldweller and Blue Stahli initially--the slick, harsh, badass combination of electronica, beat, and guitars. Though entirely instrumental, each track is enjoyable thanks to the sheer energy and style. This album would be perfect for gaming, working out, driving--any place where you need to get your blood pumping.
I have my boss to thank for introducing me to this band. My first impression of them is generally positive--there is much to admire behind the complex guitar work and song construction. Big emphasis on rumbling, often twangy bass lines. Parts of it hit hard and heavy, but I also appreciate that the songs fluctuate in rhythm and tempo, so there are slower moments of respite (often with very tranquil, beautiful guitars, offering somber mood). As an all-instrumental album, Parhessia is one of many albums that can generate inspiration and offer ambience without being too intrusive or drawing attention to itself--thus, it's apt writing music, or good music for doing things in general. Even under close scrutiny though, I can't fault it for much--it's solid work, plain and simple.
Compare this to Fever To Tell, and you'd be hearing two completely different bands. Hard to believe that they swung so heavily from the loud, flippant, screamy garage sound to this more synth-heavy collection of pop ballads, although the transition makes sense when you look at the albums in between--it's a transformation that seemed to take root in It's Blitz and has only now become complete.
On its own merits, the album has good quality and is often compelling. Its opener, "Spitting Off The Edge Of The World," simply gushes with emotion between the earnest verses and uplifting choruses. "Wolf" comes out as one of the more powerful sonic experiences I've had, given the blasting anthem of synths married with Karen O's seductive voice (and with the way the song ends, like a tidal wave of sound, is chilling, up until it suddenly cuts out--not sure I agree with that choice to cut the song off that way, but I am still impressed). There is ample energy in songs like "Fleez" (which has pretty groovy versus too, and some awesome basslines), and "Burning" is a solid rock tune that might appeal to those still in love with YYY's earlier hits. Other songs tend to be slower and gentler, but I can't deny that there's genuine earnestness and emotion put into them. It's definitely a different sound than before, but these are different times and the band's changed with it. I'm not disappointed by the effort--if anything, I am enamored by it and I find more to appreciate the more I hear these songs.
The first two tracks alone makes this EP a knockout--"System" has a style and composition I appreciate, but Sevdaliza's voice has a smooth, haunting quality that gives her scathing lyrics bite. "High Alone" is a solid piece that consistently engages with its tone and tempo even as the structure remains even, and the vocals have a sultry effect. The rest of the album is no slouch either though--beats are consistently strong, layered with great EDM and pop elements, arranged in structures I find compelling. Above it all, Sevdaliza's voice unites each track with elegant strength and quality.
Tosca has become my go-to choice for relaxing downtempo music, and Osam delivers exactly what I want from it. The beats are solid, while the strings, keyboards, and electronic elements marry together sublimely. Vocals are unique, even if they become a little silly. The groove and vibe of most tracks remains outstanding, and melody is often strong enough to push the tracks above average. It's the same experience as most of their older albums, making it a solid effort that I find soothing. Chances are strong that this will make the regular rounds on my playlists when I want something to kick back and relax to.
Röyksopp went in hard this year with three whole albums bearing the moniker Profound Mysteries. The second of the trifecta is probably my least-favorite, but it's still a good listen with a few standouts. Naturally, it's the drums, synths, bass, and pads I find appealing, and they all come together pretty handsomely in the opener "Denimclad Baboons," which is probably my favorite of this lot. The rest isn't terrible though--the album swings from invoking the style and energy of dancefloor anthems to more soothing downtempo vibes, and there's bound to be something for everyone. I question how much of it really sticks, especially when compared to Part 1, but I can't deny that "Oh, Lover" is catchy, and there's an ominous, prescient quality to "Control." I find myself less enamored by the slower songs towards the end (such as "Tell Him," which sounds like something Moby would have banged out). Thankfully, there is still plenty to enjoy and admire in this middle album.
This unique Mongolian rock band caught my attention just a couple of years ago, thanks largely to the badass "Wolf Totem" song that made its rounds as a viral oddity. While I think The Gereg is probably a better album, Rumble of Thunder is a solid listen--maybe surprisingly so, since the danger exists that the fusion between Mongolian folk and rock could become tiresome. Thankfully, their newest album conjures a nice, thumping rhythm and plenty of fresh hooks that keeps it consistently enjoyable. The throat singing, chants, and strings are still prominent, but it feels less like a novelty now and more of a purposeful style. It is a gritty and energetic experience I admire, elevating this as one of the best rock albums I've heard all year.
Part 3 of this magnificent album series offers a solid collection of tunes. Like the others before it, each song is presented with style, energy, and mood, thanks to the smooth combination of beat, vocal talent, keyboards, synths, and strings. There are a few great standouts--I love how in "The Night," amidst Alison Goldfrapp's dreamy voice, the synths seem to bend upward every few seconds. Something about that wavering sound compels me in a song that's already awash in layers of quality compositions. The tempo rarely dips--even slower songs (like "Just Wanted to Know") sound like good, comfortable downtempo tracks, which gives some space between the towering dance tracks that dominate the album. "Speed King" is probably one of the harder, faster, cooler efforts on here. It all ends with "Like An Old Dog," which bears a mournful tone despite the rather goofy way the lyrics are rapidly paced. Even then, it's all a good listen, invoking the energy, style, and experience of late nights in dancehalls.
No way, this Turkish band is still alive and kicking? I am naturally thrilled to hear more of their brand of exotic thrash metal, and their latest album is no slouch, presenting a fresh batch of awesome songs with awesome guitar work and instrumentation. The energy is strong, the melodies have an exotic, flowing quality I admire, and the whole effort is simple awesome. Vocals have a slightly raw quality, and some of it might fall flat for me, but this is a case where the guitars carry the album, to the point where it reaches awesome heights that I find stirring.
Twenty years ago, Stabbing Westward was thoroughly entrenched in the industrial and nu-metal scene before breaking up (and naturally I was late to the party and didn't really dig this band until recently, so they still feel relevant to me even if they've been dismissed as wannabes and forgotten). Following their recent reunion, the band conjures their latest album from their roots, and I find the results rather enthralling. There is a consistently strong energy to the album, thanks to the strong beats, high tempo, and emphasis on sleek, mechanical-sounding synths and noise. There is an uncanny ambience overlaid on most songs (I suppose I'd describe it as "ghostly"). Guitars are nice and heavy. Above all though, the songs themselves are catchy and Christopher Hall's vocals achieve some awesome highs at times. I hear it the best in songs like "Dead and Gone" and "Wasteland," which I found catchy and rather awe-inspiring. I enjoyed just about every track to some degree, so I enjoyed the album's experience as a whole and it's easily one of my favorites of the year.
I don't know why I don't listen to Edenbridge often enough. This is the first album of theirs that I've listened to beginning-to-end, and I am quite smitten by the experience. It's a sublime and powerful blend of pumping, high-energy power metal and epic symphonic elements. It really hits the ground running with "At First Light," which boasts a phenomenally epic tone as the vocals lifts the chorus into magnificent highs. It carries an adventurous spirit that I admire (heck, this might become the theme to my next fantasy novel). I feel that "The Call of Eden" swings into more sentimental territory--I swear, that chorus sounds like it belongs in an 80s power ballad. And yet, I kind of like it that way? Pacing slows down with "Savage Land," but the tribal drums and softer guitar lends such a mood that I find compelling. The rest of the tracks are solid, offering phenomenal guitar riffs and powerful vocals, but it all ramps up with the grandiose "Road to Shangri-La," which boasts spectacular choruses and riffs. The rest of the album is a massive five-part piece that finishes it all off with stirring emotions. It's albums like this, with its fusion of power and beauty, that drew me to bands like Nightwish and Dream Theater in the first place--chances are I'll be coming back to Shangri-La often, and I'll be excited to discover Edenbridge's back catalogue.
Of all the albums I've experienced this year, I kept coming back to Profound Mysteries the most. Funnily enough, it's not all that profound of a mystery as to what draws me to this sound--Röyksopp has been a main staple in my music library since the days of "Eple," and while their latest work doesn't achieve that same iconic status, their mastery over beats, atmosphere, and style continues to win me over. It's quite an ambitious effort to release Profound Mysteries in three volumes, but even though they're all competent, I enjoyed the first album the most.
It's a slow start, and honestly the intro track is rather discordant. "The Ladder," however, is a really smooth downtempo track with catchy basslines that I find attractive. It segues rather slickly into "Impossible," which immediately grabs attention with its groovy bass synth riffs. The airy, transcendent quality of the pads marry with Alison Goldfrapp's seductive voice in a strikingly orgasmic fashion, especially when she hits those high notes. It gives me chills and genuinely moves me on every spin, and it comes out as one of my favorite songs of the year. But the album has only just begun.
The rest is a solid experience with "This Time, This Place" and "How The Flowers Grow" carrying the energy into darker and more dramatic places. Something about these tracks haunt me, and I love them for it. Maybe it's the vocals by Beki Mari and Pixx, or maybe it's the uncanny tone. It's enough for me to push the album to the top, even if the rest of it fails. It doesn't though. "If You Want Me" shows a rather compelling level of passion, like a kind of electronic ballad (Susanne Sundfør deserves praise for her contributions as much as the other guest artists--she also lends a layer of grace to "The Mourning Sun"). The energy picks back up with "Breathe" (featuring the voice of Astrid S), and it's a solid dance beat. That just leaves "There, Beyond The Trees" as a strange instrumental outlier, but I'm not mad about it--the track's still pretty cool.
I found a lot to love out of this album, and I appreciate the experience the sound put me through. Everything from the highest highs to the strangest lows. From the upbeat to the downbeat. Most of these sounds have wormed their way through my ears to become unforgettable, and oftentimes moving. For these reasons, the album comes out on top as my favorite of the year. Chances are that, much like The Understanding, I'll keep listening to it regularly for inspiration and mood.
