Al's Review of 2021 In Music

Early in 2021 I made it a goal to listen to more music, and to listen more critically. I was successful some of the time, but it wasn't a consistent effort. The good news is that I made time to hear some new albums with a more attentive ear than usual. When it comes to the music of 2021, I find myself generally pleased with what I heard.

Most of these albums were movie scores, if for no other reason than I heard something in the music I liked when watching the films. In some cases, the scores turned out to be a little dull when separated from the content, but most are decent listens in their own right. Of all these, Hans Zimmer's score for Dune floored me the most (the Sketchbook album in particular). I know Zimmer gets a lot of criticism for the amount of artifice and noise his scores entail, but I believe Dune is a special effort that invokes genuine feeling through an exotic variety of sound. It doesn't sound commercial--to me, it sounds like art, and it really does transport me to other worlds.

I have naturally given spins to new work by favorite artists, with particular emphasis on rock and metal. New releases by Rob Zombie, Monster Magnet, The Pretty Reckless, Evanescence, Therion, Sirenia, and Dream Theater have been rock solid. I wish I could say the same for other genres I listen to, but I didn't really explore the latest electronica albums that deeply. I did try out some recent pop releases, and I have to admit that albums by Adele, Billie Eilish, and Doja Cat appealed to me.

From one forum I visit frequently, I decided to give some other types of music a try. Some of it is beyond me--I never knew that doom jazz could be a thing, but Mondo Decay is some unique noise, and I'm not sure I'm a fan of it. One guy couldn't stop gushing over the new album by a band I never heard of before: Eddie Brickell and the New Bohemians. I have to admit, that album was catchy as hell and I listened to it a lot. There's a smattering of other material I dabbled with--some I like, some fall flat.

I probably could have put forth a greater effort, but I'm confident I heard enough to make a fair ranking of the 2021 films I've spun.

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38: Maribeth Solomon - Cultist Simulator Game Score

Rather generic background music for an indie video game. It's harmless and probably goes unnoticed while playing the game—listening to it on its own is a little droll though. While the score offers mood, it lacks structure and passion.

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37: TesseracT - PORTALS

This...this album right here, this demonstrates the indescribable experience I have with some forms of heavy metal. Like it is with Between the Buried and Me, TesseracT's music is the kind in which I hear something I feel like I should enjoy, but I don't. The long-winded progressive structure should worm its way into my ears, but something about the stabby guitars and blaring vocals block my appreciation. With every attempt I've made to get into this album, I find myself unable to discern an appealing form. It really is just noise—not terrible noise, but it's not my noise either.

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36: BT - Metaversal

So, Brian Transeau is into the retrowave racket now. Ehhh...it's fine and all. The album is structurally sound and the style is spot-on. But it's so on-point that it doesn't really break new ground. Nothing about it really hooked me, and after hearing so-many hours of similar bands (whether that be Scandroid, Power Glove, Cassetter, Fury Weekend, Pertrubator, Sunset Neon, and who knows what else), BT's take on the genre just sounds like more of the same.

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35: Olivia Rodrigo - SOUR

Olivia Rodrigo makes a bold debut album, crafted in the isolation of the pandemic, where pungent themes of adolescence and emotional turmoil emerge with a sting. No doubt the music cuts deep for many, but I was personally thrown off by the jarring disparity between the one song I loved (the punkish "Brutal," which goes far to express all the themes in a tight way) and the rest of the album (which just struck me as fluffy). I'm ultimately not a fan of the album's style, which only briefly touches on the hard texture of rock, before succumbing to a slow, saccharine style of pop I find droll.

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34: Émoi - Willy's Wonderland Film Score

If you've seen the movie, you should know what to expect out of half of this. Naturally, the soundtrack boasts a large helping of the cheesiest sing-a-longs ever made for a scary movie. The actual score music has some genuinely cool and moving segments with pulsing beats, edgy guitars, and moody orchestrations to match the madcap blend of horror, style, and insanity. Few tracks are weak, there's one country song I find horrible, but if you can stomach the goofy songs used by the animatronic animals, the album is a good deal.

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33: Junkie XL – Zack Snyder's Justice League Film Score

The new cut of the Justice League movie has many improvements, and one of its best features may be its new score courtesy of Tom Holkenborg (JXL). Hearing it with the movie, it's a sublime marriage that genuinely adds impact and emotion to key scenes. Hearing the score solo, the impact is lost a bit. Even though the score aims for awe and emotion, it is often thrown off by the gloomy tone that permeates most tracks. At times it becomes rather dull, but there are good moments in the score that sound great.

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32: Nun Gun – Mondo Decay

This unique blend of "Doom Jazz" will appeal to somebody. I can't deny that it's an interesting form of music--the beats are strong, guitars and synths are deep, and there's a heavy flow to the songs that sound gloomy as they are badass. What gives me pause are the jazz aspects and the level of noise layered together—it often sounds messy, and I question if it's truly harmonic or just garish. It might sink in on repeat listens, but for now I find it a little...much.

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31: Front Line Assembly – Mechanical Soul

With their consistent industrial style, Mechanical Soul sounds cool enough on the surface. The beats are strong and the style is appropriately dark and mechanical. Enjoyable in the moment, but not particularly memorable.

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30: Epica – Ωmega

I don’t know what it is about the last few Epica albums, they just don’t sink in the way their earlier works do. Ωmega is an album I feel like I should enjoy, but it sounds all samey-same to my ears. That could change in time, I dunno. As it is, it’s on-par with recent symph metal albums, emphasizing powerful vocals over complex arrangements of orchestra and noisy metal guitars. There’s a lot of power to the songs, which underscore grand overarching themes. It's an admirable effort, but it ain't no Divine Conspiracy either.

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29: Garbage – No Gods No Masters

Feels far displaced from their 90s output, but it’s much more palatable than the last modern Garbage album I tried to listen to. The songs are fairly catchy with a modern quality that packs a fair punch—it’s not a bad listen in the end, and some of it straight-up rocks.

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28: Doja Cat – Planet Her

I can’t deny that Planet Her is loaded with hooks that I find addicting, even when the lyrics devolve into garish trash-talking. The language is unbecoming, especially in a song like “Ain’t Sh*t.” And yet, that particular song boasts a vocal quality that I find rather exquisite. “Get Into It (Yuh)” is as catchy as they come, and there are quite a few other songs I enjoy on the basis of rhythm and vocals. These tracks don’t have the smoothness of a song like “Say So,” but it’s still a well-produced album with a good amount of standouts.

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27: Adele – 30

Adele’s latest album hits some hard notes concerning her personal struggles with divorce, motherhood, and fame. It seems cynical at times, but there is an endearing sense of hope and optimism in songs like “Hold On.” “Easy On Me” is the hit single from this album, but it’s not my favorite—most of the other tracks appeal to me more and it’s a solid listen with solid vocal quality and some good hooks.

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26: Limp Bizkit - Still Sucks

Nah, I don't think this band sucks that much. Can't say I enjoy their latest more than their earlier works (Gold Cobra, even, was a consistently rambunctious and fun listen). Still Sucks is short and weirdly uneven, swaying heavily from their usual brand of juvenile rap-metal to straight-up rap and some acoustic. It's rather jarring and the recording quality sounds too polished somehow. But there is merit to the songs—the first couple of tracks show some tongue-in-cheek self-depreciation before the album aims for genuine emotion in songs like "Don't Change" and "You Bring Out The Worst In Me." It's an admirable effort for a band that's supposed to suck.

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25: Liz Phair – Soberish

My first time hearing this artist, and it's generally a positive experience. There are good beats and hooks to be found in many songs--I find that the first few songs fall a little short, in the sense that they string me along with great versus but I'm not a fan of their choruses for some reason. Charm does sink in though, and I am especially smitten by the smoothness of "Soul Sucker" (my favorite of the lot, and something I genuinely find soothing) and the cheekiness of "Bad Kitty."

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24: Billie Eilish – Happier Than Ever

This is my first exposure to Billie Eilish beyond the theme song for No Time To Die, and her album leaves a good impression. There are a few overtly catchy songs—“Oxytocin,” for example, is a perfectly danceable tune. But what appeals to me the most is how mellow and smooth many tracks become, and it’s rather relaxing that way. Lyrics cut into heady topics with a sense of purpose and confidence, and it makes for a rather good pop album in an age where pop seems underwhelming. I actually like these songs more than her Bond theme.

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23: Niels Bye Nielsen – Hitman III Video Game Score

If you play the games, this music will be familiar—some themes have been the same for the past few years and the third game score adds little new to the mix. It remains solid though because of the consistency with previous game music—nothing surprising, but nothing bad either. It still retains a certain Bond-like vibe thanks to the use of strings and a focus on atmosphere. One awesome thing about this album is that it includes the music from the Club Hölle level—even though I’ve heard it over and over from playing the game, it’s still a real banger of a club track.

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22: Scandroid – Dreams of Darkness, Visions of Light

Klayton sure is milking these songs hard over the past few years. The retrowave angle has gotten old for me, so I haven’t really been following the remixes that much—it is nice that this album compiles most of them in one place. Even though there’s a been-there-done-that feeling behind it, I do value Scandroid over other bands of this type and their quality is as solid with this album as it is with others. The beats are strong, the melodies are catchy, and I have no real complaints. Only problem is that a release like this is just mundane at this point.

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21: UNKLE – Rōnin I

Remixes and variations on some of the band's recent songs. There are inherent merits to these songs to begin with, and the new mixes can either be a blessing or a curse. I find the beats and melodies agreeable for most songs. Few tracks sound absolutely stuffed with voices and noise, and I at times I find it a little much. But there are enough good tracks to make it a worthwhile exercise.

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20: Balkan Taksim – Telegraf

I stumbled across this band hailing from Bucharest, and I was quite intrigued and pleased by their brand of East European electronica. There is a definite, palpable texture and style to their music, which channels exotic, folkish influences over layers of club beats and psychedelia. Not all of these tracks work for me, but it is a solid album with a consistent style and tone, and it’s definitely something new and unique to my ears.

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19: John Carroll Kirby – Cryptozoo Film Score

Matching up with the style of the bizarre animated film, John Carroll Kirby’s score emphasizes a New Age aesthetic with a somewhat modern flair. The opening and closing themes for the movie are simple, but memorable and quite soothing. Some of the action music might sound a little clunky and garish, but most of the album is surprisingly pleasant.

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18: Crystal Viper - The Cult

Pretty solid hair metal album with a strong fantasy vibe. Can't say I find all the melodies appealing, but after the first few tracks I found it more palatable. Songs like "Sleeping Giants" are especially awe-inspiring, given the sheer power behind the voices and the awesome guitars.

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17: Morcheeba – Blackest Blue

On par with their other releases, Blackest Blue boasts a few great standout tracks that emphasize rhythm and a very funky groove over soothing downtempo beats. Skye Edwards’ voice is smooth as always, but even instrumental pieces like “Sulphur Soul” exude enough style and soul to stand out. Some filler may be less memorable though.

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16: The Pretty Reckless – Death By Rock And Roll

A good rock album with a few major standouts. Songs like “Witches Burn” and “Only Love Can Save Me Now” are catchy and heavy enough to make you want to head-bang. The album gradually shifts into a softer country influence towards the end, but there’s some sense of gravitas and emotion behind “Harley Darling.” Some filler in between, but still satisfying.

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15: Monster Magnet – A Better Dystopia

Sometimes more of the same is good. Monster Magnet’s albums are rather consistent in their style, tone, and quality, and their latest album is no exception. There’s hardly any bad songs in this bunch—they’re all hard rockin’ bangers with awesome, crunchy guitar riffs and memorable melodies. I wouldn’t call it a major standout compared to their earlier hits either, but it’s still a good listen.

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14: Therion – Leviathan

I was pleased to hear one of my favorite bands return to form. Much like their work prior to Gothic Kabbalah, Leviathan is an epic experience that marries symphony and operatic voices with high-paced metal. The album manages to establish its own unique identity amidst its range of mythology, which covers everything from the Biblical to Scandinavian to Greek to their usual exploration of Kabbalah mysticism. I am quite smitten by Rosalia Sairem's voice, which adds a lot of punch and power to "Eye of Algol" (my favorite of the album) and "The Leaf on the Oak of Far" (which has great verses, lackluster choruses, but is salvaged by the vocals). I find that some songs fall a little flat, but there is still some serious power behind the guitars and melodies that makes the album a fair standout. I wouldn't rank this over their earlier work, but it far surpasses their last few efforts.

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13: André Antunes – The Sound of Victory

For those who aren't in on the joke, Andre Antunes is a dude on Youtube who matches his electric guitar against a number of raw subjects, and his subjects lately have been Karen videos. The Sound of Victory recreates the memes with a professional polish, which is both a blessing and a curse. The curse of it is that the original videos with the original, unstaged freak-outs are often more metal than their recreations. Holy crap, that woman who screams "We're losing our democracy! Wake up!" is loud and raw enough to rival Cradle of Filth. However, this album permits the vocals to match up with the instruments seamlessly, and it is still a hoot to hear these insane freak-outs matched up with the excellent guitars. "Get Out of My Car," "Why Are You Closed?," and the titular "Sound of Victory" are pretty hilarious, especially when taken in context. If "Karen Metal" is a new genre, I hope it expands into new territories in the future (Andre could pump out a new album easily with everything he's mashed up since).

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12: Evanescence – The Bitter Truth

I know, I know, Fallen is better and Evanescence has never topped it and blah blah blah. I'm one of the weirdos who likes everything beyond Fallen, and I was smitten by The Bitter Truth. Far less gothic than their predecessors, the album assumes a rawer and more grounded style, which permits the lyrics and Amy Lee's vocals to shine brighter amidst the dark storm of guitar riffs. The album explores poignant themes concerning disillusionment, and songs like "Yeah Right" exudes a rather sharp sarcastic tone that I think cuts deep. "Wasted On You" is probably my favorite of the lot, which assumes a fairy-tale tone, before tearing the romanticism down with aggressive guitars and cynical lyrics. I suppose the turn towards cynicism is unbecoming, but I appreciate the frank and confrontational way the album rips through the veil of fantasy and romance and literally addresses the bitter truths. It also helps that the album is loaded with catchy melodies.

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11: Iron Maiden – Senjutsu

Iron Maiden has always commanded an impressive output that can be considered classics in the metal genre, and their latest album might go down as one of the best. But it's not an album that immediately hooks me. The song "Senjutsu" doesn't thrill me like it should, and I blame the chorus, which aims for the high notes but seems to flatline. "Stratego" fares better, especially with its kick-ass guitars, but this album really doesn't enthrall me until the third track onwards. "Writing on the Wall," "Lost in a Lost World," and "Days of Future Past" is a fantastic run of songs that redeems the album for me—the melodic quality that gushes out of the guitars and vocals are entrancing from this point onwards. So I might have to skip the first couple of tracks, but it is a solid album worth hearing.

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10: Dream Theater – A View From The Top Of The World

This is an album I enjoy simply because it's on-par with their other works. The quality and sheer power of the drums and guitar are consistently powerful, but the band weaves complex melodies that keep their songs engaging all the way through.

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9: The Seatbelts – The Cowboy Bebop Netflix Series Soundtrack

Oh hell yeah, the Seatbelts are back! The Netflix show might not have fared well, but one thing it got right is the music, thanks in large part to wrangling in Yoko Kanno into the project. While much of the show's score mirrors the older Cowboy Bebop cues (especially rehashing "Tank!" and "NY Rush" among others), it's still a joy to hear familiar tunes mixed in with new variations and pieces that feel right at home in the franchise. The cues are short, but they are plentiful and sweet.

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8: Moby – Reprise

Like it is with Thievery Corporation's Symphonik, Moby offers a stripped-down re-recording of his more famous songs with Reprise. Although I often question how well his work holds up, I have to admit that Reprise oozes emotion and soul, even in the most overplayed of tracks. I am especially smitten by how much raw power is put into his new version of "Everloving," but other tracks like "Natural Blues," "Porcelain," and "Lift Me Up" are equally awe-inspiring. It's like they've all been given the grand cinematic treatment, but with passionate vocals and instrumentation to match. It's especially nice to hear this treatment granted to David Bowie's "Heroes," which is very touching with Mindy Jones' voice. My only complaint is that the album can wear its welcome out quickly, and this approach is probably best taken in bursts.

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7: Brian Tyler and John Carey – Escape Room: Tournament of Champions Film Score

It's albums like this that makes me appreciate and value film scores that emphasize modern instruments over the traditional. It's practically an electronica album in its own right, hinging more on steady beats and the mood of the synths and droning noise more than a stuffy orchestra. It still offers a tone that can be recognized and tied to the film, and the music goes a long way in granting the film mood and gravitas. On its own, it's still a darn good listen thanks to the way it emphasizes tension and style.

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6: Rob Zombie – The Lunar Injection Kool Aid Eclipse Conspiracy

I swear, Mr. Zombie must be aiming to break the world record for the longest and most random of album titles. It's cute, but you'll never beat Fiona Apple.

Still, he remains on-brand with his typical concoction of heavy metal with 70s cultist and hillbilly influences. The songs hit hard and heavy as expected, and there's hardly any stinkers in this bunch. I'm especially enamored by the shorter tracks, which offer very brief instrumental interludes that sound very smooth—some are straight-up chill and pleasant. I'm not sure this album is nearly as memorable as previous ones, but it is enjoyable, catchy, and energetic.

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5: Sirenia – Riddles, Ruins & Revelations

While I still feel that Sirenia loses a little something since their first round of releases, their latest album is at least different and interesting enough to warrant attention. From the first track onward, it seems far more experimental than usual as it emphasizes a stronger electronic element. And yet, the album still adheres to the familiar symph-metal style, complete with orchestras and choruses. They rock some interesting flourishes this time (I swear I hear a theremin in there) that gives the album an eerier, more paranormal vibe. It's a bit more of an elaborate production than usual, reminding me a little of Tarja's albums a few years ago, but it doesn't come off as overdone. It's as fantastic as they come, with perhaps a spooky edge.

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4: Edie Brickell and New Bohemians – Hunter and the Dog Star

This is the first album I've heard from Edie Brickell, so I don't know how to judge this against her other output. On its own merits, I was quite pleased with the sheer catchiness of the songs. So much so that I listened to this album more than most others this year. Despite the bubbly tone and country-inspired flourishes to some songs, I found most songs enticing thanks to their melodies, structure, beats, and smooth vocal quality. It gets rather cheeky at times, but there's gravitas as well. I do believe it loses some steam at the very end, but it's still a solid listen and I enjoyed these songs a lot.

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3: Hans Zimmer – Dune Film Score

Dune is a special film project that warrants a special soundtrack. For this fantastic space opera, Zimmer draws upon multiple influences to assign sounds and themes to the worlds and characters of the film. The result is uncanny in every sense of the word. It is jarring to hear such unusual choruses and instruments slammed together, but themes and melodies emerge out of the sound that makes the experience unified and moving. I admire the score for its range of sound and the unique themes—my only complaint is that it is only a smaller part of a larger universe.

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2: John Carpenter – Lost Themes III: Alive After Death

It's always a pleasure to see a master at work. Carpenter's career in music is almost as formidable as his film output, even though the two are intrinsically linked—his stand-alone albums of late have all oozed atmosphere and style, and his latest round of "Lost Themes" (made in collaboration with Carpenter's son and grandson) comes close to being my favorite of the lot. The ambience is palpably dark, but not without a sense of gothic mysticism and romance thanks to the expert blend of synths, piano, strings, and airy choral voices. Electric guitars strike through many tracks, accentuating the vibes with moving gravitas. There's nothing cheesy about the music—it's every bit as spooky, somber, moving, and awesome as what you might hear in an 80s horror movie.

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1: Hans Zimmer – Dune Sketchbook

Sometimes, more of a good thing is warranted. While Zimmer's Dune score offers a fantastic and moving experience in its own right, it is purposefully cut to conform to movie cues, and I can't help but to consider the soundtrack as an abridged and chopped version of the full musical experience.

The sketchbook is a true piece of art. With pieces that extend upwards of ten minutes each, Zimmer uses the breathing room to ease into each movement, layering them with a rich pallet of sound that coalesces into thundering storms of exotic, otherworldly symphony. It does become noisy, and it may be especially bewildering to hear such things as the stabbing female chorus, throat singing, and bagpipes overlapping the droning synths and rumbling drums. What keeps me in awe are the melodies that emerge from the chaos, which glues all the elements into a cohesive experience. The different instruments have thematic connections to the Dune story, but the themes crafted for the characters and events are memorable and evocative even without the extra flourishes.

It could understandably be dismissed as noise (and I've seen many film fans cast a critical eye on Zimmer for watering down the art behind movie scores with artifice). I believe a good creative effort was put into Dune though, and the textured range of sounds exudes an atmosphere and vibe that truly makes you feel like you're on another world. I'm personally enamored by the experience, and of all the albums I've heard I value this one the most.

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AL'S FAVORITE 2021 SONGS

Al's Review of 2020 In Music

You'd think that during a global pandemic, with order to stay at home, I'd have found enough time to listen to all the albums. I made a good effort at times, but I wish I could have made time for more newer releases. As it is right now, I'm barely familiar with the many albums I've collected--but it doesn't help that most of them are soundtracks and scores, and I'm not always in the mood for them.

Surprisingly, I have found myself slightly more enamored by modern pop music--specifically, select singles I've heard on the radio from Dua Lipa, Lady Gaga, Ariana Grande, Doja Cat, Harry Styles, and a few others. I found this line-up rather appealing, although most of these songs are going on one or two years old now--Dua Lipa's Future Nostalgia is the newest one I've heard that I enjoyed the most. I have no qualms about Gaga's Chromatica either though, and I was quite pleased to see some new material coming from Groove Armada.

I've seen some hype around Fiona Apple's Fetch the Bolt Cutters. I gave it a spin, and...I was not a fan. It came off as inharmonic and messy to my ears. It could be that I'm missing something with this one, seeing as it's garnered much praise from music fans--chances are I could listen to it again and something might click. For now though, I can only chalk it up as the one I find most elusive this year.

As usual, I have gravitated towards some new rock and metal. They've been fair efforts--little that outright blew me away, but some of it is quite enjoyable and invigorating. Can't say the new stuff from older acts (like AC/DC, Ozzy Osbourne, and Pearl Jam) have enticed me that much, but Static-X is back, loud and powerful as ever. New pirate metal from Alestorm is good for a brief laugh (and it helps that their work has fun melodies). Apocalyptica's latest brand of cello-infused metal is an easy recommendation.

On top of that, I've dabbled a bit with chap-hop (hip-hop with British accents and very polite lyrics? How quaint). Did listen to Eminem's album, just because, and although I found it catchy, it was oddly unmemorable. There are some other random things I've heard, but in the end, it's mostly movie and game soundtracks that have impressed me the most. Scores for things like Tenet, Guns Akimbo, Cyberpunk 2077, The Last of Us Part II, Cloudpunk, The Witcher, are all pretty decent. In fact, one of my biggest disappointments is that Doom Eternal's score never got an official release (and probably never will because id messed something up with the mix, to the point where Mick Gordon quit--wtf people?).

I'm pretty sure I have 2020 music lying around that's begging for a chance to be evaluated deeper. There are a few I just haven't gotten around to (like the latest Richard Cheese album, Metallica's S&M2, Seether's Si Vis Pacem, Para Bellum, and the film scores for Antebellum, Onward, Birds of Prey, Mank--I'll get to them all someday). I fear I might not have given them a big enough chance to let their hooks sink in. I have done some last-minute catching up, and I feel confident in these rankings.

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39: Pearl Jam - Gigaton

This is one of those albums where I didn't see much wrong with it in the moment I was listening to it. Taking a step back though, and I found virtually nothing memorable about it. The overall sound had a tiresome quality that made me miss the energy and spirit of their 90s works. There is a chance something will click more on a repeat listen, but for now it only elicits a "meh" from me.

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38: Poliça - When We Stay Alive

First of many mixed bags here. Some of these tracks I find uncanny, thanks to the slow (but strong) beats, haunting vocals, and atmospheric synths. Where the album loses me is with the more upbeat songs, which come off as soft and saccharine to my ears.

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37: Surfaces - Where The Light Is

This album is harmless. Pleasant. In fact...I find it too pleasant. Can't fault the music itself, it's a rather competent and uplifting blend of genres, which will elicit feel-good vibes. The thing is, I find the overall sound a little too light, bubbly, and saccharine for my tastes.

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36: Eminem - Music To Be Murdered By

Like any rap act, I find myself enamored mostly by the beats. They are quite strong with Eminem's latest work, but I struggle to find much else to latch onto here. Can't fault the dude's vocal acumen, but when it comes to melodies, hooks, and variance, I feel it comes up short and most of this music flows through my head with little impact. It's a shame, because the Hitchcock references are cute.

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35: Nine Inch Nails - Ghosts V: Together

Pretty happy that Trent Reznor managed to pump out some more chapters to his instrumental series of albums (and for a time, they were FREE at NIN's website). Still though...I find these latest efforts a little underwhelming. At first, I was a little let down that these new Ghosts albums were strictly ambient and have little-to-no metal aspects to them. Still, listening to them even with the mindset for ambience, I found part V a little too weird for my liking. I suspect because it's just too dang happy. I'm sure it's meant to counterbalance the darker tone of album VI, but what kills this for me is the sheer lack of variance. It's airy, fluffy piano and droning sounds for a solid 40 minutes--you know, stuff that makes for good filler on any other NIN album, but it gets droll fast listening to this much of it all at once. 

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34: Various Artists - Cyberpunk 2077: Radio

There are four volumes of this noise. I own three of them and have listened to them. Of these, I value the first the most, and the others sounded like more of the same. I prefer to group them together all in one go here since the quality is consistent (or at least consistent in being inconsistent).

These soundtracks are a mixed bag, even though it might sound cool when you're playing the game. Between the rap, punk, and metal, the sheer amount of noise is aggravating, obnoxious, vulgar, and often times exhausting. Thankfully, there are a few cool gems to be found (couple of my favorites being "Kill Kill" and "Night City Aliens"). Different fans will probably find different gems of their own, but you may have to wade through some serious scum to find it.

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33: Nine Inch Nails - Ghosts VI: Locusts

Still a slow and moody listen, but I like Locusts a grade more for the subtle tension the tracks bring to the table. The tone is notably darker, and some tracks elicit a certain anxiety through simple composition (seriously, "The Cursed Clock" makes me feel like I have to do something, but I don't know what). There is a better pace to many tracks. I'd even say this is much more in-line with NIN's brand. A solid effort, but it's far from being a favorite.

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32: David Buckley - Unhinged Film Score

Pretty generic action-movie music. By nature of the film's exciting parts, the score more often throbs and blasts its orchestration at you, and it's not the best thing to listen to on its own. However, some of the tracks are fairly cool with the gritty atmosphere they project, and the music of the finale has a surprisingly emotional note to it. The best thing to the album, however, is the cover of "(Don't Fear) The Reaper" by Keep Shelly In Athens. A slow and even take on a classic song, but I appreciate the haunting vocals--it's going down as one of my new favorite versions of the song.

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31: Ozzy Osbourne - Ordinary Man

How is this guy still rocking?

Ordinary Man is extraordinarily eclectic, and as a result there's a half-good half-bad quality to this. Cherry-picking the good, I find that a few songs stood out to me that I don't mind playing on repeat and rocking out to (namely "All My Life," "Straight To Hell," "Goodbye," and "Scary Little Green Men"--the latter of which is easily the best). In these few, I can make out a certain power and uplifting quality to the vocals and the guitars. Everything else, however, comes off as noisy and odd--especially that track with Post Malone, which is noisy to the point of abominable.

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30: Fiona Apple - Fetch the Bolt Cutters

No doubt the artistic intention behind this album is strong. Even its title hints at a certain theme, which feels all the more relevant in a year where we've been encouraged to stay indoors and avoid social contact. As such, it seems as though the album bursts with energy, like somebody must have fetched some bolt cutters and opened up a door of sound.

The problem is, I hear a lot of mis-matching noise, partly in the bizarre way it marries instruments, partly in the way the notes fly from high to low so rapidly, and the way it bumps different vibes from one bar to the next. And...are those dogs barking? I'd call it pure noise if it wasn't for the occasionally catchy chorus or refrain, or the quieter moments that invoke a deeper sense of jazzy coolness. It's ultimately a kind of avant-garde quality that many music lovers will find adorable, but I find it largely head-scratching. My opinion could change in time, but for now I find it garish.

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29: Sonya Belousova and Giona Ostinelli - The Witcher Score

To be perfectly honest, I love the "Toss A Coin To Your Witcher" song and it's been stuck in my head all year. The score deserves a listen for that alone.

The actual orchestral score is rather mixed. There are tracks I adore, invoking the perfect dark fantasy atmosphere through traditional instruments. But the tone does go all over the place--brooding, noisy, and mean one track, folky and overly-happy the next. A better balance is found in the best tracks, but with 55 of them on this release, it's quite a fair value.

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28: Moby - All Visible Objects

Much more beat and energy to this than last year's album. With it, there's a little more noise--some of which is irritating (especially in a song like "Power Is Taken," it sounds like an alarm is going off and I hate it). Fortunately, there are some good bursts of cool-sounding beats, synths, and air pads. It's a fair collection of tracks that will both relax and energize you, but I'm not as enamored by these sounds as I am with Moby's earlier albums (especially last year's, which was pretty smooth).

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27: Various Artists - Bill & Ted Face the Music Soundtrack

Like most other soundtracks, this will be a mixed grab-bag of songs--some will be good, some won't be. There are some tracks here I can take or leave, but I am very enamored by the two tracks from Big Black Delta--the sheer power of those guitars are impressive. Other songs seem to stretch across the vast breadth of the rock genre, offering some hard and fast aggressiveness as well as more saccharine bops. What I love the most, however, is that they've included the actual Wyld Stallyns song from the movie, "That Which Binds Us Through Time: The Chemical, Physical And Biological Nature Of Love; An Exploration Of The Meaning Of Meaning, Part 1." It is just as indulgent as the title is, and that's the point of the joke. Listening to this track on its own...it's surprisingly solid, even when it clearly stretches itself too far and becomes overly-noisy. Way too much thought was put into that joke, but I appreciate it.

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26: Groove Armada - Edge of the Horizon

Continuing the new wave vibe GA previously invested in with the White Light and Black Light releases (wait, those are ten years old already?), Edge of the Horizon sounds like the kind of thing you'd hear at an 80s dancehall. The beats are strong as ever, and the compositions bear a consistently upbeat vibe that project positive vibes. Can't say I'm a huge fan of the lyric quality, of the sound overall, but in the right mood I'll find it agreeable. "Get Out On The Dancefloor" is a solid dance track I've replayed quite often, and something about it makes me nostalgic for the dance songs I loved as a kid--so there's that.

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25: Professor Elemental and Mr. Frisbee - Let's Get Messy

So, this is chap-hop. Wasn't prepared for all the jazzy and soulful samples in the background, but there is an upbeat groove to this I can appreciate. Lyrics are quite clever and surprisingly pleasant. Some of these songs are pretty catchy and I found them amusing for a short while. Not sure if this will have a lasting impact, but I am curious to hear more from these chaps.

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24: Trent Reznor and Jon Batiste - Soul Film Soundtrack

I'm still surprised they wrangled in Trent Reznor to do a Pixar movie's soundtrack--or at least half of it. The movie itself demanded more jazz, and Jon Batiste delivers some quality grooves that fit the movie well, and aren't too shabby to hear on their own. Reznor's contributions add fascinating atmosphere to the movie's astral segments, which is also fitting. The soundtrack altogether is a fine and calming experience, even if it is a little short.

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23: Lady Gaga - Chromatica

The sci-fi image projected from the album cover had me sold to start with. The actual songs aren't too shabby either though--I love the steady beats, the catchiness of the melodies, and the overall quality of the production. Not sure if I'll remember these songs as strongly as her other hits, but it's a solid listen all the way through with little filler and a lot of energy.

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22: Harry Chrichtley - Cloudpunk Score

This was exactly what I expected (and wanted)--a futuristic score heavy on the synths and atmosphere, perfectly matching the high-tech cityscapes of the game. It's a smooth combination of beat, orchestral swells, and melody. It's just good, plain and simple--a perfect score for passive listening, or for an active appreciation of the mood it aims for.

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21: Colin Stetson - Color Out Of Space Score

It takes a lot for me to appreciate a horror movie score, and I'm quite pleased to find that Colin Stetson injected the right tone, atmosphere, and style of sound for the Color Out Of Space film. It's uncanny and wild when it needs to be, but the softer moments are beautiful. The combined experience of the music offers a small wealth of wonder and terror, and I'm moderately impressed by it.

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20: Ist Ist - Architecture

A friend from a forum had posted some songs from this album, and I took a liking to them. The instruments bear a kind of new wave vibe, but with a heaviness and brooding quality that invokes a greater sense of power and mood. My favorite songs in particular boast some riffs I find quite catchy and admirable. It reminds me quite a bit of She Wants Revenge, right down to the deep, echo-y vocals. Few tracks I'm still not sure about, but there is a good chance this band has a new fan.

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19: AC/DC - Power Up

It's...good rock music, plain and simple. Even after all these years (and after tragically losing one of their own), AC/DC's sound remains consistent and strong as ever. It just brims with energy, and it's unified aptly through the guitars and vocal power. Can't say this is as good or any better than the classics, but it's, simply, good.

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18: Alestorm - Curse of the Crystal Coconut

I'll take another round of Alestorm pirate metal about as easily as I'd take another swig of rum. Their latest album presents the same old shenanigans, but the melodies are catchy and the music rocks hard as ever. Goofy lyrics, raw punkish lyrics, and a touch of old-timey instruments makes it consistently fun and irreverent, and thus an enjoyable listen.

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17: Powerman 5000 - The Noble Rot

I've become quite fond of Spider One's brand of sci-fi-themed metal. His latest album has a darker vibe to it--it seems a little restrained and slow compared to his best works, but I still find most of these songs catchy and cool. I'm quite enamored with the beat, guitars, and vocals--I find it punchy and cool.

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16: Marcin Przybylowicz, P.T. Adamczyk and Paul Leonard-Morgan - Cyberpunk 2077 Score

As novel as it is to own the radio songs from the video game, it's Cyberpunk 2077's score that impresses the most musically. The three composers weave an eerie electronic atmosphere for the game, offering beat and high tempo when the action-heavy segments demand, but also ambience for the slower parts. Hearing the music on its own is bleak and haunting--a perfect score for an otherwise bleak and haunting future.

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15: Green Carnation - Leaves of Yesteryear

I took a chance on this five-track album, having never heard of this band before, and was pleasantly surprised by the sheer scope and depth of it. It's every bit as sophisticated and complex as bands like Tool, but with a mood and style that feels somewhat closer to Anathema. The guitars rumble impressively, but the lyrics and vocals remain clear and compelling. This might be a new favorite, and I'm curious to dig up more of this group's work.

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14: Delain - Apocalypse & Chill

As usual with these symphonic metal albums, there's equal parts power to the vocals and the guitars, and it's fairly impressive in Delain's latest album. It sways from aggression to more delicate tones with a sweeping sense of grandeur and awe--and with hooks I find catchy and pleasant. With hardly any filler, this is a solid album with some serious power--it might be one of the best the band's done yet.

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13: Nightwish - Human. :||: Nature.

I wasn't that impressed on the first listen, but giving it another chance, I now see that this album is a worthy follow-up to Nighwish's ongoing run of post-Tarja albums (and I believe it's an impressive run). The sound is as epic as ever with the sublime combination of guitars and choirs, but there is a rustic quality to the songs that invoke Earthly themes, and it's quite a punchy sound. There are only a couple of tracks I don't care for, but the bulk of the album is rock-solid.

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12: Static-X: Project Regeneration Volume 1

Wayne Static may have tragically passed away several years ago, but his voice still growls strongly through this album--pieced together with Wayne's last recordings. The result is just as strong as the albums from the band's glory days--it's dark and loud, but the repetition and catchiness of the melodies leave a haunting impression. I find it invigorating, but it's especially gut-wrenching to know that this is an actual regeneration of music from a talent that's no longer with us.

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11: Stephen Barton - Watch Dogs: Legion Score

This soundtrack is simply cool. The way it marries beat, guitars, and electronic sounds together with a sense of mystique and futurism is pretty sublime. It helps that the tracks have catchy elements. Most of this can be listened to for a soothing ambience, but even the action-heavy sections achieve a balance that isn't too unbearable to hear. I simply love the style of sound this album exudes.

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10: Darren Korb - Hades Score

Like it is with the 300 film score or the score for Assassin's Creed: Odyssey, this one is an attempt to balance the old-world ambience of ancient Greece with a more modern flair. I'm not sure I like this any better than the afore-mentioned soundtracks, but it is a pleasant listen even with the occasional burst of modern guitars. I find the traditional instruments pleasing, but the beat and anachronistic elements give it energy, mood, grit, and perhaps a little emotion too. Who'd have thought that music from Hades could sound pretty cool?

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09: Enis Rotthoff - Guns Akimbo Film Score

It's actually pretty interesting that they pulled a trendy German composer to score this insane action film. It's a good fit given the focus on the electronic. The beats are good, the sounds are hip, and it exudes an even-keeled level of energy and playfulness. Married with the film, it's pretty slick--on its own, it's like a modern EDM anthem. I think it's cool.

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08: Gustavo Santaolalla and Mac Quayle - The Last Of Us Part II Score

If it's one thing that can be most admired about this video game, it's the music. Gustavo Santaolalla reliably delivers the most invoking and emotional touch to his guitar pieces, and they remain the highlights of the music score. Mac Quayle's contributions are more conventional--his tracks are throbbing pulses of intense noise or droning sounds that accompany the game's tensest setpieces. Can't say the tenser tracks are that pleasant to hear on their own, but the score is a decent piece of art on its own accord thanks to the atmosphere and emotions both artists contribute.

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07: Ludwig Göransson - Tenet Film Score

Well, at least you won't hear much of Hans Zimmer going BWAAAMMP.

The tone and style is similar to a typical Zimmer score, but Ludwig weaves his own unique mood as he playfully commands awesome-sounding guitars against dramatic orchestras. It's especially clever how so many sounds play backwards, mirroring the way the movie runs things backwards in its time-travelling concept. For all that goes, I've actually listened to this score backwards--I might be crazy, but much of it actually works when playing it in reverse. That alone leaves me awed, but even listening to it conventionally, I am very smitten by the themes, the atmosphere, and the style.

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06: Mick Gordon - Doom Eternal Score

Even though this was never officially released to the public, I'm still counting it...dammit. You can hear the whole thing on Youtube...or in the game itself.

The opening theme--the one that plays over the game's menu--is what really pushes this over the top for me. From that eerie, winding electronic whistle, the slow build up of the bass guitar, and the gentle roar of the electric, is enough to get the blood pumping. Then, after an unsettling pause, the guitar riffs explode furiously, and it floors me every time.

That's just the one track. Just like with the 2016 game, this whole soundtrack bleeds awesomeness through its incredible guitars, chopped-up beats, and hellish tones. Not only does it make the game's combat feel incredible, but as many Youtube memes show, it fits any badass thing. On its own, the soundtrack is quite a badass journey. I only wish I could own it officially.

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05: Klayton - The Dunes Film Score

It usually is the bad movies that have the most interesting film scores for some reason. The Dunes--not to be confused with the upcoming Villeneuve film--is a pretty bad psychological drama, but somehow they hired the Celldweller dude to score it, and the music is easily the film's best thing. Hearing it on its own, it serves as a rather decent ambient album, with maybe a few heavy bursts. It's a dark and brooding atmosphere, with subtle tension--maybe even more tension (and certainly more nuance) than the movie itself has. I find it compelling on its own, especially since it matches up perfectly with Klayton's other ambient works.

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04: Apocalyptica - Cell-0

Those four dudes from Finland are back with their cellos and electric guitars (and hey, as a guy of Finnish descent I have nothing but respect for this. Sure, Nightwish is good, but Apocalyptica has serious class). Cell-0 is probably one of the darkest albums I've heard from them--their opening track, "Ashes of the Modern World," is an especially explosive and mournful orchestration of noise that elicits chills. It might as well be the theme song for 2020. The rest of the album sways from super-heavy to brooding and ambient--both sides are often compelling, and I still find the fusion of cello (orchestra in general) and metal to be pretty sublime. 

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03: Various Artists - Anjunadeep 11

This fine double album from Jody Wisternoff and James Grant offers a rather elegant selection of electronic dance, trance, and techno--the kind that sounds classy, pleasant, and uplifting, rather than the kind you just get high or drunk to and dance around like an idiot while watching pretty colors at a club. It's the tone, atmosphere, and vibes of this compilation I admire the most--it has a certain vibrancy that I find soothing, even with a higher tempo.

And this is the eleventh of a series? How have I never seen or heard of any of the others before. Well holy crap, I have some catching up to do!

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02: Dua Lipa - Future Nostalgia

It's been a long time since I've been impressed by a pop album. I feel fortunate to have discovered Dua Lipa while innocuously listening to the car radio--her hit single "Breaking My Heart" is strikingly catchy, and it's perfectly accentuated with a groovy disco beat. Most other tracks are just as cool, with most bearing equally catchy hooks and choruses, strong beats, and electronic flourishes that bear a slight retro charm. Despite one or two tracks I could take or leave, this is one of those albums consistent enough to hear beginning to end without the urge to skip a track. At its best though, I find most of these tunes soothing and cool. As the album title suggests, I might become nostalgic for this in the future, we'll see.

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01: Thievery Corporation - Symphonik

This is one of those bands that has done me no wrong by far. Even though this release offers no new material, I feel it wins 2020 by default of the band's reputation--hardly anything of theirs is bad. In fact, Symphonik thrills me with the prospect of revisiting old favorites in a new way.

As more orchestral versions, their songs are given the chance to show their lyrical and melodic charms stronger. It's especially heart-warming to hear the voices of LouLou Ghelichkhani, Shana Halligan, Natalia Clavier, and Elin Melgarejo, all of whom offer beauty and harmony to their respective songs--and they seem even more elegant when stripped down to bare beats, strings, and just a few taps of the keyboard. The hip-hop contributions by Mr. Lif and Puma are admirable and fit the multi-faceted brand of the group well. I wasn't quite sold on Frank Orrall's version of "Marching the Hate Machines," but on a second spin I realize there's a certain groove he achieves in his own right.

"Sweet Tides" is probably the song that wins me over the most, representing the most sublime fusion of beautiful orchestration and vocal quality (and it's such a damn nice song that oozes emotion, I can't help but to shed a tear and a smile). "Depth of My Soul" was always a moody favorite of mine, and it's wonderful to hear it anew. "Lebanese Blonde" and "Until the Morning" are downtempo classics at this point. But you really can't go wrong with any track on this album--like the rest of the band's work, it's all consistently soothing, cool, and vibrant. They've always had a knack for timbre--it's practically in their name, so branded because they literally "steal" styles from many genres and cultures. The sound is as groovy and wonderful as ever--Symphonik harmonizes the sound sublimely with lovely vocals and a classy presentation. It's easily the best album I've heard from 2020, and it'll likely be the one I'll listen to the most, in conjunction with the rest of their discography.

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AL'S FAVORITE 2020 SONGS